In order to attain success in Chinese composition, it is necessary to be acquainted with the force of every character, as a means to which, access to this standard dictionary, would seem to be indispensable. Yet, though invaluable, it is not in the possession of one scholar in fifty. Its place is generally taken by a small compendium, analogous to what we should call a pocket-manual, in which the characters are arranged according to the sound, and not according to the radicals, as in K'ang Hsi. Pupils are seldom taught the 214 radicals, and many persons who have spent years at school have no idea how to use K'ang Hsi's dictionary, when it is put into their hands. Within a circle of eight or ten villages, there may be only a single copy, and if it is necessary to obtain more accurate information than is to be had in the pocket-dictionary, the inquirer must go to the village where there is a copy of K'ang Hsi, and "borrow light" there. But such an extreme measure is seldom considered necessary. The incessant study of the Classics has made all the characters in them familiar. Those who write essays can compose them with the aid of these characters only, and as for miscellaneous characters--that is, those not found in the Classics--why should one care for _them_? A good edition of K'ang Hsi, with clear type and no false characters, might cost, if new, as much as the village schoolmaster would receive for his whole year's work. At examinations below that for the second degree, a knowledge of history is said to be as superfluous as an acquaintance with the dictionary. Nine out of ten candidates at the lower examinations know little of the history of China, except what they have learned from the Trimetrical Classic, or picked up from the classics. The perusal of compendiums of history, even if such are available, is the employment of leisure, and the composition of essays as a business once entered upon, there is no leisure. One occasionally meets a teacher who has made a specialty of history, but these men are rare. Historical allusions often lie afloat in the minds of Chinese scholars, like snatches of poetry, the origin and connection of which are unknown. Many scholars who have the knack of picking up and appropriating such spiculæ of knowledge, acquire the art of dextrously weaving them into examination essays and owe their success to this circumstance alone, whereas if they were examined upon the historical connection of the incidents which they have thus cited, they would be unable to reply. But as long as the use of such allusions in essays is felicitous, no questions are asked, and the desired end is attained. "The Cat that catches the Rat is a good Cat," says the adage, and it is no matter if the Cat is blind, and the Rat is a dead one!