The cover image was produced by the transcriber and is placed in the public domain.

A HISTORY OF
CHINESE LITERATURE

BY
HERBERT A. GILES, M. A., LL. D. (Aberd.)
PROFESSOR OF CHINESE IN THE UNIVERSITY OF CAMBRIDGE AND LATE H. B. M. CONSUL AT NINGPO

NEW YORK AND LONDON
D. APPLETON AND COMPANY
1927

Copyright, 1901, By D. APPLETON AND COMPANY.

Printed in the United States of America

PREFACE

This is the first attempt made in any language, including Chinese, to produce a history of Chinese literature.

Native scholars, with their endless critiques and appreciations of individual works, do not seem ever to have contemplated anything of the kind, realising, no doubt, the utter hopelessness, from a Chinese point of view, of achieving even comparative success in a general historical survey of the subject. The voluminous character of a literature which was already in existence some six centuries before the Christian era, and has run on uninterruptedly until the present date, may well have given pause to writers aiming at completeness. The foreign student, however, is on a totally different footing. It may be said without offence that a work which would be inadequate to the requirements of a native public, may properly be submitted to English readers as an introduction into the great field which lies beyond.

Acting upon the suggestion of Mr. Gosse, to whom I am otherwise indebted for many valuable hints, I have devoted a large portion of this book to translation, thus enabling the Chinese author, so far as translation will allow, to speak for himself. I have also added, here and there, remarks by native critics, that the reader may be able to form an idea of the point of view from which the Chinese judge their own productions.

It only remains to be stated that the translations, with the exception of a few passages from Legge’s “Chinese Classics,” in each case duly acknowledged, are my own.

HERBERT A. GILES.

Cambridge.

CONTENTS

BOOK THE FIRST—THE FEUDAL PERIOD

(

B.C.

600-200)

CHAP. PAGE

I. LEGENDARY AGES—EARLY CHINESE CIVILISATION—ORIGIN OF WRITING

3

II. CONFUCIUS—THE FIVE CLASSICS

7

III. THE FOUR BOOKS—MENCIUS

32

IV. MISCELLANEOUS WRITERS

43

V. POETRY—INSCRIPTIONS

50

VI. TAOISM—THE “TAO-TÊ-CHING”

56 BOOK THE SECOND—THE HAN DYNASTY

(

B.C.

200-

A.D.

200)

I. THE “FIRST EMPEROR”—THE BURNING OF THE BOOKS—MISCELLANEOUS WRITERS

77

II. POETRY

97

III. HISTORY—LEXICOGRAPHY

102

IV. BUDDHISM

110 BOOK THE THIRD—MINOR DYNASTIES

(

A.D.

200-600)

I. POETRY—MISCELLANEOUS LITERATURE

119

II. CLASSICAL SCHOLARSHIP

137 BOOK THE FOURTH—THE T’ANG DYNASTY

(

A.D.

600-900)

I. POETRY

143

II. CLASSICAL AND GENERAL LITERATURE

189 BOOK THE FIFTH—THE SUNG DYNASTY

(

A.D.

900-1200)

I. THE INVENTION OF BLOCK-PRINTING

209

II. HISTORY—CLASSICAL AND GENERAL LITERATURE

212

III. POETRY

232

IV. DICTIONARIES—ENCYCLOPÆDIAS—MEDICAL JURISPRUDENCE

238 BOOK THE SIXTH—THE MONGOL DYNASTY

(

A.D.

1200-1368)

I. MISCELLANEOUS LITERATURE—POETRY

247

II. THE DRAMA

256

III. THE NOVEL

276 BOOK THE SEVENTH—THE MING DYNASTY

(

A.D.

1368-1644)

I. MISCELLANEOUS LITERATURE—MATERIA MEDICA—ENCYCLOPÆDIA OF AGRICULTURE

291

II. NOVELS AND PLAYS

309

III. POETRY

329 BOOK THE EIGHTH—THE MANCHU DYNASTY

(

A.D.

1644-1900)

I. THE “LIAO CHAI”—THE “HUNG LOU MÊNG”

337

II. THE EMPERORS K’ANG HSI AND CH’IEN LUNG

385

III. CLASSICAL AND MISCELLANEOUS LITERATURE—POETRY

391

IV. WALL LITERATURE—JOURNALISM—WIT AND HUMOUR—PROVERBS AND MAXIMS

425

BIBLIOGRAPHICAL NOTE

441

INDEX

443

BOOK THE FIRST
THE FEUDAL PERIOD (B.C. 600-200)

CHAPTER I
LEGENDARY AGES—EARLY CHINESE CIVILISATION—ORIGIN OF WRITING

The date of the beginning of all things has been nicely calculated by Chinese chronologers. There was first of all a period when Nothing existed, though some enthusiasts have attempted to deal with a period antecedent even to that. Gradually Nothing took upon itself the form and limitations of Unity, represented by a point at the centre of a circle. Thus there was a Great Monad, a First Cause, an Aura, a Zeitgeist, or whatever one may please to call it.

After countless ages, spent apparently in doing nothing, this Monad split into Two Principles, one active, the other passive; one positive, the other negative; light and darkness; male and female. The interaction of these Two Principles resulted in the production of all things, as we see them in the universe around us, 2,269,381 years ago. Such is the cosmogony of the Chinese in a nutshell.

The more sober Chinese historians, however, are content to begin with a sufficiently mythical emperor, who reigned only 2800 years before the Christian era. The practice of agriculture, the invention of wheeled vehicles, and the simpler arts of early civilisation are generally referred to this period; but to the dispassionate European student it is a period of myth and legend: in fact, we know very little about it. Neither do we know much, in the historical sense, of the numerous rulers whose names and dates appear in the chronology of the succeeding two thousand years. It is not indeed until we reach the eighth century B.C. that anything like history can be said to begin.

For reasons which will presently be made plain, the sixth century B.C. is a convenient starting-point for the student of Chinese literature.

FEUDALISM

China was then confined to a comparatively small area, lying for the most part between the Yellow River on the north and the river Yang-tsze on the south. No one knows where the Chinese came from. Some hold the fascinating theory that they were emigrants from Accadia in the ancient kingdom of Babylonia; others have identified them with the lost tribes of Israel. No one seems to think they can possibly have originated in the fertile plains where they are now found. It appears indeed to be an ethnological axiom that every race must have come from somewhere outside its own territory. However that may be, the China of the eighth century B.C. consisted of a number of Feudal States, ruled by nobles owning allegiance to a Central State, at the head of which was a king. The outward tokens of subjection were homage and tribute; but after all, the allegiance must have been more nominal than real, each State being practically an independent kingdom. This condition of things was the cause of much mutual jealousy, and often of bloody warfare, several of the States hating one another quite as cordially as Athens and Sparta at their best.

There was, notwithstanding, considerable physical civilisation in the ancient States of those early days. Their citizens, when not employed in cutting each other’s throats, enjoyed a reasonable security of life and property. They lived in well-built houses; they dressed in silk or homespun; they wore shoes of leather; they carried umbrellas; they sat on chairs and used tables; they rode in carts and chariots; they travelled by boat; and they ate their food off plates and dishes of pottery, coarse perhaps, yet still superior to the wooden trencher common not so very long ago in Europe. They measured time by the sundial, and in the Golden Age they had the two famous calendar trees, representations of which have come down to us in sculpture, dating from about A.D. 150. One of these trees put forth a leaf every day for fifteen days, after which a leaf fell off daily for fifteen more days. The other put forth a leaf once a month for half a year, after which a leaf fell off monthly for a similar period. With these trees growing in the courtyard, it was possible to say at a glance what was the day of the month, and what was the month of the year. But civilisation proved unfavourable to their growth, and the species became extinct.

In the sixth century B.C. the Chinese were also in possession of a written language, fully adequate to the most varied expression of human thought, and indeed almost identical with their present script, allowing, among other things, for certain modifications of form brought about by the substitution of paper and a camel’s-hair brush for the bamboo tablet and stylus of old. The actual stages by which that point was reached are so far unknown to us. China has her Cadmus in the person of a prehistoric individual named Ts’ang Chieh, who is said to have had four eyes, and to have taken the idea of a written language from the markings of birds’ claws upon the sand. Upon the achievement of his task the sky rained grain and evil spirits mourned by night. Previous to this mankind had no other system than rude methods of knotting cords and notching sticks for noting events or communicating with one another at a distance.

As to the origin of the written language of China, invention is altogether out of the question. It seems probable that in prehistoric ages, the Chinese, like other peoples, began to make rude pictures of the sun, moon, and stars, of man himself, of trees, of fire, of rain, and they appear to have followed these up by ideograms of various kinds. How far they went in this direction we can only surmise. There are comparatively few obviously pictorial characters and ideograms to be found even in the script of two thousand years ago; but investigations carried on for many years by Mr. L. C. Hopkins, H.M. Consul, Chefoo, and now approaching completion, point more and more to the fact that the written language will some day be recognised as systematically developed from pictorial symbols. It is, at any rate, certain that at a very early date subsequent to the legendary period of “knotted cords” and “notches,” while the picture-symbols were still comparatively few, some master-mind reached at a bound the phonetic principle, from which point the rapid development of a written language such as we now find would be an easy matter.

CHAPTER II
CONFUCIUS—THE FIVE CLASSICS

BOOK OF HISTORY

In B.C. 551 Confucius was born. He may be regarded as the founder of Chinese literature. During his years of office as a Government servant and his years of teaching and wandering as an exile, he found time to rescue for posterity certain valuable literary fragments of great antiquity, and to produce at least one original work of his own. It is impossible to assert that before his time there was anything in the sense of what we understand by the term general literature. The written language appears to have been used chiefly for purposes of administration. Many utterances, however, of early, not to say legendary, rulers had been committed to writing at one time or another, and such of these as were still extant were diligently collected and edited by Confucius, forming what is now known as the Shu Ching or Book of History. The documents of which this work is composed are said to have been originally one hundred in all, and they cover a period extending from the twenty-fourth to the eighth century B.C. They give us glimpses of an age earlier than that of Confucius, if not actually so early as is claimed. The first two, for instance, refer to the Emperors Yao and Shun, whose reigns, extending from B.C. 2357 to 2205, are regarded as the Golden Age of China. We read how the former monarch “united the various parts of his domain in bonds of peace, so that concord reigned among the black-haired people.” He abdicated in favour of Shun, who is described as being profoundly wise, intelligent, and sincere. We are further told that Shun was chosen because of his great filial piety, which enabled him to live in harmony with an unprincipled father, a shifty stepmother, and an arrogant half-brother, and, moreover, to effect by his example a comparative reformation of their several characters.

We next come to a very famous personage, who founded the Hsia dynasty in B.C. 2205, and is known as the Great Yü. It was he who, during the reign of the Emperor Shun, successfully coped with a devastating flood, which has been loosely identified with the Noachic Deluge, and in reference to which it was said in the Tso Chuan, “How grand was the achievement of Yü, how far-reaching his glorious energy! But for Yü we should all have been fishes.” The following is his own account (Legge’s translation):—

“The inundating waters seemed to assail the heavens, and in their vast extent embraced the mountains and overtopped the hills, so that people were bewildered and overwhelmed. I mounted my four conveyances (carts, boats, sledges, and spiked shoes), and all along the hills hewed down the woods, at the same time, along with Yi, showing the multitudes how to get flesh to eat. I opened passages for the streams throughout the nine provinces, and conducted them to the sea. I deepened the channels and canals, and conducted them to the streams, at the same time, along with Chi, sowing grain, and showing the multitudes how to procure the food of toil in addition to flesh meat. I urged them further to exchange what they had for what they had not, and to dispose of their accumulated stores. In this way all the people got grain to eat, and all the States began to come under good rule.”

A small portion of the Book of History is in verse:—

“The people should be cherished, And should not be downtrodden. The people are the root of a country, And if the root is firm, the country will be tranquil.

The palace a wild for lust, The country a wild for hunting, Rich wine, seductive music, Lofty roofs, carved walls,— Given any one of these, And the result can only be ruin.”

From the date of the foundation of the Hsia dynasty the throne of the empire was transmitted from father to son, and there were no more abdications in favour of virtuous sages. The fourth division of the Book of History deals with the decadence of the Hsia rulers and their final displacement in B.C. 1766 by T’ang the Completer, founder of the Shang dynasty. By B.C. 1122, the Shang sovereigns had similarly lapsed from the kingly qualities of their founder to even a lower level of degradation and vice. Then arose one of the purest and most venerated heroes of Chinese history, popularly known by his canonisation as Wên Wang. He was hereditary ruler of a principality in the modern province of Shensi, and in B.C. 1144 he was denounced as dangerous to the throne. He was seized and thrown into prison, where he passed two years, occupying himself with the Book of Changes, to which we shall presently return. At length the Emperor, yielding to the entreaties of the people, backed up by the present of a beautiful concubine and some fine horses, set him at liberty and commissioned him to make war upon the frontier tribes. To his dying day he never ceased to remonstrate against the cruelty and corruption of the age, and his name is still regarded as one of the most glorious in the annals of the empire. It was reserved for his son, known as Wu Wang, to overthrow the Shang dynasty and mount the throne as first sovereign of the Chou dynasty, which was to last for eight centuries to come. The following is a speech by the latter before a great assembly of nobles who were siding against the House of Shang. It is preserved among others in the Book of History, and is assigned to the year B.C. 1133 (Legge’s translation):—

“Heaven and Earth are the parents of all creatures; and of all creatures man is the most highly endowed. The sincere, intelligent, and perspicacious among men becomes the great sovereign, and the great sovereign is the parent of the people. But now, Shou, the king of Shang, does not reverence Heaven above, and inflicts calamities on the people below. He has been abandoned to drunkenness, and reckless in lust. He has dared to exercise cruel oppression. Along with criminals he has punished all their relatives. He has put men into office on the hereditary principle. He has made it his pursuit to have palaces, towers, pavilions, embankments, ponds, and all other extravagances, to the most painful injury of you, the myriad people. He has burned and roasted the loyal and good. He has ripped up pregnant women. Great Heaven was moved with indignation, and charged my deceased father, Wên, reverently to display its majesty; but he died before the work was completed.

“On this account I, Fa, who am but a little child, have, by means of you, the hereditary rulers of my friendly States, contemplated the government of Shang; but Shou has no repentant heart. He abides squatting on his heels, not serving God or the spirits of heaven and earth, neglecting also the temple of his ancestors, and not sacrificing in it. The victims and the vessels of millet all become the prey of wicked robbers; and still he says, ‘The people are mine: the decree is mine,’ never trying to correct his contemptuous mind. Now Heaven, to protect the inferior people, made for them rulers, and made for them instructors, that they might be able to be aiding to God, and secure the tranquillity of the four quarters of the empire. In regard to who are criminals and who are not, how dare I give any allowance to my own wishes?

“‘Where the strength is the same, measure the virtue of the parties; where the virtue is the same, measure their righteousness.’ Shou has hundreds of thousands and myriads of ministers, but they have hundreds of thousands and myriads of minds; I have three thousand ministers, but they have one mind. The iniquity of Shang is full. Heaven gives command to destroy it. If I did not comply with Heaven, my iniquity would be as great.

“I, who am a little child, early and late am filled with apprehensions. I have received charge from my deceased father, Wên; I have offered special sacrifice to God; I have performed the due services to the great Earth; and I lead the multitude of you to execute the punishment appointed by Heaven. Heaven compassionates the people. What the people desire, Heaven will be found to give effect to. Do you aid me, the one man, to cleanse for ever all within the four seas. Now is the time!—it may not be lost.”

Two of the documents which form the Book of History are directed against luxury and drunkenness, to both of which the people seemed likely to give way even within measurable distance of the death of Wên Wang. The latter had enacted that wine (that is to say, ardent spirits distilled from rice) should only be used on sacrificial occasions, and then under strict supervision; and it is laid down, almost as a general principle, that all national misfortunes, culminating in the downfall of a dynasty, may be safely ascribed to the abuse of wine.

THE ODES

The Shih Ching, or Book of Odes, is another work for the preservation of which we are indebted to Confucius. It consists of a collection of rhymed ballads in various metres, usually four words to the line, composed between the reign of the Great Yü and the beginning of the sixth century B.C. These, which now number 305, are popularly known as the “Three Hundred,” and are said by some to have been selected by Confucius from no less than 3000 pieces. They are arranged under four heads, as follows:—(a) Ballads commonly sung by the people in the various feudal States and forwarded periodically by the nobles to their suzerain, the Son of Heaven. The ballads were then submitted to the Imperial Musicians, who were able to judge from the nature of such compositions what would be the manners and customs prevailing in each State, and to advise the suzerain accordingly as to the good or evil administration of each of his vassal rulers. (b) Odes sung at ordinary entertainments given by the suzerain. (c) Odes sung on grand occasions when the feudal nobles were gathered together. (d) Panegyrics and sacrificial odes.

Confucius himself attached the utmost importance to his labours in this direction. “Have you learned the Odes?” he inquired upon one occasion of his son; and on receiving an answer in the negative, immediately told the youth that until he did so he would be unfit for the society of intellectual men. Confucius may indeed be said to have anticipated the apophthegm attributed by Fletcher of Saltoun to a “very wise man,” namely, that he who should be allowed to make a nation’s “ballads need care little who made its laws.” And it was probably this appreciation by Confucius that gave rise to an extraordinary literary craze in reference to these Odes. Early commentators, incapable of seeing the simple natural beauties of the poems, which have furnished endless household words and a large stock of phraseology to the language of the present day, and at the same time unable to ignore the deliberate judgment of the Master, set to work to read into countryside ditties deep moral and political significations. Every single one of the immortal Three Hundred has thus been forced to yield some hidden meaning and point an appropriate moral. If a maiden warns her lover not to be too rash—

“Don’t come in, sir, please! Don’t break my willow-trees! Not that that would very much grieve me; But alack-a-day! what would my parents say? And love you as I may, I cannot bear to think what that would be,”—

commentators promptly discover that the piece refers to a feudal noble whose brother had been plotting against him, and to the excuses of the former for not visiting the latter with swift and exemplary punishment.

Another independent young lady may say—

“If you will love me dear, my lord, I’ll pick up my skirts and cross the ford, But if from your heart you turn me out ... Well, you’re not the only man about, You silly, silly, silliest lout!”—

still commentaries are not wanting to show that these straightforward words express the wish of the people of a certain small State that some great State would intervene and put an end to an existing feud in the ruling family. Native scholars are, of course, hide-bound in the traditions of commentators, but European students will do well to seek the meaning of the Odes within the compass of the Odes themselves.

Possibly the very introduction of these absurdities may have helped to preserve to our day a work which would otherwise have been considered too trivial to merit the attention of scholars. Chinese who are in the front rank of scholarship know it by heart, and each separate piece has been searchingly examined, until the force of exegesis can no farther go. There is one famous line which runs, according to the accepted commentary, “The muddiness of the Ching river appears from the (clearness of the) Wei river.” In 1790 the Emperor Ch’ien Lung, dissatisfied with this interpretation, sent a viceroy to examine the rivers. The latter reported that the Ching was really clear and the Wei muddy, so that the wording of the line must mean “The Ching river is made muddy by the Wei river.”

The following is a specimen of one of the longer of the Odes, saddled, like all the rest, with an impossible political interpretation, of which nothing more need be said:—

“You seemed a guileless youth enough, Offering for silk your woven stuff;[1] But silk was not required by you; I was the silk you had in view. With you I crossed the ford, and while We wandered on for many a mile I said, ‘I do not wish delay, But friends must fix our wedding-day ... Oh, do not let my words give pain, But with the autumn come again.’

“And then I used to watch and wait To see you passing through the gate; And sometimes, when I watched in vain, My tears would flow like falling rain; But when I saw my darling boy, I laughed and cried aloud for joy. The fortune-tellers, you declared, Had all pronounced us duly paired; ‘Then bring a carriage,’ I replied, ‘And I’ll away to be your bride.’

“The mulberry-leaf, not yet undone By autumn chill, shines in the sun. O tender dove, I would advise, Beware the fruit that tempts thy eyes! O maiden fair, not yet a spouse, List lightly not to lovers’ vows! A man may do this wrong, and time Will fling its shadow o’er his crime; A woman who has lost her name Is doomed to everlasting shame.

“The mulberry-tree upon the ground Now sheds its yellow leaves around. Three years have slipped away from me Since first I shared your poverty; And now again, alas the day! Back through the ford I take my way. My heart is still unchanged, but you Have uttered words now proved untrue; And you have left me to deplore A love that can be mine no more.

“For three long years I was your wife, And led in truth a toilsome life; Early to rise and late to bed, Each day alike passed o’er my head. I honestly fulfilled my part, And you—well, you have broke my heart. The truth my brothers will not know, So all the more their gibes will flow. I grieve in silence and repine That such a wretched fate is mine.

“Ah, hand in hand to face old age!— Instead, I turn a bitter page. O for the river-banks of yore; O for the much-loved marshy shore; The hours of girlhood, with my hair Ungathered, as we lingered there. The words we spoke, that seemed so true, I little thought that I should rue; I little thought the vows we swore Would some day bind us two no more.”

Many of the Odes deal with warfare, and with the separation of wives from their husbands; others, with agriculture and with the chase, with marriage and feasting. The ordinary sorrows of life are fully represented, and to these may be added frequent complaints against the harshness of officials, one speaker going so far as to wish he were a tree without consciousness, without home, and without family. The old-time theme of “eat, drink, and be merry” is brought out as follows:—

“You have coats and robes, But you do not trail them; You have chariots and horses, But you do not ride in them. By and by you will die, And another will enjoy them.

“You have courtyards and halls, But they are not sprinkled and swept; You have bells and drums, But they are not struck. By and by you will die, And another will possess them.

“You have wine and food; Why not play daily on your lute, That you may enjoy yourself now And lengthen your days? By and by you will die, And another will take your place.”

The Odes are especially valuable for the insight they give us into the manners, and customs, and beliefs of the Chinese before the age of Confucius. How far back they extend it is quite impossible to say. An eclipse of the sun, “an event of evil omen,” is mentioned in one of the Odes as a recent occurrence on a certain day which works out as the 29th August, B.C. 775; and this eclipse has been verified for that date. The following lines are from Legge’s rendering of this Ode:—

“The sun and moon announce evil, Not keeping to their proper paths. All through the kingdom there is no proper government, Because the good are not employed. For the moon to be eclipsed Is but an ordinary matter. Now that the sun has been eclipsed, How bad it is!”

The rainbow was regarded, not as a portent of evil, but as an improper combination of the dual forces of nature,—

“There is a rainbow in the east, And no one dares point at it,”—

and is applied figuratively to women who form improper connections.

The position of women generally seems to have been very much what it is at the present day. In an Ode which describes the completion of a palace for one of the ancient princes, we are conducted through the rooms,—

“Here will he live, here will he sit, Here will he laugh, here will he talk,”—

until we come to the bedchamber, where he will awake, and call upon the chief diviner to interpret his dream of bears and serpents. The interpretation (Legge) is as follows:—

“Sons shall be born to him:— They will be put to sleep on couches; They will be clothed in robes; They will have sceptres to play with; Their cry will be loud. They will be resplendent with red knee-covers, The future princes of the land.

“Daughters shall be born to him:— They will be put to sleep on the ground; They will be clothed with wrappers; They will have tiles to play with. It will be theirs neither to do wrong nor to do good. Only about the spirits and the food will they have to think, And to cause no sorrow to their parents.”

The distinction thus drawn is severe enough, and it is quite unnecessary to make a comparison, as some writers on China have done, between the tile and the sceptre, as though the former were but a dirty potsherd, good enough for a girl. A tile was used in the early ages as a weight for the spindle, and is here used merely to indicate the direction which a girl’s activities should take.

Women are further roughly handled in an Ode which traces the prevailing misgovernment to their interference in affairs of State and in matters which do not lie within their province:—

“A clever man builds a city, A clever woman lays one low; With all her qualifications, that clever woman Is but an ill-omened bird. A woman with a long tongue Is a flight of steps leading to calamity; For disorder does not come from heaven, But is brought about by women. Among those who cannot be trained or taught Are women and eunuchs.”

About seventy kinds of plants are mentioned in the Odes, including the bamboo, barley, beans, convolvulus, dodder, dolichos, hemp, indigo, liquorice, melon, millet, peony, pepper, plantain, scallions, sorrel, sowthistle, tribulus, and wheat; about thirty kinds of trees, including the cedar, cherry, chestnut, date, hazel, medlar, mulberry, oak, peach, pear, plum, and willow; about thirty kinds of animals, including the antelope, badger, bear, boar, elephant, fox, leopard, monkey, rat, rhinoceros, tiger, and wolf; about thirty kinds of birds, including the crane, eagle, egret, magpie, oriole, swallow, and wagtail; about ten kinds of fishes, including the barbel, bream, carp, and tench; and about twenty kinds of insects, including the ant, cicada, glow-worm, locust, spider, and wasp.

Among the musical instruments of the Odes are found the flute, the drum, the bell, the lute, and the Pandæan pipes; among the metals are gold and iron, with an indirect allusion to silver and copper; and among the arms and munitions of war are bows and arrows, spears, swords, halberds, armour, grappling-hooks, towers on wheels for use against besieged cities, and gags for soldiers’ mouths, to prevent them talking in the ranks on the occasion of night attacks.

The idea of a Supreme Being is brought out very fully in the Odes—

“Great is God, Ruling in majesty.”

Also,

“How mighty is God, The Ruler of mankind! How terrible is His majesty!”

He is apparently in the form of man, for in one place we read of His footprint. He hates the oppression of great States, although in another passage we read—

“Behold Almighty God; Who is there whom He hates?”

He comforts the afflicted. He is free from error. His “Way” is hard to follow. He is offended by sin. He can be appeased by sacrifice:—

“We fill the sacrificial vessels with offerings, Both the vessels of wood, and those of earthenware. Then when the fragrance is borne on high, God smells the savour and is pleased.”

One more quotation, which, in deference to space limits, must be the last, exhibits the husbandman of early China in a very pleasing light:—

“The clouds form in dense masses, And the rain falls softly down. Oh, may it first water the public lands, And then come to our private fields! Here shall some corn be left standing, Here some sheaves unbound; Here some handfuls shall be dropped, And there some neglected ears; These are for the benefit of the widow.”

BOOK OF CHANGES

The next of the pre-Confucian works, and possibly the oldest of all, is the famous I Ching, or Book of Changes. It is ascribed to Wên Wang, the virtual founder of the Chou dynasty, whose son, Wu Wang, became the first sovereign of a long line, extending from B.C. 1122 to B.C. 249. It contains a fanciful system of philosophy, deduced originally from Eight Diagrams consisting of triplet combinations or arrangements of a line and a divided line, either one or other of which is necessarily repeated twice, and in two cases three times, in the same combination. Thus there may be three lines ☰, or three divided lines ☷, a divided line above or below two lines ☱ ☴, a divided line between two lines ☲, and so on, eight in all. These so-called diagrams are said to have been invented two thousand years and more before Christ by the monarch Fu Hsi, who copied them from the back of a tortoise. He subsequently increased the above simple combinations to sixty-four double ones, on the permutations of which are based the philosophical speculations of the Book of Changes. Each diagram represents some power in nature, either active or passive, such as fire, water, thunder, earth, and so on.

The text consists of sixty-four short essays, enigmatically and symbolically expressed, on important themes, mostly of a moral, social, and political character, and based upon the same number of lineal figures, each made up of six lines, some of which are whole and the others divided. The text is followed by commentaries, called the Ten Wings, probably of a later date and commonly ascribed to Confucius, who declared that were a hundred years added to his life he would devote fifty of them to a study of the I Ching.

The following is a specimen (Legge’s translation):—

“Text. ䷉ This suggests the idea of one treading on the tail of a tiger, which does not bite him. There will be progress and success.

“1. The first line, undivided, shows its subject treading his accustomed path. If he go forward, there will be no error.

“2. The second line, undivided, shows its subject treading the path that is level and easy;—a quiet and solitary man, to whom, if he be firm and correct, there will be good fortune.

“3. The third line, divided, shows a one-eyed man who thinks he can see; a lame man who thinks he can walk well; one who treads on the tail of a tiger and is bitten. All this indicates ill-fortune. We have a mere bravo acting the part of a great ruler.

“4. The fourth line, undivided, shows its subject treading on the tail of a tiger. He becomes full of apprehensive caution, and in the end there will be good fortune.

“5. The fifth line, undivided, shows the resolute tread of its subject. Though he be firm and correct, there will be peril.

“6. The sixth line, undivided, tells us to look at the whole course that is trodden, and examine the presage which that gives. If it be complete and without failure, there will be great good fortune.

“Wing.—In this hexagram we have the symbol of weakness treading on that of strength.

“The lower trigram indicates pleasure and satisfaction, and responds to the upper indicating strength. Hence it is said, ‘He treads on the tail of a tiger, which does not bite him; there will be progress and success.’

“The fifth line is strong, in the centre, and in its correct place. Its subject occupies the God-given position, and falls into no distress or failure;—his action will be brilliant.”

As may be readily inferred from the above extract, no one really knows what is meant by the apparent gibberish of the Book of Changes. This is freely admitted by all learned Chinese, who nevertheless hold tenaciously to the belief that important lessons could be derived from its pages if we only had the wit to understand them. Foreigners have held various theories on the subject. Dr. Legge declared that he had found the key, with the result already shown. The late Terrien de la Couperie took a bolder flight, unaccompanied by any native commentator, and discovered in this cherished volume a vocabulary of the language of the Bák tribes. A third writer regards it as a calendar of the lunar year, and so forth.

BOOK OF RITES

The Li Chi, or Book of Rites, seems to have been a compilation by two cousins, known as the Elder and the Younger Tai, who flourished in the 2nd and 1st centuries B.C. From existing documents, said to have emanated from Confucius and his disciples, the Elder Tai prepared a work in 85 sections on what may be roughly called social rites. The Younger Tai reduced these to 46 sections. Later scholars, such as Ma Jung and Chêng Hsüan, left their mark upon the work, and it was not until near the close of the 2nd century A.D. that finality in this direction was achieved. It then became known as a Chi = Record, not as a Ching = Text, the latter term being reserved by the orthodox solely for such books as have reached us direct from the hands of Confucius. The following is an extract (Legge’s translation):—

Confucius said: “Formerly, along with Lao Tan, I was assisting at a burial in the village of Hsiang, and when we had got to the path the sun was eclipsed. Lao Tan said to me, ‘Ch’iu, let the bier be stopped on the left of the road; and then let us wail and wait till the eclipse pass away. When it is light again we will proceed.’ He said that this was the rule. When we had returned and completed the burial, I said to him, ‘In the progress of a bier there should be no returning. When there is an eclipse of the sun, we do not know whether it will pass away quickly or not; would it not have been better to go on?’ Lao Tan said, ‘When the prince of a state is going to the court of the Son of Heaven, he travels while he can see the sun. At sundown he halts and presents his offerings (to the spirit of the way). When a great officer is on a mission, he travels while he can see the sun, and at sundown he halts. Now a bier does not set forth in the early morning, nor does it rest anywhere at night; but those who travel by starlight are only criminals and those who are hastening to the funeral rites of a parent.’”

Other specimens will be found in Chapters iii. and iv.

Until the time of the Ming dynasty, A.D. 1368, another and a much older work, known as the Chou Li, or Rites of the Chou dynasty, and dealing more with constitutional matters, was always coupled with the Li Chi, and formed one of the then recognised Six Classics. There is still a third work of the same class, and also of considerable antiquity, called the I Li. Its contents treat mostly of the ceremonial observances of everyday life.

THE SPRING AND AUTUMN

We now come to the last of the Five Classics as at present constituted, the Ch’un Ch’iu, or Spring and Autumn Annals. This is a chronological record of the chief events in the State of Lu between the years B.C. 722-484, and is generally regarded as the work of Confucius, whose native State was Lu. The entries are of the briefest, and comprise notices of incursions, victories, defeats, deaths, murders, treaties, and natural phenomena.

The following are a few illustrative extracts:—

“In the 7th year of Duke Chao, in spring, the Northern Yen State made peace with the Ch’i State.

“In the 3rd month the Duke visited the Ch’u State.

“In summer, on the chia shên day of the 4th month (March 11th, B.C. 594), the sun was eclipsed.

“In the 7th year of Duke Chuang (B.C. 685), in summer, in the 4th moon, at midnight, there was a shower of stars like rain.”

The Spring and Autumn owes its name to the old custom of prefixing to each entry the year, month, day, and season when the event recorded took place; spring, as a commentator explains, including summer, and autumn winter. It was the work which Confucius singled out as that one by which men would know and commend him, and Mencius considered it quite as important an achievement as the draining of the empire by the Great Yü. The latter said, “Confucius completed the Spring and Autumn, and rebellious ministers and bad sons were struck with terror.” Consequently, just as in the case of the Odes, native wits set to work to read into the bald text all manner of hidden meanings, each entry being supposed to contain approval or condemnation, their efforts resulting in what is now known as the praise-and-blame theory. The critics of the Han dynasty even went so far as to declare the very title elliptical for “praise life-giving like spring, and blame life-withering like autumn.”

THE TSO CHUAN

Such is the Ch’un Ch’iu; and if that were all, it is difficult to say how the boast of Confucius could ever have been fulfilled. But it is not all; there is a saving clause. For bound up, so to speak, with the Spring and Autumn, and forming as it were an integral part of the work, is a commentary known as the Tso Chuan or Tso’s Commentary. Of the writer himself, who has been canonised as the Father of Prose, and to whose pen has also been attributed the Kuo Yü or Episodes of the States, next to nothing is known, except that he was a disciple of Confucius; but his glowing narrative remains, and is likely to continue to remain, one of the most precious heirlooms of the Chinese people.

