trasted, to the end of the verse. So essential are these tones to constitute good poetry, that the Chinese will not look at a verse, however well expressed, and neatly rhyming, in which accent is outraged. In addition to rhyme and measure, the Chinese require that the expressions should be bold, the thought vivid and striking, and every word in each line corresponding with its opposite, so as to form a chain of beautiful antitheses, mutually illustrating and setting forth their fellows. The most celebrated poets of China are Le-tae-pĭh, and Too-foo, both of whom flourished about a thousand years ago; and who not only animated their contemporaries by inditing rhymes, but have handed down a number of elegant and pithy poems, which are still the admiration of the Chinese.
The number of individuals acquainted with letters in China, is amazingly great. One half of the male population are able to read; while some mount the "cloudy ladder" of literary fame, and far exceed their companions. The general prevalence of learning in China, may be ascribed to the system pursued at the literary examinations; by which none are admitted to office, but those who have passed the ordeal with success, while each individual is allowed to try his skill in the public hall. Wealth, patronage, friends, or favour are of no avail in procuring advancement; while talent, merit, diligence, and perseverance, even in the poorest and humblest individual, are almost sure of their appropriate reward. This is their principle, and their practice does not much vary from it. They have a proverb, that "while royalty is hereditary, office is not;" and the plan adopted at the public examinations is an illustration of it.
