bles in a measure, the third of the first line is the governing word; and the fifth sometimes holds the same relation in verses of seven syllables. This key word in Chinese poetry is the object of particular attention. It must not be a mere particle, but a word expressing some prominent idea in the sentence. It may rhyme with the key word in the following line, or it may alternate with it, according to the rule which is chosen in the poem. These different kinds of verses are variously combined, making as many as forty different poetical metres. There are six different metres in ancient poetry. The style of these poems is, in general, elevated, concise, full of allegorical, and metaphorical expressions, of words that are antique and little used, and references to events of history, deeds, usages, and opinions little known. This is what renders Chinese poetry so very difficult to be appreciated or described by Western scholars.
The great difference between the smooth and harsh tones, which are variable in different stanzas of Chinese poetry, some of which can be scarcely, if at all, enunciated in singing, renders it almost impossible to sing Chinese poetry with Western music, and a tune which was adapted to one stanza would not be appropriate for the next, though agreeing with it in the number and metrical arrangement of its syllables.
In the written language there are so many synonymous characters differing in pronunciation and tone, that there is little difficulty in adapting them to the strict rules of Chinese poetry. In the spoken language, however, the number, tones, and arrangement of words in a sentence, is so inflexible, that it is almost impossible to compose poetic measures in the spoken language. The popular songs of the empire, and hymns composed for Christian worship, are only approximations to the style of the spoken language, and, consequently, are but partially intelligible to the common people.