What Tso did was this. He took the dry bones of these annals and clothed them with life and reality by adding a more or less complete setting to each of the events recorded. He describes the loves and hates of the heroes, their battles, their treaties, their feastings, and their deaths, in a style which is always effective, and often approaches to grandeur. Circumstances of apparently the most trivial character are expanded into interesting episodes, and every now and again some quaint conceit or scrap of proverbial literature is thrown in to give a passing flavour of its own. Under the 21st year of Duke Hsi, the Spring and Autumn has the following exiguous entry:—

“In summer there was great drought.”

To this the Tso Chuan adds—

“In consequence of the drought the Duke wished to burn a witch. One of his officers, however, said to him, ‘That will not affect the drought. Rather repair your city walls and ramparts; eat less, and curtail your expenditure; practise strict economy, and urge the people to help one another. That is the essential; what have witches to do in the matter? If God wishes her to be slain, it would have been better not to allow her to be born. If she can cause a drought, burning her will only make things worse.’ The Duke took this advice, and during that year, although there was famine, it was not very severe.”

Under the 12th year of Duke Hsüan the Spring and Autumn says—

“In spring the ruler of the Ch’u State besieged the capital of the Chêng State.”

Thereupon the Tso Chuan adds a long account of the whole business, from which the following typical paragraph is extracted:—

“In the rout which followed, a war-chariot of the Chin State stuck in a deep rut and could not get on. Thereupon a man of the Ch’u State advised the charioteer to take out the stand for arms. This eased it a little, but again the horses turned round. The man then advised that the flagstaff should be taken out and used as a lever, and at last the chariot was extricated. ‘Ah,’ said the charioteer to the man of Ch’u, ‘we don’t know so much about running away as the people of your worthy State.’”

The Tso Chuan contains several interesting passages on music, which was regarded by Confucius as an important factor in the art of government, recalling the well-known views of Plato in Book III. of his Republic. Apropos of disease, we read that “the ancient rulers regulated all things by music.” Also that “the superior man will not listen to lascivious or seductive airs;” “he addresses himself to his lute in order to regulate his conduct, and not to delight his heart.”

When the rabid old anti-foreign tutor of the late Emperor T’ung Chih was denouncing the barbarians, and expressing a kindly desire to “sleep on their skins,” he was quoting the phraseology of the Tso Chuan.

One hero, on going into battle, told his friends that he should only hear the drum beating the signal to advance, for he would take good care not to hear the gong sounding the retreat. Another made each of his men carry into battle a long rope, seeing that the enemy all wore their hair short. In a third case, where some men in possession of boats were trying to prevent others from scrambling in, we are told that the fingers of the assailants were chopped off in such large numbers that they could be picked up in double handfuls.

Many maxims, practical and unpractical, are to be found scattered over the Tso Chuan, such as, “One day’s leniency to an enemy entails trouble for many generations;” “Propriety forbids that a man should profit himself at the expense of another;” “The receiver is as bad as the thief;” “It is better to attack than to be attacked.”

When the French fleet returned to Shanghai in 1885 after being repulsed in a shore attack at Tamsui, a local wit at once adapted a verse of doggerel found in the Tso Chuan:—

“See goggle-eyes and greedy-guts Has left his shield among the ruts; Back from the field, back from the field He’s brought his beard, but not his shield;”

and for days every Chinaman was muttering the refrain—

“Yü sai, yü sai Ch’i chia fu lai.”

KU-LIANG AND KUNG-YANG

There are two other commentaries on the Spring and Autumn, similar, but generally regarded as inferior, to the Tso Chuan. They are by Ku-liang and Kung-yang, both of the fifth century B.C. The following are specimens (Legge’s translation, omitting unimportant details):—

Text.—“In spring, in the king’s first month, the first day of the moon, there fell stones in Sung—five of them. In the same month, six fish-hawks flew backwards, past the capital of Sung.”

The commentary of Ku-liang says, “Why does the text first say “there fell,” and then “stones”? There was the falling, and then the stones.

In “six fish-hawks flying backwards past the capital of Sung,” the number is put first, indicating that the birds were collected together. The language has respect to the seeing of the eyes.

The Master said, “Stones are things without any intelligence, and fish-hawks creatures that have a little intelligence. The stones, having no intelligence, are mentioned along with the day when they fell, and the fish-hawks, having a little intelligence, are mentioned along with the month when they appeared. The superior man (Confucius) even in regard to such things and creatures records nothing rashly. His expressions about stones and fish-hawks being thus exact, how much more will they be so about men!”

The commentary of Kung-yang says, “How is it that the text first says “there fell,” and then “stones”?

“There fell stones” is a record of what was heard. There was heard a noise of something falling. On looking at what had fallen, it was seen to be stones, On examination it was found there were five of them.

Why does the text say “six,” and then “fish-hawks”?

“Six fish-hawks backwards flew” is a record of what was seen. When they looked at the objects, there were six. When they examined them, they were fish-hawks. When they examined them leisurely, they were flying backwards.

Sometimes these commentaries are seriously at variance with that of Tso. For instance, the text says that in B.C. 689 the ruler of the Chi State “made a great end of his State.” Tso’s commentary explains the words to mean that for various urgent reasons the ruler abdicated. Kung-yang, however, takes quite a different view. He explains the passage in the sense that the State in question was utterly destroyed, the population being wiped out by the ruler of another State in revenge for the death in B.C. 893 of an ancestor, who was boiled to death at the feudal metropolis in consequence of slander by a contemporary ruler of the Chi State. It is important for candidates at the public examinations to be familiar with these discrepancies, as they are frequently called upon to “discuss” such points, always with the object of establishing the orthodox and accepted interpretations.

KUNG-YANG CHUAN

The following episode is from Kung-yang’s commentary, and is quite different from the story told by Tso in reference to the same passage:—

Text.—“In summer, in the 5th month, the Sung State made peace with the Ch’u State.

“In B.C. 587 King Chuang of Ch’u was besieging the capital of Sung. He had only rations for seven days, and if these were exhausted before he could take the city, he meant to withdraw. He therefore sent his general to climb the ramparts and spy out the condition of the besieged. It chanced that at the same time an officer of the Sung army came forth upon the ramparts, and the two met. ‘How is your State getting on?’ inquired the general. ‘Oh, badly,’ replied the officer. ‘We are reduced to exchanging children for food, and their bones are chopped up for fuel.’ ‘That is bad indeed,’ said the general; ‘I had heard, however, that the besieged, while feeding their horses with bits in their mouths, kept some fat ones for exhibition to strangers. What a spirit is yours!’ To this the officer replied, ‘I too have heard that the superior man, seeing another’s misfortune, is filled with pity, while the ignoble man is filled with joy. And in you I recognise the superior man; so I have told you our story.’ ‘Be of good cheer,’ said the general. ‘We too have only seven days’ rations, and if we do not conquer you in that time, we shall withdraw.’ He then bowed, and retired to report to his master. The latter said, ‘We must now capture the city before we withdraw.’ ‘Not so,’ replied the general; ‘I told the officer we had only rations for seven days.’ King Chuang was greatly enraged at this; but the general said, ‘If a small State like Sung has officers who speak the truth, should not the State of Ch’u have such men also?’ The king still wished to remain, but the general threatened to leave him, and thus peace was brought about between the two States.”

CHAPTER III
THE FOUR BOOKS—MENCIUS

THE LUN YÜ

No Chinaman thinks of entering upon a study of the Five Classics until he has mastered and committed to memory a shorter and simpler course known as The Four Books.

The first of these, as generally arranged for students, is the Lun Yü or Analects, a work in twenty short chapters or books, retailing the views of Confucius on a variety of subjects, and expressed so far as possible in the very words of the Master. It tells us nearly all we really know about the Sage, and may possibly have been put together within a hundred years of his death. From its pages we seem to gather some idea, a mere silhouette perhaps, of the great moralist whose mission on earth was to teach duty towards one’s neighbour to his fellow-men, and who formulated the Golden Rule: “What you would not others should do unto you, do not unto them!”

It has been urged by many, who should know better, that the negative form of this maxim is unfit to rank with the positive form as given to us by Christ. But of course the two are logically identical, as may be shown by the simple insertion of the word “abstain;” that is, you would not that others should abstain from certain actions in regard to yourself, which practically conveys the positive injunction.

When a disciple asked Confucius to explain charity of heart, he replied simply, “Love one another.” When, however, he was asked concerning the principle that good should be returned for evil, as already enunciated by Lao Tzŭ (see ch. iv.), he replied, “What then will you return for good? No: return good for good; for evil, justice.”

He was never tired of emphasising the beauty and necessity of truth: “A man without truthfulness! I know not how that can be.”

“Let loyalty and truth be paramount with you.”

“In mourning, it is better to be sincere than punctilious.”

“Man is born to be upright. If he be not so, and yet live, he is lucky to have escaped.”

“Riches and honours are what men desire; yet except in accordance with right these may not be enjoyed.”

Confucius undoubtedly believed in a Power, unseen and eternal, whom he vaguely addressed as Heaven: “He who has offended against Heaven has none to whom he can pray.” “I do not murmur against Heaven,” and so on. His greatest commentator, however, Chu Hsi, has explained that by “Heaven” is meant “Abstract Right,” and that interpretation is accepted by Confucianists at the present day. At the same time, Confucius strongly objected to discuss the supernatural, and suggested that our duties are towards the living rather than towards the dead.

He laid the greatest stress upon filial piety, and taught that man is absolutely pure at birth, and afterwards becomes depraved only because of his environment.

Chapter x. of the Lun Yü gives some singular details of the every-day life and habits of the Sage, calculated to provoke a smile among those with whom reverence for Confucius has not been a first principle from the cradle upwards, but received with loving gravity by the Chinese people at large. The following are extracts (Legge’s translation) from this famous chapter:—

“Confucius, in his village, looked simple and sincere, and as if he were not able to speak. When he was in the prince’s ancestral temple or in the court, he spoke minutely on every point, but cautiously.

“When he entered the palace gate, he seemed to bend his body, as if it were not sufficient to admit him.

“He ascended the daïs, holding up his robe with both his hands and his body bent; holding in his breath also, as if he dared not breathe.

“When he was carrying the sceptre of his prince, he seemed to bend his body as if he were not able to bear its weight.

“He did not use a deep purple or a puce colour in the ornaments of his dress. Even in his undress he did not wear anything of a red or reddish colour.

“He required his sleeping dress to be half as long again as his body.

“He did not eat rice which had been injured by heat or damp and turned sour, nor fish or flesh which was gone. He did not eat what was discoloured, or what was of a bad flavour, nor anything which was not in season. He did not eat meat which was not cut properly, nor what was served without its proper sauce.

“He was never without ginger when he ate. He did not eat much.

“When eating, he did not converse. When in bed, he did not speak.

“Although his food might be coarse rice and vegetable soup, he would offer a little of it in sacrifice with a grave respectful air.

“If his mat was not straight, he did not sit on it.

“The stable being burned down when he was at Court, on his return he said, ‘Has any man been hurt?’ He did not ask about the horses.

“When a friend sent him a present, though it might be a carriage and horses, he did not bow. The only present for which he bowed was that of the flesh of sacrifice.

“In bed, he did not lie like a corpse. At home, he did not put on any formal deportment.

“When he saw any one in a mourning dress, though it might be an acquaintance, he would change countenance; when he saw any one wearing the cap of full dress, or a blind person, though he might be in his undress, he would salute them in a ceremonious manner.

“When he was at an entertainment where there was an abundance of provisions set before him, he would change countenance and rise up. On a sudden clap of thunder or a violent wind, he would change countenance.”

MENCIUS

Next in educational order follows the work briefly known as Mencius. This consists of seven books recording the sayings and doings of a man to whose genius and devotion may be traced the final triumph of Confucianism. Born in B.C. 372, a little over a hundred years after the death of the Master, Mencius was brought up under the care of his widowed mother, whose name is a household word even at the present day. As a child he lived with her at first near a cemetery, the result being that he began to reproduce in play the solemn scenes which were constantly enacted before his eyes. His mother accordingly removed to another house near the market-place, and before long the little boy forgot all about funerals and played at buying and selling goods. Once more his mother disapproved, and once more she changed her dwelling; this time to a house near a college, where he soon began to imitate the ceremonial observances in which the students were instructed, to the great joy and satisfaction of his mother.

Later on he studied under K’ung Chi, the grandson of Confucius; and after having attained to a perfect apprehension of the roms or Way of Confucius, became, at the age of about forty-five, Minister under Prince Hsüan of the Ch’i State. But the latter would not carry out his principles, and Mencius threw up his post. Thence he wandered away to several States, advising their rulers to the best of his ability, but making no very prolonged stay. He then visited Prince Hui of the Liang State, and abode there until the monarch’s death in B.C. 319. After that event he returned to the State of Ch’i and resumed his old position. In B.C. 311 he once more felt himself constrained to resign office, and retired finally into private life, occupying himself during the remainder of his days in teaching and in preparing the philosophical record which now passes under his name. He lived at a time when the feudal princes were squabbling over the rival systems of federation and imperialism, and he vainly tried to put into practice at an epoch of blood and iron the gentle virtues of the Golden Age. His criterion was that of Confucius, but his teachings were on a lower plane, dealing rather with man’s well-being from the point of view of political economy. He was therefore justly named by Chao Ch’i the Second Holy One or Prophet, a title under which he is still known. He was an uncompromising defender of the doctrines of Confucius, and he is considered to have effectually “snuffed out” the heterodox schools of Yang Chu and Mo Ti.

The following is a specimen of the logomachy of the day, in which Mencius is supposed to have excelled. The subject is a favourite one—human nature:—

“Kao Tzŭ said, ‘Human nature may be compared with a block of wood; duty towards one’s neighbour, with a wooden bowl. To develop charity and duty towards one’s neighbour out of human nature is like making a bowl out of a block of wood.’

“To this Mencius replied, ‘Can you, without interfering with the natural constitution of the wood, make out of it a bowl? Surely you must do violence to that constitution in the process of making your bowl. And by parity of reasoning you would do violence to human nature in the process of developing charity and duty towards one’s neighbour. From which it follows that all men would come to regard these rather as evils than otherwise.’

“Kao Tzŭ said, ‘Human nature is like rushing water, which flows east or west according as an outlet is made for it. For human nature makes indifferently for good or for evil, precisely as water makes indifferently for the east or for the west.’

“Mencius replied, ‘Water will indeed flow indifferently towards the east or west; but will it flow indifferently up or down? It will not; and the tendency of human nature towards good is like the tendency of water to flow down. Every man has this bias towards good, just as all water flows naturally downwards. By splashing water, you may indeed cause it to fly over your head; and by turning its course you may keep it for use on the hillside; but you would hardly speak of such results as the nature of water. They are the results, of course, of a force majeure. And so it is when the nature of man is diverted towards evil.’

“Kao Tzŭ said, ‘That which comes with life is nature.’

“Mencius replied, ‘Do you mean that there is such a thing as nature in the abstract, just as there is whiteness in the abstract?’

“‘I do,’ answered Kao Tzŭ.

“‘Just, for instance,’ continued Mencius, ‘as the whiteness of a feather is the same as the whiteness of snow, or the whiteness of snow as the whiteness of jade?’

“‘I do,’ answered Kao Tzŭ again.

“‘In that case,’ retorted Mencius, ‘the nature of a dog is the same as that of an ox, and the nature of an ox the same as that of a man.’

“Kao Tzŭ said, ‘Eating and reproduction of the species are natural instincts. Charity is subjective and innate; duty towards one’s neighbour is objective and acquired. For instance, there is a man who is my senior, and I defer to him as such. Not because any abstract principle of seniority exists subjectively in me, but in the same way that if I see an albino, I recognise him as a white man because he is so objectively to me. Consequently, I say that duty towards one’s neighbour is objective or acquired.’

“Mencius replied, ‘The cases are not analogous. The whiteness of a white horse is undoubtedly the same as the whiteness of a white man; but the seniority of a horse is not the same as the seniority of a man. Does our duty to our senior begin and end with the fact of his seniority? Or does it not rather consist in the necessity of deferring to him as such?’

“Kao Tzŭ said, ‘I love my own brother, but I do not love another man’s brother. The distinction arises from within myself; therefore I call it subjective or innate. But I defer to a stranger who is my senior, just as I defer to a senior among my own people. The distinction comes to me from without; therefore I call it objective or acquired.”

“Mencius retorted, ‘We enjoy food cooked by strangers just as much as food cooked by our own people. Yet extension of your principle lands us in the conclusion that our appreciation of cooked food is also objective and acquired.’”

The following is a well-known colloquy between Mencius and a sophist of the day who tried to entangle the former in his talk:—

The sophist inquired, saying, “‘Is it a rule of social etiquette that when men and women pass things from one to another they shall not allow their hands to touch?’

“‘That is the rule,’ replied Mencius.

“‘Now suppose,’ continued the sophist, ‘that a man’s sister-in-law were drowning, could he take hold of her hand and save her?’

“‘Any one who did not do so,’ said Mencius, ‘would have the heart of a wolf. That men and women when passing things from one to another may not let their hands touch is a rule for general application. To save a drowning sister-in-law by taking hold of her hand is altogether an exceptional case.’”

The works of Mencius abound, like the Confucian Analects, in sententious utterances. The following examples illustrate his general bias in politics:—“The people are of the highest importance; the gods come second; the sovereign is of lesser weight.”

“Chieh and Chou lost the empire because they lost the people, which means that they lost the confidence of the people. The way to gain the people is to gain their confidence, and the way to do that is to provide them with what they like and not with what they loathe.”

This is how Mencius snuffed out the two heterodox philosophers mentioned above:—

“The systems of Yang Chu and Mo Ti fill the whole empire. If a man is not a disciple of the former, he is a disciple of the latter. But Yang Chu’s egoism excludes the claim of a sovereign, while Mo Ti’s universal altruism leaves out the claim of a father. And he who recognises the claim of neither sovereign nor father is a brute beast.”

Yang Chu seems to have carried his egoism so far that even to benefit the whole world he would not have parted with a single hair from his body.

“The men of old knew that with life they had come but for a while, and that with death they would shortly depart again. Therefore they followed the desires of their own hearts, and did not deny themselves pleasures to which they felt naturally inclined. Fame tempted them not; but led by their instincts alone, they took such enjoyments as lay in their path, not seeking for a name beyond the grave. They were thus out of the reach of censure; while as for precedence among men, or length or shortness of life, these gave them no concern whatever.”

Mo Ti, on the other hand, showed that under the altruistic system all calamities which men bring upon one another would altogether disappear, and that the peace and happiness of the Golden Age would be renewed.

TA HSÜEH AND CHUNG YUNG

In the Ta Hsüeh, or Great Learning, which forms Sect. xxxix. of the Book of Rites, and really means learning for adults, we have a short politico-ethical treatise, the authorship of which is unknown, but is usually attributed partly to Confucius, and partly to Tsêng Ts’an, one of the most famous of his disciples. In the former portion there occurs the following well-known climax:—

“The men of old, in their desire to manifest great virtue throughout the empire, began with good government in the various States. To achieve this, it was necessary first to order aright their own families, which in turn was preceded by cultivation of their own selves, and that again by rectification of the heart, following upon sincerity of purpose which comes from extension of knowledge, this last being derived from due investigation of objective existences.”

One more short treatise, known as the Chung Yung, which forms Ch. xxviii. of the Book of Rites, brings us to the end of the Four Books. Its title has been translated in various ways.[2] Julien rendered the term by “L’Invariable Milieu,” Legge by “The Doctrine of the Mean.” Its authorship is assigned to K’ung Chi, grandson of Confucius. He seems to have done little more than enlarge upon certain general principles of his grandfather in relation to the nature of man and right conduct upon earth. He seizes the occasion to pronounce an impassioned eulogium upon Confucius, concluding with the following words:—

“Therefore his fame overflows the Middle Kingdom, and reaches the barbarians of north and south. Wherever ships and waggons can go, or the strength of man penetrate; wherever there is heaven above and earth below; wherever the sun and moon shed their light, or frosts and dews fall,—all who have blood and breath honour and love him. Wherefore it may be said that he is the peer of God.”

CHAPTER IV
MISCELLANEOUS WRITERS

Names of the authors who belong to this period, B.C. 600 to B.C. 200, and of the works on a variety of subjects attributed to them, would fill a long list. Many of the latter have disappeared, and others are gross forgeries, chiefly of the first and second centuries of our era, an epoch which, curiously enough, is remarkable for a similar wave of forgery on the other side of the world. As to the authors, it will be seen later on that the Chinese even went so far as to create some of these for antiquity and then write up treatises to match.

There was Sun Tzŭ of the 6th century B.C. He is said to have written the Ping Fa, or Art of War, in thirteen sections, whereby hangs a strange tale. When he was discoursing one day with Prince Ho-lu of the Wu State, the latter said, “I have read your book and want to know if you could apply its principles to women.” Sun Tzŭ replied in the affirmative, whereupon the Prince took 180 girls out of his harem and bade Sun Tzŭ deal with them as with troops. Accordingly he divided them into two companies, and at the head of each placed a favourite concubine of the Prince. But when the drums sounded for drill to begin, all the girls burst out laughing. Thereupon Sun Tzŭ, without a moment’s delay, caused the two concubines in command to be beheaded. This at once restored order, and ultimately the corps was raised to a state of great efficiency.

The following is an extract from the Art of War:—

“If soldiers are not carefully chosen and well drilled to obey, their movements will be irregular. They will not act in concert. They will miss success for want of unanimity. Their retreat will be disorderly, one half fighting while the other is running away. They will not respond to the call of the gong and drum. One hundred such as these will not hold their own against ten well-drilled men.

“If their arms are not good, the soldiers might as well have none. If the cuirass is not stout and close set, the breast might as well be bare. Bows that will not carry are no more use at long distances than swords and spears. Bad marksmen might as well have no arrows. Even good marksmen, unless able to make their arrows pierce, might as well shoot with headless shafts. These are the oversights of incompetent generals. Five such soldiers are no match for one.”

It is notwithstanding very doubtful if we have any genuine remains of either Sun Tzŭ, or of Kuan Tzŭ, Wu Tzŭ, Wên Tzŭ, and several other early writers on war, political philosophy, and cognate subjects. The same remark applies equally to Chinese medical literature, the bulk of which is enormous, some of it nominally dating back to legendary times, but always failing to stand the application of the simplest test.

The Erh Ya, or Nearing the Standard, is a work which has often been assigned to the 12th century B.C. It is a guide to the correct use of many miscellaneous terms, including names of animals, birds, plants, etc., to which are added numerous illustrations. It was first edited with commentary by Kuo P’o, of whom we shall read later on, and some Chinese critics would have us believe that the illustrations we now possess were then already in existence. But the whole question is involved in mystery. The following will give an idea of the text:—

“For metal we say lou (to chase); for wood k’o (to carve); for bone ch’ieh (to cut),” etc., etc.

T’AN KUNG

There are some interesting remains of a writer named T’an Kung, who flourished in the 4th and 3rd centuries B.C., and whose work has been included in the Book of Rites. The three following extracts will give an idea of his scope:—

1. “One day Yu-tzŭ and Tzŭ-yu saw a child weeping for the loss of its parents. Thereupon the former observed, ‘I never could understand why mourners should necessarily jump about to show their grief, and would long ago have got rid of the custom. Now here you have an honest expression of feeling, and that is all there should ever be.’

“‘My friend,’ replied Tzŭ-yu, ‘the mourning ceremonial, with all its material accompaniments, is at once a check upon undue emotion and a guarantee against any lack of proper respect. Simply to give vent to the feelings is the way of barbarians. That is not our way.

“‘Consider. A man who is pleased will show it in his face. He will sing. He will get excited. He will dance. So, too, a man who is vexed will look sad. He will sigh. He will beat his breast. He will jump about. The due regulation of these emotions is the function of a set ceremonial.

“‘Further. A man dies and becomes an object of loathing. A dead body is shunned. Therefore, a shroud is prepared, and other paraphernalia of burial, in order that the survivors may cease to loathe. At death there is a sacrifice of wine and meat; when the funeral cortège is about to start, there is another; and after burial there is yet another. Yet no one ever saw the spirit of the departed come to taste of the food.

“‘These have been our customs from remote antiquity. They have not been discarded, because, in consequence, men no more shun the dead. What you may censure in those who perform the ceremonial is no blemish in the ceremonial itself.’”

2. “When Tzŭ-chü died, his wife and secretary took counsel together as to who should be interred with him. All was settled before the arrival of his brother, Tzŭ-hêng; and then they informed him, saying, ‘The deceased requires some one to attend upon him in the nether world. We must ask you to go down with his body into the grave.’ ‘Burial of the living with the dead,’ replied Tzŭ-hêng, ‘is not in accordance with established rites. Still, as you say some one is wanted to attend upon the deceased, who better fitted than his wife and secretary? If this contingency can be avoided altogether, I am willing; if not, then the duty will devolve upon you two.’ From that time forth the custom fell into desuetude.”

3. “When Confucius was crossing the T’ai mountain, he overheard a woman weeping and wailing beside a grave. He thereupon sent one of his disciples to ask what was the matter; and the latter addressed the woman, saying, ‘Some great sorrow must have come upon you that you give way to grief like this?’ ‘Indeed it is so,’ replied she. ‘My father-in-law was killed here by a tiger; after that, my husband; and now my son has perished by the same death.’ ‘But why, then,’ inquired Confucius, ‘do you not go away?’ ‘The government is not harsh,’ answered the woman. ‘There!’ cried the Master, turning to his disciples; ‘remember that. Bad government is worse than a tiger.’”

HSÜN TZŬ

The philosopher Hsün Tzŭ of the 3rd century B.C. is widely known for his heterodox views on the nature of man, being directly opposed to the Confucian doctrine so warmly advocated by Mencius. The following passage, which hardly carries conviction, contains the gist of his argument:—

“By nature, man is evil. If a man is good, that is an artificial result. For his condition being what it is, he is influenced first of all by a desire for gain. Hence he strives to get all he can without consideration for his neighbour. Secondly, he is liable to envy and hate. Hence he seeks the ruin of others, and loyalty and truth are set aside. Thirdly, he is a slave to his animal passions. Hence he commits excesses, and wanders from the path of duty and right.

“Thus, conformity with man’s natural disposition leads to all kinds of violence, disorder, and ultimate barbarism. Only under the restraint of law and of lofty moral influences does man eventually become fit to be a member of regularly organised society.

“From these premisses it seems quite clear that by nature man is evil; and that if a man is good, that is an artificial result.”

The Hsiao Ching, or Classic of Filial Piety, is assigned partly to Confucius and partly to Tsêng Ts’an, though it more probably belongs to a very much later date. Considering that filial piety is admittedly the keystone of Chinese civilisation, it is disappointing to find nothing more on the subject than a poor pamphlet of commonplace and ill-strung sentences, which gives the impression of having been written to fill a void. One short extract will suffice:—

“The Master said, ‘There are three thousand offences against which the five punishments are directed, and there is not one of them greater than being unfilial.

“‘When constraint is put upon a ruler, that is the disowning of his superiority; when the authority of the sages is disallowed, that is the disowning of all law; when filial piety is put aside, that is the disowning of the principle of affection. These three things pave the way to anarchy.’”

The Chia Yü, or Family Sayings of Confucius, is a work with a fascinating title, which has been ascribed by some to the immediate disciples of Confucius, but which, as it now exists, is usually thought by native scholars to have been composed by Wang Su, a learned official who died A.D. 256. There appears to have been an older work under this same title, but how far the later work is indebted to it, or based upon it, seems likely to remain unknown.

Another discredited work is the Lü Shih Ch’un Ch’iu, or Spring and Autumn of Lü Pu-wei, who died B.C. 235 and was the putative sire of the First Emperor (see ch. vii.). It contains a great deal about the early history of China, some of which is no doubt based upon fact.

MU T’IEN TZŬ CHUAN

Lastly, among spurious books may be mentioned the Mu T’ien Tzŭ Chuan, an account of a mythical journey by a sovereign of the Chou dynasty, supposed to have been taken about 1000 B.C. The sovereign is unfortunately spoken of by his posthumous title, and the work was evidently written up in the 3rd century A.D. to suit a statement found in Lieh Tzŭ (see chapter vi.) to the effect that the ruler in question did make some such journey to the West.

Chapter V
POETRY—INSCRIPTIONS

The poetry which is representative of the period between the death of Confucius and the 2nd century B.C. is a thing apart. There is nothing like it in the whole range of Chinese literature. It illumines many a native pronouncement on the poetic art, the drift of which would otherwise remain obscure. For poetry has been defined by the Chinese as “emotion expressed in words,” a definition perhaps not more inadequate than Wordsworth’s “impassioned expression.” “Poetry,” they say, “knows no law.” And again, “The men of old reckoned it the highest excellence in poetry that the meaning should lie beyond the words, and that the reader should have to think it out.” Of these three canons only the last can be said to have survived to the present day. But in the fourth century B.C., Ch’ü Yüan and his school indulged in wild irregular metres which consorted well with their wild irregular thoughts. Their poetry was prose run mad. It was allusive and allegorical to a high degree, and now, but for the commentary, much of it would be quite unintelligible.

LI SAO

Ch’ü Yüan is the type of a loyal Minister. He enjoyed the full confidence of his Prince until at length the jealousies and intrigues of rivals sapped his position in the State. Then it was that he composed the Li Sao, or Falling into Trouble, the first section of which extends to nearly 400 lines. Beginning from the birth of the writer, it describes his cultivation of virtue and his earnest endeavour to translate precept into practice. Discouraged by failure, he visits the grave of the Emperor Shun (chapter ii.), and gives himself up to prayer, until at length a phœnix-car and dragons appear, and carry him in search of his ideal away beyond the domain of mortality,—the chariot of the Sun moving slowly to light him longer on the way, the Moon leading and the Winds bringing up the rear,—up to the very palace of God. Unable to gain admission here, he seeks out a famous magician, who counsels him to stand firm and to continue his search; whereupon, surrounded by gorgeous clouds and dazzling rainbows, and amid the music of tinkling ornaments attached to his car, he starts from the Milky Way, and passing the Western Pole, reaches the sources of the Yellow River. Before long he is once again in sight of his native land, but without having discovered the object of his search.

Overwhelmed by further disappointments, and sinking still more deeply into disfavour, so that he cared no longer to live, he went forth to the banks of the Mi-lo river. There he met a fisherman who accosted him, saying, “Are you not his Excellency the Minister? What has brought you to this pass?” “The world,” replied Ch’ü Yüan, “is foul, and I alone am clean. There they are all drunk, while I alone am sober. So I am dismissed.” “Ah!” said the fisherman, “the true sage does not quarrel with his environment, but adapts himself to it. If, as you say, the world is foul, why not leap into the tide and make it clean? If all men are drunk, why not drink with them and teach them to avoid excess?” After some further colloquy, the fisherman rowed away; and Ch’ü Yüan, clasping a large stone in his arms, plunged into the river and was seen no more. This took place on the fifth of the fifth moon; and ever afterwards the people of Ch’u commemorated the day by an annual festival, when offerings of rice in bamboo tubes were cast into the river as a sacrifice to the spirit of their great hero. Such is the origin of the modern Dragon-Boat Festival, which is supposed to be a search for the body of Ch’ü Yüan.

A good specimen of his style will be found in the following short poem, entitled “The Genius of the Mountain.” It is one of “nine songs” which, together with a number of other pieces in a similar strain, have been classed under the general heading, Li Sao, as above.

“Methinks there is a Genius of the hills, clad in wistaria, girdled with ivy, with smiling lips, of witching mien, riding on the red pard, wild cats galloping in the rear, reclining in a chariot, with banners of cassia, cloaked with the orchid, girt with azalea, culling the perfume of sweet flowers to leave behind a memory in the heart. But dark is the grove wherein I dwell. No light of day reaches it ever. The path thither is dangerous and difficult to climb. Alone I stand on the hill-top, while the clouds float beneath my feet, and all around is wrapped in gloom.

“Gently blows the east wind; softly falls the rain. In my joy I become oblivious of home; for who in my decline would honour me now?

“I pluck the larkspur on the hillside, amid the chaos of rock and tangled vine. I hate him who has made me an outcast, who has now no leisure to think of me.

“I drink from the rocky spring. I shade myself beneath the spreading pine. Even though he were to recall me to him, I could not fall to the level of the world.

“Now booms the thunder through the drizzling rain. The gibbons howl around me all the long night. The gale rushes fitfully through the whispering trees. And I am thinking of my Prince, but in vain; for I cannot lay my grief.”

SUNG YÜ

Another leading poet of the day was Sung Yü, of whom we know little beyond the fact that he was nephew of Ch’ü Yüan, and like his uncle both a statesman and a poet. The following extract exhibits him in a mood not far removed from the lamentations of the Li Sao:—

“Among birds the phœnix, among fishes the leviathan holds the chiefest place; Cleaving the crimson clouds the phœnix soars apace, With only the blue sky above, far into the realms of space; But the grandeur of heaven and earth is as naught to the hedge-sparrow race.

And the leviathan rises in one ocean to go to rest in a second, While the depth of a puddle by a humble minnow as the depth of the sea is reckoned.

And just as with birds and with fishes, so too it is with man; Here soars a phœnix, there swims a leviathan ... Behold the philosopher, full of nervous thought, with a flame that never grows dim, Dwelling complacently alone; say, what can the vulgar herd know of him?”

