the story of a poor lute-girl's sorrows. This piece is ranked very high by the commentator Lin Hsi-chung, who points out how admirably the wording is adapted to echo the sense, and declares that such workmanship raises the reader to that state of mental ecstasy known to the Buddhists as samddhi, and can only be produced once in a thousand autumns. The "guest" is the poet himself, setting out a second time for his place of banishment, as mentioned above, from a point about half-way thither, where he had been struck down by illness :
" By night, at the riverside, adieus were spoken : beneath the maple's flower-like leaves, blooming amid autumnal decay. Host had dismounted to speed the parting guest, already on board his boat. Then a stirrup- cup went round, but no flute, no guitar, was heard. And so, ere the heart was warmed with wine, came words of cold farewell beneath the bright moon, glitter- ing over the bosom of the broad stream . . . when suddenly across the water a lute broke forth into sound. Host forgot to go, guest lingered on, wondering whence the music, and asking who the performer might be. At this, all was hushed, but no answer given. A boat approached, and the musician was invited to join the party. Cups were refilled, lamps trimmed again, and preparations for festivity renewed. At length, after much pressing, she came forth, hiding her face behind her lute ; and twice or thrice sweeping the strings, betrayed emotion ere her song was sung. Then every note she struck swelled with pathos deep and strong, as though telling the tale of a wrecked and hopeless life, while with bent head and rapid finger she poured forth her soul in melody. Now softly, now slowly, her plec-
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