365–427], twelve of whose poems will be found on page 103, seq. Something of his philosophy may be gathered from the poem "Substance, Shadow, and Spirit" [page 106], his own views being voiced by the last speaker. He was not an original thinker, but a great poet who reflects in an interesting way the outlook of his time.
Liang and Minor Dynasties.—This period is known as that of the "Northern and Southern Courts." The north of China was in the hands of the Tungusie Tartars, who founded the Northern Wei dynasty—a name particularly familiar, since it is the habit of European collectors to attribute to this dynasty any sculpture which they believe to be earlier than T'ang. Little poetry was produced in the conquered provinces; the Tartar emperors, though they patronized Buddhist art, were incapable of promoting literature. But at Nanking a series of emperors ruled, most of whom distinguished themselves either in painting or poetry. The Chinese have always [and rightly] despised the literature of this period, which is "all flowers and moonlight." A few individual writers, such as Pao Chao, stand out as exceptions. The Emperor Yüan-ti—who hacked his way to the throne by murdering all other claimants, including his own brother—is typical of the period both as a man and as a poet. A specimen of his sentimental poetry will be found on page 135. When at last forced to abdicate, he heaped together 200,000 books and pictures; and, setting fire to them, exclaimed: "The culture of the Liang dynasty perishes with me."
Tang.—I have already described the technical developments of poetry during this dynasty. Form was at this