As has been stated above, the poems of this school are irregular in metre; in fact, they are only approximately metrical. The poet never ends his line in deference to a prescribed number of feet, but lengthens or shortens to suit the exigency of his thought. Similarly, he may rhyme or he may not. The reader, however, is never conscious of any want of art, carried away as he is by flow of language and rapid succession of poetical imagery.

Several other poets, such as Chia I and Tung-fang So, who cultivated this particular vein, but on a somewhat lower plane, belong to the second century B.C., thus overlapping a period which must be regarded as heralding the birth of a new style rather than occupied with the passing of the old.

It may here be mentioned that many short pieces of doubtful age and authorship—some few unquestionably old—have been rescued by Chinese scholars from various sources, and formed into convenient collections. Of such is a verse known as “Yao’s Advice,” Yao being the legendary monarch mentioned in chapter ii., who is associated with Shun in China’s Golden Age:—

“With trembling heart and cautious steps Walk daily in fear of God ... Though you never trip over a mountain, You may often trip over a clod.”

There is also the husbandman’s song, which enlarges upon the national happiness of those halcyon days:—

“Work, work;—from the rising sun Till sunset comes and the day is done I plough the sod And harrow the clod, And meat and drink both come to me, So what care I for the powers that be?”

INSCRIPTIONS

It seems to have been customary in early days to attach inscriptions, poetical and otherwise, to all sorts of articles for daily use. On the bath-tub of T’ang, founder of the Shang dynasty in B.C. 1766, there was said to have been written these words:—“If any one on any one day can make a new man of himself, let him do so every day.” Similarly, an old metal mirror bore as its legend, “Man combs his hair every morning: why not his heart?” And the following lines are said to be taken from an ancient wash-basin:—

“Oh, rather than sink in the world’s foul tide I would sink in the bottomless main; For he who sinks in the world’s foul tide In noisome depths shall for ever abide, But he who sinks in the bottomless main May hope to float to the surface again.”

In this class of verse, too, the metre is often irregular and the rhyme a mere jingle, according to the canons of the stricter prosody which came into existence later on.

CHAPTER VI
TAOISM—THE “TAO-TÊ-CHING”

TAO-TÊ-CHING

The reader is now asked to begin once more at the sixth century B.C. So far we have dealt almost exclusively with what may be called orthodox literature, that is to say, of or belonging to or based upon the Confucian Canon. It seemed advisable to get that well off our hands before entering upon another branch, scarcely indeed as important, but much more difficult to handle. This branch consists of the literature of Taoism, or that which has gathered around what is known as the Tao or Way of Lao Tzŭ, growing and flourishing alongside of, though in direct antagonism to, that which is founded upon the criteria and doctrines of Confucius. Unfortunately it is quite impossible to explain at the outset in what this Tao actually consists. According to Lao Tzŭ himself, “Those who know do not tell; those who tell do not know.” It is hoped, however, that by the time the end of this chapter is reached, some glimmering of the meaning of Tao may have reached the minds of those who have been patient enough to follow the argument.

LAO TZŬ

Lao Tzŭ was born, according to the weight of evidence, in the year B.C. 604. Omitting all reference to the supernatural phenomena which attended his birth and early years, it only remains to say that we really know next to nothing about him. There is a short biography of Lao Tzŭ to be found in the history of Ssŭ-ma Ch’ien, to be dealt with in Book II., chapter iii., but internal evidence points to embroidery laid on by other hands. Just as it was deemed necessary by pious enthusiasts to interpolate in the work of Josephus a passage referring to Christ, so it would appear that the original note by Ssŭ-ma Ch’ien has been carefully touched up to suit the requirements of an unauthenticated meeting between Lao Tzŭ and Confucius, which has been inserted very much à propos de bottes; the more so, as Confucius is made to visit Lao Tzŭ with a view to information on Rites, a subject which Lao Tzŭ held in very low esteem. This biography ends with the following extraordinary episode:—

“Lao Tzŭ abode for a long time in Chou, but when he saw that the State showed signs of decay, he left. On reaching the frontier, the Warden, named Yin Hsi, said to him, ‘So you are going into retirement. I beg you to write a book for me.’ Thereupon Lao Tzŭ wrote a book, in two parts, on Tao and Tê,[3] extending to over 5000 words. He then went away, and no one knows where he died.”

It is clear from Ssŭ-ma Ch’ien’s account that he himself had never seen the book, though a dwindling minority still believe that we possess that book in the well-known Tao-Tê-Ching.

It must now be stated that throughout what are generally believed to be the writings of Confucius the name of Lao Tzŭ is never once mentioned.[4] It is not mentioned by Tso of the famous commentary, nor by the editors of the Confucian Analects, nor by Tsêng Ts’an, nor by Mencius. Chuang Tzŭ, who devoted all his energies to the exposition and enforcement of the teaching of Lao Tzŭ, never once drops even a hint that his Master had written a book. In his work will now be found an account of the meeting of Confucius and Lao Tzŭ, but it has long since been laughed out of court as a pious fraud by every competent Chinese critic. Chu Hsi, Shên Jo-shui, and many others, declare emphatically against the genuineness of the Tao-Tê-Ching; and scant allusion would indeed have been made to it here, were it not for the attention paid to it by several more or less eminent foreign students of the language. It is interesting as a collection of many genuine utterances of Lao Tzŭ, sandwiched however between thick wads of padding from which little meaning can be extracted except by enthusiasts who curiously enough disagree absolutely among themselves. A few examples from the real Lao Tzŭ will now be given:—

“The Way (Tao) which can be walked upon is not the eternal Way.”

“Follow diligently the Way in your own heart, but make no display of it to the world.”

“By many words wit is exhausted; it is better to preserve a mean.”

“To the good I would be good. To the not-good I would also be good, in order to make them good.”

“Recompense injury with kindness.”

“Put yourself behind, and you shall be put in front.”

“Abandon wisdom and discard knowledge, and the people will be benefited an hundredfold.”

These last maxims are supposed to illustrate Lao Tzŭ’s favourite doctrine of doing nothing, or, as it has been termed, Inaction, a doctrine inseparably associated with his name, and one which has ever exerted much fascination over the more imaginative of his countrymen. It was openly enunciated as follows:—

“Do nothing, and all things will be done.”

“I do nothing, and the people become good of their own accord.”

To turn to the padding, as rendered by the late Drs. Chalmers and Legge, we may take a paragraph which now passes as chapter vi.:—

Chalmers:—“The Spirit (like perennial spring) of the valley never dies. This (Spirit) I call the abyss-mother. The passage of the abyss-mother I call the root of heaven and earth. Ceaselessly it seems to endure, and it is employed without effort.”

Legge:—“The valley spirit dies not, aye the same; The female mystery thus do we name. Its gate, from which at first they issued forth, Is called the root from which grew heaven and earth. Long and unbroken does its power remain, Used gently, and without the touch of pain.”

One more example from Chalmers’ translation will perhaps seal the fate of this book with readers who claim at least a minimum of sense from an old-world classic.

“Where water abides, it is good for adaptability. In its heart, it is good for depth. In giving, it is good for benevolence. In speaking, it is good for fidelity.”

That there was such a philosopher as Lao Tzŭ who lived about the time indicated, and whose sayings have come down to us first by tradition and later by written and printed record, cannot possibly be doubted. The great work of Chuang Tzŭ would be sufficient to establish this beyond cavil, while at the same time it forms a handy guide to a nearer appreciation of this elusive Tao.

CHUANG TZŬ

Chuang Tzŭ was born in the fourth century B.C., and held a petty official post. “He wrote,” says the historian Ssŭ-ma Ch’ien, “with a view to asperse the Confucian school and to glorify the mysteries of Lao Tzŭ.... His teachings are like an overwhelming flood, which spreads at its own sweet will. Consequently, from rulers and ministers downwards, none could apply them to any definite use.”

Here we have the key to the triumph of the Tao of Confucius over the Tao of Lao Tzŭ. The latter was idealistic, the former a practical system for everyday use. And Chuang Tzŭ was unable to persuade the calculating Chinese nation that by doing nothing, all things would be done. But he bequeathed to posterity a work which, by reason of its marvellous literary beauty, has always held a foremost place. It is also a work of much originality of thought. The writer, it is true, appears chiefly as a disciple insisting upon the principles of a Master. But he has contrived to extend the field, and carry his own speculations into regions never dreamt of by Lao Tzŭ.

The whole work of Chuang Tzŭ has not come down to us, neither can all that now passes under his name be regarded as genuine. Alien hands have added, vainly indeed, many passages and several entire chapters. But a sable robe, says the Chinese proverb, cannot be eked out with dogs’ tails. Lin Hsi-chung, a brilliant critic of the seventeenth century, to whose edition all students should turn, has shown with unerring touch where the lion left off and the jackals began.

The honour of the first edition really belongs to a volatile spirit of the third century A.D., named Hsiang Hsiu. He was probably the founder, at any rate a member, of a small club of bibulous poets who called themselves the Seven Sages of the Bamboo Grove. Death, however, interrupted his labours before he had finished his work on Chuang Tzŭ, and the manuscript was purloined by Kuo Hsiang, a scholar who died A.D. 312, and with some additions was issued by the latter as his own.

Before attempting to illustrate by extracts the style and scope of Chuang Tzŭ, it will be well to collect from his work a few passages dealing with the attributes of Tao. In his most famous chapter, entitled Autumn Floods, a name by which he himself is sometimes spoken of, Chuang Tzŭ writes as follows:—

“Tao is without beginning, without end.” Elsewhere he says, “There is nowhere where it is not.” “Tao cannot be heard; heard, it is not Tao. Tao cannot be seen; seen, it is not Tao. Tao cannot be spoken; spoken, it is not Tao. That which imparts form to forms is itself formless; therefore Tao cannot have a name (as form precedes name).”

“Tao is not too small for the greatest, nor too great for the smallest. Thus all things are embosomed therein; wide, indeed, its boundless capacity, unfathomable its depth.”

“By no thoughts, by no cogitations, Tao may be known. By resting in nothing, by according in nothing, Tao may be approached. By following nothing, by pursuing nothing, Tao may be attained.”

In these and many like passages Lao Tzŭ would have been in full sympathy with his disciple. So far as it is possible to deduce anything definite from the scanty traditions of the teachings of Lao Tzŭ, we seem to obtain this, that man should remain impassive under the operation of an eternal, omnipresent law (Tao), and that thus he will become in perfect harmony with his environment, and that if he is in harmony with his environment, he will thereby attain to a vague condition of general immunity. Beyond this the teachings of Lao Tzŭ would not carry us. Chuang Tzŭ, however, from simple problems, such as a drunken man falling out of a cart and not injuring himself—a common superstition among sailors—because he is unconscious and therefore in harmony with his environment, slides easily into an advanced mysticism. In his marvellous chapter on The Identity of Contraries, he maintains that from the standpoint of Tao all things are One. Positive and negative, this and that, here and there, somewhere and nowhere, right and wrong, vertical and horizontal, subjective and objective, become indistinct, as water is in water. “When subjective and objective are both without their correlates, that is the very axis of Tao. And when that axis passes through the centre at which all Infinities converge, positive and negative alike blend into an infinite One.” This localisation in a Centre, and this infinite absolute represented by One, were too concrete even for Chuang Tzŭ. The One became God, and the Centre, assigned by later Taoist writers to the pole-star (see Book IV. ch. i.), became the source of all life and the haven to which such life returned after its transitory stay on earth. By ignoring the distinctions of contraries “we are embraced in the obliterating unity of God. Take no heed of time, nor of right and wrong; but passing into the realm of the Infinite, make your final rest therein.”

That the idea of an indefinite future state was familiar to the mind of Chuang Tzŭ may be gathered from many passages such as the following:—

“How then do I know but that the dead repent of having previously clung to life?

“Those who dream of the banquet, wake to lamentation and sorrow. Those who dream of lamentation and sorrow, wake to join the hunt. While they dream, they do not know that they dream. Some will even interpret the very dream they are dreaming; and only when they awake do they know it was a dream. By and by comes the Great Awakening, and then we find out that this life is really a great dream. Fools think they are awake now, and flatter themselves they know if they are really princes or peasants. Confucius and you are both dreams; and I who say you are dreams,—I am but a dream myself.”

The chapter closes with a paragraph which has gained for its writer an additional epithet, Butterfly Chuang:—

“Once upon a time, I, Chuang Tzŭ, dreamt I was a butterfly, fluttering hither and thither, to all intents and purposes a butterfly. I was conscious only of following my fancies as a butterfly, and was unconscious of my individuality as a man. Suddenly, I awaked, and there I lay, myself again. Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly dreaming I am a man.”

Chuang Tzŭ is fond of paradox. He delights in dwelling on the usefulness of useless things. He shows that ill-grown or inferior trees are allowed to stand, that diseased pigs are not killed for sacrifice, and that a hunchback can not only make a good living by washing, for which a bent body is no drawback, but escapes the dreaded press-gang in time of war.

With a few illustrative extracts we must now take leave of Chuang Tzŭ, a writer who, although heterodox in the eyes of a Confucianist, has always been justly esteemed for his pointed wit and charming style.

(1.) “It was the time of autumn floods. Every stream poured into the river, which swelled in its turbid course. The banks receded so far from one another that it was impossible to tell a cow from a horse.

“Then the Spirit of the River laughed for joy that all the beauty of the earth was gathered to himself. Down with the stream he journeyed east, until he reached the ocean. There, looking eastwards and seeing no limit to its waves, his countenance changed. And as he gazed over the expanse, he sighed and said to the Spirit of the Ocean, ‘A vulgar proverb says, that he who has heard but part of the truth thinks no one equal to himself. And such a one am I.

“‘When formerly I heard people detracting from the learning of Confucius, or underrating the heroism of Po I, I did not believe. But now that I have looked upon your inexhaustibility—alas for me had I not reached your abode, I should have been for ever a laughing-stock to those of comprehensive enlightenment!’

“To which the Spirit of the Ocean replied, ‘You cannot speak of ocean to a well-frog, the creature of a narrower sphere. You cannot speak of ice to a summer-insect,—the creature of a season. You cannot speak of Tao to a pedagogue: his scope is too restricted. But now that you have emerged from your narrow sphere and have seen the great ocean, you know your own insignificance, and I can speak to you of great principles.’”

(2.) “Have you never heard of the frog in the old well?—The frog said to the turtle of the eastern sea, ‘Happy indeed am I! I hop on to the rail around the well. I rest in the hollow of some broken brick. Swimming, I gather the water under my arms and shut my mouth. I plunge into the mud, burying my feet and toes; and not one of the cockles, crabs, or tadpoles I see around me are my match. [Fancy pitting the happiness of an old well, ejaculates Chuang Tzŭ, against all the water of Ocean!] Why do you not come, sir, and pay me a visit?’[5]

“Now the turtle of the eastern sea had not got its left leg down ere its right had already stuck fast, so it shrank back and begged to be excused. It then described the sea, saying, ‘A thousand li would not measure its breadth, nor a thousand fathoms its depth. In the days of the Great Yü, there were nine years of flood out of ten; but this did not add to its bulk. In the days of T’ang, there were seven years out of eight of drought; but this did not narrow its span. Not to be affected by duration of time, not to be affected by volume of water,—such is the great happiness of the eastern sea.’

“At this the well-frog was considerably astonished, and knew not what to say next. And for one whose knowledge does not reach to the positive-negative domain, to attempt to understand me, Chuang Tzŭ, is like a mosquito trying to carry a mountain, or an ant to swim a river,—they cannot succeed.”

(3.) “Chuang Tzŭ was fishing in the P’u when the prince of Ch’u sent two high officials to ask him to take charge of the administration of the Ch’u State.

“Chuang Tzŭ went on fishing, and without turning his head said, ‘I have heard that in Ch’u there is a sacred tortoise which has been dead now some three thousand years. And that the prince keeps this tortoise carefully enclosed in a chest on the altar of his ancestral temple. Now would this tortoise rather be dead, and have its remains venerated, or be alive and wagging its tail in the mud?’

“‘It would rather be alive,’ replied the two officials, ‘and wagging its tail in the mud.’

“‘Begone!’ cried Chuang Tzŭ. ‘I too will wag my tail in the mud.’”

(4.) “Chuang Tzŭ one day saw an empty skull, bleached, but still preserving its shape. Striking it with his riding whip, he said, ‘Wert thou once some ambitious citizen whose inordinate yearnings brought him to this pass?—some statesman who plunged his country in ruin, and perished in the fray?—some wretch who left behind him a legacy of shame?—some beggar who died in the pangs of hunger and cold? Or didst thou reach this state by the natural course of old age?’

“When he had finished speaking, he took the skull, and placing it under his head as a pillow, went to sleep. In the night, he dreamt that the skull appeared to him, and said, ‘You speak well, sir; but all you say has reference to the life of mortals, and to mortal troubles. In death there are none of these. Would you like to hear about death?’

“Chuang Tzŭ having replied in the affirmative, the skull began:—‘In death, there is no sovereign above, and no subject below. The workings of the four seasons are unknown. Our existences are bounded only by eternity. The happiness of a king among men cannot exceed that which we enjoy.’

“Chuang Tzŭ, however, was not convinced, and said, ‘Were I to prevail upon God to allow your body to be born again, and your bones and flesh to be renewed, so that you could return to your parents, to your wife, and to the friends of your youth—would you be willing?’

“At this, the skull opened its eyes wide and knitted its brows and said, ‘How should I cast aside happiness greater than that of a king, and mingle once again in the toils and troubles of mortality?’”

(5.) “The Grand Augur, in his ceremonial robes, approached the shambles and thus addressed the pigs:—

“‘How can you object to die? I shall fatten you for three months. I shall discipline myself for ten days and fast for three. I shall strew fine grass, and place you bodily upon a carved sacrificial dish. Does not this satisfy you?’

“Then speaking from the pigs’ point of view, he continued, ‘It is better perhaps after all to live on bran and escape the shambles....’

“‘But then,’ added he, speaking from his own point of view, ‘to enjoy honour when alive one would readily die on a war-shield or in the headsman’s basket.’

“So he rejected the pigs’ point of view and adopted his own point of view. In what sense then was he different from the pigs?”

(6.) “When Chuang Tzŭ was about to die, his disciples expressed a wish to give him a splendid funeral. But Chuang Tzŭ said, ‘With heaven and earth for my coffin and shell, with the sun, moon, and stars as my burial regalia, and with all creation to escort me to the grave,—are not my funeral paraphernalia ready to hand?’

“‘We fear,’ argued the disciples, ‘lest the carrion kite should eat the body of our Master’; to which Chuang Tzŭ replied, ‘Above ground I shall be food for kites, below I shall be food for mole-crickets and ants. Why rob one to feed the other?’”

LIEH TZŬ

The works of Lieh Tzŭ, in two thin volumes, may be procured at any Chinese book-shop. These volumes profess to contain the writings of a Taoist philosopher who flourished some years before Chuang Tzŭ, and for a long time they received considerable attention at the hands of European students, into whose minds no suspicion of their real character seems to have found its way. Gradually the work came to be looked upon as doubtful, then spurious; and now it is known to be a forgery, possibly of the first or second century A.D. The scholar—for he certainly was one—who took the trouble to forge this work, was himself the victim of a strange delusion. He thought that Lieh Tzŭ, to whom Chuang Tzŭ devotes a whole chapter, had been a live philosopher of flesh and blood. But he was in reality nothing more than a figment of the imagination, like many others of Chuang Tzŭ’s characters, though his name was less broadly allegorical than those of All-in-Extremes, and of Do-Nothing-Say-Nothing, and others. The book attributed to him is curious enough to deserve attention. It is on a lower level of thought and style than the work of Chuang Tzŭ; still, it contains much traditional matter and many allusions not found elsewhere. To its author we owe the famous, but of course apocryphal, story of Confucius meeting two boys quarrelling about the distance of the sun from the earth. One of them said that at dawn the sun was much larger than at noon, and must consequently be much nearer; but the other retorted that at noon the sun was much hotter, and therefore nearer than at dawn. Confucius confessed himself unable to decide between them, and was jeered at by the boys as an impostor. But of all this work perhaps the most attractive portion is a short story on Dream and Reality:—

“A man of the State of Chêng was one day gathering fuel, when he came across a startled deer, which he pursued and killed. Fearing lest any one should see him, he hastily concealed the carcass in a ditch and covered it with plaintain leaves, rejoicing excessively at his good fortune. By and by, he forgot the place where he had put it, and, thinking he must have been dreaming, he set off towards home, humming over the affair on his way.

“Meanwhile, a man who had overheard his words, acted upon them, and went and got the deer. The latter, when he reached his house, told his wife, saying, ‘A woodman dreamt he had got a deer, but he did not know where it was. Now I have got the deer; so his dream was a reality.’ ‘It is you,’ replied his wife, ‘who have been dreaming you saw a woodman. Did he get the deer? and is there really such a person? It is you who have got the deer: how, then, can his dream be a reality?’ ‘It is true,’ assented the husband, ‘that I have got the deer. It is therefore of little importance whether the woodman dreamt the deer or I dreamt the woodman.’

“Now when the woodman reached his home, he became much annoyed at the loss of the deer; and in the night he actually dreamt where the deer then was, and who had got it. So next morning he proceeded to the place indicated in his dream,—and there it was. He then took legal steps to recover possession; and when the case came on, the magistrate delivered the following judgment:—‘The plaintiff began with a real deer and an alleged dream. He now comes forward with a real dream and an alleged deer. The defendant really got the deer which plaintiff said he dreamt, and is now trying to keep it; while, according to his wife, both the woodman and the deer are but the figments of a dream, so that no one got the deer at all. However, here is a deer, which you had better divide between you.’”

HAN FEI TZŬ

Han Fei Tzŭ, who died B.C. 233, has left us fifty-five essays of considerable value, partly for the light they throw upon the connection between the genuine sayings of Lao Tzŭ and the Tao-Tê-Ching, and partly for the quaint illustrations he gives of the meaning of the sayings themselves. He was deeply read in law, and obtained favour in the eyes of the First Emperor (see Book II., ch. i.); but misrepresentations of rivals brought about his downfall, and he committed suicide in prison. We cannot imagine that he had before him the Tao-Tê-Ching. He deals with many of its best sayings, which may well have come originally from an original teacher, such as Lao Tzŭ is supposed to have been, but quite at random and not as if he took them from an orderly work. And what is more, portions of his own commentary have actually slipped into the Tao-Tê-Ching as text, showing how this book was pieced together from various sources. Again, he quotes sentences not to be found in the Tao-Tê-Ching. He illustrates such a simple saying as “To see small beginnings is clearness of sight,” by drawing attention to a man who foresaw, when the tyrant Chou Hsin (who died B.C. 1122) took to ivory chopsticks, that the tide of luxury had set in, to bring licentiousness and cruelty in its train, and to end in downfall and death.

Lao Tzŭ said, “Leave all things to take their natural course.” To this Han Fei Tzŭ adds, “A man spent three years in carving a leaf out of ivory, of such elegant and detailed workmanship that it would lie undetected among a heap of real leaves. But Lieh Tzŭ said, ‘If God Almighty were to spend three years over every leaf, the trees would be badly off for foliage.’”

Lao Tzŭ said, “The wise man takes time by the forelock.” Han Fei Tzŭ adds, “One day the Court physician said to Duke Huan, ‘Your Grace is suffering from an affection of the muscular system. Take care, or it may become serious.’ ‘Oh no,’ replied the Duke, ‘I have nothing the matter with me;’ and when the physician was gone, he observed to his courtiers, ‘Doctors dearly love to treat patients who are not ill, and then make capital out of the cure.’ Ten days afterwards, the Court physician again remarked, ‘Your Grace has an affection of the flesh. Take care, or it may become serious.’ The Duke took no notice of this, but after ten days more the physician once more observed, ‘Your Grace has an affection of the viscera. Take care, or it may become serious.’ Again the Duke paid no heed; and ten days later, when the physician came, he simply looked at his royal patient, and departed without saying anything. The Duke sent some one to inquire what was the matter, and to him the physician said, ‘As long as the disease was in the muscles, it might have been met by fomentations and hot applications; when it was in the flesh, acupuncture might have been employed; and as long as it was in the viscera, cauterisation might have been tried; but now it is in the bones and marrow, and naught will avail.’ Five days later, the Duke felt pains all over his body, and sent to summon his physician; but the physician had fled, and the Duke died. So it is that the skilful doctor attacks disease while it is still in the muscles and easy to deal with.”

HUAI-NAN TZŬ

To clear off finally this school of early Taoist writers, it will be necessary to admit here one whose life properly belongs to the next period. Liu An, a grandson of the founder of the Han dynasty, became Prince of Huai-nan, and it is as Huai-nan Tzŭ, the Philosopher of that ilk, that he is known to the Chinese people. He wrote an esoteric work in twenty-one chapters, which we are supposed still to possess, besides many exoteric works, such as a treatise on alchemy, none of which are extant. It is fairly certain, however, that alchemy was not known to the Chinese until between two and three centuries later, when it was introduced from the West. As to the book which passes under his name, it is difficult to assign to it any exact date. Like the work of Lieh Tzŭ, it is interesting enough in itself; and what is more important, it marks the transition of the pure and simple Way of Lao Tzŭ, etherealised by Chuang Tzŭ, to the grosser beliefs of later ages in magicians and the elixir of life. Lao Tzŭ urged his fellow-mortals to guard their vitality by entering into harmony with their environment. Chuang Tzŭ added a motive, “to pass into the realm of the Infinite and make one’s final rest therein.” From which it is but a step to immortality and the elixir of life.

Huai-nan Tzŭ begins with a lengthy disquisition “On the Nature of Tao,” in which, as elsewhere, he deals with the sayings of Lao Tzŭ after the fashion of Han Fei Tzŭ. Thus Lao Tzŭ said, “If you do not quarrel, no one on earth will be able to quarrel with you.” To this Huai-nan Tzŭ adds, that when a certain ruler was besieging an enemy’s town, a large part of the wall fell down; whereupon the former gave orders to beat a retreat at once. “For,” said he in reply to the remonstrances of his officers, “a gentleman never hits a man who is down. Let them rebuild their wall, and then we will renew the attack.” This noble behaviour so delighted the enemy that they tendered allegiance on the spot.

Lao Tzŭ said, “Do not value the man, value his abilities.” Whereupon Huai-nan Tzŭ tells a story of a general of the Ch’u State who was fond of surrounding himself with men of ability, and once even went so far as to engage a man who represented himself as a master-thief. His retainers were aghast; but shortly afterwards their State was attacked by the Ch’i State, and then, when fortune was adverse and all was on the point of being lost, the master-thief begged to be allowed to try his skill. He went by night into the enemy’s camp, and stole their general’s bed-curtain. This was returned next morning with a message that it had been found by one of the soldiers who was gathering fuel. The same night our master-thief stole the general’s pillow, which was restored with a similar message; and the following night he stole the long pin used to secure the hair. “Good heavens!” cried the general at a council of war, “they will have my head next.” Upon which the army of the Ch’i State was withdrawn.

Among passages of general interest the following may well be quoted:—

“Once when the Duke of Lu-yang was at war with the Han State, and sunset drew near while a battle was still fiercely raging, the Duke held up his spear, and shook it at the sun, which forthwith went back three zodiacal signs.”

The end of this philosopher was a tragic one. He seems to have mixed himself up in some treasonable enterprise, and was driven to commit suicide. Tradition, however, says that he positively discovered the elixir of immortality, and that after drinking of it he rose up to heaven in broad daylight. Also that, in his excitement, he dropped the vessel which had contained this elixir into his courtyard, and that his dogs and poultry sipped up the dregs, and immediately sailed up to heaven after him!

BOOK THE SECOND
THE HAN DYNASTY (B.C. 200—A.D. 200)

CHAPTER I
THE “FIRST EMPEROR”—THE BURNING OF THE BOOKS—MISCELLANEOUS WRITERS

Never has the literature of any country been more closely bound up with the national history than was that of China at the beginning of the period upon which we are now about to enter.

The feudal spirit had long since declined, and the bond between suzerain and vassal had grown weaker and weaker until at length it had ceased to exist. Then came the opportunity and the man. The ruler of the powerful State of Ch’in, after gradually vanquishing and absorbing such of the other rival States as had not already been swallowed up by his own State, found himself in B.C. 221 master of the whole of China, and forthwith proclaimed himself its Emperor. The Chou dynasty, with its eight hundred years of sway, was a thing of the past, and the whole fabric of feudalism melted easily away.

This catastrophe was by no means unexpected. Some forty years previously a politician, named Su Tai, was one day advising the King of Chao to put an end to his ceaseless hostilities with the Yen State. “This morning,” said he, “when crossing the river, I saw a mussel open its shell to sun itself. Immediately an oyster-catcher thrust in his bill to eat the mussel, but the latter promptly closed its shell and held the bird fast. ‘If it doesn’t rain to-day or to-morrow,’ cried the oyster-catcher, ‘there will be a dead mussel.’ ‘And if you don’t get out of this by to-day or to-morrow,’ retorted the mussel, ‘there will be a dead oyster-catcher.’ Meanwhile up came a fisherman and carried off both of them. I fear lest the Ch’in State should be our fisherman.”

LI SSŬ

The new Emperor was in many senses a great man, and civilisation made considerable advances during his short reign. But a single decree has branded his name with infamy, to last so long as the Chinese remain a lettered people. In B.C. 13, a trusted Minister, named Li Ssŭ, is said to have suggested an extraordinary plan, by which the claims of antiquity were to be for ever blotted out and history was to begin again with the ruling monarch, thenceforward to be famous as the First Emperor. All existing literature was to be destroyed, with the exception only of works relating to agriculture, medicine, and divination; and a penalty of branding and four years’ work on the Great Wall, then in process of building, was enacted against all who refused to surrender their books for destruction. This plan was carried out with considerable vigour. Many valuable works perished; and the Confucian Canon would have been irretrievably lost but for the devotion of scholars, who at considerable risk concealed the tablets by which they set such store, and thus made possible the discoveries of the following century and the restoration of the sacred text. So many, indeed, of the literati are said to have been put to death for disobedience that melons actually grew in winter on the spot beneath which their bodies were buried.

Li Ssŭ was a scholar himself, and the reputed inventor of the script known as the Lesser Seal, which was in vogue for several centuries. The following is from a memorial of his against the proscription of nobles and others from rival States:—

“As broad acres yield large crops, so for a nation to be great there should be a great population; and for soldiers to be daring their generals should be brave. Not a single clod was added to T’ai-shan in vain: hence the huge mountain we now behold. The merest streamlet is received into the bosom of Ocean: hence the Ocean’s unfathomable expanse. And wise and virtuous is the ruler who scorns not the masses below. For him, no boundaries of realm, no distinctions of nationality exist. The four seasons enrich him; the Gods bless him; and, like our rulers of old, no man’s hand is against him.”

The First Emperor died in B.C. 210,[6] and his feeble son, the Second Emperor, was put to death in 207, thus bringing their line to an end. The vacant throne was won by a quondam beadle, who established the glorious House of Han, in memory of which Chinese of the present day, chiefly in the north, are still proud to call themselves Sons of Han.

So soon as the empire settled down to comparative peace, a mighty effort was made to undo at least some of the mischief sustained by the national literature. An extra impetus was given to this movement by the fact that under the First Emperor, if we can believe tradition, the materials of writing had undergone a radical change. A general, named Mêng T’ien, added to the triumphs of the sword the invention of the camel’s-hair brush, which the Chinese use as a pen. The clumsy bamboo tablet and stylus were discarded, and strips of cloth or silk came into general use, and were so employed until the first century A.D., when paper was invented by Ts’ai Lun. Some say that brickdust and water did duty at first for ink. However that may be, the form of the written character underwent a corresponding change to suit the materials employed.

Meanwhile, books were brought out of their hiding-places, and scholars like K’ung An-kuo, a descendant of Confucius in the twelfth degree, set to work to restore the lost classics. He deciphered the text of the Book of History, which had been discovered when pulling down the old house where Confucius once lived, and transcribed large portions of it from the ancient into the later script. He also wrote a commentary on the Analects and another on the Filial Piety Classic.

CH’AO TS’O—LI LING

Ch’ao Ts’o (perished B.C. 155), popularly known as Wisdom-Bag, was a statesman rather than an author. Still, many of his memorials to the throne were considered masterpieces, and have been preserved accordingly. He wrote on the military operations against the Huns, pleading for the employment of frontier tribes, “barbarians, who in point of food and skill are closely allied to the Huns.” “But arms,” he says, “are a curse, and war is a dread thing. For in the twinkling of an eye the mighty may be humbled, and the strong may be brought low.” In an essay “On the Value of Agriculture” he writes thus:—

“Crime begins in poverty; poverty in insufficiency of food; insufficiency of food in neglect of agriculture. Without agriculture, man has no tie to bind him to the soil. Without such tie he readily leaves his birth-place and his home. He is like unto the birds of the air or the beasts of the field. Neither battlemented cities, nor deep moats, nor harsh laws, nor cruel punishments, can subdue this roving spirit that is strong within him.

“He who is cold examines not the quality of cloth; he who is hungry tarries not for choice meats. When cold and hunger come upon men, honesty and shame depart. As man is constituted, he must eat twice daily, or hunger; he must wear clothes, or be cold. And if the stomach cannot get food and the body clothes, the love of the fondest mother cannot keep her children at her side. How then should a sovereign keep his subjects gathered around him?

“The wise ruler knows this. Therefore he concentrates the energies of his people upon agriculture. He levies light taxes. He extends the system of grain storage, to provide for his subjects at times when their resources fail.”

