a school in every village in the fifteen provinces of his empire.
Hsuan Tsung himself was regarded as a perfect prince, wise and valiant, a sportsman accomplished in all knightly exercises and a master of all elegant arts. Being a musician, he established in his palace an operatic school, called the "Pear Garden," at which both male and female actors were trained, and in which historians find the prototype of the modern Chinese drama. The emperor surrounded himself with a brilliant court of poets, artists, and beautiful women. Odes were offered him by Li Po and Tu Fu; Li Kuei-nien sang at his bidding, while Yang Kuei-fei, the loveliest of the three thousand palace ladies, ever accompanied his palanquin. Although in his latter years he indulged in all sorts of extravagant revelry, he was never vulgar. It is fitting that he is still remembered by the name of Ming Huang — the "Illustrious Sovereign."
But in order to complete the picture of this era there is a darker side, which really brought into full play the spiritual energies of the Chinese race. Within, the court, from the very beginning of the dynasty, was upset more than once by the bloody intrigues of princes and princesses who coveted the imperial crown. Without, China had her Vandals and Goths and Franks, to whom her wealth and splendor offered irresistible temptation to pillage. The border warfare never ceased, and not without many a serious reverse for the imperial forces, which made forays in retaliation, often far into the hostile territories, losing their men by thousands. Tai Tsung's Korean expedition was nothing but a gigantic fiasco, and the conquest of that peninsula was completed
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