Thereupon he died. But his verses spread all over Honan, and many learned to call upon Buddha" (103).

Once more: "In my own town there lived a physician by name Chang-yan-ming. He was a man who never took payment for his treatment from any one in poor or indifferent circumstances; nay, he would often make presents to such persons of money or corn to lighten their lot. If a rich man would have his advice and paid him a fee, he never looked to see whether it were much or little. If a patient lay so dangerously ill that Yanming despaired of his recovery, he would still give him good medicine to comfort his heart, but never took payment for it. I knew this man for many a year, and I never heard the word Money pass his lips! One day a fire broke out in the town, and laid the whole of the houses in ashes; only that of the physician was spared. His sons and grandsons reached high dignities" (p. 110).

Of such as this physician the apostle said: "Of a truth I perceive that God is no respecter of persons; But in every nation he that feareth Him, and worketh righteousness, is accepted with Him."

["By the 'Most High and Heavenly God,' worshipped by the Chinese, as Marco Polo reports, evidently the Chinese T'ien, 'Heaven' is meant, Lao t'ien ye in the common language. Regarding 'the God of things terrestrial,' whose figure the Chinese, according to M. Polo, 'placed below on the ground,' there can also be no doubt that he understands the T'u-ti, the local 'Lar' of the Chinese, to which they present sacrifices on the floor, near the wall under the table.

"M. Polo reports, that the Chinese worship their God offering incense, raising their hands aloft, and gnashing their teeth. Of course he means that they placed the hands together, or held kindled joss-stick bundles in their hands, according to the Chinese custom. The statement of M. Polo sbattendo i denti is very remarkable. It seems to me, that very few of the Chinese are aware of the fact, that this custom still exists among the Taouists. In the rituals of the Taouists the K'ow-ch'i (Ko'w = 'to knock against,'ch'i = 'teeth') is prescribed as a comminatory and propitiatory act. It is effected by the four upper and lower foreteeth. The Taouists are obliged before the service begins to perform a certain number of 'K'ow-ch'i, turning their heads alternately to the left and to the right, in order to drive away mundane thoughts and aggressions of bad spirits. The K'ow-ch'i repeated three times is called ming fa ku in Chinese, i.e. 'to beat the spiritual drum.' The ritual says, that it is heard by the Most High Ruler, who is moved by it to grace.

"M. Polo observed this custom among the lay heathen. Indeed, it appears from a small treatise, written in China more than a hundred years before M. Polo, that at the time the Chinese author wrote, all devout men, entering a temple, used to perform the K'ow-ch'i, and considered it an expression of veneration and devotion to the idols. Thus this custom had been preserved to the time of M. Polo, who did not fail to mention this strange peculiarity in the exterior observances of the Chinese. As regards the present time it seems to me, that this custom is not known among the people, and even with respect to the Taouists it is only performed on certain occasions, and not in all Taouist temples." (Palladius, pp. 53-54.)—H. C.]

NOTE 4.—"True politeness cannot of course be taught by rules merely, but a great degree of urbanity and kindness is everywhere shown, whether owing to the naturally placable disposition of the people, or to the effects of their early instruction in the forms of politeness." (Mid. Kingdom, II. 68.) As regards the "ornate style of speech," a well-bred Chinaman never says I or You, but for the former "the little person," "the disciple," "the inferior," and so on; and for the latter, "the learned man," "the master," or even "the emperor." These phrases, however, are not confined to China, most of them having exact parallels in Hindustani courtesy. On this subject and the courteous disposition of the Chinese, see Fontaney, in Lett. Edif. VII. 287 seqq.; also XI. 287 seqq.; Semedo, 36; Lecomte, II. 48 seqq. There are, however, strong differences of opinion expressed on this subject; there is, apparently, much more genuine courtesy in the north than in the south.

NOTE 5.—"Filial piety is the fundamental principle of the Chinese polity." (Amiot, V. 129.) "In cases of extreme unfilial conduct, parents sometimes accuse their children before the magistrate, and demand his official aid in controlling or punishing them; but such instances are comparatively rare.... If the parent require his son to be publicly whipped by the command of the magistrate, the latter is obliged to order the infliction of the whipping.... If after punishment the son remain undutiful and disobedient, and his parents demand it at the hands of the magistrate, the latter must, with the consent of the maternal uncles of the son, cause him to be taken out to the high wall in front of the yamun, and have him there publicly whipped to death." (Doolittle, 102-103.)

NOTE 6.—[Mr. Rockhill writes to me that pocket-spitoons are still used in China.—H. C.]

[1] "In the worship carried on here the Emperor acts as a high priest. HE only worships; and no subject, however high in rank, can join in the adoration." (Lockhart.) The actual temple dates from 1420-1430; but the Institution is very ancient, and I think there is evidence that such a structure existed under the Mongols, probably only restored by the Ming. [It was built during the 18th year of the reign of the third Ming Emperor Yung Loh (1403-1425); it was entirely restored during the 18th year of K'ien Lung; it was struck by lightning and burnt down in 1889; it is being re-built.—H. C.]

[2] In 1871 I saw in Bond Street an exhibition of (so-called) "spirit" drawings, i.e. drawings alleged to be executed by a "medium" under extraneous and invisible guidance. A number of these extraordinary productions (for extraordinary they were undoubtedly) professed to represent the "Spiritual Flowers" of such and such persons; and the explanation of this as presented in the catalogue was in substance exactly that given in the text. It is highly improbable that the artist had any cognizance of Schott's Essay, and the coincidence was assuredly very striking.



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[1] On the walls of this archway is engraved the inscription in six characters, of which a representation accompanies ch. xv. of Prologue, note 1.