LI LING

The name of Li Ling (second and first centuries B.C.) is a familiar one to every Chinese schoolboy. He was a military official who was sent in command of 800 horse to reconnoitre the territory of the Huns; and returning successful from this expedition, he was promoted to a high command and was again employed against these troublesome neighbours. With a force of only 5000 infantry he penetrated into the Hun territory as far as Mount Ling-chi (?), where he was surrounded by an army of 30,000 of the Khan’s soldiers; and when his troops had exhausted all their arrows, he was forced to surrender. At this the Emperor was furious; and later on, when he heard that Li Ling was training the Khan’s soldiers in the art of war as then practised by the Chinese, he caused his mother, wife, and children to be put to death. Li Ling remained some twenty years, until his death, with the Huns, and was highly honoured by the Khan, who gave him his daughter to wife.

With the renegade Li Ling is associated his patriot contemporary, Su Wu, who also met with strange adventures among the Huns. Several Chinese envoys had been imprisoned by the latter, and not allowed to return; and by way of reprisal, Hun envoys had been imprisoned in China. But a new Khan had recently sent back all the imprisoned envoys, and in A.D. 100 Su Wu was despatched upon a mission of peace to return the Hun envoys who had been detained by the Chinese. Whilst at the Court of the Khan his fellow-envoys revolted, and on the strength of this an attempt was made to persuade him to throw off his allegiance and enter the service of the Huns; upon which he tried to commit suicide, and wounded himself so severely that he lay unconscious for some hours. He subsequently slew a Chinese renegade with his own hand; and then when it was found that he was not to be forced into submission, he was thrown into a dungeon and left without food for several days. He kept himself alive by sucking snow and gnawing a felt rug; and at length the Huns, thinking that he was a supernatural being, sent him away north and set him to tend sheep. Then Li Ling was ordered to try once more by brilliant offers to shake his unswerving loyalty, but all was in vain. In the year 86, peace was made with the Huns, and the Emperor asked for the return of Su Wu. To this the Huns replied that he was dead; but a former assistant to Su Wu bade the new envoy tell the Khan that the Emperor had shot a goose with a letter tied to its leg, from which he had learnt the whereabouts of his missing envoy. This story so astonished the Khan that Su Wu was released, and in B.C.. 81 returned to China after a captivity of nineteen years. He had gone away in the prime of life; he returned a white-haired and broken-down old man.

Li Ling and Su Wu are said to have exchanged poems at parting, and these are to be found published in collections under their respective names. Some doubt has been cast upon the genuineness of one of those attributed to Li Ling. It was pointed out by Hung Mai, a brilliant critic of the twelfth century, that a certain word was used in the poem, which, being part of the personal name of a recent Emperor, would at that date have been taboo. No such stigma attaches to the verses by Su Wu, who further gave to his wife a parting poem, which has been preserved, promising her that if he lived he would not fail to return, and if he died he would never forget her. But most famous of all, and still a common model for students, is a letter written by Li Ling to Su Wu, after the latter’s return to China, in reply to an affectionate appeal to him to return also. Its genuineness has been questioned by Su Shih of the Sung dynasty, but not by the greatest of modern critics, Lin Hsi-chung, who declares that its pathos is enough to make even the gods weep, and that it cannot possibly have come from any other hand save that of Li Ling. With this verdict the foreign student may well rest content. Here is the letter:—

“O Tzŭ-ch’ing, O my friend, happy in the enjoyment of a glorious reputation, happy in the prospect of an imperishable name,—there is no misery like exile in a far-off foreign land, the heart brimful of longing thoughts of home! I have thy kindly letter, bidding me of good cheer, kinder than a brother’s words; for which my soul thanks thee.

“Ever since the hour of my surrender until now, destitute of all resource, I have sat alone with the bitterness of my grief. All day long I see none but barbarians around me. Skins and felt protect me from wind and rain. With mutton and whey I satisfy my hunger and slake my thirst. Companions with whom to while time away, I have none. The whole country is stiff with black ice. I hear naught but the moaning of the bitter autumn blast, beneath which all vegetation has disappeared. I cannot sleep at night. I turn and listen to the distant sound of Tartar pipes, to the whinnying of Tartar steeds. In the morning I sit up and listen still, while tears course down my cheeks. O Tzŭ-ch’ing, of what stuff am I, that I should do aught but grieve? The day of thy departure left me disconsolate indeed. I thought of my aged mother butchered upon the threshold of the grave. I thought of my innocent wife and child, condemned to the same cruel fate. Deserving as I might have been of Imperial censure, I am now an object of pity to all. Thy return was to honour and renown, while I remained behind with infamy and disgrace. Such is the divergence of man’s destiny.

“Born within the domain of refinement and justice, I passed into an environment of vulgar ignorance. I left behind me obligations to sovereign and family for life amid barbarian hordes; and now barbarian children will carry on the line of my forefathers. And yet my merit was great, my guilt of small account. I had no fair hearing; and when I pause to think of these things, I ask to what end I have lived? With a thrust I could have cleared myself of all blame: my severed throat would have borne witness to my resolution; and between me and my country all would have been over for aye. But to kill myself would have been of no avail: I should only have added to my shame. I therefore steeled myself to obloquy and to life. There were not wanting those who mistook my attitude for compliance, and urged me to a nobler course; ignorant that the joys of a foreign land are sources only of a keener grief.

“O Tzŭ-ch’ing, O my friend, I will complete the half-told record of my former tale. His late Majesty commissioned me, with five thousand infantry under my command, to carry on operations in a distant country. Five brother generals missed their way: I alone reached the theatre of war. With rations for a long march, leading on my men, I passed beyond the limits of the Celestial Land, and entered the territory of the fierce Huns. With five thousand men I stood opposed to a hundred thousand: mine jaded foot-soldiers, theirs horsemen fresh from the stable. Yet we slew their leaders, and captured their standards, and drove them back in confusion towards the north. We obliterated their very traces: we swept them away like dust: we beheaded their general. A martial spirit spread abroad among my men. With them, to die in battle was to return to their homes; while I—I venture to think that I had already accomplished something.

“This victory was speedily followed by a general rising of the Huns. New levies were trained to the use of arms, and at length another hundred thousand barbarians were arrayed against me. The Hun chieftain himself appeared, and with his army surrounded my little band, so unequal in strength,—foot-soldiers opposed to horse. Still my tired veterans fought, each man worth a thousand of the foe, as, covered with wounds, one and all struggled bravely to the fore. The plain was strewed with the dying and the dead: barely a hundred men were left, and these too weak to hold a spear and shield. Yet, when I waved my hand and shouted to them, the sick and wounded arose. Brandishing their blades, and pointing towards the foe, they dismissed the Tartar cavalry like a rabble rout. And even when their arms were gone, their arrows spent, without a foot of steel in their hands, they still rushed, yelling, onward, each eager to lead the way. The very heavens and the earth seemed to gather round me, while my warriors drank tears of blood. Then the Hunnish chieftain, thinking that we should not yield, would have drawn off his forces. But a false traitor told him all: the battle was renewed, and we were lost.

“The Emperor Kao Ti, with 300,000 men at his back, was shut up in P’ing-ch’êng. Generals he had, like clouds; counsellors, like drops of rain. Yet he remained seven days without food, and then barely escaped with life. How much more then I, now blamed on all sides that I did not die? This was my crime. But, O Tzŭ-ch’ing, canst thou say that I would live from craven fear of death? Am I one to turn my back on my country and all those dear to me, allured by sordid thoughts of gain? It was not indeed without cause that I did not elect to die. I longed, as explained in my former letter, to prove my loyalty to my prince. Rather than die to no purpose, I chose to live and to establish my good name. It was better to achieve something than to perish. Of old, Fan Li did not slay himself after the battle of Hui-chi; neither did Ts’ao Mo die after the ignominy of three defeats. Revenge came at last; and thus I too had hoped to prevail. Why then was I overtaken with punishment before the plan was matured? Why were my own flesh and blood condemned before the design could be carried out? It is for this that I raise my face to Heaven, and beating my breast, shed tears of blood.

“O my friend, thou sayest that the House of Han never fails to reward a deserving servant. But thou art thyself a servant of the House, and it would ill beseem thee to say other words than these. Yet Hsiao and Fan were bound in chains; Han and P’êng were sliced to death; Ch’ao Ts’o was beheaded. Chou Po was disgraced, and Tou Ying paid the penalty with his life. Others, great in their generation, have also succumbed to the intrigues of base men, and have been overwhelmed beneath a weight of shame from which they were unable to emerge. And now, the misfortunes of Fan Li and Ts’ao Mo command the sympathies of all.

“My grandfather filled heaven and earth with the fame of his exploits—the bravest of the brave. Yet, fearing the animosity of an Imperial favourite, he slew himself in a distant land, his death being followed by the secession, in disgust, of many a brother-hero. Can this be the reward of which thou speakest?

“Thou too, O my friend, an envoy with a slender equipage, sent on that mission to the robber race, when fortune failed thee even to the last resource of the dagger. Then years of miserable captivity, all but ended by death among the wilds of the far north. Thou left us full of young life, to return a graybeard; thy old mother dead, thy wife gone from thee to another. Seldom has the like of this been known. Even the savage barbarian respected thy loyal spirit: how much more the lord of all under the canopy of the sky? A many-acred barony should have been thine, the ruler of a thousand-charioted fief! Nevertheless, they tell me ’twas but two paltry millions, and the chancellorship of the Tributary States. Not a foot of soil repaid thee for the past, while some cringing courtier gets the marquisate of ten thousand families, and each greedy parasite of the Imperial house is gratified by the choicest offices of the State. If then thou farest thus, what could I expect? I have been heavily repaid for that I did not die. Thou hast been meanly rewarded for thy unswerving devotion to thy prince. This is barely that which should attract the absent servant back to his fatherland.

“And so it is that I do not now regret the past. Wanting though I may have been in my duty to the State, the State was wanting also in gratitude towards me. It was said of old, ‘A loyal subject, though not a hero, will rejoice to die for his country.’ I would die joyfully even now; but the stain of my prince’s ingratitude can never be wiped away. Indeed, if the brave man is not to be allowed to achieve a name, but must die like a dog in a barbarian land, who will be found to crook the back and bow the knee before an Imperial throne, where the bitter pens of courtiers tell their lying tales?

“O my friend, look for me no more. O Tzŭ-ch’ing, what shall I say? A thousand leagues lie between us, and separate us for ever. I shall live out my life as it were in another sphere: my spirit will find its home among a strange people. Accept my last adieu. Speak for me to my old acquaintances, and bid them serve their sovereign well. O my friend, be happy in the bosom of thy family, and think of me no more. Strive to take all care of thyself; and when time and opportunity are thine, write me once again in reply.

“Li Ling salutes thee!”

LU WÊN-SHU

One of the Chinese models of self-help alluded to in the San Tzŭ Ching, the famous school primer, to be described later on, is Lu Wên-shu (first century B.C.). The son of a village gaoler, he was sent by his father to tend sheep, in which capacity he seems to have formed sheets of writing material by plaiting rushes, and otherwise to have succeeded in educating himself. He became an assistant in a prison, and there the knowledge of law which he had picked up stood him in such good stead that he was raised to a higher position; and then, attracting the notice of the governor, he was still further advanced, and finally took his degree, ultimately rising to the rank of governor. In B.C. 67 he submitted to the throne the following well-known memorial:—

“May it please your Majesty.

“Of the ten great follies of our predecessors, one still survives in the maladministration of justice which prevails.

“Under the Ch’ins learning was at a discount; brute force carried everything before it. Those who cultivated a spirit of charity and duty towards their neighbour were despised. Judicial appointments were the prizes coveted by all. He who spoke out the truth was stigmatised as a slanderer, and he who strove to expose abuses was set down as a pestilent fellow. Consequently all who acted up to the precepts of our ancient code found themselves out of place in their generation, and loyal words of good advice to the sovereign remained locked up within their bosoms, while hollow notes of obsequious flattery soothed the monarch’s ear and lulled his heart with false images, to the exclusion of disagreeable realities. And so the rod of empire fell from their grasp for ever.

“At the present moment the State rests upon the immeasurable bounty and goodness of your Majesty. We are free from the horrors of war, from the calamities of hunger and cold. Father and son, husband and wife, are united in their happy homes. Nothing is wanting to make this a golden age save only reform in the administration of justice.

“Of all trusts, this is the greatest and most sacred. The dead man can never come back to life: that which is once cut off cannot be joined again. ‘Rather than slay an innocent man, it were better that the guilty escape.’ Such, however, is not the view of our judicial authorities of to-day. With them, oppression and severity are reckoned to be signs of magisterial acumen and lead on to fortune, whereas leniency entails naught but trouble. Therefore their chief aim is to compass the death of their victims; not that they entertain any grudge against humanity in general, but simply that this is the shortest cut to their own personal advantage. Thus, our market-places run with blood, our criminals throng the gaols, and many thousands annually suffer death. These things are injurious to public morals and hinder the advent of a truly golden age.

“Man enjoys life only when his mind is at peace; when he is in distress, his thoughts turn towards death. Beneath the scourge what is there that cannot be wrung from the lips of the sufferer? His agony is overwhelming, and he seeks to escape by speaking falsely. The officials profit by the opportunity, and cause him to say what will best confirm his guilt. And then, fearing lest the conviction be quashed by higher courts, they dress the victim’s deposition to suit the circumstances of the case, so that, when the record is complete, even were Kao Yao[7] himself to rise from the dead, he would declare that death still left a margin of unexpiated crime. This, because of the refining process adopted to ensure the establishment of guilt.

“Our magistrates indeed think of nothing else. They are the bane of the people. They keep in view their own ends, and care not for the welfare of the State. Truly they are the worst criminals of the age. Hence the saying now runs, ‘Chalk out a prison on the ground, and no one would remain within. Set up a gaoler of wood, and he will be found standing there alone.’[8] Imprisonment has become the greatest of all misfortunes, while among those who break the law, who violate family ties, who choke the truth, there are none to be compared in iniquity with the officers of justice themselves.

“Where you let the kite rear its young undisturbed, there will the phœnix come and build its nest. Do not punish for misguided advice, and by and by valuable suggestions will flow in. The men of old said, ‘Hills and jungles shelter many noxious things; rivers and marshes receive much filth; even the finest gems are not wholly without flaw. Surely then the ruler of an empire should put up with a little abuse.’ But I would have your Majesty exempt from vituperation, and open to the advice of all who have aught to say. I would have freedom of speech in the advisers of the throne. I would sweep away the errors which brought the downfall of our predecessors. I would have reverence for the virtues of our ancient kings and reform in the administration of justice, to the utter confusion of those who now pervert its course. Then indeed would the golden age be renewed over the face of the glad earth, and the people would move ever onwards in peace and happiness boundless as the sky itself.”

Liu Hsiang (B.C. 80-89) was a descendant of the beadle founder of the great Han dynasty. Entering into official life, he sought to curry favour with the reigning Emperor by submitting some secret works on the black art, towards which his Majesty was much inclined. The results not proving successful, he was thrown into prison, but was soon released that he might carry on the publication of the commentary on the Spring and Autumn by Ku-liang. He also revised and re-arranged the historical episodes known as the Chan Kuo Ts’ê, wrote treatises on government and some poetry, and compiled Biographies of Eminent Women, the first work of its kind.

His son, Liu Hsin, was a precocious boy, who early distinguished himself by wide reading in all branches of literature. He worked with his father upon the restoration of the classical texts, especially of the Book of Changes, and later on was chiefly instrumental in establishing the position of Tso’s Commentary on the Spring and Autumn. He catalogued the Imperial Library, and in conjunction with his father discovered—some say compiled—the Chou Ritual.

YANG HSIUNG

A well-known figure in Chinese literature is Yang Hsiung (B.C. 53-A.D. 18). As a boy he was fond of straying from the beaten track and reading whatever he could lay his hands on. He stammered badly, and consequently gave much time to meditation. He propounded an ethical criterion occupying a middle place between those insisted upon by Mencius and by Hsün K’uang, teaching that the nature of man at birth is neither good nor evil, but a mixture of both, and that development in either direction depends wholly upon environment. In glorification of the Book of Changes he wrote the T’ai Hsüan Ching, and to emphasise the value of the Confucian Analects he produced a philosophical treatise known as the Fa Yen, both between A.D. 1 and 6. On completion of this last, his most famous work, a wealthy merchant of the province was so struck by its excellence that he offered to give 100,000 cash if his name should merely be mentioned in it. But Yang answered with scorn that a stag in a pen or an ox in a cage would not be more out of place than the name of a man with nothing but money to recommend him in the sacred pages of a book. Liu Hsin, however, sneeringly suggested that posterity would use Yang Hsiung’s work to cover pickle-jars.

Besides composing some mediocre poetry, Yang Hsiung wrote on acupuncture, music, and philology. There is little doubt that he did not write the Fang Yen, a vocabulary of words and phrases used in various parts of the empire, which was steadily attributed to him until Hung Mai, a critic of the twelfth century, already mentioned in Chapter I. of this Book, made short work of his claims.

A brilliant writer who attracted much attention in his day was Wang Ch’ung (A.D. 27-97). He is said to have picked up his education at bookstalls, with the aid of a superbly retentive memory. Only one of his works is extant, the Lun Hêng, consisting of eighty-five essays on a variety of subjects. In these he tilts against the errors of the age, and exposes even Confucius and Mencius to free and searching criticisms. He is consequently ranked as a heterodox thinker. He showed that the soul could neither exist after death as a spirit nor exercise any influence upon the living. When the body decomposes, the soul, a phenomenon inseparable from vitality, perishes with it. He further argued that if the souls of human beings were immortal, those of animals would be immortal likewise; and that space itself would not suffice to contain the countless shades of the men and creatures of all time.

Ma Jung (A.D. 79-166) was popularly known as the Universal Scholar. His learning in Confucian lore was profound, and he taught upwards of one thousand pupils. He introduced the system of printing notes or comments in the body of the page, using for that purpose smaller characters cut in double columns; and it was by a knowledge of this fact that a clever critic of the T’ang dynasty was able to settle the spuriousness of an early edition of the Tao-Tê-Ching with double-column commentary, which had been attributed to Ho Shang Kung, a writer of the second century B.C.

TS’AI YUNG—CHÊNG HSÜAN

Ts’ai Yung (A.D. 133-192), whose tippling propensities earned for him the nickname of the Drunken Dragon, is chiefly remembered in connection with literature as superintending the work of engraving on stone the authorised text of the Five Classics. With red ink he wrote these out on forty-six tablets for the workmen to cut. The tablets were placed in the Hung-tu College, and fragments of them are said to be still in existence.

The most famous of the pupils who sat at the feet of Ma Jung was Chêng Hsüan (A.D. 127-200). He is one of the most voluminous of all the commentators upon the Confucian classics. He lived for learning. The very slave-girls of his household were highly educated, and interlarded their conversation with quotations from the Odes. He was nevertheless fond of wine, and is said to have been able to take three hundred cups at a sitting without losing his head. Perhaps it may be as well to add that a Chinese cup holds about a thimbleful. As an instance of the general respect in which he was held, it is recorded that at his request the chief of certain rebels spared the town of Kao-mi (his native place), marching forward by another route. In A.D. 200 Confucius appeared to him in a vision, and he knew by this token that his hour was at hand. Consequently, he was very loth to respond to a summons sent to him from Chi-chou in Chihli by the then powerful Yüan Shao. He set out indeed upon the journey, but died on the way.

It is difficult to bring the above writers, representatives of a class, individually to the notice of the reader. Though each one wandered into by-paths of his own, the common lode-star was Confucianism—elucidation of the Confucian Canon. For although, with us, commentaries upon the classics are not usually regarded as literature, they are so regarded by the Chinese, who place such works in the very highest rank, and reward successful commentators with the coveted niche in the Confucian temple.

CHAPTER II
POETRY

At the beginning of the second century B.C., poetry was still composed on the model of the Li Sao, and we are in possession of a number of works assigned to Chia I (B.C. 199-168), Tung-fang So (b. B.C. 160), Liu Hsiang, and others, all of which follow on the lines of Ch’ü Yüan’s great poem. But gradually, with the more definite establishment of what we may call classical influence, poets went back to find their exemplars in the Book of Poetry, which came as it were from the very hand of Confucius himself. Poems were written in metres of four, five, and seven words to a line. Ssŭ-ma Hsiang-ju (d. B.C. 117), a gay Lothario who eloped with a young widow, made such a name with his verses that he was summoned to Court, and appointed by the Emperor to high office. His poems, however, have not survived.

Mei Shêng (d. B.C. 140), who formed his style on Ssŭ-ma, has the honour of being the first to bring home to his fellow-countrymen the extreme beauty of the five-word metre. From him modern poetry may be said to date. Many specimens of his workmanship are extant:—

(1.) “Green grows the grass upon the bank, The willow-shoots are long and lank; A lady in a glistening gown Opens the casement and looks down The roses on her cheek blush bright, Her rounded arm is dazzling white; A singing-girl in early life, And now a careless roué’s wife.... Ah, if he does not mind his own, He’ll find some day the bird has flown!”

(2.) “The red hibiscus and the reed, The fragrant flowers of marsh and mead, All these I gather as I stray, As though for one now far away. I strive to pierce with straining eyes The distance that between us lies. Alas that hearts which beat as one Should thus be parted and undone!”

LIU-HÊNG—LIU CH’Ê

Liu Hêng (d. B.C. 157) was the son by a concubine of the founder of the Han dynasty, and succeeded in B.C. 180 as fourth Emperor of the line. For over twenty years he ruled wisely and well. He is one of the twenty-four classical examples of filial piety, having waited on his sick mother for three years without changing his clothes. He was a scholar, and was canonised after death by a title which may fairly be rendered “Beauclerc.” The following is a poem which he wrote on the death of his illustrious father, who, if we can accept as genuine the remains attributed to him, was himself also a poet:—

“I look up, the curtains are there as of yore; I look down, and there is the mat on the floor; These things I behold, but the man is no more.

“To the infinite azure his spirit has flown, And I am left friendless, uncared-for, alone, Of solace bereft, save to weep and to moan.

“The deer on the hillside caressingly bleat, And offer the grass for their young ones to eat, While birds of the air to their nestlings bring meat

“But I a poor orphan must ever remain, My heart, still so young, overburdened with pain For him I shall never set eyes on again.

“’Tis a well-worn old saying, which all men allow, That grief stamps the deepest of lines on the brow: Alas for my hair, it is silvery now!

“Alas for my father, cut off in his pride! Alas that no more I may stand by his side! Oh, where were the gods when that great hero died?”

The literary fame of the Beauclerc was rivalled, if not surpassed, by his grandson, Liu Ch’ê (B.C. 156-87), who succeeded in B.C. 140 as sixth Emperor of the Han dynasty. He was an enthusiastic patron of literature. He devoted great attention to music as a factor in national life. He established important religious sacrifices to heaven and earth. He caused the calendar to be reformed by his grand astrologer, the historian Ssŭ-ma Ch’ien, from which date accurate chronology may be almost said to begin. His generals carried the Imperial arms into Central Asia, and for many years the Huns were held in check. Notwithstanding his enlightened policy, the Emperor was personally much taken up with the magic and mysteries which were being gradually grafted on to the Tao of Lao Tzŭ, and he encouraged the numerous quacks who pretended to have discovered the elixir of life. The following are specimens of his skill in poetry:—

“The autumn blast drives the white scud in the sky, Leaves fade, and wild geese sweeping south meet the eye; The scent of late flowers fills the soft air above. My heart full of thoughts of the lady I love. In the river the barges for revel-carouse Are lined by white waves which break over their bows; Their oarsmen keep time to the piping and drumming.... Yet joy is as naught Alloyed by the thought That youth slips away and that old age is coming.”

The next lines were written upon the death of a harem favourite, to whom he was fondly attached:—

“The sound of rustling silk is stilled, With dust the marble courtyard filled; No footfalls echo on the floor, Fallen leaves in heaps block up the door.... For she, my pride, my lovely one, is lost, And I am left, in hopeless anguish tossed.”

A good many anonymous poems have come down to us from the first century B.C., and some of these contain here and there quaint and pleasing conceits, as, for instance—

“Man reaches scarce a hundred, yet his tears Would fill a lifetime of a thousand years.”

The following is a poem of this period, the author of which is unknown:—

“Forth from the eastern gate my steeds I drive, And lo! a cemetery meets my view; Aspens around in wild luxuriance thrive, The road is fringed with fir and pine and yew. Beneath my feet lie the forgotten dead, Wrapped in a twilight of eternal gloom; Down by the Yellow Springs their earthy bed, And everlasting silence is their doom. How fast the lights and shadows come and go! Like morning dew our fleeting life has passed; Man, a poor traveller on earth below, Is gone, while brass and stone can still outlast. Time is inexorable, and in vain Against his might the holiest mortal strives; Can we then hope this precious boon to gain, By strange elixirs to prolong our lives?... Oh, rather quaff good liquor while we may, And dress in silk and satin every day!”

THE LADY PAN

Women now begin to appear in Chinese literature. The Lady Pan was for a long time chief favourite of the Emperor who ruled China B.C. 32-6. So devoted was his Majesty that he even wished her to appear alongside of him in the Imperial chariot. Upon which she replied, “Your handmaid has heard that wise rulers of old were always accompanied by virtuous ministers, but never that they drove out with women by their side.” She was ultimately supplanted by a younger and more beautiful rival, whereupon she forwarded to the Emperor one of those fans, round or octagonal frames of bamboo with silk stretched over them,[9] which in this country are called “fire-screens,” inscribed with the following lines:—

“O fair white silk, fresh from the weaver’s loom, Clear as the frost, bright as the winter snow— See! friendship fashions out of thee a fan, Round as the round moon shines in heaven above, At home, abroad, a close companion thou, Stirring at every move the grateful gale. And yet I fear, ah me! that autumn chills, Cooling the dying summer’s torrid rage, Will see thee laid neglected on the shelf, All thought of bygone days, like them bygone.”

The phrase “autumn fan” has long since passed into the language, and is used figuratively of a deserted wife.

CHAPTER III
HISTORY—LEXICOGRAPHY

SSŬ-MA CH’IEN

So far as China is concerned, the art of writing history may be said to have been created during the period under review. Ssŭ-ma Ch’ien, the so-called Father of History, was born about B.C. 145. At the age of ten he was already a good scholar, and at twenty set forth upon a round of travel which carried him to all parts of the empire. In B.C. 110 his father died, and he stepped into the hereditary post of grand astrologer. After devoting some time and energy to the reformation of the calendar, he now took up the historical work which had been begun by his father, and which was ultimately given to the world as the Historical Record. It is a history of China from the earliest ages down to about one hundred years before the Christian era, in one hundred and thirty chapters, arranged under five headings, as follows:—(1) Annals of the Emperors; (2) Chronological Tables; (3) Eight chapters on Rites, Music, the Pitch-pipes, the Calendar, Astrology, Imperial Sacrifices, Watercourses, and Political Economy; (4) Annals of the Feudal Nobles; and (5) Biographies of many of the eminent men of the period, which covers nearly three thousand years. In such estimation is this work justly held that its very words have been counted, and found to number 526,500 in all. It must be borne in mind that these characters were, in all probability, scratched with a stylus on bamboo tablets, and that previous to this there was no such thing as a history on a general and comprehensive plan; in fact, nothing beyond mere local annals in the style of the Spring and Autumn.

Since the Historical Record, every dynasty has had its historian, their works in all cases being formed upon the model bequeathed by Ssŭ-ma Ch’ien. The Twenty-four Dynastic Histories of China were produced in 1747 in a uniform series bound up in 219 large volumes, and together show a record such as can be produced by no other country in the world.

The following are specimens of Ssŭ-ma Ch’ien’s style:—

(1.) “When the House of Han arose, the evils of their predecessors had not passed away. Husbands still went off to the wars. The old and the young were employed in transporting food. Production was almost at a standstill, and money became scarce. So much so, that even the Son of Heaven had not carriage-horses of the same colour; the highest civil and military authorities rode in bullock-carts, and the people at large knew not where to lay their heads.

“At this epoch, the coinage in use was so heavy and cumbersome that the people themselves started a new issue at a fixed standard of value. But the laws were too lax, and it was impossible to prevent grasping persons from coining largely, buying largely, and then holding against a rise in the market. The consequence was that prices went up enormously. Rice sold at 10,000 cash per picul; a horse cost 100 ounces of silver. But by and by, when the empire was settling down to tranquillity, his Majesty Kao Tsu gave orders that no trader should wear silk nor ride in a carriage; besides which, the imposts levied upon this class were greatly increased, in order to keep them down. Some years later these restrictions were withdrawn; still, however, the descendants of traders were disqualified from holding any office connected with the State.

“Meanwhile, certain levies were made on a scale calculated to meet the exigencies of public expenditure; while the land-tax and customs revenue were regarded by all officials, from the Emperor downwards, as their own personal emolument. Grain was forwarded by water to the capital for the use of the officials there, but the quantity did not amount to more than a few hundred thousand piculs every year.

“Gradually the coinage began to deteriorate and light coins to circulate; whereupon another issue followed, each piece being marked ‘half an ounce.’ But at length the system of private issues led to serious abuses, resulting first of all in vast sums of money accumulating in the hands of individuals; finally, in rebellion, until the country was flooded with the coinage of the rebels, and it became necessary to enact laws against any such issues in the future.

“At this period the Huns were harassing our northern frontier, and soldiers were massed there in large bodies; in consequence of which food became so scarce that the authorities offered certain rank and titles of honour to those who would supply a given quantity of grain. Later on, drought ensued in the west, and in order to meet necessities of the moment, official rank was again made a marketable commodity, while those who broke the laws were allowed to commute their penalties by money payments. And now horses began to reappear in official stables, and in palace and hall signs of an ampler luxury were visible once more.

“Thus it was in the early days of the dynasty, until some seventy years after the accession of the House of Han. The empire was then at peace. For a long time there had been neither flood nor drought, and a season of plenty had ensued. The public granaries were well stocked; the Government treasuries were full. In the capital, strings of cash were piled in myriads, until the very strings rotted, and their tale could no longer be told. The grain in the Imperial storehouses grew mouldy year by year. It burst from the crammed granaries, and lay about until it became unfit for human food. The streets were thronged with horses belonging to the people, and on the highroads whole droves were to be seen, so that it became necessary to prohibit the public use of mares. Village elders ate meat and drank wine. Petty government clerkships and the like lapsed from father to son; the higher offices of State were treated as family heirlooms. For there had gone abroad a spirit of self-respect and of reverence for the law, while a sense of charity and of duty towards one’s neighbour kept men aloof from disgrace and shame.

“At length, under lax laws, the wealthy began to use their riches for evil purposes of pride and self-aggrandisement and oppression of the weak. Members of the Imperial family received grants of land, while from the highest to the lowest, every one vied with his neighbour in lavishing money on houses, and appointments, and apparel, altogether beyond the limit of his means. Such is the everlasting law of the sequence of prosperity and decay.

“Then followed extensive military preparations in various parts of the empire; the establishment of a tradal route with the barbarians of the south-west, for which purpose mountains were hewn through for many miles. The object was to open up the resources of those remote districts, but the result was to swamp the inhabitants in hopeless ruin. Then, again, there was the subjugation of Korea; its transformation into an Imperial dependency; with other troubles nearer home. There was the ambush laid for the Huns, by which we forfeited their alliance, and brought them down upon our northern frontier. Nothing, in fact, but wars and rumours of wars from day to day. Money was constantly leaving the country. The financial stability of the empire was undermined, and its impoverished people were driven thereby into crime. Wealth had been frittered away, and its renewal was sought in corruption. Those who brought money in their hands received appointments under government. Those who could pay escaped the penalties of their guilt. Merit had to give way to money. Shame and scruples of conscience were laid aside. Laws and punishments were administered with severer hand. From this period must be dated the rise and growth of official venality.”

(2.) “The Odes have it thus:—‘We may gaze up to the mountain’s brow: we may travel along the great road;’ signifying that although we cannot hope to reach the goal, still we may push on thitherwards in spirit.

“While reading the works of Confucius, I have always fancied I could see the man as he was in life; and when I went to Shantung I actually beheld his carriage, his robes, and the material parts of his ceremonial usages. There were his descendants practising the old rites in their ancestral home, and I lingered on, unable to tear myself away. Many are the princes and prophets that the world has seen in its time, glorious in life, forgotten in death. But Confucius, though only a humble member of the cotton-clothed masses, remains among us after many generations. He is the model for such as would be wise. By all, from the Son of Heaven down to the meanest student, the supremacy of his principles is fully and freely admitted. He may indeed be pronounced the divinest of men.”

(3.) “In the 9th moon the First Emperor was buried in Mount Li, which in the early days of his reign he had caused to be tunnelled and prepared with that view. Then, when he had consolidated the empire, he employed his soldiery, to the number of 700,000, to bore down to the Three Springs (that is, until water was reached), and there a foundation of bronze[10] was laid and the sarcophagus placed thereon. Rare objects and costly jewels were collected from the palaces and from the various officials, and were carried thither and stored in vast quantities. Artificers were ordered to construct mechanical cross-bows, which, if any one were to enter, would immediately discharge their arrows. With the aid of quicksilver, rivers were made, the Yang-tsze, the Hoang-ho, and the great ocean, the metal being poured from one into the other by machinery. On the roof were delineated the constellations of the sky, on the floor the geographical divisions of the earth. Candles were made from the fat of the man-fish (walrus), calculated to last for a very long time.

“The Second Emperor said, ‘It is not fitting that the concubines of my late father who are without children should leave him now;’ and accordingly he ordered them to accompany the dead monarch to the next world, those who thus perished being many in number.

