CHAPTER V POETRY-INSCRIPTIONS
The poetry which is representative of the period between the death of Confucius and the 2nd century B.C. is a thing apart. There is nothing like it in the whole range of Chinese literature. It illumines many a native pro- nouncement on the poetic art, the drift of which would otherwise remain obscure. For poetry has been defined by the Chinese as "emotion expressed in words," a defini- tion perhaps not more inadequate than Wordsworth's "impassioned expression." "Poetry," they say, "knows no law." And again, "The men of old reckoned it the highest excellence in poetry that the meaning should lie beyond the words, and that the reader should have to think it out." Of these three canons only the last can be said to have survived to the present day. But in the fourth century B.C., Ch'ü Yüan and his school indulged in wild irregular metres which consorted well with their wild irregular thoughts. Their poetry was prose run mad. It was allusive and allegorical to a high degree, and now, but for the commentary, much of it would be quite unintelligible.
CH'Ü YÜAN is the type of a loyal Minister. He en- joyed the full confidence of his Prince until at length the jealousies and intrigues of rivals sapped his position in the State. Then it was that he composed the Li Sao,
