Introduction: A Statesman’s Journey to Lu

In the mid-6th century BCE, the Eastern Zhou dynasty was a landscape of shifting alliances, cultural exchanges, and intellectual ferment. Against this backdrop, Prince Ji Zha of the state of Wu embarked on a diplomatic mission to the state of Lu, a journey that would become one of the most illuminating episodes in the history of early Chinese thought. As a younger son of King Shou Meng of Wu, Ji Zha was renowned not only for his political acumen but also for his deep appreciation of ritual and music—cornerstones of Zhou civilization. His visit to Lu, a state revered as the guardian of Zhou cultural traditions due to its founding by the Duke of Zhou, provided a unique opportunity to witness and critique the musical heritage of the era. This event, preserved in historical records, offers profound insights into the political philosophy, aesthetic sensibilities, and intellectual currents of the Spring and Autumn period.

The Historical and Cultural Context

To understand the significance of Ji Zha’s mission, one must appreciate the role of music in ancient Chinese society. Music, or yue, was far more than entertainment; it was a fundamental component of statecraft, moral education, and social harmony. According to Confucian thought, which would later dominate Chinese philosophy, music reflected the virtue of a ruler and the well-being of the people. The Book of Songs , a collection of 305 poems, was central to this concept. These poems were performed with musical accompaniment in court ceremonies, diplomatic gatherings, and educational contexts, serving as a barometer of political and ethical health.

The state of Lu, founded by the Duke of Zhou—a paragon of wisdom and virtue—was uniquely positioned to preserve the musical traditions of the Western Zhou dynasty. As other states experimented with new forms or neglected classical practices, Lu maintained the orthodox repertoire, making it a cultural pilgrimage site for scholars and diplomats. Ji Zha’s request to observe the music of Zhou in Lu was thus both a diplomatic gesture and an intellectual pursuit, underscoring the interconnectedness of politics and culture in the period.

The Encounter with Shu Sun Mu Zi

Before delving into the musical performance, Ji Zha met with Shu Sun Mu Zi, a high-ranking minister of Lu. This meeting reveals Ji Zha’s sharp political insight and moral seriousness. He warned Shu Sun that his inability to discern character and appoint worthy officials would lead to his downfall—a prediction that tragically came true years later. This exchange highlights Ji Zha’s belief that governance and personal virtue were inseparable, a theme that would resonate throughout his musical critiques. It also sets the stage for his approach to the performances: not as mere aesthetic experiences, but as reflections of deeper social and political realities.

The Performance and Critique of the Airs of the States

The musical presentation began with the Airs of the States , sections of the Book of Songs associated with different regions. Ji Zha’s comments on each reveal his method of linking musical style to political and moral conditions.

For the Zhou Nan and Shao Nan, he noted the foundation of royal virtue, though still incomplete, and praised the spirit of diligence without resentment. This suggested a society in formation, grounded in effort but not yet fully realized.

When the musicians performed the songs of Bei, Yong, and Wei, Ji Zha detected a profound depth, observing that the people, though troubled, were not yet desperate. He attributed this resilience to the virtuous legacy of Lords Kang and Wu of Wei, illustrating how music could encode historical memory and moral example.

The songs of Wang evoked thoughts of the Zhou dynasty’s eastward migration, a period of decline yet enduring dignity, while the Zheng songs, though beautiful, struck Ji Zha as overly intricate, hinting at excess that would weary the people and presage the state’s collapse. In contrast, the Qi performances impressed him with their grandeur, suggesting the vast potential of the state under the influence of its founder, Jiang Tai Gong.

The Bin songs conveyed joy without indulgence, reminding Ji Zha of the Duke of Zhou’s eastern campaigns, while the Qin performances embodied the “sound of Xia”—majestic and expansive, rooted in Zhou traditions. The Wei songs were broad yet refined, requiring only virtuous leadership to flourish, and the Tang melodies evoked the deep concerns and legacy of the ancient Emperor Yao.

For Chen, Ji Zha foresaw instability due to a lack of strong leadership, and he declined to comment on the songs of Kuai and below, implying their diminished significance. Through these critiques, Ji Zha demonstrated a consistent hermeneutic: music as a mirror of governance, character, and historical trajectory.

The Imperial Songs and the Hymns

Moving beyond the regional airs, the performance included the Minor Odes , associated with the Zhou court. Ji Zha interpreted the Minor Odes as reflecting the decline of Zhou virtue, yet still bearing the mark of earlier kings’ influence—a mixture of sorrow and resilience. The Major Odes, by contrast, embodied the breadth and harmony of King Wen’s virtue, vast and orderly.

Finally, the Hymns moved Ji Zha to his highest praise. He described them as perfect, balancing strength without arrogance, flexibility without submission, closeness without pressure, and distance without alienation. They embodied moderation in all things—joy without excess, sorrow without despair, generosity without waste. This equilibrium, he concluded, represented the harmony of the five notes and the eight winds, a testament to shared virtue and cosmic order.

Cultural and Social Impacts

Ji Zha’s critique had immediate and lasting implications. First, it documented the state of the Book of Songs in the mid-6th century BCE. The sequence and content he observed in Lu closely match the received text of the Shi Jing, indicating that the anthology was largely standardized decades before Confucius, who was only eight years old at the time of Ji Zha’s visit. This challenges the traditional attribution of the editing to Confucius, suggesting instead that he inherited and transmitted an already established canon.

Second, Ji Zha’s approach exemplifies the Confucian utilitarian view of music and poetry. By consistently linking artistic form to political and ethical content, he reinforced the idea that culture serves moral and social ends. This perspective would become central to Confucian philosophy, particularly in the works of Confucius and Mencius, who argued that music could either cultivate virtue or corrupt it.

Third, Ji Zha’s critiques were not passive receptions but active interpretations. He brought his own historical knowledge, moral reasoning, and political insight to bear on the performances, creating a model of engaged criticism. His emphasis on the pedagogical and transformative power of art influenced later theories of literature and music, shaping the Chinese tradition that sees cultural products as tools for moral education and social critique.

Legacy and Modern Relevance

Ji Zha’s musical critique remains a touchstone for understanding pre-Confucian thought and the evolution of Chinese cultural theory. His integration of aesthetic judgment with political analysis anticipates later developments in Chinese philosophy, where art and ethics are never divorced. For contemporary readers, his approach offers a reminder of the power of cultural criticism to illuminate broader social conditions—a relevant lesson in an age where art and media continue to reflect and shape public values.

Moreover, Ji Zha’s mission underscores the importance of cultural diplomacy and cross-state dialogue in ancient China. His journey was not merely political but intellectual, fostering exchanges that enriched the collective heritage of the Zhou states. In modern terms, he exemplifies the role of the public intellectual—a thinker engaged with the world, using culture as a lens for understanding and improving society.

Conclusion: The Enduring Echoes of a Diplomat’s Critique

Prince Ji Zha’s visit to Lu and his critique of Zhou music stand as a landmark in Chinese intellectual history. Through his discerning ear and moral vision, he transformed a musical performance into a profound commentary on governance, virtue, and human flourishing. His insights reveal the dynamic interplay between culture and politics in ancient China, while his methods prefigure key themes in Confucian thought. Today, as we grapple with the role of art in society, Ji Zha’s example reminds us that criticism, at its best, is not just about judgment but about understanding—the deep, resonant understanding that connects sound to soul, and art to life.