Now let us look for a moment at the Chinese classification of styles of drama. We generally hear of the divisions of _kuan-ch’ü_, _p’i-huang_ (a telescoping of _hsi-pi_ and _er-huang_) and thirdly of _pang-tzu_. These are all musical terms. _Kuan-ch’ü_ is accompanied by the flute, and is said to be the most literary, the most graceful and soft; also because of its lack of vulgarity it is caviare to the general. It is rarely performed nowadays, but was quite popular in the Ming Dynasty. It was directly descended from the classical Yuan drama, whose authors were scholars ousted by the Mongols from their public offices. This name is derived from a geographical term, just as are the Greek Doric and Phrygian modes. The _pang-tzu_ came to Peking from Shansi during the Ch’ing Dynasty. The chief instrument is a rude kind of fiddle with a round, flat sounding box, and the _genre_ is considered to be exciting and vulgar. The _er-huang_ or _hsi-p’i_ (said to be very similar) are also styles adopted during the Manchu Dynasty. They employ as their chief instrument the well-known _hu-ch’in_. There is a great similarity between Greek and Chinese thought, in that both speak of the good moral effects of music if only there be the proper harmony; and likewise of the immoral effects of vulgar, exciting music. I believe one could find almost exact parallels in the writings of Plato and of many Chinese authors,[29] even so modern a one as Tsai Yuan-pei. We modern Europeans and Americans, on the other hand, seem to have given up the idea of music as a means for developing harmonious and moral souls.