The versification in a monosyllabic language appears very tame to those who are only familiar with the lively and varied rhythms of western tongues; but the Chinese express more vivacity and cadence in their ballads and ditties when sung than one would infer from these ancient relics when transliterated in our letters. As the young lad has usually committed all the three hundred and five odes to memory before he enters the Examination Hall, their influence on the matter and manner of his own future poetical attempts can hardly be exaggerated. It is shown throughout the thousands of volumes enumerated in the fourth division of the Imperial Catalogue. Most of the Shí King is written in tetrametres, and nothing can be more simple. They have been most unfortunately likened to the Hebrew Psalms by some of the early missionaries, but neither in manner nor matter is the comparison a happy one. One point of verbal resemblance is noticed by Dr. Legge between the first ode in Part III. and the one hundred and twenty-first psalm, where the last line of a stanza is generally repeated in the first line of the next, a feature something like the repetitions in Hiawatha. The rhymes and tones both form an essential part of Chinese poetry, one which can only be imperfectly represented in our language. The following furnishes an example of the general style, to which a literal rendering is subjoined:
1. Nan yin kiao muh,
Puh k’o hiu sih;
Han yin yin nü,
Puh k’o kiu sz’.
Han chí kwang í,
Puh k’o yung sz’;
Kiang chí yung í
Puh k’o fang sz’.
2. Kiao kiao tso sin,