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xvi gain some insight into the abstruse, but at the same time marvellously beautiful, style of this gifted writer. The whole essay—for such it is, and among the most perfect of its kind—is intended chiefly as a satire upon the scholarship of the age; scholarship which had turned the author back to the disappointment of a private life, himself conscious all the time of the inward fire that had been lent him by heaven. It is the keynote of his own subsequent career, spent in the retirement of home, in the society of books and friends; as also to the numerous uncomplimentary allusions which occur in all his stories relating to official life. Whether or not the world at large has been a gainer by this instance of the fallibility of competitive examinations has been already decided in the affirmative by the millions of P'u Sung-ling's own countrymen, who for the past two hundred years have more than made up to him by a posthumous and enduring reverence for the loss of those earthly and ephemeral honours which he seems to have coveted so much.

Strange Stories from a Chinese Studio, known to the Chinese as the Liao Chai Chih I, or more familiarly, the Liao Chai, has hardly been mentioned by a single foreigner without some inaccuracy on the part of the writer concerned. For instance, the late Mr. Mayers states in his Chinese Reader's Manual, p. 176, that this work was composed " circa a.d. 1710," the fact being that the collection was actually completed in 1679, as we know by the date attached to the "Author's Own Record " given above. I should mention, however, that the Liao Chai was originally, and for many years, circulated in manuscript only. P'u Sung-ling, as we are told in a colophon by his grandson to the first