The strings are of silk, and are set at very low tension, and are merely pulled by the hand up to pitch and tied with an ordinary knot on to two pegs at the back on the left hand, four grouped to one peg and three to the other,—most primitive, but apparently quite satisfactory. On the right hand the strings are knotted on to thick green silk cords, each cord being threaded through a little drilled cylinder of wood in a manner effectually preventing slip. Each of these little drilled stems carries a scarlet silk tassel thirteen inches long. Consequently these little ornamental cylinders serve as hitch pins for the strings; the strings are first drawn, tightly bearing on these when set for playing, yet slack as regards tuning, and in that state may be left when unused, just as a violin needs to have its strings slackened when out of immediate use. Then each string is brought to tune by ear, the cylinder being pressed down to a right angle, at which it stays, clipping the string downwards a quarter of an inch, and thus increasing the tension to the degree that practice has determined to be required for playing. After playing, the cylinder can be tipped back to the slack position. Simple and ingenious, since silk strings, although waxed are, like those of gut, affected by atmospheric changes, against which some provision has to be made. The tasselled end of the instrument, it should be observed, is placed to the right hand of the player. [Illustration: _Assyrian Harp with Plectrum._ _Fig. 42._] Why tassels? Well, these Asiatic people have a great fondness for such ornaments. My two Japanese flutes have heavy crimson silk tassels quite eighteen inches long. Curiously, too, we find in very early Assyrian representation of hand harps on monumental slabs in the British Museum, exactly the same set of tassels—seven or eight in a series—depending from the bar upon which the strings are tied: knotted in fact to the tassels. And thereupon we wonder what community of intercourse was there between the ancient Assyrians and the Chinese that this same custom should be adhered to by both people, in times so very far back: for Fu Hsi, the inventor, ruled 4746 years ago, and the instrument, bespeaks a very high civilization as then existing, and a refined state of learning and philosophy. It is worth reflecting upon; a simple fancy such as that perpetuated for well nigh fifty centuries. The Assyrians have passed away utterly, and the Chinese crowd the earth, to this day reproducing the old traditional forms, the veritable instruments decorated after inherited customs, the music limited to the simplicity of primitive aims. No great nation was ever so barren of monuments as the Chinese. But what monuments need they? They themselves are the permanent archaic, and livingly represent their ancestors. [Illustration] CHAPTER XXII. In Ancient China. THE TRUMPETS OF THE CHINESE.