In fact at this time, music was chiefly an adjunct of the theatre, and each day brought forth new comedies, concerts, or ballets. A terrible scandal was created in the reign of Tching-ti (an emperor who reigned shortly after) by that sovereign taking one of his beautiful _corps de ballet_, to wife. These ballet dancers seem also to have been talented singers, and were of similar station, though far inferior in talents, to the _Hetaræ_ of ancient Greece. In the time of the last named ruler, there were found on the bank of a river, sixteen ancient musical stones or _kings_, and the fact that the sovereign esteemed this one of the most glorious events of his reign, shows how earnest and persistent was the endeavor to reclaim the old school of music from oblivion. Between the years A. D. 8, and 23, many books relative to music were written; the Chinese, however, assert that all of these were founded on a false system and contained many errors. About A. D. 60, the president of the tribunal of rites and music, made great efforts to collect the remains of ancient knowledge, and place music once more upon its old, pure basis. The work written by him was highly esteemed by the literati but unfortunately, the musicians had become used entirely to the newer, and less pure style of music, and were too lazy to care about learning any new modes; therefore all manner of difficulties were placed in the way of Pao-yé, and the reform was unsuccessful. Tching-ti, A. D. 280, had at his court ten thousand women, who were all proficient singers and players. Ngai-ti, one of his successors, tried to remedy the luxury and effeminacy which had crept into every department of music. He dismissed all his musicians, except those who performed at sacred rites, or in military music (these being countenanced by ancient usage) and all the troupes of singing girls were also broken up. The poor musicians thus thrown out of employment numbered four hundred and forty. The singing girls were yet more numerous. These reforms seem to have been of short duration, for almost always, after an emperor who enthusiastically attacked these abuses, came one who with equal fervor, protected them. One sovereign, A. D. 289, had at his palace five thousand actresses, and the fourth successor of the reformer who dismissed his musicians, named Tsin-ou-ti, although a lover of music, was also a great lover of luxury. His greatest delight was to enervate the officials of high rank by inviting them to carousals which he would extend far into the night, and when the censors remonstrated with him on his course, he heard them patiently; he would then invite them to dinner for the same day, and there cause them to drink so copiously that they had to be carried home.[98] An emperor who reigned about 503 A. D. banished comedy and music from the palace, and also established the funeral festival in honor of Confucius, in which sacred music played a part.