"Is there anything so difficult about this," Tai-yü pursued, "as to make it necessary to go in for any study? Why, it's purely and simply a matter of openings, elucidations, embellishments and conclusions. The elucidations and embellishments, which come in the centre, should form two antithetical sentences, the even tones must pair with the uneven. Empty words must correspond with full words; and full words with empty words. In the event of any out-of-the-way lines, it won't matter if the even and uneven tones, and the empty and full words do not pair."
"Strange though it may appear," smiled Hsiang Ling, "I often handle books with old poems, and read one or two stanzas, whenever I can steal the time; and some among these I find pair most skilfully, while others don't. I have also heard that the first, third and fifth lines are of no consequence; and that the second, fourth and sixth must be clearly distinguished. But I notice that there are in the poetical works of ancient writers both those which accord with the rules, as well as those whose second, fourth and sixth lines are not in compliance with any rule. Hence it is that my mind has daily been full of doubts. But after the hints you've given me, I really see that all these formulas are of no account, and that the main requirement is originality of diction."
"Yes, that's just the principle that holds good," Tai-yü answered. "But diction is, after all, a last consideration. The first and foremost thing is the choice of proper sentiments; for when the sentiments are correct, there'll even be no need to polish the diction; it's certain to be elegant. This is called versifying without letting the diction affect the sentiments."
"What I admire," Hsiang Ling proceeded with a smile; "are the lines by old Lu Fang;
"The double portière, when not raised, retains the fragrance long.
An old inkslab, with a slight hole, collects plenty of ink.
"Their language is so clear that it's charming."
"You must on no account," Tai-yü observed, "read poetry of the kind. It's because you people don't know what verses mean that you, no sooner read any shallow lines like these, than they take your fancy. But when once you get into this sort of style, it's impossible to get out of it. Mark my words! If you are in earnest about learning, I've got here Wang Mo-chieh's complete collection; so you'd better take his one hundred stanzas, written in the pentameter rule of versification, and carefully study them, until you apprehend them thoroughly. Afterwards, look over the one hundred and twenty stanzas of Lao T'u, in the heptameter rule; and next read a hundred or two hundred of the heptameter four-lined stanzas by Li Ch'ing-lieu. When you have, as a first step, digested these three authors, and made them your foundation, you can take T'ao Yuan-ming, Ying, Liu, Hsieh, Yüan, Yü, Pao and other writers and go through them once. And with those sharp and quick wits of yours, I've no doubt but that you will become a regular poet before a year's time."
"Well, in that case," Hsiang Ling smiled, after listening to her, "bring me the book, my dear miss, so that I may take it along. It will be a good thing if I can manage to read several stanzas at night."
At these words, Tai-yü bade Tzu Chüan fetch Wang Tso-ch'eng's pentameter stanzas. When brought, she handed them to Hsiang Ling. "Only peruse those marked with red circles" she said. "They've all been selected by me. Read each one of them; and should there be any you can't fathom, ask your miss about them. Or when you come across me, I can explain them to you."
Hsiang Ling took the poems and repaired back to the Heng Wu-yüan. And without worrying her mind about anything she approached the lamp and began to con stanza after stanza. Pao-ch'ai pressed her, several consecutive times, to go to bed; but as even rest was far from her thoughts, Pao-ch'ai let her, when she perceived what trouble she was taking over her task, have her own way in the matter.