“When the interment was completed, some one suggested that the workmen who had made the machinery and concealed the treasure knew the great value of the latter, and that the secret would leak out. Therefore, so soon as the ceremony was over, and the path giving access to the sarcophagus had been blocked up at its innermost end, the outside gate at the entrance to this path was let fall, and the mausoleum was effectually closed, so that not one of the workmen escaped. Trees and grass were then planted around, that the spot might look like the rest of the mountain.”

The history by Ssŭ-ma Ch’ien stops about 100 years before Christ. To carry it on from that point was the ambition of a scholar named Pan Piao (A.D. 3-54), but he died while still collecting materials for his task. His son, Pan Ku, whose scholarship was extensive and profound, took up the project, but was impeached on the ground that he was altering the national records at his own discretion, and was thrown into prison. Released on the representations of a brother, he continued his work; however, before its completion he became involved in a political intrigue and was again thrown into prison, where he died. The Emperor handed the unfinished history to Pan Chao, his gifted sister, who had been all along his assistant, and by her it was brought to completion down to about the Christian era, where the occupancy of the throne by a usurper divides the Han dynasty into two distinct periods. This lady was also the author of a volume of moral advice to young women, and of many poems and essays.

HSÜ SHÊN

Lexicography, which has since been so widely cultivated by the Chinese, was called into being by a famous scholar named Hsü Shên (d. A.D. 120). Entering upon an official career, he soon retired and devoted the rest of his life to books. He was a deep student of the Five Classics, and wrote a work on the discrepancies in the various criticisms of these books. But it is by his Shuo Wên that he is now known. This was a collection, with short explanatory notes, of all the characters—about ten thousand—which were to be found in Chinese literature as then existing, written in what is now known as the Lesser Seal style. It is the oldest Chinese dictionary of which we have any record, and has hitherto formed the basis of all etymological research. It is arranged under 540 radicals or classifiers, that is to say, specially selected portions of characters which indicate to some extent the direction in which lies the sense of the whole character, and its chief object was to exhibit the pictorial features of Chinese writing.

CHAPTER IV
BUDDHISM

The introduction of Buddhism into China must now be considered, especially under its literary aspect.

So early as B.C. 217 we read of Buddhist priests, Shih-li-fang and others, coming to China. The “First Emperor” seems to have looked upon them with suspicion. At any rate, he threw them into prison, from which, we are told, they were released in the night by a golden man or angel. Nothing more was heard of Buddhism until the Emperor known as Ming Ti, in consequence, it is said, of a dream in which a foreign god appeared to him, sent off a mission to India to see what could be learnt upon the subject of this barbarian religion. The mission, which consisted of eighteen persons, returned about A.D. 67, accompanied by two Indian Buddhists named Kashiapmadanga and Gobharana. These two settled at Lo-yang in Honan, which was then the capital, and proceeded to translate into Chinese the Sûtra of Forty-two Sections—the beginning of a long line of such. Soon afterwards the former died, but the seed had been sown, and a great rival to Taoism was about to appear on the scene.

Towards the close of the second century A.D. another Indian Buddhist, who had come to reside at Ch’ang-an in Shensi, translated the sûtra known as the Lotus of the Good Law, and Buddhist temples were built in various parts of China. By the beginning of the fourth century Chinese novices were taking the vows required for the Buddhist priesthood, and monasteries were endowed for their reception.

FA HSIEN

In A.D. 399 Fa Hsien started on his great pedestrian journey from the heart of China overland to India, his object being to procure copies of the Buddhist Canon, statues, and relics. Those who accompanied him at starting either turned back or died on the way, and he finally reached India with only one companion, who settled there and never returned to China. After visiting various important centres, such as Magadha, Patna, Benares, and Buddha-Gaya, and effecting the object of his journey, he took passage on a merchant-ship, and reached Ceylon. There he found a large junk which carried him to Java, whence, after surviving many perils of the sea, he made his way on board another junk to the coast of Shantung, disembarking in A.D. 414 with all his treasures at the point now occupied by the German settlement of Kiao-chow.

The narrative of his adventurous journey, as told by himself, is still in existence, written in a crabbed and difficult style. His itinerary has been traced, and nearly all the places mentioned by him have been identified. The following passage refers to the desert of Gobi, which the travellers had to cross:—

“In this desert there are a great many evil spirits and hot winds. Those who encounter the latter perish to a man. There are neither birds above nor beasts below. Gazing on all sides, as far as the eye can reach, in order to mark the track, it would be impossible to succeed but for the rotting bones of dead men which point the way.”

Buddha-Gaya, the scene of recent interesting explorations conducted by the late General Cunningham, was visited by Fa Hsien, and is described by him as follows:—

“The pilgrims now arrived at the city of Gaya, also a complete waste within its walls. Journeying about three more miles southwards, they reached the place where the Bôdhisatva formerly passed six years in self-mortification. It is very woody. From this point going west a mile, they arrived at the spot where Buddha entered the water to bathe, and a god pressed down the branch of a tree to pull him out of the pool. Also, by going two-thirds of a mile farther north, they reached the place where the two lay-sisters presented Buddha with congee made with milk. Two-thirds of a mile to the north of this is the place where Buddha, sitting on a stone under a great tree and facing the east, ate it. The tree and the stone are both there still, the latter being about six feet in length and breadth by over two feet in height. In Central India the climate is equable; trees will live several thousand, and even so much as ten thousand years. From this point going north-east half a yojana, the pilgrims arrived at the cave where the Bôdhisatva, having entered, sat down cross-legged with his face to the west, and reflected as follows: ‘If I attain perfect wisdom, there should be some miracle in token thereof.’ Whereupon the silhouette of Buddha appeared upon the stone, over three feet in length, and is plainly visible to this day. Then heaven and earth quaked mightily, and the gods who were in space cried out, saying, ‘This is not the place where past and future Buddhas have attained and should attain perfect wisdom. The proper spot is beneath the Bô tree, less than half a yojana to the south-west of this.’ When the gods had uttered these words, they proceeded to lead the way with singing in order to conduct him thither. The Bôdhisatva got up and followed, and when thirty paces from the tree a god gave him the kus’a grass. Having accepted this, he went on fifteen paces farther, when five hundred dark-coloured birds came and flew three times round him, and departed. The Bôdhisatva went on to the Bô tree, and laying down his kus’a grass, sat down with his face to the east. Then Mara, the king of the devils, sent three beautiful women to approach from the north and tempt him; he himself approaching from the south with the same object. The Bôdhisatva pressed the ground with his toes, whereupon the infernal army retreated in confusion, and the three women became old. At the above-mentioned place where Buddha suffered mortification for six years, and on all these other spots, men of after ages have built pagodas and set up images, all of which are still in existence. Where Buddha, having attained perfect wisdom, contemplated the tree for seven days, experiencing the joys of emancipation; where Buddha walked backwards and forwards, east and west, under the Bô tree for seven days; where the gods produced a jewelled chamber and worshipped Buddha for seven days; where the blind dragon Muchilinda enveloped Buddha for seven days; where Buddha sat facing the east on a square stone beneath the nyagrodha tree, and Brahmâ came to salute him; where the four heavenly kings offered their alms-bowls; where the five hundred traders gave him cooked rice and honey; where he converted the brothers Kasyapa with their disciples to the number of one thousand souls—on all these spots stûpas have been raised.”

The following passage refers to Ceylon, called by Fa Hsien the Land of the Lion, that is, Singhala, from the name of a trader who first founded a kingdom there:—

“This country had originally no inhabitants; only devils and spirits and dragons lived in it, with whom the merchants of neighbouring countries came to trade. When the exchange of commodities took place, the devils and spirits did not appear in person, but set out their valuables with the prices attached. Then the merchants, according to the prices, bought the things and carried them off. But from the merchants going backwards and forwards and stopping on their way, the attractions of the place became known to the inhabitants of the neighbouring countries, who also went there, and thus it became a great nation. The temperature is very agreeable in this country; there is no distinction of summer and winter. The trees and plants are always green, and cultivation of the soil is carried on as men please, without regard to seasons.”

KUMARAJIVA—HSÜAN TSANG

Meanwhile, the Indian Kumarajiva, one of the Four Suns of Buddhism, had been occupied between A.D. 405 and 412 in dictating Chinese commentaries on the Buddhist Canon to some eight hundred priests. He also wrote a shâstra on Reality and Appearance, and translated the Diamond Sûtra, which has done more to popularise Buddhism with the educated classes than all the material parts of this religion put together. Chinese poets and philosophers have drawn inspiration and instruction from its pages, and the work might now almost be classed as a national classic. Here are two short extracts:—

(1.) “Buddha said, O Subhūti, tell me after thy wit, can a man see the Buddha in the flesh?

“He cannot, O World-Honoured, and for this reason: The Buddha has declared that flesh has no objective existence.

“Then Buddha told Subhūti, saying, All objective existences are unsubstantial and unreal. If a man can see clearly that they are so, then can he see the Buddha.”

(2.) “Buddha said, O Subhūti, if one man were to collect the seven precious things from countless galaxies of worlds, and bestow all these in charity, and another virtuous man, or virtuous woman, were to become filled with the spirit, and held fast by this sûtra, preaching it ever so little for the conversion of mankind, I say unto you that the happiness of this last man would far exceed the happiness of that other man.

“Conversion to what? To the disregard of objective existences, and to absolute quiescence of the individual. And why? Because every external phenomenon is like a dream, like a vision, like a bubble, like shadow, like dew, like lightning, and should be regarded as such.”

In A.D. 520 Bôdhidharma came to China, and was received with honour. He had been the son of a king in Southern India. He taught that religion was not to be learnt from books, but that man should seek and find the Buddha in his own heart. Just before his arrival Sung Yün had been sent to India to obtain more Buddhist books, and had remained two years in Kandahar, returning with 175 volumes.

Then, in 629, Hsüan Tsang set out for India with the same object, and also to visit the holy places of Buddhism. He came back in 645, bringing with him 657 Buddhist books, besides many images and pictures and 150 relics. He spent the rest of his life translating these books, and also, like Fa Hsien, wrote a narrative of his travels.

This brings us down to the beginning of the T’ang dynasty, when Buddhism had acquired, in spite of much opposition and even persecution, what has since proved to be a lasting hold upon the masses of the Chinese people.

BOOK THE THIRD
MINOR DYNASTIES (A.D. 200-600)

CHAPTER I
POETRY—MISCELLANEOUS LITERATURE

The centuries which elapsed between A.D. 200 and 600 were not favourable to the development and growth of a national literature. During a great part of the time the empire was torn by civil wars; there was not much leisure for book-learning, and few patrons to encourage it. Still the work was carried on, and many great names have come down to us.

The dark years between A.D. 196 and 221, which witnessed the downfall of the House of Han, were illumined by the names of seven writers, now jointly known as the Seven Scholars of the Chien-An period. They were all poets. There was Hsü Kan, who fell under the influence of Buddhism and translated into Chinese the Pranyamûla shâstra tikâ of Nâgârdjuna. The following lines are by him:—

“O floating clouds that swim in heaven above, Bear on your wings these words to him I love... Alas! you float along nor heed my pain, And leave me here to love and long in vain! I see other dear ones to their homes return, And for his coming shall not I too yearn? Since my lord left—ah me, unhappy day!— My mirror’s dust has not been brushed away; My heart, like running water, knows no peace. But bleeds and bleeds forever without cease.”

K’UNG JUNG—WANG TS’AN

There was K’ung Jung, a descendant of Confucius in the twentieth degree, and a most precocious child. At ten years of age he went with his father to Lo-yang, where Li Ying, the Dragon statesman, was at the height of his political reputation. Unable from the press of visitors to gain admission, he told the doorkeeper to inform Li Ying that he was a connection, and thus succeeded in getting in. When Li Ying asked him what the connection was, he replied, “My ancestor Confucius and your ancestor Lao Tzŭ were friends engaged in the quest for truth, so that you and I may be said to be of the same family.” Li Ying was astonished, but Ch’ên Wei said, “Cleverness in youth does not mean brilliancy in later life,” upon which K’ung Jung remarked, “You, sir, must evidently have been very clever as a boy.” Entering official life, he rose to be Governor of Po-hai in Shantung; but he incurred the displeasure of the great Ts’ao Ts’ao, and was put to death with all his family. He was an open-hearted man, and fond of good company. “If my halls are full of guests,” he would say, “and my bottles full of wine, I am happy.”

The following is a specimen of his poetry:—

“The wanderer reaches home with joy From absence of a year and more: His eye seeks a beloved boy— His wife lies weeping on the floor.

“They whisper he is gone. The glooms Of evening fall; beyond the gate A lonely grave in outline looms To greet the sire who came too late.

“Forth to the little mound he flings, Where wild-flowers bloom on every side.... His bones are in the Yellow Springs, His flesh like dust is scattered wide.

“‘O child, who never knew thy sire, For ever now to be unknown, Ere long thy wandering ghost shall tire Of flitting friendless and alone.

“‘O son, man’s greatest earthly boon, With thee I bury hopes and fears.’ He bowed his head in grief, and soon His breast was wet with rolling tears.

“Life’s dread uncertainty he knows, But oh for this untimely close!”

There was Wang Ts’an (A.D. 177-217), a learned man who wrote an Ars Poetica, not, however, in verse. A youth of great promise, he excelled as a poet, although the times were most unfavourable to success. It has been alleged, with more or less truth, that all Chinese poetry is pitched in the key of melancholy; that the favourite themes of Chinese poets are the transitory character of life with its partings and other ills, and the inevitable approach of death, with substitution of the unknown for the known. Wang Ts’an had good cause for his lamentations. He was forced by political disturbances to leave his home at the capital and seek safety in flight. There, as he tells us,

“Wolves and tigers work their own sweet will.”

On the way he finds

“Naught but bleached bones covering the plain ahead,”

and he comes across a famine-stricken woman who had thrown among the bushes a child she was unable to feed. Arriving at the Great River, the setting sun brings his feelings to a head:—

“Streaks of light still cling to the hill-tops, While a deeper shade falls upon the steep slopes; The fox makes his way to his burrow, Birds fly back to their homes in the wood, Clear sound the ripples of the rushing waves, Along the banks the gibbons scream and cry, My sleeves are fluttered by the whistling gale, The lapels of my robe are drenched with dew. The livelong night I cannot close my eyes. I arise and seize my guitar, Which, ever in sympathy with man’s changing moods, Now sounds responsive to my grief.”

But music cannot make him forget his kith and kin—

“Most of them, alas! are prisoners, And weeping will be my portion to the end. With all the joyous spots in the empire, Why must I remain in this place? Ah, like the grub in smartweed, I am growing insensible to bitterness.”

By the last line he means to hint “how much a long communion tends to make us what we are.”

There was Ying Yang, who, when his own political career was cut short, wrote a poem with a title which may be interpreted as “Regret that a Bucephalus should stand idle.”

There was Liu Chêng, who was put to death for daring to cast an eye upon one of the favourites of the great general Ts’ao Ts’ao, virtual founder of the House of Wei. Ch’ên Lin and Yüan Yü complete the tale.

TS’AO TS’AO

To these seven names an eighth and a ninth are added by courtesy: those of Ts’ao Ts’ao above mentioned, and of his third son, Ts’ao Chih, the poet. The former played a remarkable part in Chinese history. His father had been adopted as son by the chief eunuch of the palace, and he himself was a wild young man much given to coursing and hawking. He managed, however, to graduate at the age of twenty, and, after distinguishing himself in a campaign against insurgents, raised a volunteer force to purge the country of various powerful chieftains who threatened the integrity of the empire. By degrees the supreme power passed into his hands, and he caused the weak Emperor to raise his daughter to the rank of Empress. He is popularly regarded as the type of a bold bad Minister and of a cunning unscrupulous rebel. His large armies are proverbial, and at one time he is said to have had so many as a million of men under arms. As an instance of the discipline which prevailed in his camp, it is said that he once condemned himself to death for having allowed his horse to shy into a field of grain, in accordance with his own severe regulations against any injury to standing crops. However, in lieu of losing his head, he was persuaded to satisfy his sense of justice by cutting off his hair. The following lines are from a song by him, written in an abrupt metre of four words to the line:—

“Here is wine, let us sing; For man’s life is short, Like the morning dew, Its best days gone by. But though we would rejoice, Sorrows are hard to forget, What will make us forget them? Wine, and only wine.”

After Ts’ao Ts’ao’s death came the epoch of the Three Kingdoms, the romantic story of which is told in the famous novel to be mentioned later on. Ts’ao Ts’ao’s eldest son became the first Emperor of one of these, the Wei Kingdom, and Ts’ao Chih, the poet, occupied an awkward position at court, an object of suspicion and dislike. At ten years of age he already excelled in composition, so much so that his father thought he must be a plagiarist; but he settled the question by producing off-hand poems on any given theme. “If all the talent of the world,” said a contemporary poet, “were represented by ten, Ts’ao Chih would have eight, I should have one, and the rest of mankind one between them.” There is a story that on one occasion, at the bidding of his elder brother, probably with mischievous intent, he composed an impromptu stanza while walking only seven steps. It has been remembered more for its point than its poetry:—

“A fine dish of beans had been placed in the pot With a view to a good mess of pottage all hot. The beanstalks, aflame, a fierce heat were begetting, The beans in the pot were all fuming and fretting. Yet the beans and the stalks were not born to be foes; Oh, why should these hurry to finish off those?”

The following extract from a poem of his contains a very well-known maxim, constantly in use at the present day:—

“The superior man takes precautions, And avoids giving cause for suspicion. He will not pull up his shoes in a melon-field, Nor under a plum-tree straighten his hat. Brothers- and sisters-in-law may not join hands, Elders and youngers may not walk abreast; By toil and humility the handle is grasped; Moderate your brilliancy, and difficulties disappear.”

LIU LING

During the third century A.D. another and more mercurial set of poets, also seven in number, formed themselves into a club, and became widely famous as the Seven Sages of the Bamboo Grove. Among these was Liu Ling, a hard drinker, who declared that to a drunken man “the affairs of this world appear but as so much duckweed on a river.” He wished to be always accompanied by a servant with wine, followed by another with a spade, so that he might be buried where he fell. On one occasion, yielding to the entreaties of his wife, he promised to “swear off,” and bade her prepare the usual sacrifices of wine and meat. When all was ready, he prayed, saying, “O God, who didst give to Liu Ling a reputation through wine, he being able to consume a gallon at a sitting and requiring a quart to sober him again, listen not to the words of his wife, for she speaketh not truth.” Thereupon he drank up the sacrificial wine, and was soon as drunk as ever. His bias was towards the Tao of Lao Tzŭ, and he was actually plucked for his degree in consequence of an essay extolling the heterodox doctrine of Inaction. The following skit exhibits this Taoist strain to a marked degree:—

“An old gentleman, a friend of mine (that is, himself), regards eternity as but a single day, and whole centuries as but an instant of time. The sun and moon are the windows of his house; the cardinal points are the boundaries of his domain. He wanders unrestrained and free; he dwells within no walls. The canopy of heaven is his roof; his resting-place is the lap of earth. He follows his fancy in all things. He is never for a moment without a wine-flask in one hand, a goblet in the other. His only thought is wine: he knows of naught beyond.

“Two respectable philanthropists, hearing of my friend’s weakness, proceeded to tax him on the subject; and with many gestures of disapprobation, fierce scowls, and gnashing of teeth, preached him quite a sermon on the rules of propriety, and sent his faults buzzing round his head like a swarm of bees.

“When they began, the old gentleman filled himself another bumper; and sitting down, quietly stroked his beard and sipped his wine by turns, until at length he lapsed into a semi-inebriate state of placid enjoyment, varied by intervals of absolute unconsciousness or of partial return to mental lucidity. His ears were beyond the reach of thunder; he could not have seen a mountain. Heat and cold existed for him no more. He knew not even the workings of his own mind. To him, the affairs of this world appeared but as so much duckweed on a river; while the two philanthropists at his side looked like two wasps trying to convert a caterpillar” (into a wasp, as the Chinese believe is done).

Another was Hsi K’ang, a handsome young man, seven feet seven inches in height, who was married—a doubtful boon—into the Imperial family. His favourite study was alchemistic research, and he passed his days sitting under a willow-tree in his courtyard and experimenting in the transmutation of metals, varying his toil with music and poetry, and practising the art of breathing with a view to securing immortality. Happening, however, to offend by his want of ceremony one of the Imperial princes, who was also a student of alchemy, he was denounced to the Emperor as a dangerous person and a traitor, and condemned to death. Three thousand disciples offered each one to take the place of their beloved master, but their request was not granted. He met his fate with fortitude, calmly watching the shadows thrown by the sun and playing upon his lute.

HSIANG HSIU—YÜAN CHI

The third was Hsiang Hsiu, who also tried his hand at alchemy, and whose commentary on Chuang Tzŭ was stolen, as has been already stated, by Kuo Hsiang.

The fourth was Yüan Hsien, a wild harum-scarum fellow, but a performer on the guitar and a great authority on the theory of music. He and his uncle, both poverty-stricken, lived on one side of the road, while a wealthier branch of the family lived on the other side. On the seventh of the seventh moon the latter put out all their grand fur robes and fine clothes to air, as is customary on that day; whereupon Yüan Hsien on his side forked up a pair of the short breeches, called calf-nose drawers, worn by the common coolies, explaining to a friend that he was a victim to the tyranny of custom.

The fifth was Yüan Chi, another musician, whose harpsichords became the “Strads” of China. He entered the army and rose to a high command, and then exchanged his post for one where he had heard there was a better cook. He was a model of filial piety, and when his mother died he wept so violently that he brought up several pints of blood. Yet when Chi Hsi went to condole with him, he showed only the whites of his eyes (that is, paid no attention to him); while Chi Hsi’s brother, who carried along with him a jar of wine and a guitar, was welcomed with the pupils. His best-known work is a political and allegorical poem in thirty-eight stanzas averaging about twelve lines to each. The allusions in this are so skilfully veiled as to be quite unrecognisable without a commentary, such concealment being absolutely necessary for the protection of the author in the troublous times during which he wrote.

The sixth was Wang Jung, who could look at the sun without being dazzled, and lastly there was Shan T’ao, a follower of Taoist teachings, who was spoken of as “uncut jade” and as “gold ore.”

Later on, in the fourth century, comes Fu Mi, of whom nothing is known beyond his verses, of which the following is a specimen:—

“Thy chariot and horses have gone, and I fret And long for the lover I ne’er can forget.

O wanderer, bound in far countries to dwell, Would I were thy shadow!— I’d follow thee well;

And though clouds and though darkness my presence should hide, In the bright light of day I would stand by thy side!”

We now reach a name which is still familiar to all students of poetry in the Middle Kingdom. T’ao Ch’ien (A.D. 365-427), or T’ao Yüan-ming as he was called in early life, after a youth of poverty obtained an appointment as magistrate. But he was unfitted by nature for official life; all he wanted, to quote his own prayer, was “length of years and depth of wine.” He only held the post for eighty-three days, objecting to receive a superior officer with the usual ceremonial on the ground that “he could not crook the hinges of his back for five pecks of rice a day,” such being the regulation pay of a magistrate. He then retired into private life and occupied himself with poetry, music, and the culture of flowers, especially chrysanthemums, which are inseparably associated with his name. In the latter pursuit he was seconded by his wife, who worked in the back garden while he worked in the front. His retirement from office is the subject of the following piece, of the poetical-prose class, which, in point of style, is considered one of the masterpieces of the language:—

“Homewards I bend my steps. My fields, my gardens, are choked with weeds: should I not go? My soul has led a bondsman’s life: why should I remain to pine? But I will waste no grief upon the past; I will devote my energies to the future. I have not wandered far astray. I feel that I am on the right track once again.

“Lightly, lightly, speeds my boat along, my garments fluttering to the gentle breeze. I inquire my route as I go. I grudge the slowness of the dawning day. From afar I descry my old home, and joyfully press onwards in my haste. The servants rush forth to meet me; my children cluster at the gate. The place is a wilderness; but there is the old pine-tree and my chrysanthemums. I take the little ones by the hand, and pass in. Wine is brought in full jars, and I pour out in brimming cups. I gaze out at my favourite branches. I loll against the window in my new-found freedom. I look at the sweet children on my knee.

“And now I take my pleasure in my garden. There is a gate, but it is rarely opened. I lean on my staff as I wander about or sit down to rest. I raise my head and contemplate the lovely scene. Clouds rise, unwilling, from the bottom of the hills; the weary bird seeks its nest again. Shadows vanish, but still I linger around my lonely pine. Home once more! I’ll have no friendships to distract me hence. The times are out of joint for me; and what have I to seek from men? In the pure enjoyment of the family circle I will pass my days, cheering my idle hours with lute and book. My husbandmen will tell me when spring-time is nigh, and when there will be work in the furrowed fields. Thither I shall repair by cart or by boat, through the deep gorge, over the dizzy cliff, trees bursting merrily into leaf, the streamlet swelling from its tiny source. Glad is this renewal of life in due season; but for me, I rejoice that my journey is over. Ah, how short a time it is that we are here! Why then not set our hearts at rest, ceasing to trouble whether we remain or go? What boots it to wear out the soul with anxious thoughts? I want not wealth; I want not power; heaven is beyond my hopes. Then let me stroll through the bright hours as they pass, in my garden among my flowers; or I will mount the hill and sing my song, or weave my verse beside the limpid brook. Thus will I work out my allotted span, content with the appointments of Fate, my spirit free from care.”

The “Peach-blossom Fountain” of Tao Ch’ien is a well-known and charming allegory, a form of literature much cultivated by Chinese writers. It tells how a fisherman lost his way among the creeks of a river, and came upon a dense and lovely grove of peach-trees in full bloom, through which he pushed his boat, anxious to see how far the grove extended.

“He found that the peach-trees ended where the water began, at the foot of a hill; and there he espied what seemed to be a cave with light issuing from it. So he made fast his boat, and crept in through a narrow entrance, which shortly ushered him into a new world of level country, of fine houses, of rich fields, of fine pools, and of luxuriance of mulberry and bamboo. Highways of traffic ran north and south; sounds of crowing cocks and barking dogs were heard around; the dress of the people who passed along or were at work in the fields was of a strange cut; while young and old alike appeared to be contented and happy.”

He is told that the ancestors of these people had taken refuge there some five centuries before to escape the troublous days of the “First Emperor,” and that there they had remained, cut off completely from the rest of the human race. On his returning home the story is noised abroad, and the Governor sends out men to find this strange region, but the fisherman is never able to find it again. The gods had permitted the poet to go back for a brief span to the peach-blossom days of his youth.

One critic speaks of T’ao Ch’ien as “drunk with the fumes of spring.” Another says, “His heart was fixed upon loyalty and duty, while his body was content with leisure and repose. His emotions were real, his scenery was real, his facts were real, and his thoughts were real. His workmanship was so exceedingly fine as to appear natural; his adze and chisel (labor limae) left no traces behind.”

Much of his poetry is political, and bristles with allusions to events which are now forgotten, mixed up with thoughts and phrases which are greatly admired by his countrymen. Thus, when he describes meeting with an old friend in a far-off land, such a passage as this would be heavily scored by editor or critic with marks of commendation:—

“Ere words be spoke, the heart is drunk; What need to call for wine?”

The following is one of his occasional poems:—

“A scholar lives on yonder hill, His clothes are rarely whole to view, Nine times a month he eats his fill, Once in ten years his hat is new. A wretched lot!—and yet the while He ever wears a sunny smile.

Longing to know what like was he, At dawn my steps a path unclosed Where dark firs left the passage free And on the eaves the white clouds dozed.

But he, as spying my intent, Seized his guitar and swept the strings; Up flew a crane towards heaven bent, And now a startled pheasant springs.... Oh, let me rest with thee until The winter winds again blow chill!”

Pao Chao was an official and a poet who perished, A.D. 466, in a rebellion. Some of his poetry has been preserved:—

“What do these halls of jasper mean, and shining floor, Where tapestries of satin screen window and door? A lady on a lonely seat, embroidering Fair flowers which seem to smell as sweet as buds in spring. Swallows flit past, a zephyr shakes the plum-blooms down; She draws the blind, a goblet takes her thoughts to drown. And now she sits in tears, or hums, nursing her grief That in her life joy rarely comes to bring relief... Oh, for the humble turtle’s flight, my mate and I; Not the lone crane far out of sight beyond the sky!”

The original name of a striking character who, in A.D. 502, placed himself upon the throne as first Emperor of the Liang dynasty, was Hsiao Yen. He was a devout Buddhist, living upon priestly fare and taking only one meal a day; and on two occasions, in 527 and 529, he actually adopted the priestly garb. He also wrote a Buddhist ritual in ten books. Interpreting the Buddhist commandment “Thou shalt not kill” in its strictest sense, he caused the sacrificial victims to be made of dough. The following short poem is from his pen:—

“Trees grow, not alike, by the mound and the moat; Birds sing in the forest with varying note; Of the fish in the river some dive and some float. The mountains rise high and the waters sink low, But the why and the wherefore we never can know.”

Another well-known poet who lived into the seventh century is Hsieh Tao-hêng. He offended Yang Ti, the second Emperor of the Sui dynasty, by writing better verses than his Majesty, and an excuse was found for putting him to death. One of the most admired couplets in the language is associated with his name though not actually by him, its author being unknown. To amuse a party of friends Hsieh Tao-hêng had written impromptu,

“A week in the spring to the exile appears Like an absence from home of a couple of years.”

A “southerner” who was present sneered at the shallowness of the conceit, and immediately wrote down the following:—

“If home, with the wild geese of autumn, we’re going, Our hearts will be off ere the spring flowers are blowing.”

An official of the Sui dynasty was Fu I (A.D. 554-639), who became Historiographer under the first Emperor of the T’ang dynasty. He had a strong leaning towards Taoism, and edited the Tao-Tê-Ching. At the same time he presented a memorial asking that the Buddhist religion might be abolished; and when Hsiao Yü, a descendant of Hsiao Yen (above), questioned him on the subject, he said, “You were not born in a hollow mulberry-tree; yet you respect a religion which does not recognise the tie between father and son!” He urged that at any rate priests and nuns should be compelled to marry and bring up families, and not escape from contributing their share to the revenue, adding that Hsiao Yü by defending their doctrines showed himself no better than they were. At this Hsiao Yü held up his hands, and declared that hell was made for such men as Fu I. The result was that severe restrictions were placed for a short time upon the teachers of Buddhism. The Emperor T’ai Tsung once got hold of a Tartar priest who could “charm people into unconsciousness, and then charm them back to life again,” and spoke of his powers to Fu I. The latter said confidently, “He will not be able to charm me;” and when put to the test, the priest completely failed. He was the originator of epitaphs, and wrote his own, as follows:—

“Fu I loved the green hills and the white clouds... Alas! he died of drink.”

WANG CHI

Wang Chi of the sixth and seventh centuries A.D., was a wild and unconventional spirit, with a fatal fondness for wine, which caused his dismissal from office. His capacity for liquor was boundless, and he was known as the Five-bottle Scholar. In his lucid intervals he wrote much beautiful prose and verse, which may still be read with pleasure. The following is from an account of his visit to Drunk-Land, the story of which is told with all due gravity and in a style modelled upon that which is found in ordinary accounts of strange outlandish nations:—

“This country is many thousand miles from the Middle Kingdom. It is a vast, boundless plain, without mountains or undulations of any kind. The climate is equable, there being neither night, nor day, nor cold, nor heat. The manners and customs are everywhere the same.

“There are no villages nor congregations of persons. The inhabitants are ethereal in disposition, and know neither love, hate, joy, nor anger. They inhale the breeze and sip the dew, eating none of the five cereals. Calm in repose, slow of gait, they mingle with birds, beasts, fishes, and scaly creatures, ignorant of boats, chariots, weapons, or implements in general.

“The Yellow Emperor went on a visit to the capital of Drunk-Land, and when he came back, he was quite out of conceit with the empire, the government of which seemed to him but paltry trifling with knotted cords.

“Yüan Chi, T’ao Ch’ien,[11] and some others, about ten in all, made a trip together to Drunk-Land, and sank, never to rise again. They were buried where they fell, and now in the Middle Kingdom they are dubbed Spirits of Wine.

“Alas, I could not bear that the pure and peaceful domain of Drunk-Land should come to be regarded as a preserve of the ancients. So I went there myself.”

The period closes with the name of the Emperor known as Yang Ti, already mentioned in connection with the poet Hsieh Tao-hêng. The murderer, first of his elder brother and then of his father, he mounted the throne in A.D. 605, and gave himself up to extravagance and debauchery. The trees in his park were supplied in winter with silken leaves and flowers, and birds were almost exterminated to provide a sufficient supply of down for his cushions. After reigning for thirteen years this unlikely patron of literature fell a victim to assassination. Yet in spite of his otherwise disreputable character, Yang Ti prided himself upon his literary attainments. He set one hundred scholars to work editing a collection of classical, medical, and other treatises; and it was under his reign, in A.D. 606, that the examination for the second or “master of arts” degree was instituted.

CHAPTER II
CLASSICAL SCHOLARSHIP

In the domains of classical and general literature Huang-fu Mi (A.D. 215-282) occupies an honourable place. Beginning life at the ploughtail, by perseverance he became a fine scholar, and adopted literature as a profession. In spite of severe rheumatism he was never without a book in his hand, and became so absorbed in his work that he would forget all about meals and bedtime. He was called the Book-Debauchee, and once when he wished to borrow works from the Emperor Wu Ti of the Chin dynasty, whose proffers of office he had refused, his Majesty sent him back a cart-load to go on with. He produced essays, poetry, and several important biographical works. His work on the Spring and Autumn Annals had also considerable vogue.

