a difference between the pieces of Lû and the other two collections in this Part, to which I will call attention in giving the translation of them.
From the above account of the contents of the Shih, it will be seen that only the pieces in the Only the pieces of the fourth Part have professedly a religious character. last of its four Parts are professedly of a religious character. Many of those, however, in the other Parts, especially the second and third, describe religious services, and give expression to religious ideas in the minds of their authors.
3. Some of the pieces in the Shih are ballads, some are songs, some are hymns, and of others the nature can hardly be indicated by any English denomination. Classification of the pieces from their form and style. They have often been spoken of by the general name of odes, understanding by that term lyric poems that were set to music.My reason for touching here on this point is the earliest account of the Shih, as a collection either already formed or in the process of formation, that we find in Chinese literature. In the Official Book of Kâu, generally supposed to be a work of the twelfth or eleventh century B.C., among the duties of the Grand Music-Master there is 'the teaching,' (that is, to the musical performers,) 'the six classes of poems:—the Făng; the Fû; the Pî; the Hsing; the Yâ; and the Sung.' That the collection of the Shih, as it now is, existed so early as the date assigned to the Official Book could not be; but we find the same account of it given in the so-called Confucian Preface. The Făng, the Yâ, and the Sung are the four Parts of the classic described in the preceding paragraph, the Yâ embracing both the Minor and Major Odes of the Kingdom. But what were the Fû, the Pî, and the Hsing? We might suppose that they were the names of three other distinct Parts or Books. But they were not so. Pieces so discriminated are found in all the four Parts, though there are more of them in the first two than in the others.
The Fû may be described as Narrative pieces, in which the writers tell what they have to say in a simple, straightforward manner, without any hidden meaning reserved in
