landscape-historians have long recognized, to be sure, that Chambers' descriptions (like most of what the West has wrought in the name of Chinese gardening since Sir William Temple enunciated his shadowy _sharawadgi_ principle in 1685), while they may correctly celebrate specific details, or the general principles of surprise and variety, register no sensitivity to the Taoist or Buddhist teleology crucial to oriental planning. What Chet-qua calls "supernatural scenery" is hence "enchanted" by the same spirit of diversion animating the Druid or Dark Walk and subterranean Fairy Music of Vauxhall Gardens, across the Thames from Somerset House.[15] Enlightened secularization of the genuine oriental principles of immanence and affect may, however, be exactly what makes a paragraph on page 52 of the 1773 _Dissertation_ sound so much like a ground-plan for a short story of strollers' interwoven and inconsequential conversations and interior monologues, Virginia Woolf's "Kew Gardens." If allowances are made for the persistent difficulty of transcribing Chinese phonemes, and for Chambers' dependence upon Cantonese rather than Mandarin dialect, the oriental dress of the _Discourse_ is less bogus than might be assumed. Chambers' varying spellings of the then reigning emperor's name would exemplify the first problem, my failure to authenticate the poem on pages 118-119 the second. (Over 42,000 unindexed poems in Mandarin are attributed to this emperor, now known here as Ch'ien-lung.) Proustian though they may seem to Westerners, the synesthetic effects of tea-taking and the evocativeness of the scents and hues of "Mei-hoa" (plum-blossom), "fo-cheou" (chrysanthemum), and pine are indeed celebrated in much Chinese poetry.[16] Whoever wrote the poem, it aptly dramatizes the suggestible ethos which Chambers recommends to English artists and their public.