Sun Shu-Jan, of about the same date, distinguished himself by his works on the Confucian Canon, and wrote on the Erh Ya.

Hsün Hsü (d. A.D. 289) aided in drawing up a Penal Code for the newly-established Chin dynasty, took a leading part in editing the Bamboo Annals, which had just been discovered in Honan, provided a preface to the Mu T’ien Tzŭ Chuan, and also wrote on music.

Kuo Hsiang (d. A.D. 312) occupied himself chiefly with the philosophy of Lao Tzŭ and with the writings of Chuang Tzŭ. It was said of him that his conversation was like the continuous downflow of a rapid, or the rush of water from a sluice.

Kuo P’o (d. A.D. 324) was a scholar of great repute. Besides editing various important classical works, he was a brilliant exponent of the doctrines of Taoism and the reputed founder of the art of geomancy as applied to graves, universally practised in China at the present day. He was also learned in astronomy, divination, and natural philosophy.

Fan Yeh, executed for treason in A.D. 445, is chiefly famous for his history of the Han dynasty from about the date of the Christian era, when the dynasty was interrupted, as has been stated, by a usurper, down to the final collapse two hundred years later.

Shên Yo (A.D. 441-513), another famous scholar, was the son of a Governor of Huai-nan, whose execution in A.D. 453 caused him to go for a time into hiding. Poor and studious, he is said to have spent the night in repeating what he had learnt by day, as his mother, anxious on account of his health, limited his supply of oil and fuel. Entering official life, he rose to high office, from which he retired in ill-health, loaded with honours. Personally, he was remarkable for having two pupils to his left eye. He was a strict teetotaller, and lived most austerely. He had a library of twenty thousand volumes. He was the author of the histories of the Chin, Liu Sung, and Ch’i dynasties. He is said to have been the first to classify the four tones. In his autobiography he writes, “The poets of old, during the past thousand years, never hit upon this plan. I alone discovered its advantages.” The Emperor Wu Ti of the Liang dynasty one day said to him, “Come, tell me, what are these famous four tones?” “They are whatever your Majesty pleases to make them,” replied Shên Yo, skilfully selecting for his answer four characters which illustrated, and in the usual order, the four tones in question.

HSIAO T’UNG

Hsiao T’ung (A.D. 501-531) was the eldest son of Hsiao Yen, the founder of the Liang dynasty, whom he predeceased. Before he was five years old he was reported to have learned the Classics by heart, and his later years were marked by great literary ability, notably in verse-making. Handsome and of charming manners, mild and forbearing, he was universally loved. In 527 he nursed his mother through her last illness, and his grief for her death impaired his naturally fine constitution, for it was only at the earnest solicitation of his father that he consented either to eat or drink during the period of mourning. Learned men were sure of his patronage, and his palace contained a large library. A lover of nature, he delighted to ramble with scholars about his beautiful park, to which he declined to add the attraction of singing-girls. When the price of grain rose in consequence of the war with Wei in 526, he lived on the most frugal fare; and throughout his life his charities were very large and kept secret, being distributed by trusty attendants who sought out all cases of distress. He even emptied his own wardrobe for the benefit of the poor, and spent large sums in burying the outcast dead. Against forced labour on public works he vehemently protested. To his father he was most respectful, and wrote to him when he himself was almost at the last gasp, in the hope of concealing his danger. But he is remembered now not so much for his virtues as for his initiation of a new department in literature. A year before his death he completed the Wên Hsüan, the first published collection of choice works, whole or in part, of a large number of authors. These were classified under such heads as poetry of various kinds, essays, inscriptions, memorials, funeral orations, epitaphs, and prefaces.

The idea thus started was rapidly developed, and has been continued down to modern times. Huge collections of works have from time to time been reprinted in uniform editions, and many books which might otherwise have perished have been preserved for grateful posterity. The Record of the Buddhistic Kingdoms by Fa Hsien may be quoted as an example.

BOOK THE FOURTH
THE T’ANG DYNASTY (A.D. 600-900)

CHAPTER I
POETRY

POETRY

The T’ang dynasty is usually associated in Chinese minds with much romance of love and war, with wealth, culture, and refinement, with frivolity, extravagance, and dissipation, but most of all with poetry. China’s best efforts in this direction were chiefly produced within the limits of its three hundred years’ duration, and they have been carefully preserved as finished models for future poets of all generations.

“Poetry,” says a modern Chinese critic, “came into being with the Odes, developed with the Li Sao, burst forth and reached perfection under the T’angs. Some good work was indeed done under the Han and Wei dynasties; the writers of those days seemed to have material in abundance, but language inadequate to its expression.”

The “Complete Collection of the Poetry of the T’ang Dynasty,” published in 1707, contains 48,900 poems of all kinds, arranged in 900 books, and filling thirty good-sized volumes. Some Chinese writers divide the dynasty into three poetical periods, called Early, Glorious, and Late; and they profess to detect in the works assigned to each the corresponding characteristics of growth, fulness, and decay. Others insert a Middle period between the last two, making four periods in all. For general purposes, however, it is only necessary to state, that since the age of the Hans the meanings of words had gradually come to be more definitely fixed, and the structural arrangement more uniform and more polished. Imagination began to come more freely into play, and the language to flow more easily and more musically, as though responsive to the demands of art. A Chinese poem is at best a hard nut to crack, expressed as it usually is in lines of five or seven monosyllabic root-ideas, without inflection, agglutination, or grammatical indication of any kind, the connection between which has to be inferred by the reader from the logic, from the context, and least perhaps of all from the syntactical arrangement of the words. Then, again, the poet is hampered not only by rhyme but also by tone. For purposes of poetry the characters in the Chinese language are all ranged under two tones, as flats and sharps, and these occupy fixed positions just as dactyls, spondees, trochees, and anapæsts in the construction of Latin verse. As a consequence, the natural order of words is often entirely sacrificed to the exigencies of tone, thus making it more difficult than ever for the reader to grasp the sense. In a stanza of the ordinary five-character length the following tonal arrangement would appear:—

Sharp sharp flat flat sharp
Flat flat sharp sharp flat
Flat flat flat sharp sharp
Sharp sharp sharp flat flat.

The effect produced by these tones is very marked and pleasing to the ear, and often makes up for the faultiness of the rhymes, which are simply the rhymes of the Odes as heard 2500 years ago, many of them of course being no longer rhymes at all. Thus, there is as much artificiality about a stanza of Chinese verse as there is about an Alcaic stanza in Latin. But in the hands of the most gifted this artificiality is altogether concealed by art, and the very trammels of tone and rhyme become transfigured, and seem to be necessary aids and adjuncts to success. Many works have been published to guide the student in his admittedly difficult task. The first rule in one of these seems so comprehensive as to make further perusal quite unnecessary. It runs thus:—“Discard commonplace form; discard commonplace ideas; discard commonplace phrasing; discard commonplace words; discard commonplace rhymes.”

A long poem does not appeal to the Chinese mind. There is no such thing as an epic in the language, though, of course, there are many pieces extending to several hundred lines. Brevity is indeed the soul of a Chinese poem, which is valued not so much for what it says as for what it suggests. As in painting, so in poetry suggestion is the end and aim of the artist, who in each case may be styled an impressionist. The ideal length is twelve lines, and this is the limit set to candidates at the great public examinations at the present day, the Chinese holding that if a poet cannot say within such compass what he has to say it may very well be left unsaid. The eight-line poem is also a favourite, and so, but for its extreme difficulty, is the four-line epigram, or “stop-short,” so called because of its abruptness, though, as the critics explain, “it is only the words which stop, the sense goes on,” some train of thought having been suggested to the reader. The latter form of verse was in use so far back as the Han dynasty, but only reached perfection under the Tangs. Although consisting of only twenty or twenty-eight words, according to the measure employed, it is just long enough for the poet to introduce, to develop, to embellish, and to conclude his theme in accordance with certain established laws of composition. The third line is considered the most troublesome to produce, some poets even writing it first; the last line should contain a “surprise” or dénouement. We are, in fact, reminded of the old formula, “Omne epigramma sit instar apis,” &c., better known in its English dress:—

“The qualities rare in a bee that we meet In an epigram never should fail; The body should always be little and sweet, And a sting should be left in the tail.”

The following is an early specimen, by an anonymous writer, of the four-line poem:—

“The bright moon shining overhead, The stream beneath the breeze’s touch, Are pure and perfect joys indeed,— But few are they who think them such.”

Turning now to the almost endless list of poets from which but a scanty selection can be made, we may begin with Wang Po (A.D. 648-676), a precocious boy who wrote verses when he was six. He took his degree at sixteen, and was employed in the Historical Department, but was dismissed for satirising the cock-fighting propensities of the Imperial princes. He filled up his leisure by composing many beautiful poems. He never meditated on these beforehand, but after having prepared a quantity of ink ready for use, he would drink himself tipsy and lie down with his face covered up. On waking he would seize his pen and write off verses, not a word in which needed to be changed; whence he acquired the sobriquet of Belly-Draft, meaning that his drafts, or rough copies, were all prepared inside. And he received so many presents of valuable silks for writing these odes, that it was said “he spun with his mind.” These lines are from his pen:—

“Near these islands a palace was built by a prince, But its music and song have departed long since; The hill-mists of morning sweep down on the halls, At night the red curtains lie furled on the walls. The clouds o’er the water their shadows still cast, Things change like the stars: how few autumns have passed And yet where is that prince? where is he?—No reply, Save the plash of the stream rolling ceaselessly by.”

CH’ÊN TZŬ-ANG

A still more famous contemporary of his was Ch’ên Tzŭ-ang (A.D. 656-698), who adopted somewhat sensational means of bringing himself to the notice of the public. He purchased a very expensive guitar which had been for a long time on sale, and then let it be known that on the following day he would perform upon it in public. This attracted a large crowd; but when Ch’ên arrived he informed his auditors that he had something in his pocket worth much more than the guitar. Thereupon he dashed the instrument into a thousand pieces, and forthwith began handing round copies of his own writings. Here is a sample, directed against the Buddhist worship of idols, the “Prophet” representing any divinely-inspired teacher of the Confucian school:—

“On Self the Prophet never rests his eye, His to relieve the doom of humankind; No fairy palaces beyond the sky, Rewards to come, are present to his mind.

And I have heard the faith by Buddha taught Lauded as pure and free from earthly taint; Why then these carved and graven idols, fraught With gold and silver, gems, and jade, and paint?

The heavens that roof this earth, mountain and dale, All that is great and grand, shall pass away; And if the art of gods may not prevail, Shall man’s poor handiwork escape decay?

Fools that ye are! In this ignoble light The true faith fades and passes out of sight.”

As an official, Ch’ên Tzŭ-ang once gained great kudos by a truly Solomonic decision. A man, having slain the murderer of his father, was himself indicted for murder. Ch’ên Tzŭ-ang caused him to be put to death, but at the same time conferred an honorific distinction upon his village for having produced so filial a son.

Not much is known of Sung Chih-wên (d. A.D. 710), at any rate to his good. On one occasion the Emperor was so delighted with some of his verses that he took off the Imperial robe and placed it on the poet’s shoulders. This is one of his poems:—

“The dust of the morn had been laid by a shower, And the trees by the bridge were all covered with flower, When a white palfrey passed with a saddle of gold, And a damsel as fair as the fairest of old.

But she veiled so discreetly her charms from my eyes That the boy who was with her quite felt for my sighs; And although not a light-o’-love reckoned, I deem, It was hard that this vision should pass like a dream.”

MÊNG HAO-JAN

Mêng Hao-jan (A.D. 689-740) gave no sign in his youth of the genius that was latent within him. He failed at the public examinations, and retired to the mountains as a recluse. He then became a poet of the first rank, and his writings were eagerly sought after. At the age of forty he went up to the capital, and was one day conversing with his famous contemporary, Wang Wei, when suddenly the Emperor was announced. He hid under a couch, but Wang Wei betrayed him, the result being a pleasant interview with his Majesty. The following is a specimen of his verse:—

“The sun has set behind the western slope, The eastern moon lies mirrored in the pool; With streaming hair my balcony I ope, And stretch my limbs out to enjoy the cool. Loaded with lotus-scent the breeze sweeps by, Clear dripping drops from tall bamboos I hear, I gaze upon my idle lute and sigh; Alas, no sympathetic soul is near. And so I doze, the while before mine eyes Dear friends of other days in dream-clad forms arise.”

Equally famous as poet and physician was Wang Wei (A.D. 699-759). After a short spell of official life, he too retired into seclusion and occupied himself with poetry and with the consolations of Buddhism, in which he was a firm believer. His lines on bidding adieu to Mêng Hao-jan, when the latter was seeking refuge on the mountains, are as follows:—

“Dismounted, o’er wine we had said our last say; Then I whisper, ‘Dear friend, tell me, whither away?’ ‘Alas!’ he replied, ‘I am sick of life’s ills, And I long for repose on the slumbering hills. But oh seek not to pierce where my footsteps may stray: The white clouds will soothe me for ever and ay.’”

The accompanying “stop-short” by the same writer is generally thought to contain an effective surprise in the last line:—

“Beneath the bamboo grove, alone, I seize my lute and sit and croon; No ear to hear me, save mine own: No eye to see me—save the moon.”

Wang Wei has been accused of loose writing and incongruous pictures. A friendly critic defends him as follows:—“For instance, there is Wang Wei, who introduces bananas into a snow-storm. When, however, we come to examine such points by the light of scholarship, we see that his mind had merely passed into subjective relationship with the things described. Fools say he did not know heat from cold.”

TS’UI HAO

A skilled poet, and a wine-bibber and gambler to boot, was Ts’ui Hao, who graduated about A.D. 730.

He wrote a poem on the Yellow-Crane pagoda which until quite recently stood on the bank of the Yang-tsze near Hankow, and was put up to mark the spot where Wang Tzŭ-ch’iao, who had attained immortality, went up to heaven in broad daylight six centuries before the Christian era. The great Li Po once thought of writing on the theme, but he gave up the idea so soon as he had read these lines by Ts’ui Hao:—

“Here a mortal once sailed up to heaven on a crane, And the Yellow-Crane Kiosque, will for ever remain; But the bird flew away and will come back no more, Though the white clouds are there as the white clouds of yore.

Away to the east lie fair forests of trees, From the flowers on the west comes a scent-laden breeze, Yet my eyes daily turn to their far-away home, Beyond the broad River, its waves, and its foam.”

LI PO

By general consent Li Po himself (A.D. 705-762) would probably be named as China’s greatest poet. His wild Bohemian life, his gay and dissipated career at Court, his exile, and his tragic end, all combine to form a most effective setting for the splendid flow of verse which he never ceased to pour forth. At the early age of ten he wrote a “stop-short” to a firefly:—

“Rain cannot quench thy lantern’s light, Wind makes it shine more brightly bright; Oh why not fly to heaven afar, And twinkle near the moon—a star?”

Li Po began by wandering about the country, until at length, with five other tippling poets, he retired to the mountains. For some time these Six Idlers of the Bamboo Grove drank and wrote verses to their hearts’ content. By and by Li Po reached the capital, and on the strength of his poetry was introduced to the Emperor as a “banished angel.” He was received with open arms, and soon became the spoilt child of the palace. On one occasion, when the Emperor sent for him, he was found lying drunk in the street; and it was only after having his face well mopped with cold water that he was fit for the Imperial presence. His talents, however, did not fail him. With a lady of the seraglio to hold his ink-slab, he dashed off some of his most impassioned lines; at which the Emperor was so overcome that he made the powerful eunuch Kao Li-shih go down on his knees and pull off the poet’s boots. On another occasion, the Emperor, who was enjoying himself with his favourite lady in the palace grounds, called for Li Po to commemorate the scene in verse. After some delay the poet arrived, supported between two eunuchs. “Please your Majesty,” he said, “I have been drinking with the Prince and he has made me drunk, but I will do my best.” Thereupon two of the ladies of the harem held up in front of him a pink silk screen, and in a very short time he had thrown off no less than ten eight-line stanzas, of which the following, describing the life of a palace favourite, is one:—

“Oh, the joy of youth spent in a gold-fretted hall, In the Crape-flower Pavilion, the fairest of all, My tresses for head-dress with gay garlands girt, Carnations arranged o’er my jacket and skirt! Then to wander away in the soft-scented air, And return by the side of his Majesty’s chair ... But the dance and the song will be o’er by and by, And we shall dislimn like the rack in the sky.”

As time went on, Li Po fell a victim to intrigue, and left the Court in disgrace. It was then that he wrote—

“My whitening hair would make a long, long rope, Yet would not fathom all my depth of woe.”

After more wanderings and much adventure, he was drowned on a journey, from leaning one night too far over the edge of a boat in a drunken effort to embrace the reflection of the moon. Just previously he had indited the following lines:—

“An arbour of flowers and a kettle of wine: Alas! in the bowers no companion is mine. Then the moon sheds her rays on my goblet and me, And my shadow betrays we’re a party of three.

“Though the moon cannot swallow her share of the grog, And my shadow must follow wherever I jog,— Yet their friendship I’ll borrow and gaily carouse, And laugh away sorrow while spring-time allows.

“See the moon,—how she glances response to my song; See my shadow,—it dances so lightly along! While sober I feel you are both my good friends; When drunken I reel, our companionship ends. But we’ll soon have a greeting without a good-bye, At our next merry meeting away in the sky.”

His control of the “stop-short” is considered to be perfect:—

(1.) “The birds have all flown to their roost in the tree, The last cloud has just floated lazily by; But we never tire of each other, not we, As we sit there together,—the mountains and I.”

(2.) “I wake, and moonbeams play around my bed, Glittering like hoar-frost to my wondering eyes; Up towards the glorious moon I raise my head, Then lay me down,—and thoughts of home arise.”

The following are general extracts:—

A Parting.

(1.) “The river rolls crystal as clear as the sky, To blend far away with the blue waves of ocean; Man alone, when the hour of departure is nigh, With the wine-cup can soothe his emotion.

“The birds of the valley sing loud in the sun, Where the gibbons their vigils will shortly be keeping: I thought that with tears I had long ago done, But now I shall never cease weeping.”

(2.) “Homeward at dusk the clanging rookery wings its eager flight; Then, chattering on the branches, all are pairing for the night. Plying her busy loom, a high-born dame is sitting near, And through the silken window-screen their voices strike her ear. She stops, and thinks of the absent spouse she may never see again; And late in the lonely hours of night her tears flow down like rain.”

(3.) “What is life after all but a dream? And why should such pother be made? Better far to be tipsy, I deem, And doze all day long in the shade.

“When I wake and look out on the lawn, I hear midst the flowers a bird sing; I ask, ‘Is it evening or dawn?’ The mango-bird whistles, ‘’Tis spring.’

“Overpower’d with the beautiful sight, Another full goblet I pour, And would sing till the moon rises bright— But soon I’m as drunk as before.”

(4.) “You ask what my soul does away in the sky, I inwardly smile but I cannot reply; Like the peach-blossoms carried away by the stream, I soar to a world of which you cannot dream.”

One more extract may be given, chiefly to exhibit what is held by the Chinese to be of the very essence of real poetry,—suggestion. A poet should not dot his i’s. The Chinese reader likes to do that for himself, each according to his own fancy. Hence such a poem as the following, often quoted as a model in its own particular line:—

“A tortoise I see on a lotus-flower resting: A bird ’mid the reeds and the rushes is nesting; A light skiff propelled by some boatman’s fair daughter, Whose song dies away o’er the fast-flowing water.”

TU FU

Another poet of the same epoch, of whom his countrymen are also justly proud, is Tu Fu (A.D. 712-770). He failed to distinguish himself at the public examinations, at which verse-making counts so much, but had nevertheless such a high opinion of his own poetry that he prescribed it as a cure for malarial fever. He finally obtained a post at Court, which he was forced to vacate in the rebellion of 755. As he himself wrote in political allegory—

“Full with the freshets of the spring the torrent rushes on; The ferry-boat swings idly, for the ferry-man is gone.”

After further vain attempts to make an official career, he took to a wandering life, was nearly drowned by an inundation, and was compelled to live for ten days on roots. Being rescued, he succumbed next day to the effects of eating roast-beef and drinking white wine to excess after so long a fast. These are some of his poems:—

(1.) “The setting sun shines low upon my door Ere dusk enwraps the river fringed with spring; Sweet perfumes rise from gardens by the shore, And smoke, where crews their boats to anchor bring.

“Now twittering birds are roosting in the bower, And flying insects fill the air around.... O wine, who gave to thee thy subtle power? A thousand cares in one small goblet drowned!”

(2.) “A petal falls!—the spring begins to fail, And my heart saddens with the growing gale. Come then, ere autumn spoils bestrew the ground, Do not forget to pass the wine-cup round. Kingfishers build where man once laughed elate, And now stone dragons guard his graveyard gate! Who follows pleasure, he alone is wise; Why waste our life in deeds of high emprise?”

(3.) “My home is girdled by a limpid stream, And there in summer days life’s movements pause, Save where some swallow flits from beam to beam, And the wild sea-gull near and nearer draws.

“The goodwife rules a paper board for chess; The children beat a fish-hook out of wire; My ailments call for physic more or less, What else should this poor frame of mine require?”

(4.) “Alone I wandered o’er the hills to seek the hermit’s den, While sounds of chopping rang around the forest’s leafy glen. I passed on ice across the brook, which had not ceased to freeze, As the slanting rays of afternoon shot sparkling through the trees.

“I found he did not joy to gloat o’er fetid wealth by night, But, far from taint, to watch the deer in the golden morning light.... My mind was clear at coming; but now I’ve lost my guide, And rudderless my little bark is drifting with the tide!”

(5.) “From the Court every eve to the pawnshop I pass, To come back from the river the drunkest of men; As often as not I’m in debt for my glass;— Well, few of us live to be threescore and ten.

The butterfly flutters from flower to flower, The dragon-fly sips and springs lightly away, Each creature is merry its brief little hour, So let us enjoy our short life while we may.”

Here is a specimen of his skill with the “stop-short,” based upon a disease common to all Chinese, poets or otherwise,—nostalgia:—

“White gleam the gulls across the darkling tide, On the green hills the red flowers seem to burn; Alas! I see another spring has died.... When will it come—the day of my return?”

Of the poet Chang Ch’ien not much is known. He graduated in 727, and entered upon an official career, but ultimately betook himself to the mountains and lived as a hermit. He is said to have been a devotee of Taoism. The following poem, however, which deals with dhyâna, or the state of mental abstraction in which all desire for existence is shaken off, would make it seem as if his leanings had been Buddhistic. It gives a perfect picture, so far as it goes, of the Buddhist retreat often to be found among mountain peaks all over China, visited by pilgrims who perform religious exercises or fulfil vows at the feet of the World-Honoured, and by contemplative students eager to shake off the “red dust” of mundane affairs:—

“The clear dawn creeps into the convent old, The rising sun tips its tall trees with gold, As, darkly, by a winding path I reach Dhyâna’s hall, hidden midst fir and beech. Around these hills sweet birds their pleasure take, Man’s heart as free from shadows as this lake; Here worldly sounds are hushed, as by a spell, Save for the booming of the altar bell.”

There can be little doubt of the influence of Buddhism upon the poet Ts’ên Ts’an, who graduated about 750, as witness his lines on that faith:—

“A shrine whose eaves in far-off cloudland hide: I mount, and with the sun stand side by side. The air is clear; I see wide forests spread And mist-crowned heights where kings of old lie dead. Scarce o’er my threshold peeps the Southern Hill; The Wei shrinks through my window to a rill.... O thou Pure Faith, had I but known thy scope, The Golden God[12] had long since been my hope!”

WANG CHIEN

Wang Chien took the highest degree in 775, and rose to be Governor of a District. He managed, however, to offend one of the Imperial clansmen, in consequence of which his official career was abruptly cut short. He wrote a good deal of verse, and was on terms of intimacy with several of the great contemporary poets. In the following lines, the metre of which is irregular, he alludes to the extraordinary case of a soldier’s wife who spent all her time on a hill-top looking down the Yang-tsze, watching for her husband’s return from the wars. At length—

“Where her husband she sought, By the river’s long track, Into stone she was wrought, And can never come back; ’Mid the wind and the rain-storm for ever and ay, She appeals to each home-comer passing that way.”

The last line makes the stone figure, into which the unhappy woman was changed, appear to be asking of every fresh arrival news of the missing man. That is the skill of the artist, and is inseparably woven into the original.

HAN YÜ

Passing over many poets equally well known with some of those already cited, we reach a name undoubtedly the most venerated of all those ever associated in any way with the great mass of Chinese literature. Han Yü (A.D. 768-824), canonised and usually spoken of as Han Wên-kung, was not merely a poet, but a statesman of the first rank, and philosopher to boot. He rose from among the humblest of the people to the highest offices of State. In 803 he presented a memorial protesting against certain extravagant honours with which the Emperor Hsien Tsung proposed to receive a bone of Buddha. The monarch was furious, and but for the intercession of friends it would have fared badly with the bold writer. As it was, he was banished to Ch’ao-chou Fu in Kuangtung, where he set himself to civilise the rude inhabitants of those wild parts. In a temple at the summit of the neighbouring range there is to be seen at this day a huge picture of the Prince of Literature, as he has been called by foreigners from his canonisation, with the following legend attached:—“Wherever he passed, he purified.” He is even said to have driven away a huge crocodile which was devastating the watercourses in the neighbourhood; and the denunciatory ultimatum which he addressed to the monster and threw into the river, together with a pig and a goat, is still regarded as a model of Chinese composition. It was not very long ere he was recalled to the capital and reinstated in office; but he had been delicate all his life and had grown prematurely old, and was thus unable to resist a severe illness which came upon him. His friend and contemporary, Liu Tsung-yüan, said that he never ventured to open the works of Han Yü without first washing his hands in rose-water. His writings, especially his essays, are often of the very highest order, leaving nothing to be desired either in originality or in style. But it is more than all for his pure and noble character, his calm and dignified patriotism, that the Chinese still keep his memory green. The following lines were written by Su Tung-p’o, nearly 300 years after his death, for a shrine which had just been put up in honour of the dead teacher by the people of Ch’ao-chou Fu:—

“He rode on the dragon to the white cloud domain; He grasped with his hand the glory of the sky; Robed with the effulgence of the stars, The wind bore him delicately to the throne of God. He swept away the chaff and husks of his generation. He roamed over the limits of the earth. He clothed all nature with his bright rays, The third in the triumvirate of genius.[13] His rivals panted after him in vain, Dazed by the brilliancy of the light. He cursed Buddha; he offended his prince; He journeyed far away to the distant south; He passed the grave of Shun, and wept over the daughters of Yao. The water-god went before him and stilled the waves. He drove out the fierce monster as it were a lamb. But above, in heaven, there was no music, and God was sad, And summoned him to his place beside the Throne. And now, with these poor offerings, I salute him; With red lichees and yellow plantain fruit. Alas! that he did not linger awhile on earth, But passed so soon, with streaming hair, into the great unknown.”

Han Yü wrote a large quantity of verse, frequently playful, on an immense variety of subjects, and under his touch the commonplace was often transmuted into wit. Among other pieces there is one on his teeth, which seemed to drop out at regular intervals, so that he could calculate roughly what span of life remained to him. Altogether, his poetry cannot be classed with that of the highest order, unlike his prose writings, extracts from which will be given in the next chapter. The following poem is a specimen of his lighter vein:—

“To stand upon the river-bank and snare the purple fish, My net well cast across the stream, was all that I could wish. Or lie concealed and shoot the geese that scream and pass apace, And pay my rent and taxes with the profits of the chase. Then home to peace and happiness, with wife and children gay, Though clothes be coarse and fare be hard, and earned from day to day. But now I read and read, scarce knowing what ’tis all about, And, eager to improve my mind, I wear my body out. I draw a snake and give it legs, to find I’ve wasted skill, And my hair grows daily whiter as I hurry towards the hill.[14] I sit amid the sorrows I have brought on my own head, And find myself estranged from all, among the living dead. I seek to drown my consciousness in wine, alas! in vain: Oblivion passes quickly and my griefs begin again. Old age comes on, and yet withholds the summons to depart.... So I’ll take another bumper just to ease my aching heart.”

Humane treatment of the lower animals is not generally supposed to be a characteristic of the Chinese. They have no Society for the Prevention of Cruelty to Animals, which may perhaps account for some of their shortcomings in this direction. Han Yü was above all things of a kindly, humane nature, and although the following piece cannot be taken seriously, it affords a useful index to his general feelings:—

“Oh, spare the busy morning fly, Spare the mosquitos of the night! And if their wicked trade they ply, Let a partition stop their flight.

“Their span is brief from birth to death; Like you, they bite their little day; And then, with autumn’s earliest breath, Like you, too, they are swept away.”

The following lines were written on the way to his place of exile in Kuangtung:—

“Alas! the early season flies, Behold the remnants of the spring! My boat in landlocked water lies, At dawn I hear the wild birds sing.

“Then, through clouds lingering on the slope, The rising sun breaks on to me, And thrills me with a fleeting hope,— A prisoner longing to be free.

“My flowing tears are long since dried, Though care clings closer than it did. But stop! All care we lay aside When once they close the coffin lid.”

PO CHÜ-I

Another famous poet, worthy to be mentioned even after Han Yü, was Po Chü-I (A.D. 772-846). As a child he was most precocious, knowing a considerable number of the written characters at the early age of seven months, after having had each one pointed out only once by his nurse. He graduated at the age of seventeen, and rose to high office in the State, though at one period of his life he was banished to a petty post, which somewhat disgusted him with officialdom. To console himself, he built a retreat at Hsiang-shan, by which name he is sometimes called; and there, together with eight congenial companions, he gave himself up to poetry and speculations upon a future life. To escape recognition and annoyance, all names were dropped, and the party was generally known as the Nine Old Gentlemen of Hsiang-shan. This reaching the ears of the Emperor, he was transferred to be Governor of Chung-chou; and on the accession of Mu Tsung in 821 he was sent as Governor to Hangchow. There he built one of the great embankments of the beautiful Western Lake, still known as Po’s Embankment. He was subsequently Governor of Soochow, and finally rose in 841 to be President of the Board of War. His poems were collected by Imperial command and engraved upon tablets of stone, which were set up in a garden he had made for himself in imitation of his former beloved retreat at Hsiang-shan. He disbelieved in the genuineness of the Tao-Tê-Ching, and ridiculed its preposterous claims as follows:—

“‘Who know, speak not; who speak, know naught,’ Are words from Lao Tzŭ’s lore. What then becomes of Lao Tzŭ’s own ‘Five thousand words and more’?”

Here is a charming poem from his pen, which tells the story of a poor lute-girl’s sorrows. This piece is ranked very high by the commentator Lin Hsi-chung, who points out how admirably the wording is adapted to echo the sense, and declares that such workmanship raises the reader to that state of mental ecstasy known to the Buddhists as samâdhi, and can only be produced once in a thousand autumns. The “guest” is the poet himself, setting out a second time for his place of banishment, as mentioned above, from a point about half-way thither, where he had been struck down by illness:—

“By night, at the riverside, adieus were spoken: beneath the maple’s flower-like leaves, blooming amid autumnal decay. Host had dismounted to speed the parting guest, already on board his boat. Then a stirrup-cup went round, but no flute, no guitar, was heard. And so, ere the heart was warmed with wine, came words of cold farewell beneath the bright moon, glittering over the bosom of the broad stream ... when suddenly across the water a lute broke forth into sound. Host forgot to go, guest lingered on, wondering whence the music, and asking who the performer might be. At this, all was hushed, but no answer given. A boat approached, and the musician was invited to join the party. Cups were refilled, lamps trimmed again, and preparations for festivity renewed. At length, after much pressing, she came forth, hiding her face behind her lute; and twice or thrice sweeping the strings, betrayed emotion ere her song was sung. Then every note she struck swelled with pathos deep and strong, as though telling the tale of a wrecked and hopeless life, while with bent head and rapid finger she poured forth her soul in melody. Now softly, now slowly, her plectrum sped to and fro; now this air, now that; loudly, with the crash of falling rain; softly, as the murmur of whispered words; now loud and soft together, like the patter of pearls and pearlets dropping upon a marble dish. Or liquid, like the warbling of the mango-bird in the bush; trickling, like the streamlet on its downward course. And then, like the torrent, stilled by the grip of frost, so for a moment was the music lulled, in a passion too deep for sound. Then, as bursts the water from the broken vase, as clash the arms upon the mailed horseman, so fell the plectrum once more upon the strings with a slash like the rent of silk.

“Silence on all sides: not a sound stirred the air. The autumn moon shone silver athwart the tide, as with a sigh the musician thrust her plectrum beneath the strings and quietly prepared to take leave. ‘My childhood,’ said she, ‘was spent at the capital, in my home near the hills. At thirteen, I learnt the guitar, and my name was enrolled among the primas of the day. The maëstro himself acknowledged my skill: the most beauteous of women envied my lovely face. The youths of the neighbourhood vied with each other to do me honour: a single song brought me I know not how many costly bales. Golden ornaments and silver pins were smashed, blood-red skirts of silk were stained with wine, in oft-times echoing applause. And so I laughed on from year to year, while the spring breeze and autumn moon swept over my careless head.

“‘Then my brother went away to the wars: my mother died. Nights passed and mornings came; and with them my beauty began to fade. My doors were no longer thronged; but few cavaliers remained. So I took a husband and became a trader’s wife. He was all for gain, and little recked of separation from me. Last month he went off to buy tea, and I remained behind, to wander in my lonely boat on moon-lit nights over the cold wave, thinking of the happy days gone by, my reddened eyes telling of tearful dreams.’

