Chinese literature — A Reader’s Guide
Edition facts
This digital edition of Chinese literature — A Reader’s Guide is described by source-level measurements including 91,424 words, 6 hr 38 min estimated reading time, and 9 detected text sections.
The text analysis averages about 19.7 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Chinese literature -- Translations into English,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
APTER I. From Ch'ang-gan to the Sandy Desert II. On to Shen-shen and thence to Khoten III. Khoten--Processions of Images IV. Through the Ts'ung Mountains to K'eech-ch'a V. Great Quinquennial Assembly of Monks VI. North India--Image of Maitreya Bodhisattva VII. The Perilous Crossing of the Indus VIII. Woo-chang, or Udyana--Traces of Buddha IX. Soo ho-to--Legends of Buddha X. Gandhara--Legends of Buddha XI. Takshasila--Legends--The Four Great Topes XII. Buddha's Alms-bowl--Death of Hwuy-king XIII. Festival of Buddha's Skull-bone XIV. Crossing the Indus to the East XV. Sympathy of Monks with the Pilgrims XVI. Condition and Customs of Central India XVII. Legend of the Trayastrimsas Heaven XVIII. Buddha's Subjects of Discourse XIX. Legend of Buddha's Danta-kashtha XX. The Jetavana Vihara--Legends of Buddha XXI. The Three Predecessors of Sakyamuni XXII. Legends of Buddha's Birth XXIII. Legends of Rama and its Tope XXIV. Where Buddha Renounced the World XXV. The Kingdom of Vaisali XXVI. Remarkable Death of Ânanda XXVII. King Asoka's Spirit-built Palace and Halls XXVIII. Rajagriha, New and Old--Legends Connected with It XXIX. Fâ-Hien Passes a Night on Gridhra-kuta Hill XXX. Srataparna Cave, or Cave of the First Council XXXI. Sakyamuni's Attaining to the Buddhaship XXXII. Legend of King Asoka in a Former Birth XXXIII. Kasyapa Buddha's Skeleton on Mount Gurupada XXXIV. On the Way Returning to Patna XXXV. Dakshina, and the Pigeon Monastery XXXVI. Fâ-Hien's Indian Studies XXXVII. Fâ-Hien's Stay in Champa and Tamalipti XXXVIII. At Ceylon--Feats of Buddha--His Statue in Jade XXXIX. Cremation of an Arhat--Sermon of a Devotee XL. After Two Years Fâ-Hien Takes Ship for China
Introduction Translator's Preface Dramatis Personae Prologue Act First Act Second Act Third Act Fourth
[_Translated into English by William Jennings_]
PRONUNCIATION OF PROPER NAMES
_j_, as in French. _ng_, commencing a word, like the same letters terminating one. _ai_ or _ei_, as in _aisle_ or _eider_. _au_, as in German, or like _ow_ in _cow_. _é_, as in _fête_. _i_ (not followed by a consonant), as _ee_ in _see_. _u_ (followed by a consonant), as in _bull_. _iu_, as _ew_ in _new_. _ui_, as _ooi_ in _cooing_. _h_ at the end of a name makes the preceding vowel short. _i_ in the middle of a word denotes an aspirate (_h_), as _K'ung_=Khung.
The strangest figure that meets us in the annals of Oriental thought is that of Confucius. To the popular mind he is the founder of a religion, and yet he has nothing in common with the great religious teachers of the East. We think of Siddartha, the founder of Buddhism, as the very impersonation of romantic asceticism, enthusiastic self-sacrifice, and faith in the things that are invisible. Zoroaster is the friend of God, talking face to face with the Almighty, and drinking wisdom and knowledge from the lips of Omniscience. Mohammed is represented as snatched up into heaven, where he receives the Divine communication which he is bidden to propagate with fire and sword throughout the world. These great teachers lived in an atmosphere of the supernatural. They spoke with the authority of inspired prophets. They brought the unseen world close to the minds of their disciples. They spoke positively of immortality, of reward or punishment beyond the grave. The present life they despised, the future was to them everything in its promised satisfaction. The teachings of Confucius were of a very different sort. Throughout his whole writings he has not even mentioned the name of God. He declined to discuss the question of immortality. When he was asked about spiritual beings, he remarked, "If we cannot even know men, how can we know spirits?"
