*3.4. The Layer of the Completion of Human-Spirit Communication*

The fourth layer embedded in *cheng*'s relationship with sacrificial ritual is the completion (*cheng*1) of human-spirit communication. As cited above, the seven records from newly excavated manuscripts and many records from transmitted texts use the term *cheng*1 to describe the completion of the spirits' descending and responding to the hosts' sacrificial ceremonies. The poem "Wild-Ducks and Gulls" cited above also describes how "the impersonator of the ancestral spirit feasts and drinks; Blessings are made complete (*cheng*1)."

*Cheng*2 also carries forward this meaning. For example, the *Annals of Sire Lü* records such: "If being sincere, then the spirits respond to humans" (Chen 2001, 26.1697). The *Records of Ritual* attributes the following discourse to Confucius:

How abundantly do the spirits and gods display their powers! We look for them but do not see them; we listen to them but do not hear them. Yet they are embodied in things, and there is nothing without them. If all the people in the world fast purely and dress up solemnly to attend the sacrifices, then like overflowing water, the spirits seem to be over our head and on our right and left. It is said in the *Classic of Poetry*, "As for the arrival of the spirits, you cannot surmise; but how can you be weary of the sacrifice!" Such is the manifestness of what is subtle and the impossibility of repressing sincerity. 公⾎ѻ⡢ᗧ, ަⴋ⸓Ѿ! 㿆ѻ㘼ᕇ㾻, 㚭ѻ㘼ᕇ㚎, 億⢙㘼нਟ䚪. ֯ཙлѻ Ӫ, 啺᰾ⴋᴽ, ԕ⾝⽰, ⌻⌻Ѿྲ൘ަк, ྲ൘ަᐖਣ. 䂙ᴠ: ''⾎ѻṬᙍ, н ਟᓖᙍ, ⸗ਟሴᙍ." ཛᗞѻ亟, 䃐ѻнਟᨌྲ↔ཛ! (Zheng and Kong 2000, 52.1675a–1676a)

Zheng Xuan explained the word *cheng*2 (sincerity) at the end of the discourse as referring to the spirits being real (Zheng and Kong 2000, 52.1676a), an interpretation that many scholars have followed. In fact, this discourse is talking about the importance of holding sacrificial rituals with a sincere attitude. First, it indicates that although the spirits are formless and soundless, if humans attend the rituals sincerely, the spirits will be moved to come and make their presence known. It then cites lines from the *Classic of Poetry* to state that even though it is difficult to know for certain that the spirits have arrived, humans should not become weary of the rituals. Lao Szekwang has argued that the word "ge" Ṭ here denotes both meanings of the spirits "coming to enjoy the offerings" and "communicating with humans" (Lao 2001, pp. 60– 61). Therefore, here *cheng*2 should be interpreted as being sincere when invoking the spirits to come and thus complete the ceremony of human-spirit communication.

### **4. From Religious-Ritual Beliefs to Classical Confucian Ethical-Aesthetic Concepts**

As discussed above, both *cheng*1 and *cheng*2 are related to sacrificial ritual and imply four layers of attitude toward or condition of the gods and spirits: *chengxin* 䃐ؑ, or sincere-trustworthy writings; *chengjing* 䃐ᮜ, or sincere-reverent sentiments; *chengshi* 䃐ሖ, or sincere-substantial oblations; and *cheng*1, or completion of human-spirit communication. Indeed, the *Records of Ritual* describes the "Dao of sacrifice" ⾝ѻ䚃

as meaning "to present sincere-trustworthy supplications, offer devotional-reverent emotions, and contribute substantial oblations. . . . Sincere-trustworthy means to do their utmost, and to do their utmost means to be reverent. Being reverent and doing their utmost, then they can serve the gods and spirits" 㠤ަ䃐ؑ, 㠷ަᘐᮜ, ཹѻԕ ⢙ ... 䃐ؑѻ䄲ⴑˈⴑѻ䄲ᮜ. ᮜⴑ❦ᖼਟԕһ⾎᰾ (Zheng and Kong 2000, 25.1571a– 1573b). Guan Shefu's discourse on sacrificial rituals mentioned above also further describes the sacrificial procedure in four layers of contributing substantial oblations, expressing reverent emotions, presenting sincere invocations, and completing the ritual with the arrival of the ancestral spirits (Lai 2000, 18.804). Both records indeed demonstrate the four layers of *cheng*1/*cheng*2-related sacrificial rituals.

With this new discussion of the religious-ritual origin of *cheng*2, we can now more clearly understand its rich and mysterious implications in classical Confucian ethics and aesthetics, which also can be unfolded in four corresponding layers.
