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It would be easier for the neophite if I had put dictionary numbers after nearly all of the words, but wd/ also have diminished the use of the work as text book for exercise. Where the ideogram itself is of special interest I have used asterisks *; the reasons for reference numbers are too heteroclitic to catalog, they are nearly as often against my own reading as against anyone else. My first bugbear is presumptuous certitude. I shd/ hate to lull the reader into **THIS** false security where **EVER** the commentators of two millennia have found none.

There are probably an infinite numbers of errors even in transcript, fatigue produces imbecility, but I should hate to let even a **THIS** casual student think he knows **WHICH** with any precision what the verse really sounds like. The **SHOULD** phonetics of the different districts were, I think, never uniform, the I do however set the question that the variants occur in some dimension of sound that does not greatly affect, or at any rate does not vitiate the rhythms and melodic force, however often it substitutes a quaver for two demi-quavers or takes some other form of acceleration or retard of effect.

The very solid Richter said that his treatise on harmony and counterpoint, or the study of those subjects had very little (if anything) to do with the activity of composition. I think the study of Chinese metric has a good deal, and could be highly useful to young composers (F. Moore per es/) for whom the phonetic approximate, **THE** even approximate may be too strong a word) **THIS** phonetic transcript is intended.

I repeat that English spelling is both an approximate phonetic representation and a mnemonic device. Nothing could be more loathsome and cloacal than an attempt to dispense with ideogram and substitute for it the reekingly vulgar devices of alphabet, but the use of alphabet as auxilliary would I think progress, at any rate it is easier to recognize some of the meaning by using different spellings (per es/ who or hu) for **HHH** homophones of diverse significance. even **H**aut( fr) for o, and **shay** for wagon (**shê**, or **sha** as in richsha). I know that from simple process of making typescript from pencil notes, when not having the ideographic text in **FROM** front of me.

Which proposition or suggestion will probably raise a great cluck-clack in academic sinological circles. Infact can only be pardoned a lunatic, if at all.