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 [Sidenote: 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.