“The sweet melody of the lute had already moved my soul to pity, and now these words pierced me to the heart again. ‘O lady,’ I cried, ‘we are companions in misfortune, and need no ceremony to be friends. Last year I quitted the Imperial city, and fever-stricken reached this spot, where in its desolation, from year’s end to year’s end, no flute or guitar is heard. I live by the marshy river-bank, surrounded by yellow reeds and stunted bamboos. Day and night no sounds reach my ears save the blood-stained note of the nightjar, the gibbon’s mournful wail. Hill songs I have, and village pipes with their harsh discordant twang. But now that I listen to thy lute’s discourse, methinks ’tis the music of the gods. Prithee sit down awhile and sing to us yet again, while I commit thy story to writing.’

“Grateful to me (for she had been standing long), the lute-girl sat down and quickly broke forth into another song, sad and soft, unlike the song of just now. Then all her hearers melted into tears unrestrained; and none flowed more freely than mine, until my bosom was wet with weeping.”

Perhaps the best known of all the works of Po Chü-i is a narrative poem of some length entitled “The Everlasting Wrong.” It refers to the ignominious downfall of the Emperor known as Ming Huang (A.D. 685-762), who himself deserves a passing notice. At his accession to the throne in 712, he was called upon to face an attempt on the part of his aunt, the T’ai-p’ing Princess, to displace him; but this he succeeded in crushing, and entered upon what promised to be a glorious reign. He began with economy, closing the silk factories and forbidding the palace ladies to wear jewels or embroideries, considerable quantities of which were actually burnt. Until 740 the country was fairly prosperous. The administration was improved, the empire was divided into fifteen provinces, and schools were established in every village. The Emperor was a patron of literature, and himself a poet of no mean capacity. He published an edition of the Classic of Filial Piety, and caused the text to be engraved on four tablets of stone, A.D. 745. His love of war, however, and his growing extravagance, led to increased taxation. Fond of music, he founded a college for training youth of both sexes in this art. He surrounded himself by a brilliant Court, welcoming such men as the poet Li Po, at first for their talents alone, but afterwards for their readiness to participate in scenes of revelry and dissipation provided for the amusement of the Imperial concubine, the ever-famous Yang Kuei-fei. Eunuchs were appointed to official posts, and the grossest forms of religious superstition were encouraged. Women ceased to veil themselves as of old. Gradually the Emperor left off concerning himself with affairs of State; a serious rebellion broke out, and his Majesty sought safety in flight to Ssŭch’uan, returning only after having abdicated in favour of his son. The accompanying poem describes the rise of Yang Kuei-fei, her tragic fate at the hands of the soldiery, and her subsequent communication with her heart-broken lover from the world of shadows beyond the grave:—

Ennui.—His Imperial Majesty, a slave to beauty, longed for a “subverter of empires;”[15] For years he had sought in vain to secure such a treasure for his palace....

Beauty.—From the Yang family came a maiden, just grown up to womanhood, Reared in the inner apartments, altogether unknown to fame. But nature had amply endowed her with a beauty hard to conceal, And one day she was summoned to a place at the monarch’s side. Her sparkling eye and merry laughter fascinated every beholder, And among the powder and paint of the harem her loveliness reigned supreme. In the chills of spring, by Imperial mandate, she bathed in the Hua-ch’ing Pool, Laving her body in the glassy wavelets of the fountain perennially warm. Then, when she came forth, helped by attendants, her delicate and graceful movements Finally gained for her gracious favour, captivating his Majesty’s heart.

Revelry.—Hair like a cloud, face like a flower, headdress which quivered as she walked, Amid the delights of the Hibiscus Pavilion she passed the soft spring nights. Spring nights, too short alas! for them, albeit prolonged till dawn,— From this time forth no more audiences in the hours of early morn. Revels and feasts in quick succession, ever without a break, She chosen always for the spring excursion, chosen for the nightly carouse. Three thousand peerless beauties adorned the apartments of the monarch’s harem, Yet always his Majesty reserved his attentions for her alone. Passing her life in a “golden house,”[16] with fair girls to wait on her, She was daily wafted to ecstasy on the wine fumes of the banquet-hall. Her sisters and her brothers, one and all, were raised to the rank of nobles. Alas! for the ill-omened glories which she conferred on her family. For thus it came about that fathers and mothers through the length and breadth of the empire Rejoiced no longer over the birth of sons, but over the birth of daughters. In the gorgeous palace piercing the grey clouds above, Divine music, borne on the breeze, is spread around on all sides; Of song and the dance to the guitar and flute, All through the live long day, his Majesty never tires. But suddenly comes the roll of the fish-skin war-drums, Breaking rudely upon the air of the “Rainbow Skirt and Feather Jacket.”

Flight.—Clouds of dust envelop the lofty gates of the capital. A thousand war-chariots and ten thousand horses move towards the south-west. Feathers and jewels among the throng, onwards and then a halt. A hundred li beyond the western gate, leaving behind them the city walls, The soldiers refuse to advance; nothing remains to be done Until she of the moth-eyebrows perishes in sight of all. On the ground lie gold ornaments with no one to pick them up, Kingfisher wings, golden birds, and hairpins of costly jade. The monarch covers his face, powerless to save; And as he turns to look back, tears and blood flow mingled together.

Exile.—Across vast stretches of yellow sand with whistling winds, Across cloud-capped mountain-tops they make their way. Few indeed are the travellers who reach the heights of Mount Omi; The bright gleam of the standards grows fainter day by day. Dark the Ssŭch’uan waters, dark the Ssŭch’uan hills; Daily and nightly his Majesty is consumed by bitter grief. Travelling along, the very brightness of the moon saddens his heart, And the sound of a bell through the evening rain severs his viscera in twain.

Return.—Time passes, days go by, and once again he is there at the well-known spot, And there he lingers on, unable to tear himself wholly away. But from the clods of earth at the foot of the Ma-wei hill, No sign of her lovely face appears, only the place of death. The eyes of sovereign and minister meet, and robes are wet with tears, Eastward they depart and hurry on to the capital at full speed.

Home.—There is the pool and there are the flowers, as of old. There is the hibiscus of the pavilion, there are the willows of the palace. In the hibiscus he sees her face, in the willow he sees her eyebrows: How in the presence of these should tears not flow,— In spring amid the flowers of the peach and plum, In autumn rains when the leaves of the wu t’ung fall? To the south of the western palace are many trees, And when their leaves cover the steps, no one now sweeps them away. The hair of the Pear-Garden musicians is white as though with age; The guardians of the Pepper Chamber[17] seem to him no longer young. Where fireflies flit through the hall, he sits in silent grief; Alone, the lamp-wick burnt out, he is still unable to sleep. Slowly pass the watches, for the nights are now too long, And brightly shine the constellations, as though dawn would never come. Cold settles upon the duck-and-drake tiles,[18] and thick hoar-frost, The kingfisher coverlet is chill, with none to share its warmth. Parted by life and death, time still goes on, But never once does her spirit come back to visit him in dreams.

Spirit-Land.—A Taoist priest of Lin-ch’ung, of the Hung-tu school, Was able, by his perfect art, to summon the spirits of the dead. Anxious to relieve the fretting mind of his sovereign, This magician receives orders to urge a diligent quest. Borne on the clouds, charioted upon ether, he rushes with the speed of lightning High up to heaven, low down to earth, seeking everywhere. Above, he searches the empyrean; below, the Yellow Springs, But nowhere in these vast areas can her place be found. At length he hears of an Isle of the Blest away in mid-ocean, Lying in realms of vacuity, dimly to be descried. There gaily decorated buildings rise up like rainbow clouds, And there many gentle and beautiful Immortals pass their days in peace. Among them is one whose name sounds upon lips as Eternal, And by her snow-white skin and flower-like face he knows that this is she. Knocking at the jade door at the western gate of the golden palace, He bids a fair waiting-maid announce him to her mistress, fairer still. She, hearing of this embassy sent by the Son of Heaven, Starts up from her dreams among the tapestry curtains. Grasping her clothes and pushing away the pillow, she arises in haste, And begins to adorn herself with pearls and jewels. Her cloud-like coiffure, dishevelled, shows that she has just risen from sleep, And with her flowery head-dress awry, she passes into the hall. The sleeves of her immortal robes are filled out by the breeze, As once more she seems to dance to the “Rainbow Skirt and Feather Jacket.” Her features are fixed and calm, though myriad tears fall, Wetting a spray of pear-bloom, as it were with the raindrops of spring. Subduing her emotions, restraining her grief, she tenders thanks to his Majesty, Saying how since they parted she has missed his form and voice; And how, although their love on earth has so soon come to an end, The days and months among the Blest are still of long duration. And now she turns and gazes towards the abode of mortals, But cannot discern the Imperial city lost in the dust and haze. Then she takes out the old keepsakes, tokens of undying love, A gold hairpin, an enamel brooch, and bids the magician carry these back. One half of the hairpin she keeps, and one half of the enamel brooch, Breaking with her hands the yellow gold, and dividing the enamel in two. “Tell him,” she said, “to be firm of heart, as this gold and enamel, And then in heaven or on earth below we two may meet once more.” At parting, she confided to the magician many earnest messages of love, Among the rest recalling a pledge mutually understood; How on the seventh day of the seventh moon, in the Hall of Immortality, At midnight, when none were near, he had whispered in her ear, “I swear that we will ever fly like the one-winged birds,[19] Or grow united like the tree with branches which twine together.”[20] Heaven and Earth, long-lasting as they are, will some day pass away; But this great wrong shall stretch out for ever, endless, for ever and ay.

LI HO

A precocious and short-lived poet was Li Ho, of the ninth century. He began to write verses at the age of seven. Twenty years later he met a strange man riding on a hornless dragon, who said to him, “God Almighty has finished his Jade Pavilion, and has sent for you to be his secretary.” Shortly after this he died. The following is a specimen of his poetry:—

“With flowers on the ground like embroidery spread, At twenty, the soft glow of wine in my head, My white courser’s bit-tassels motionless gleam While the gold-threaded willow scent sweeps o’er the stream. Yet until she has smiled, all these flowers yield no ray; When her tresses fall down the whole landscape is gay; My hand on her sleeve as I gaze in her eyes, A kingfisher hairpin will soon be my prize.”

Chang Chi, who also flourished in the ninth century, was eighty years old when he died. He was on terms of close friendship with Han Yü, and like him, too, a vigorous opponent of both Buddhism and Taoism. The following is his most famous poem, the beauty of which, says a commentator, lies beyond the words:—

“Knowing, fair sir, my matrimonial thrall, Two pearls thou sentest me, costly withal. And I, seeing that Love thy heart possessed, I wrapped them coldly in my silken vest.

“For mine is a household of high degree, My husband captain in the King’s army; And one with wit like thine should say, ‘The troth of wives is for ever and ay.’

“With thy two pearls I send thee back two tears: Tears—that we did not meet in earlier years.”

Many more poets of varying shades of excellence must here be set aside, their efforts often brightened by those quaint conceits which are so dear to the Chinese reader, but which approach so perilously near to bathos when they appear in foreign garb. A few specimens, torn from their setting, may perhaps have an interest of their own. Here is a lady complaining of the leaden-footed flight of time as marked by the water-clock:—

“It seems that the clepsydra has been filled up with the sea, To make the long, long night appear an endless night to me!”

The second line in the next example is peculiarly characteristic:—

“Dusk comes, the east wind blows, and birds pipe forth a mournful sound; Petals, like nymphs from balconies, come tumbling to the ground.”

The next refers to candles burning in a room where two friends are having a last talk on the night before parting for a long period:—

“The very wax sheds sympathetic tears, And gutters sadly down till dawn appears.”

This last is from a friend to a friend at a distance:—

“Ah, when shall we ever snuff candles again, And recall the glad hours of that evening of rain?”

LI SHÊ

A popular poet of the ninth century was Li Shê, especially well known for the story of his capture by highwaymen. The chief knew him by name and called for a sample of his art, eliciting the following lines, which immediately secured his release:—

“The rainy mist sweeps gently o’er the village by the stream, When from the leafy forest glades the brigand daggers gleam.... And yet there is no need to fear, nor step from out their way, For more than half the world consists of bigger rogues than they!”

A popular physician in great request, as well as a poet, was Ma Tzŭ-Jan (d. A.D. 880). He studied Taoism in a hostile sense, as would appear from the following poem by him; nevertheless, according to tradition, he was ultimately taken up to heaven alive:—

“In youth I went to study Tao at its living fountain-head, And then lay tipsy half the day upon a gilded bed. ‘What oaf is this,’ the Master cried, ‘content with human lot?’ And bade me to the world get back and call myself a sot. But wherefore seek immortal life by means of wondrous pills? Noise is not in the market-place, nor quiet on the hills. The secret of perpetual youth is already known to me: Accept with philosophic calm whatever fate may be.”

Hsü An-chên, of the ninth century, is entitled to a place among the T’ang poets, if only for the following piece:—

“When the Bear athwart was lying, And the night was just on dying, And the moon was all but gone, How my thoughts did ramble on!

“Then a sound of music breaks From a lute that some one wakes, And I know that it is she, The sweet maid next door to me.

“And as the strains steal o’er me Her moth-eyebrows rise before me, And I feel a gentle thrill That her fingers must be chill.

“But doors and locks between us So effectually screen us That I hasten from the street And in dreamland pray to meet.”

The following lines by Tu Ch’in-niang, a poetess of the ninth century, are included in a collection of 300 gems of the T’ang dynasty:—

“I would not have thee grudge those robes which gleam in rich array, But I would have thee grudge the hours of youth which glide away. Go, pluck the blooming flower betimes, lest when thou com’st again Alas! upon the withered stem no blooming flowers remain!”

SSŬ-K’UNG T’U

It is time perhaps to bring to a close the long list, which might be almost indefinitely lengthened. Ssŭ-k’ung T’u (A.D. 834-908) was a secretary in the Board of Rites, but he threw up his post and became a hermit. Returning to Court in 905, he accidentally dropped part of his official insignia at an audience,—an unpardonable breach of Court etiquette,—and was allowed to retire once more to the hills, where he ultimately starved himself to death through grief at the murder of the youthful Emperor. He is commonly known as the Last of the T’angs; his poetry, which is excessively difficult to understand, ranking correspondingly high in the estimation of Chinese critics. The following philosophical poem, consisting of twenty-four apparently unconnected stanzas, is admirably adapted to exhibit the form under which pure Taoism commends itself to the mind of a cultivated scholar:—

i.—Energy—Absolute.

“Expenditure of force leads to outward decay, Spiritual existence means inward fulness. Let us revert to Nothing and enter the Absolute, Hoarding up strength for Energy. Freighted with eternal principles, Athwart the mighty void, Where cloud-masses darken, And the wind blows ceaseless around, Beyond the range of conceptions, Let us gain the Centre, And there hold fast without violence, Fed from an inexhaustible supply.”

ii.—Tranquil Repose.

“It dwells in quietude, speechless, Imperceptible in the cosmos, Watered by the eternal harmonies, Soaring with the lonely crane. It is like a gentle breeze in spring, Softly bellying the flowing robe; It is like the note of the bamboo flute, Whose sweetness we would fain make our own. Meeting by chance, it seems easy of access, Seeking, we find it hard to secure. Ever shifting in semblance, It shifts from the grasp and is gone.”

iii.—Slim—Stout.

“Gathering the water-plants From the wild luxuriance of spring, Away in the depth of a wild valley Anon I see a lovely girl. With green leaves the peach-trees are loaded, The breeze blows gently along the stream, Willows shade the winding path, Darting orioles collect in groups. Eagerly I press forward As the reality grows upon me.... ’Tis the eternal theme Which, though old, is ever new.”

iv.—Concentration.

“Green pines and a rustic hut, The sun sinking through pure air, I take off my cap and stroll alone, Listening to the song of birds. No wild geese fly hither, And she is far away; But my thoughts make her present As in the days gone by. Across the water dark clouds are whirled, Beneath the moonbeams the eyots stand revealed, And sweet words are exchanged Though the great River rolls between.”

v.—Height—Antiquity.

“Lo the Immortal, borne by spirituality, His hand grasping a lotus flower, Away to Time everlasting, Trackless through the regions of Space! With the moon he issues from the Ladle,[21] Speeding upon a favourable gale; Below, Mount Hua looms dark, And from it sounds a clear-toned bell. Vacantly I gaze after his vanished image, Now passed beyond the bounds of mortality.... Ah, the Yellow Emperor and Yao, They, peerless, are his models.”

vi.—Refinement.

“A jade kettle with a purchase of spring,[22] A shower on the thatched hut Wherein sits a gentle scholar, With tall bamboos growing right and left, And white clouds in the newly-clear sky, And birds flitting in the depths of trees. Then pillowed on his lute in the green shade, A waterfall tumbling overhead, Leaves dropping, not a word spoken, The man placid, like a chrysanthemum, Noting down the flower-glory of the season,— A book well worthy to be read.”

vii.—Wash—Smelt.

“As iron from the mines, As silver from lead, So purify thy heart, Loving the limpid and clean. Like a clear pool in spring, With its wondrous mirrored shapes, So make for the spotless and true, And, riding the moonbeam, revert to the Spiritual. Let your gaze be upon the stars of heaven,[23] Let your song be of the hiding hermit;[23] Like flowing water is our to-day, Our yesterday, the bright moon.”[24]

viii.—Strength.

“The mind as though in the void, The vitality as though of the rainbow, Among the thousand-ell peaks of Wu, Flying with the clouds, racing with the wind; Drink of the spiritual, feed on force, Store them for daily use, guard them in your heart, Be like Him in His might,[25] For this is to preserve your energy; Be a peer of Heaven and Earth, A co-worker in Divine transformation.... Seek to be full of these, And hold fast to them alway.”

ix.—Embroideries.

“If the mind has wealth and rank, One may make light of yellow gold. Rich pleasures pall ere long, Simple joys deepen ever. A mist-cloud hanging on the river bank, Pink almond-flowers along the bough, A flower-girt cottage beneath the moon, A painted bridge half seen in shadow, A golden goblet brimming with wine, A friend with his hand on the lute.... Take these and be content; They will swell thy heart beneath thy robe.”

x.—The Natural.

“Stoop, and there it is; Seek it not right and left. All roads lead thither,— One touch and you have spring![26] As though coming upon opening flowers, As though gazing upon the new year, Verily I will not snatch it, Forced, it will dwindle away. I will be like the hermit on the hill, Like duckweed gathered on the stream,[27] And when emotions crowd upon me, I will leave them to the harmonies of heaven.”

xi.—Set Free.

“Joying in flowers without let, Breathing the empyrean, Through Tao reverting to ether, And there to be wildly free, Wide-spreading as the wind of heaven, Lofty as the peaks of ocean, Filled with a spiritual strength, All creation by my side, Before me the sun, moon, and stars, The phœnix following behind. In the morning I whip up my leviathans And wash my feet in Fusang.”[28]

xii.—Conservation.

“Without a word writ down, All wit may be attained. If words do not affect the speaker, They seem inadequate to sorrow.[29] Herein is the First Cause, With which we sink or rise, As wine in the strainer mounts high, As cold turns back the season of flowers. The wide-spreading dust-motes in the air, The sudden spray-bubbles of ocean, Shallow, deep, collected, scattered,— You grasp ten thousand, and secure one.”

xiii.—Animal Spirits.

“That they might come back unceasingly, That they might be ever with us!— The bright river, unfathomable, The rare flower just opening, The parrot of the verdant spring, The willow-trees, the terrace, The stranger from the dark hills, The cup overflowing with clear wine.... Oh, for life to be extended, With no dead ashes of writing, Amid the charms of the Natural,— Ah, who can compass it?”

xiv.—Close Woven.

“In all things there are veritable atoms, Though the senses cannot perceive them, Struggling to emerge into shape From the wondrous workmanship of God. Water flowing, flowers budding, The limpid dew evaporating, An important road, stretching far, A dark path where progress is slow.... So words should not shock, Nor thought be inept. But be like the green of spring, Like snow beneath the moon.”[30]

xv.—Seclusion.

“Following our own bent, Enjoying the Natural, free from curb, Rich with what comes to hand, Hoping some day to be with God. To build a hut beneath the pines, With uncovered head to pore over poetry, Knowing only morning and eve, But not what season it may be.... Then, if happiness is ours, Why must there be action? If of our own selves we can reach this point, Can we not be said to have attained?”

xvi.—Fascination.

“Lovely is the pine-grove, With the stream eddying below, A clear sky and a snow-clad bank, Fishing-boats in the reach beyond. And she, like unto jade, Slowly sauntering, as I follow through the dark wood, Now moving on, now stopping short, Far away to the deep valley.... My mind quits its tenement, and is in the past, Vague, and not to be recalled, As though before the glow of the rising moon, As though before the glory of autumn.”

xvii.—In Tortuous Ways.

“I climbed the Tai-hsing mountain By the green winding path, Vegetation like a sea of jade, Flower-scent borne far and wide. Struggling with effort to advance, A sound escaped my lips, Which seemed to be back ere ’twas gone, As though hidden but not concealed.[31] The eddying waters rush to and fro, Overhead the great rukh soars and sails; Tao does not limit itself to a shape, But is round and square by turns.”

xviii.—Actualities.

“Choosing plain words To express simple thoughts, Suddenly I happened upon a recluse, And seemed to see the heart of Tao. Beside the winding brook, Beneath dark pine-trees’ shade, There was one stranger bearing a faggot, Another listening to the lute. And so, where my fancy led me, Better than if I had sought it, I heard the music of heaven, Astounded by its rare strains.”

xix.—Despondent

“A gale ruffles the stream And trees in the forest crack; My thoughts are bitter as death, For she whom I asked will not come. A hundred years slip by like water, Riches and rank are but cold ashes, Tao is daily passing away, To whom shall we turn for salvation? The brave soldier draws his sword, And tears flow with endless lamentation; The wind whistles, leaves fall, And rain trickles through the old thatch.”

xx.—Form and Feature.

“After gazing fixedly upon expression and substance The mind returns with a spiritual image, As when seeking the outlines of waves, As when painting the glory of spring. The changing shapes of wind-swept clouds, The energies of flowers and plants, The rolling breakers of ocean, The crags and cliffs of mountains, All these are like mighty Tao, Skilfully woven into earthly surroundings.... To obtain likeness without form, Is not that to possess the man?”

xxi.—The Transcendental.

“Not of the spirituality of the mind, Nor yet of the atoms of the cosmos, But as though reached upon white clouds, Borne thither by pellucid breezes. Afar, it seems at hand, Approach, ’tis no longer there; Sharing the nature of Tao, It shuns the limits of mortality. It is in the piled-up hills, in tall trees, In dark mosses, in sunlight rays.... Croon over it, think upon it; Its faint sound eludes the ear.”

xxii.—Abstraction.

“Without friends, longing to be there, Alone, away from the common herd, Like the crane on Mount Hou, Like the cloud at the peak of Mount Hua. In the portrait of the hero The old fire still lingers; The leaf carried by the wind Floats on the boundless sea. It would seem as though not to be grasped, But always on the point of being disclosed. Those who recognise this have already attained; Those who hope, drift daily farther away.”

xxiii.—Illumined.

“Life stretches to one hundred years, And yet how brief a span; Its joys so fleeting, Its griefs so many! What has it like a goblet of wine, And daily visits to the wistaria arbour, Where flowers cluster around the eaves, And light showers pass overhead? Then when the wine-cup is drained, To stroll about with staff of thorn; For who of us but will some day be an ancient?... Ah, there is the South Mountain in its grandeur!”[32]

xxiv.—Motion.

“Like a whirling water-wheel, Like rolling pearls,— Yet how are these worthy to be named? They are but illustrations for fools. There is the mighty axis of Earth, The never-resting pole of Heaven; Let us grasp their clue, And with them be blended in One, Beyond the bounds of thought, Circling for ever in the great Void, An orbit of a thousand years,— Yes, this is the key to my theme.”

CHAPTER II
CLASSICAL AND GENERAL LITERATURE

The classical scholarship of the Tang dynasty was neither very original nor very profound. It is true that the second Emperor founded a College of Learning, but its members were content to continue the traditions of the Hans, and comparatively little was achieved in the line of independent research. Foremost among the names in the above College stands that of Lu Yüan-lang (550-625). He had been Imperial Librarian under the preceding dynasty, and later on distinguished himself by his defence of Confucianism against both Buddhist and Taoist attacks. He published a valuable work on the explanations of terms and phrases in the Classics and in Taoist writers.

Scarcely less eminent as a scholar was Wei Chêng (581-643), who also gained great reputation as a military commander. He was appointed President of the Commission for drawing up the history of the previous dynasty, and he was, in addition, a poet of no mean order. At his death the Emperor said, “You may use copper as a mirror for the person; you may use the past as a mirror for politics; and you may use man as a mirror to guide one’s judgment in ordinary affairs. These three mirrors I have always carefully cherished; but now that Wei Chêng is gone, I have lost one of them.”

Another well-known scholar is Yen Shih-ku (579-645). He was employed upon a recension of the Classics, and also upon a new and annotated edition of the history of the Han dynasty; but his exegesis in the former case caused dissatisfaction, and he was ordered to a provincial post. Although nominally reinstated before this degradation took effect, his ambition was so far wounded that he ceased to be the same man. He lived henceforth a retired and simple life.

Li Po-yao (565-648) was so sickly a child, and swallowed so much medicine, that his grandmother insisted on naming him Po-yao = Pharmacopœia, while his precocious cleverness earned for him the sobriquet of the Prodigy. Entering upon a public career, he neglected his work for gaming and drink, and after a short spell of office he retired. Later on he rose once more, and completed the History of the Northern Ch’i Dynasty.

A descendant of Confucius in the thirty-second degree, and a distinguished scholar and public functionary, was K’ung Ying-ta (574-648). He wrote a commentary on the Book of Odes, and is credited with certain portions of the History of the Sui Dynasty. Besides this, he is responsible for comments and glosses on the Great Learning and on the Doctrine of the Mean.

Lexicography was perhaps the department of pure scholarship in which the greatest advances were made. Dictionaries on the phonetic system, based upon the work of Lu Fa-yen of the sixth century, came very much into vogue, as opposed to those on the radical system initiated by Hsü Shên. Not that the splendid work of the latter was allowed to suffer from neglect. Li Yang-ping, of the eighth century, devoted much time and labour to improving and adding to its pages. The latter was a Government official, and when filling a post as magistrate in 763, he is said to have obtained rain during a drought by threatening the City God with the destruction of his temple unless his prayers were answered within three days.

CHANG CHIH-HO

Chang Chih-ho (eighth century), author of a work on the conservation of vitality, was of a romantic turn of mind and especially fond of Taoist speculations. He took office under the Emperor Su Tsung of the T’ang dynasty, but got into some trouble and was banished. Soon after this he shared in a general pardon; whereupon he fled to the woods and mountains and became a wandering recluse, calling himself the Old Fisherman of the Mists and Waters. He spent his time in angling, but used no bait, his object not being to catch fish. When asked why he roamed about, Chang answered and said, “With the empyrean as my home, the bright moon my constant companion, and the four seas my inseparable friends,—what mean you by roaming?” And when a friend offered him a comfortable home instead of his poor boat, he replied, “I prefer to follow the gulls into cloudland, rather than to bury my eternal self beneath the dust of the world.”

The author of the T’ung Tien, an elaborate treatise on the constitution, still extant, was Tu Yu (d. 812). It is divided into eight sections under Political Economy, Examinations and Degrees, Government Offices, Rites, Music, Military Discipline, Geography, and National Defences.

LIU TSUNG-YÜAN

Among writers of general prose literature, Liu Tsung-yüan (773-819) has left behind him much that for purity of style and felicity of expression has rarely been surpassed. Besides being poet, essayist, and calligraphist, he was a Secretary in the Board of Rites. There he became involved in a conspiracy, and was banished to a distant spot, where he died. His views were deeply tinged with Buddhist thought, for which he was often severely censured, once in a letter by his friend and master, Han Yü. These few lines are part of his reply on the latter occasion:—

“The features I admire in Buddhism are those which are coincident with the principles enunciated in our own sacred books. And I do not think that, even were the holy sages of old to revisit the earth, they would fairly be able to denounce these. Now, Han Yü objects to the Buddhist commandments. He objects to the bald pates of the priests, their dark robes, their renunciation of domestic ties, their idleness, and life generally at the expense of others. So do I. But Han Yü misses the kernel while railing at the husk. He sees the lode, but not the ore. I see both; hence my partiality for this faith.

“Again, intercourse with men of this religion does not necessarily imply conversion. Even if it did, Buddhism admits no envious rivalry for place or power. The majority of its adherents love only to lead a simple life of contemplation amid the charms of hill and stream. And when I turn my gaze towards the hurry-scurry of the age, in its daily race for the seals and tassels of office, I ask myself if I am to reject those in order to take my place among the ranks of these.

“The Buddhist priest, Hao-ch’u, is a man of placid temperament and of passions subdued. He is a fine scholar. His only joy is to muse o’er flood and fell, with occasional indulgence in the delights of composition. His family follow in the same path. He is independent of all men, and no more to be compared with those heterodox sages of whom we make so much than with the vulgar herd of the greedy, grasping world around us.”

On this the commentator remarks, that one must have the genius of Han Yü to condemn Buddhism, the genius of Liu Tsung-yüan to indulge in it.

Here is a short study on a great question:—

“Over the western hills the road trends away towards the north, and on the farther side of the pass separates into two. The westerly branch leads to nowhere in particular; but if you follow the other, which takes a north-easterly turn, for about a quarter of a mile, you will find that the path ends abruptly, while the stream forks to enclose a steep pile of boulders. On the summit of this pile there is what appears to be an elegantly built look-out tower; below, as it were a battlemented wall, pierced by a city gate, through which one gazes into darkness. A stone thrown in here falls with a splash suggestive of water, and the reverberations of this sound are audible for some time. There is a way round from behind up to the top, whence nothing is seen far and wide except groves of fine straight trees, which, strange to say, are grouped symmetrically, as if by an artist’s hand.

“Now, I have always had my doubts about the existence of a God, but this scene made me think He really must exist. At the same time, however, I began to wonder why He did not place it in some worthy centre of civilisation, rather than in this out-of-the-way barbarous region, where for centuries there has been no one to enjoy its beauty. And so, on the other hand, such waste of labour and incongruity of position disposed me to think that there cannot be a God after all.”

One favourite piece is a letter which Liu Tsung-yüan writes in a bantering style to congratulate a well-to-do literary man on having lost everything in a fire, especially, as he explains, if the victim has been “utterly and irretrievably beggared.” It will give such a rare opportunity, he points out, to show the world that there was no connection whatever between worldly means and literary reputation.

A well-known satirical piece by Liu Tsung-yüan is entitled “Catching Snakes,” and is directed against the hardships of over-taxation:—

“In the wilds of Hu-kuang there is an extraordinary kind of snake, having a black body with white rings. Deadly fatal, even to the grass and trees it may chance to touch; in man, its bite is absolutely incurable. Yet, if caught and prepared, when dry, in the form of cakes, the flesh of this snake will soothe excitement, heal leprous sores, remove sloughing flesh, and expel evil spirits. And so it came about that the Court physician, acting under Imperial orders, exacted from each family a return of two of these snakes every year; but as few persons were able to comply with the demand, it was subsequently made known that the return of snakes was to be considered in lieu of the usual taxes. Thereupon there ensued a general stampede among the people of those parts.”

It turned out, however, that snake-catching was actually less deadly than paying such taxes as were exacted from those who dared not face its risks and elected to contribute in the ordinary way. One man, whose father and grandfather had both perished from snake-bites, declared that after all he was better off than his neighbours, who were ground down and beggared by the iniquities of the tax-gatherer. “Harsh tyrants,” he explained, “sweep down upon us, and throw everybody and everything, even to the brute beasts, into paroxysms of terror and disorder. But I,—I get up in the morning and look into the jar where my snakes are kept; and if they are still there, I lie down at night in peace. At the appointed time, I take care that they are fit to be handed in; and when that is done, I retire to enjoy the produce of my farm and complete the allotted span of my existence. Only twice a year have I to risk my life: the rest is peaceful enough and not to be compared with the daily round of annoyance which falls to the share of my fellow-villagers.”

A similar satire on over-government introduces a deformed gardener called Camel-back. This man was extraordinarily successful as a nurseryman:—

“One day a customer asked him how this was so; to which he replied, ‘Old Camel-back cannot make trees live or thrive. He can only let them follow their natural tendencies. Now in planting trees, be careful to set the root straight, to smooth the earth around them, to use good mould, and to ram it down well. Then, don’t touch them; don’t think about them; don’t go and look at them; but leave them alone to take care of themselves, and nature will do the rest. I only avoid trying to make my trees grow. I have no special method of cultivation, no special means for securing luxuriance of growth. I only don’t spoil the fruit. I have no way of getting it either early or in abundance. Other gardeners set with bent root and neglect the mould. They heap up either too much earth or too little. Or if not this, then they become too fond of and too anxious about their trees, and are for ever running backwards and forwards to see how they are growing; sometimes scratching them to make sure they are still alive, or shaking them about to see if they are sufficiently firm in the ground; thus constantly interfering with the natural bias of the tree, and turning their affection and care into an absolute bane and a curse. I only don’t do these things. That’s all.’