Yet this was the man the impress of whose teaching has formed the national character of five hundred millions of people. A temple to Confucius stands to this day in every town and village of China. His precepts are committed to memory by every child from the tenderest age, and each year at the royal university at Pekin the Emperor holds a festival in honor of the illustrious teacher.
The volume opens with Confucius's Analects, where the Master speaks in terse, memorable maxims: “Is it not pleasant to learn with a constant perseverance and application?” The voice is authoritative, yet intimate—a teacher shaping disciples through questions and pointed observations. This compressed style gives way to Mencius's longer, more argumentative dialogues, which build cases through analogy and historical example. The shift from gnomic wisdom to sustained reasoning marks the first of several changes in pace and texture across the anthology.
From Aphorism to Argument: Confucius and Mencius
Confucius's Analects proceeds in short, self-contained passages. A typical entry: “The Master said, ‘In the Book of Poetry are three hundred pieces, but the design of them all may be embraced in one sentence—Having no depraved thoughts.’” The rhythm is staccato; each saying demands reflection. Mencius, by contrast, develops ideas over several paragraphs. In Book I, he counters King Hwuy of Lëang with a chain of reasoning: the king asks about profit, Mencius redirects to benevolence and righteousness, then illustrates with historical rulers. The pace slows, the voice becomes more conversational, and the reader must follow a logical thread. This structural difference—brief precept versus extended debate—shapes how each text engages its audience.
Lyric Compression in the Shi-King
The Shi-King (Book of Odes) introduces a third mode: poetry. The odes are short, often four-line stanzas with regular rhyme and refrain. “The woodmen's blows responsive ring, / As on the trees they fall” uses repetition and parallelism to create a musical, meditative quality. Many poems are dramatic monologues—a neglected wife, a soldier far from home, a bride praised for industry. The language is concrete: “russet pear-tree,” “white and black-maned” steeds. Compared to the philosophical prose, the odes move quickly, relying on imagery and emotional directness. The editorial notes (e.g., “Both Maou and Choo agree that this ode was composed in honor of the officer”) remind us that these lyrics were read as allegories of social virtue.
Narrative Pace in Travels and Drama
Faxian's Travels and the play The Sorrows of Han introduce narrative momentum. The travelogue follows a pilgrim's journey through Central Asia, recording distances, monasteries, and customs in a plain, factual style. The pace is steady, driven by geography. In contrast, the play (though not excerpted in the provided text) is a dramatic work with dialogue and stage directions, likely accelerating into conflict and resolution. Together, these sections show Chinese literature moving from static wisdom to dynamic storytelling. The anthology thus offers a spectrum: from the concentrated weight of a Confucian saying to the expansive arc of a traveler's report.
Readers may find it useful to read the Analects in small doses, letting each saying resonate, then approach Mencius as a continuous argument. The Shi-King rewards reading aloud to catch its rhythms, while the travelogue and play can be taken as straightforward narratives. The editor's biographical sketches (not included here) provide context for each author's historical moment. This collection is best experienced not as a single work but as a conversation among different voices, each with its own tempo and purpose.
I kept thinking about how the old Chinese voices shift from wise sayings to plain storytelling, like easing from morning thoughts into an afternoon’s quiet. That same unhurried ache came back with A Review of Uncle Tom's Cabin; or, An Essay on Slavery — Reading Companion, where a single human story lingers far past its final page, almost remembered as a friend’s own weight.
There are no reviews for this eBook.
How did this book work for you?
Your answers remain private and are stored only in this browser.