the peculiar emotional color of each poem, waiting for the moment when I was in the right mood to take up a particular piece. For the elucidation of the difficult passages I depended largely on Japanese and Chinese commentaries, and consulted freely, wherever possible, existing European translations; and I had also the assistance of my Chinese friends. But I wish to have my reader understand that many of my versions are far from being literal. A literal translation would often leave a Chinese poem unintelligible unless supplied with a great amount of exegesis, and I did not wish to empty all the rich content of the original into footnotes. I have amplified or paraphrased on many occasions. I have omitted unimportant words here and there. I have discarded, or translated, a number of proper names because, some way or other, Chinese syllables refuse to sing in company with English words. I have dropped all the phonetic marks, which indicate some tonal peculiarities in certain words like T'ang yun, feng, etc., but which serve only to mystify a non-initiate like myself or my reader. But after all these and other things I have done, I am inclined to believe that my renderings are often simpler and more exact than other extant versions, which I have studied and which I have listed at the end of the book.
In conclusion, I acknowledge my heavy obligations to all my European and American precursors in the field and to my many personal friends who have aided me in various ways during these years of protracted toil. I mention specially my Chinese friend, Mr. Yu-lan Fung, who went over the entire manuscript and furnished me with valuable criticism and corrections,and also Mr. Lo and Mr. Yang who did for me the Chinese titles of the poems, which appear at the margins