“‘Can these principles you have just now set forth be applied to government?’ asked his listener. ‘Ah!’ replied Camel-back, ‘I only understand nursery-gardening: government is not my trade. Still, in the village where I live, the officials are for ever issuing all kinds of orders, as if greatly compassionating the people, though really to their utter injury. Morning and night the underlings come round and say, ‘His Honour bids us urge on your ploughing, hasten your planting, and superintend your harvest. Do not delay with your spinning and weaving. Take care of your children. Rear poultry and pigs. Come together when the drum beats. Be ready at the sound of the rattle.’ Thus are we poor people badgered from morn till eve. We have not a moment to ourselves. How could any one flourish and develop naturally under such conditions?’”

HAN YÜ

In his prose writings Han Yü showed even more variety of subject than in his verse. His farewell words to his dead friend Liu Tsung-yüan, read, according to Chinese custom, by the side of the bier or at the grave, and then burnt as a means of communicating them to the deceased, are widely known to his countrymen:—

“Alas! Tzŭ-hou, and hast thou come to this pass?—Fool that I am! is it not the pass to which mortals have ever come? Man is born into the world like a dream: what need has he to take note of gain or loss? While the dream lasts, he may sorrow or may joy; but when the awakening is at hand, why cling regretfully to the past?

“’Twere well for all things an they had no worth. The excellence of its wood is the bane of the tree. And thou, whose early genius knew no curb, weaver of the jewelled words, thou wilt be remembered when the imbeciles of fortune and place are forgot.

“The unskilful bungler hacks his hands and streams with sweat, while the expert craftsman looks on with folded arms. O my friend, thy work was not for this age; though I, a bungler, have found employment in the service of the State. Thou didst know thyself above the common herd; but when in shame thou didst depart never to return, the Philistines usurped thy place.

“Alas! Tzŭ-hou, now thou art no more. But thy last wish, that I should care for thy little son, is still ringing sadly in my ears. The friendships of the day are those of self-interest alone. How can I feel sure that I shall live to carry out thy behest? I did not arrogate to myself this duty. Thou thyself hast bidden me to the task; and, by the Gods above, I will not betray thy trust.

“Thou hast gone to thy eternal home, and wilt not return. With these sacrifices by thy coffin’s side, I utter an affectionate farewell.”

The following passages are taken from his essay on the Way or Method of Confucianism:—

“Had there been no sages of old, the race of man would have long since become extinct. Men have not fur and feathers and scales to adjust the temperature of their bodies; neither have they claws and fangs to aid them in the struggle for food. Hence their organisation, as follows:—The sovereign issues commands. The minister carries out these commands, and makes them known to the people. The people produce grain and flax and silk, fashion articles of everyday use, and interchange commodities, in order to fulfil their obligations to their rulers. The sovereign who fails to issue his commands loses his raison d’être; the minister who fails to carry out his sovereign’s commands, and to make them known to the people, loses his raison d’être; the people who fail to produce grain and flax and silk, fashion articles of everyday use, and interchange commodities, in order to fulfil their obligations to their rulers, should lose their heads.”

“And if I am asked what Method is this, I reply that it is what I call the Method, and not merely a method like those of Lao Tzŭ and Buddha. The Emperor Yao handed it down to the Emperor Shun; the Emperor Shun handed it down to the Great Yü; and so on until it reached Confucius, and lastly Mencius, who died without transmitting it to any one else. Then followed the heterodox schools of Hsün and Yang, wherein much that was essential was passed over, while the criterion was vaguely formulated. In the days before Chou Kung, the Sages were themselves rulers; hence they were able to secure the reception of their Method. In the days after Chou Kung, the Sages were all high officers of State; hence its duration through a long period of time.

“And now, it will be asked, what is the remedy? I answer that unless these false doctrines are rooted out, the true faith will not prevail. Let us insist that the followers of Lao Tzŭ and Buddha behave themselves like ordinary mortals. Let us burn their books. Let us turn their temples into dwelling-houses. Let us make manifest the Method of our ancient kings, in order that men may be led to embrace its teachings.”

Of the character of Han Yü’s famous ultimatum to the crocodile, which all Chinese writers have regarded as a real creature, though probably the name is but an allegorical veil, the following extract may suffice:—

“O Crocodile! thou and I cannot rest together here. The Son of Heaven has confided this district and this people to my charge; and thou, O goggle-eyed, by disturbing the peace of this river and devouring the people and their domestic animals, the bears, the boars, and deer of the neighbourhood, in order to batten thyself and reproduce thy kind,—thou art challenging me to a struggle of life and death. And I, though of weakly frame, am I to bow the knee and yield before a crocodile? No! I am the lawful guardian of this place, and I would scorn to decline thy challenge, even were it to cost me my life.

“Still, in virtue of my commission from the Son of Heaven, I am bound to give fair warning; and thou, O crocodile, if thou art wise, will pay due heed to my words. There before thee lies the broad ocean, the domain alike of the whale and the shrimp. Go thither and live in peace. It is but the journey of a day.”

The death of a dearly loved nephew, comparatively near to him in age, drew from Han Yü a long and pathetic “In Memoriam,” conveyed, as mentioned above, to the ears of the departed through the medium of fire and smoke. These are two short extracts:—

“The line of my noble-hearted brother has indeed been prematurely cut off. Thy pure intelligence, hope of the family, survives not to continue the traditions of his house. Unfathomable are the appointments of what men call Heaven: inscrutable are the workings of the unseen: unknowable are the mysteries of eternal truth: unrecognisable those who are destined to attain to old age!

“Henceforth my grey hairs will grow white, my strength fail. Physically and mentally hurrying on to decay, how long before I shall follow thee? If there is knowledge after death, this separation will be but for a little while. If there is not knowledge after death, so will this sorrow be but for a little while, and then no more sorrow for ever.”

“O ye blue heavens, when shall my sorrow have end? Henceforth the world has no charms. I will get me a few acres on the banks of the Ying, and there await the end, teaching my son and thy son, if haply they may grow up,—my daughter and thy daughter, until their day of marriage comes. Alas! though words fail, love endureth. Dost thou hear, or dost thou not hear? Woe is me: Heaven bless thee!”

Of all Han Yü’s writings in prose or in verse, there was not one which caused anything like the sensation produced by his memorial to the Emperor on the subject of Buddha’s bone. The fact was, Buddhism was making vast strides in popular esteem, and but for some such bold stand as was made on this occasion by a leading man, the prestige of Confucianism would have received a staggering blow. Here is an extract from this fiery document, which sent its author into exile and nearly cost him his life:—

“Your servant has now heard that instructions have been issued to the priestly community to proceed to Fêng-hsiang and receive a bone of Buddha, and that from a high tower your Majesty will view its introduction into the Imperial Palace; also that orders have been sent to the various temples, commanding that the relic be received with the proper ceremonies. Now, foolish though your servant may be, he is well aware that your Majesty does not do this in the vain hope of deriving advantages therefrom; but that in the fulness of our present plenty, and in the joy which reigns in the heart of all, there is a desire to fall in with the wishes of the people in the celebration at the capital of this delusive mummery. For how could the wisdom of your Majesty stoop to participate in such ridiculous beliefs? Still the people are slow of perception and easily beguiled; and should they behold your Majesty thus earnestly worshipping at the feet of Buddha, they would cry out, ‘See! the Son of Heaven, the All-Wise, is a fervent believer; who are we, his people, that we should spare our bodies?’ Then would ensue a scorching of heads and burning of fingers; crowds would collect together, and, tearing off their clothes and scattering their money, would spend their time from morn to eve in imitation of your Majesty’s example. The result would be that by and by young and old, seized with the same enthusiasm, would totally neglect the business of their lives; and should your Majesty not prohibit it, they would be found flocking to the temples, ready to cut off an arm or slice their bodies as an offering to the god. Thus would our traditions and customs be seriously injured, and ourselves become a laughing-stock on the face of the earth;—truly, no small matter!

“For Buddha was a barbarian. His language was not the language of China. His clothes were of an alien cut. He did not utter the maxims of our ancient rulers, nor conform to the customs which they have handed down. He did not appreciate the bond between prince and minister, the tie between father and son. Supposing, indeed, this Buddha had come to our capital in the flesh, under an appointment from his own State, then your Majesty might have received him with a few words of admonition, bestowing on him a banquet and a suit of clothes, previous to sending him out of the country with an escort of soldiers, and thereby have avoided any dangerous influence on the minds of the people. But what are the facts? The bone of a man long since dead and decomposed is to be admitted, forsooth, within the precincts of the Imperial Palace! Confucius said, ‘Pay all respect to spiritual beings, but keep them at a distance.’ And so, when the princes of old paid visits of condolence to one another, it was customary for them to send on a magician in advance, with a peach-wand in his hand, whereby to expel all noxious influences previous to the arrival of his master. Yet now your Majesty is about to causelessly introduce a disgusting object, personally taking part in the proceedings, without the intervention either of the magician or of his peach-wand. Of the officials, not one has raised his voice against it; of the censors, not one has pointed out the enormity of such an act. Therefore your servant, overwhelmed with shame for the censors, implores your Majesty that these bones be handed over for destruction by fire or water, whereby the root of this great evil may be exterminated for all time, and the people know how much the wisdom of your Majesty surpasses that of ordinary men. The glory of such a deed will be beyond all praise. And should the Lord Buddha have power to avenge this insult by the infliction of some misfortune, then let the vials of his wrath be poured out upon the person of your servant, who now calls Heaven to witness that he will not repent him of his oath.”

LI HUA

A writer named Li Hua, of whom little is known except that he flourished in the ninth century, has left behind him one very much admired piece entitled “On an Old Battlefield”:—

“Vast, vast,—a limitless extent of flat sand, without a human being in sight, girdled by a stream and dotted with hills, where in the dismal twilight the wind moans at the setting sun. Shrubs gone: grass withered: all chill as the hoar-frost of early morn. The birds of the air fly past: the beasts of the field shun the spot; for it is, as I was informed by the keeper, the site of an old battlefield. ‘Many a time and oft,’ said he, ‘has an army been overthrown on this spot; and the voices of the dead may frequently be heard weeping and wailing in the darkness of the night.’”

This is how the writer calls up in imagination the ghastly scene of long ago:—

“And now the cruel spear does its work, the startled sand blinds the combatants locked fast in the death-struggle; while hill and vale and stream groan beneath the flash and crash of arms. By and by, the chill cold shades of night fall upon them, knee-deep in snow, beards stiff with ice. The hardy vulture seeks its nest: the strength of the war-horse is broken. Clothes are of no avail; hands frost-bitten, flesh cracked. Even nature lends her aid to the Tartars, contributing a deadly blast, the better to complete the work of slaughter begun. Ambulance waggons block the way: our men succumb to flank attacks. Their officers have surrendered: their general is dead. The river is choked with corpses to its topmost banks: the fosses of the Great Wall are swimming over with blood. All distinctions are obliterated in that heap of rotting bones....

“Faintly and more faintly beats the drum. Strength exhausted, arrows spent, bow-strings snapped, swords shattered, the two armies fall upon one another in the supreme struggle for life or death. To yield is to become the barbarian’s slave: to fight is to mingle our bones with the desert sand....

“No sound of bird now breaks from the hushed hillside. All is still save the wind whistling through the long night. Ghosts of the dead wander hither and thither in the gloom: spirits from the nether world collect under the dark clouds. The sun rises and shines coldly over the trampled grass, while the fading moon still twinkles upon the frost flakes scattered around. What sight more horrible than this!”

MEN OF T’ANG

The havoc wrought by the dreaded Tartars is indeed the theme of many a poem in prose as well as in verse. The following lines by Ch’ên T’ao, of about this date, record a patriotic oath of indignant volunteers and the mournful issue of fruitless valour:—

“They swore the Huns should perish: they would die if needs they must.... And now five thousand, sable-clad, have bit the Tartar dust. Along the river-bank their bones lie scattered where they may, But still their forms in dreams arise to fair ones far away.”

Among their other glories, the T’angs may be said to have witnessed the birth of popular literature, soon to receive, in common with classical scholarship, an impetus the like of which had never yet been felt.

But we must now take leave of this dynasty, the name of which has survived in common parlance to this day. For just as the northerners are proud to call themselves “sons of Han,” so do the Chinese of the more southern provinces still delight to be known as the “men of T’ang.”

BOOK THE FIFTH
THE SUNG DYNASTY (A.D. 900-1200)

CHAPTER I
THE INVENTION OF BLOCK-PRINTING

The T’ang dynasty was brought to an end in 907, and during the succeeding fifty years the empire experienced no fewer than five separate dynastic changes. It was not a time favourable to literary effort; still production was not absolutely at a standstill, and some minor names have come down to us.

Of Chang Pi, for instance, of the later Chou dynasty, little is known, except that he once presented a voluminous memorial to his sovereign in the hope of staving off political collapse. The memorial, we are told, was much admired, but the advice contained in it was not acted upon. These few lines of his occur in many a poetical garland:—

“After parting, dreams possessed me, and I wandered you know where, And we sat in the verandah, and you sang the sweet old air. Then I woke, with no one near me save the moon, still shining on, And lighting up dead petals which like you have passed and gone.”

There is, however, at least one name of absorbing interest to the foreign student. Fêng Tao (881-954) is best known to the Chinese as a versatile politician who served first and last under no less than ten Emperors of four different Houses, and gave himself a sobriquet which finds its best English equivalent in “The Vicar of Bray.” He presented himself at the Court of the second Emperor of the Liao dynasty and positively asked for a post. He said he had no home, no money, and very little brains; a statement which appears to have appealed forcibly to the Tartar monarch, who at once appointed him grand tutor to the heir-apparent. By foreigners, on the other hand, he will be chiefly remembered as the inventor of the art of block-printing. It seems probable, indeed, that some crude form of this invention had been already known early in the T’ang dynasty, but until the date of Fêng Tao it was certainly not applied to the production of books. Six years after his death the “fire-led” House of Sung was finally established upon the throne, and thenceforward the printing of books from blocks became a familiar handicraft with the Chinese people.

GOLDEN TARTARS

With the advent of this new line, we pass, as the Chinese fairy-stories say, to “another heaven and earth.” The various departments of history, classical scholarship, general literature, lexicography, and poetry were again filled with enthusiastic workers, eagerly encouraged by a succession of enlightened rulers. And although there was a falling-off consequent upon the irruption of the Golden Tartars in 1125-1127, when the ex-Emperor and his newly appointed successor were carried captive to the north, nevertheless the Sungs managed to create a great epoch, and are justly placed in the very first rank among the builders of Chinese literature.

CHAPTER II
HISTORY—CLASSICAL AND GENERAL LITERATURE

OU-YANG HSIU

The first move made in the department of history was nothing less than to re-write the whole of the chronicles of the T’ang dynasty. The usual scheme had already been carried out by Liu Hsü (897-946), a learned scholar of the later Chin dynasty, but on many grounds the result was pronounced unsatisfactory, and steps were taken to supersede it. The execution of this project was entrusted to Ou-yang Hsiu and Sung Ch’i, both of whom were leading men in the world of letters. Ou-yang Hsiu (1007-1072) had been brought up in poverty, his mother teaching him to write with a reed. By the time he was fifteen his great abilities began to attract attention, and later on he came out first on the list of candidates for the third or highest degree. His public life was a chequered one, owing to the bold positions he took up in defence of what he believed to be right, regardless of personal interest. Besides the dynastic history, he wrote on all kinds of subjects, grave and gay, including an exposition of the Book of Poetry, a work on ancient inscriptions, anecdotes of the men of his day, an elaborate treatise on the peony, poetry and essays without end. The following is a specimen of his lighter work, greatly admired for the beauty of its style, and diligently read by all students of composition. The theme, as the reader will perceive, is the historian himself:—

“The district of Ch’u is entirely surrounded by hills, and the peaks to the south-west are clothed with a dense and beautiful growth of trees, over which the eye wanders in rapture away to the confines of Shantung. A walk of two or three miles on those hills brings one within earshot of the sound of falling water, which gushes forth from a ravine known as the Wine-Fountain; while hard by in a nook at a bend of the road stands a kiosque, commonly spoken of as the Old Drunkard’s Arbour. It was built by a Buddhist priest, called Deathless Wisdom, who lived among these hills, and who received the above name from the Governor. The latter used to bring his friends hither to take wine; and as he personally was incapacitated by a very few cups, and was, moreover, well stricken in years, he gave himself the sobriquet of the Old Drunkard. But it was not wine that attracted him to this spot. It was the charming scenery, which wine enabled him to enjoy.

“The sun’s rays peeping at dawn through the trees, by and by to be obscured behind gathering clouds, leaving naught but gloom around, give to this spot the alternations of morning and night. The wild-flowers exhaling their perfume from the darkness of some shady dell, the luxuriant foliage of the dense forest of beautiful trees, the clear frosty wind, and the naked boulders of the lessening torrent,—these are the indications of spring, summer, autumn, and winter. Morning is the time to go thither, returning with the shades of night, and although the place presents a different aspect with the changes of the seasons, its charms are subject to no interruption, but continue alway. Burden-carriers sing their way along the road, travellers rest awhile under the trees, shouts from one, responses from another, old people hobbling along, children in arms, children dragged along by hand, backwards and forwards all day long without a break,—these are the people of Ch’u. A cast in the stream and a fine fish taken from some spot where the eddying pools begin to deepen; a draught of cool wine from the fountain, and a few such dishes of meats and fruits as the hills are able to provide,—these, nicely spread out beforehand, constitute the Governor’s feast. And in the revelry of the banquet-hour there is no thought of toil or trouble. Every archer hits his mark, and every player wins his partie; goblets flash from hand to hand, and a buzz of conversation is heard as the guests move unconstrainedly about. Among them is an old man with white hair, bald at the top of his head. This is the drunken Governor, who, when the evening sun kisses the tips of the hills and the falling shadows are drawn out and blurred, bends his steps homewards in company with his friends. Then in the growing darkness are heard sounds above and sounds below; the beasts of the field and the birds of the air are rejoicing at the departure of man. They, too, can rejoice in hills and in trees, but they cannot rejoice as man rejoices. So also the Governor’s friends. They rejoice with him, though they know not at what it is that he rejoices. Drunk, he can rejoice with them, sober, he can discourse with them,—such is the Governor. And should you ask who is the Governor, I reply, ‘Ou-yang Hsiu of Lu-ling.’”

Besides dwelling upon the beauty of this piece as vividly portraying the spirit of the age in which it was written, the commentator proudly points out that in it the particle yeh, with influences as subtle as those of the Greek γε, occurs no fewer than twenty times.

The next piece is entitled “An Autumn Dirge,” and refers to the sudden collapse of summer, so common a phenomenon in the East:—

“One night I had just sat down to my books, when suddenly I heard a sound far away towards the south-west. Listening intently, I wondered what it could be. On it came, at first like the sighing of a gentle zephyr ... gradually deepening into the plash of waves upon a surf-beat shore ... the roaring of huge breakers in the startled night, amid howling storm-gusts of wind and rain. It burst upon the hanging bell, and set every one of its pendants tinkling into tune. It seemed like the muffled march of soldiers, hurriedly advancing, bit in mouth, to the attack, when no shouted orders rend the air, but only the tramp of men and horses meet the ear.

“‘Boy,’ said I, ‘what noise is that? Go forth and see.’ ‘Sir,’ replied the boy on his return, ‘the moon and stars are brightly shining: the Silver River spans the sky. No sound of man is heard without: ’tis but the whispering of the trees.’

“‘Alas!’ I cried, ‘autumn is upon us. And is it thus, O boy, that autumn comes?—autumn, the cruel and the cold; autumn, the season of rack and mist; autumn, the season of cloudless skies; autumn, the season of piercing blasts; autumn, the season of desolation and blight! Chill is the sound that heralds its approach, and then it leaps upon us with a shout. All the rich luxuriance of green is changed, all the proud foliage of the forest swept down to earth, withered beneath the icy breath of the destroyer. For autumn is nature’s chief executioner, and its symbol is darkness. It has the temper of steel, and its symbol is a sharp sword. It is the avenging angel, riding upon an atmosphere of death. As spring is the epoch of growth, so autumn is the epoch of maturity. And sad is the hour when maturity is passed, for that which passes its prime must die.

“‘Still, what is this to plants and trees, which fade away in their due season?... But stay; there is man, man the divinest of all things. A hundred cares wreck his heart, countless anxieties trace their wrinkles on his brow, until his inmost self is bowed beneath the burden of life. And swifter still he hurries to decay when vainly striving to attain the unattainable, or grieving over his ignorance of that which can never be known. Then comes the whitening hair—and why not? Has man an adamantine frame, that he should outlast the trees of the field? Yet, after all, who is it, save himself, that steals his strength away? Tell me, O boy, what right has man to accuse his autumn blast?’

“My boy made no answer. He was fast asleep. No sound reached me save that of the cricket chirping its response to my dirge.”

The other leading historian of this period was Sung Ch’i (998-1061), who began his career by beating his elder brother at the graduates’ examination. He was, however, placed tenth, instead of first, by Imperial command, and in accordance with the precedence of brothers. He rose to high office, and was also a voluminous writer. A great favourite at Court, it is related that he was once at some Imperial festivity when he began to feel cold. The Emperor bade one of the ladies of the seraglio lend him a tippet, whereupon about a dozen of the girls each offered hers. But Sung Ch’i did not like to seem to favour any one, and rather than offend the rest, continued to sit and shiver. The so-called New History of the T’ang Dynasty, which he produced in co-operation with Ou-yang Hsiu, is generally regarded as a distinct improvement upon the work of Liu Hsü. It has not, however, actually superseded the latter work, which is still included among the recognised dynastic histories, and stands side by side with its rival.

SSŬ-MA KUANG

Meanwhile another star had risen, in magnitude to be compared only with the effulgent genius of Ssŭ-ma Ch’ien. Ssŭ-ma Kuang (1019-1086) entered upon an official career and rose to be Minister of State. But he opposed the great reformer, Wang An-shih, and in 1070 was compelled to resign. He devoted the rest of his life to the completion of his famous work known as the T’ung Chien or Mirror of History, a title bestowed upon it in 1084 by the Emperor, because “to view antiquity as it were in a mirror is an aid in the administration of government.” The Mirror of History covers a period from the fifth century B.C. down to the beginning of the Sung dynasty, A.D. 960, and was supplemented by several important works from the author’s own hand, all bearing upon the subject. In his youth the latter had been a devoted student, and used to rest his arm upon a kind of round wooden pillow, which roused him to wakefulness by its movement every time he began to doze over his work. On one occasion, in childhood, a small companion fell into a water-kong, and would have been drowned but for the presence of mind of Ssŭ-ma Kuang. He seized a huge stone, and with it cracked the jar so that the water poured out. As a scholar he had a large library, and was so particular in the handling of his books that even after many years’ use they were still as good as new. He would not allow his disciples to turn over leaves by scratching them up with the nails, but made them use the forefinger and second finger of the right hand. In 1085 he determined to return to public life, but he had not been many months in the capital, labouring as usual for his country’s good, before he succumbed to an illness and died, universally honoured and regretted by his countrymen, to whom he was affectionately known as the Living Buddha.

The following extract from his writings refers to a new and dangerous development in the Censorate, an institution which still plays a singular part in the administration of China:—

“Of old there was no such office as that of Censor. From the highest statesman down to the artisan and trader, every man was free to admonish the Throne. From the time of the Han dynasty onwards, this prerogative was vested in an office, with the weighty responsibility of discussing the government of the empire, the people within the Four Seas, successes, failures, advantages, and disadvantages, in order of importance and of urgency. The sole object in this arrangement was the benefit of the State, not that of the Censor, from whom all ideas of fame or gain were indeed far removed. In 1017 an edict was issued appointing six officers to undertake these Censorial duties, and in 1045 their names were for the first time written out on boards; and then, in 1062, apparently for better preservation, the names were cut on stone. Thus posterity can point to such an one and say, ‘There was a loyal man;’ to another, ‘There was a traitor;’ to a third, ‘There was an upright man;’ to a fourth, ‘There was a scoundrel.’ Does not this give cause for fear?”

CHOU TUN-I

Contemporaneously with Ssŭ-ma Kuang lived Chou Tun-i (1017-1073), who combined the duties of a small military command with prolonged and arduous study. He made himself ill by overwork and strict attention to the interests of the people at all hazards to himself. His chief works were written to elucidate the mysteries of the Book of Changes, and were published after his death by his disciples, with commentaries by Chu Hsi. The following short satire, veiled under the symbolism of flowers, being in a style which the educated Chinaman most appreciates, is very widely known:—

“Lovers of flowering plants and shrubs we have had by scores, but T’ao Ch’ien alone devoted himself to the chrysanthemum. Since the opening days of the T’ang dynasty, it has been fashionable to admire the peony; but my favourite is the water-lily. How stainless it rises from its slimy bed! How modestly it reposes on the clear pool—an emblem of purity and truth! Symmetrically perfect, its subtle perfume is wafted far and wide, while there it rests in spotless state, something to be regarded reverently from a distance, and not to be profaned by familiar approach.

“In my opinion the chrysanthemum is the flower of retirement and culture; the peony the flower of rank and wealth; the water-lily, the Lady Virtue sans pareille.

“Alas! few have loved the chrysanthemum since T’ao Ch’ien, and none now love the water-lily like myself, whereas the peony is a general favourite with all mankind.”

Ch’êng Hao (1032-1085) and Ch’êng I (1033-1107) were two brothers famed for their scholarship, especially the younger of the two, who published a valuable commentary upon the Book of Changes. The elder attracted some attention by boldly suppressing a stone image in a Buddhist temple which was said to emit rays from its head, and had been the cause of disorderly gatherings of men and women. A specimen of his verse will be given in the next chapter. Ch’êng I wrote some interesting chapters on the art of poetry. In one of these he says, “Asked if a man can make himself a poet by taking pains, I reply that only by taking pains can any one hope to be ranked as such, though on the other hand the very fact of taking pains is likely to be inimical to success. The old couplet reminds us—

‘E’er one pentameter be spoken How many a human heart is broken!’

There is also another old couplet—

‘’Twere sad to take this heart of mine And break it o’er a five-foot line.’

Both of these are very much to the point. Confucius himself did not make verses, but he did not advise others to abstain from doing so.”

WANG AN-SHIH

The great reformer and political economist Wang An-shih (1021-1086), who lived to see all his policy reversed, was a hard worker as a youth, and in composition his pen was said to “fly over the paper.” As a man he was distinguished by his frugality and his obstinacy. He wore dirty clothes and did not even wash his face, for which Su Hsün denounced him as a beast. He was so cocksure of all his own views that he would never admit the possibility of being wrong, which gained for him the sobriquet of the Obstinate Minister. He attempted to reform the examination system, requiring from the candidate not so much graces of style as a wide acquaintance with practical subjects. “Accordingly,” says one Chinese writer, “even the pupils at village schools threw away their text-books of rhetoric, and began to study primers of history, geography, and political economy.” He was the author of a work on the written characters, with special reference to those which are formed by the combination of two or more, the meanings of which, taken together, determine the meaning of the compound character. The following is a letter which he wrote to a friend on the study of false doctrines:—

“I have been debarred by illness from writing to you now for some time, though my thoughts have been with you all the while.

“In reply to my last letter, wherein I expressed a fear that you were not progressing with your study of the Canon, I have received several from you, in all of which you seem to think I meant the Canon of Buddha, and you are astonished at my recommendation of such pernicious works. But how could I possibly have intended any other than the Canon of the sages of China? And for you to have thus missed the point of my letter is a good illustration of what I meant when I said I feared you were not progressing with your study of the Canon.

“Now a thorough knowledge of our Canon has not been attained by any one for a very long period. Study of the Canon alone does not suffice for a thorough knowledge of the Canon. Consequently, I have been myself an omnivorous reader of books of all kinds, even, for example, of ancient medical and botanical works. I have, moreover, dipped into treatises on agriculture and on needlework, all of which I have found very profitable in aiding me to seize the great scheme of the Canon itself. For learning in these days is a totally different pursuit from what it was in the olden times; and it is now impossible otherwise to get at the real meaning of our ancient sages.

“There was Yang Hsiung. He hated all books that were not orthodox. Yet he made a wide study of heterodox writers. By force of education he was enabled to take what of good and to reject what of bad he found in each. Their pernicious influence was altogether lost on him; while on the other hand he was prepared the more effectively to elucidate what we know to be the truth. Now, do you consider that I have been corrupted by these pernicious influences? If so, you know me not.

“No! the pernicious influences of the age are not to be sought for in the Canon of Buddha. They are to be found in the corruption and vice of those in high places; in the false and shameless conduct which is now rife among us. Do you not agree with me?”

SU SHIH

Su Shih (1036-1101), better known by his fancy name as Su Tung-p’o, whose early education was superintended by his mother, produced such excellent compositions at the examination for his final degree that the examiner, Ou-yang Hsiu, suspected them to be the work of a qualified substitute. Ultimately he came out first on the list. He rose to be a statesman, who made more enemies than friends, and was perpetually struggling against the machinations of unscrupulous opponents, which on one occasion resulted in his banishment to the island of Hainan, then a barbarous and almost unknown region. He was also a brilliant essayist and poet, and his writings are still the delight of the Chinese. The following is an account of a midnight picnic to a spot on the banks of a river at which a great battle had taken place nearly nine hundred years before, and where one of the opposing fleets was burnt to the water’s edge, reddening a wall, probably the cliff alongside:—

“In the year 1081, the seventh moon just on the wane, I went with a friend on a boat excursion to the Red Wall. A clear breeze was gently blowing, scarce enough to ruffle the river, as I filled my friend’s cup and bade him troll a lay to the bright moon, singing the song of the ‘Modest Maid.’

“By and by up rose the moon over the eastern hills, wandering between the Wain and the Goat, shedding forth her silver beams, and linking the water with the sky. On a skiff we took our seats, and shot over the liquid plain, lightly as though travelling through space, riding on the wind without knowing whither we were bound. We seemed to be moving in another sphere, sailing through air like the gods. So I poured out a bumper for joy, and, beating time on the skiff’s side, sang the following verse:—

‘With laughing oars, our joyous prow Shoots swiftly through the glittering wave— My heart within grows sadly grave— Great heroes dead, where are ye now?’

“My friend accompanied these words upon his flageolet, delicately adjusting its notes to express the varied emotions of pity and regret, without the slightest break in the thread of sound which seemed to wind around us like a silken skein. The very monsters of the deep yielded to the influence of his strains, while the boatwoman, who had lost her husband, burst into a flood of tears. Overpowered by my own feelings, I settled myself into a serious mood, and asked my friend for some explanation of his art. To this he replied, ‘Did not Ts’ao Ts’ao say—

‘The stars are few, the moon is bright, The raven southward wings his flight?’

“‘Westwards to Hsia-k’ou, eastwards to Wu-ch’ang, where hill and stream in wild luxuriance blend,—was it not there that Ts’ao Ts’ao was routed by Chou Yü? Ching-chou was at his feet: he was pushing down stream towards the east. His war-vessels stretched stem to stern for a thousand li: his banners darkened the sky. He poured out a libation as he neared Chiang-ling; and, sitting in the saddle armed cap-à-pie, he uttered those words, did that hero of his age. Yet where is he to-day?

“‘Now you and I have fished and gathered fuel together on the river eyots. We have fraternised with the crayfish; we have made friends with the deer. We have embarked together in our frail canoe; we have drawn inspiration together from the wine-flask—a couple of ephemerides launched on the ocean in a rice-husk! Alas! life is but an instant of Time. I long to be like the Great River which rolls on its way without end. Ah, that I might cling to some angel’s wing and roam with him for ever! Ah, that I might clasp the bright moon in my arms and dwell with her for aye! Alas! it only remains to me to enwrap these regrets in the tender melody of sound.’

“‘But do you forsooth comprehend,’ I inquired, ‘the mystery of this river and of this moon? The water passes by but is never gone: the moon wanes only to wax once more. Relatively speaking, Time itself is but an instant of time; absolutely speaking, you and I, in common with all matter, shall exist to all eternity. Wherefore, then, the longing of which you speak?

“‘The objects we see around us are one and all the property of individuals. If a thing does not belong to me, not a particle of it may be enjoyed by me. But the clear breeze blowing across this stream, the bright moon streaming over yon hills,—these are sounds and sights to be enjoyed without let or hindrance by all. They are the eternal gifts of God to all mankind, and their enjoyment is inexhaustible. Hence it is that you and I are enjoying them now.’

“My friend smiled as he threw away the dregs from his wine-cup and filled it once more to the brim. And then, when our feast was over, amid the litter of cups and plates, we lay down to rest in the boat: for streaks of light from the east had stolen upon us unawares.”

The completion of a pavilion which Su Shih had been building, “as a refuge from the business of life,” coinciding with a fall of rain which put an end to a severe drought, elicited a grateful record of this divine manifestation towards a suffering people. “The pavilion was named after rain, to commemorate joy.” His record concludes with these lines:—

“Should Heaven rain pearls, the cold cannot wear them as clothes; Should Heaven rain jade, the hungry cannot use it as food. It has rained without cease for three days— Whose was the influence at work? Should you say it was that of your Governor, The Governor himself refers it to the Son of Heaven. But the Son of Heaven says ‘No! it was God. And God says ‘No! it was Nature.’ And as Nature lies beyond the ken of man, I christen this arbour instead.”

Another piece refers to a recluse who—

“Kept a couple of cranes, which he had carefully trained; and every morning he would release them westwards through the gap, to fly away and alight in the marsh below or soar aloft among the clouds as the birds’ own fancy might direct. At nightfall they would return with the utmost regularity.”

This piece is also finished off with a few poetical lines:—