Fusion of East and West—Children, Education, and a New China, 1902-1915 by Limin Bai (review)

p. . . Here, we should mention Wing Tek Lum’s scintillating sequence of “Urban Love Songs,” (Expounding the Doubtful Points [Honolulu: Bamboo Ridge, ]), which affectionately recasts the “Midnight Songs” into modern life. Lum uses narration as his Ariadne’s thread. . Once we considered Qing critic Jia Kaizong’s version of this thesis inadequate to account for 秋興’s complexities. But Allen’s supercharged revision, in large part, comfortably meets this objection. . For explanation of how “Autumn Meditations” filiate to the Royal Odes, see david McCraw, Response to Yang Ye’s Review of “Du Fu’s Laments from the South,” China Review International , no.  (): . Compare C. H. Wang, From Ritual to Allegory (Hong Kong: CUHK, ), esp. pp. , . . For a painstaking demonstration of Han’s and Meng’s sequential works, see david McCraw, “Yuanhe Poetry Sequences: A New Look,” Journal of the American Oriental Society , no.  (): –. . Alice Cheang, “Poetry, Politics, Philosophy: Su Shih as the Man of the Eastern Slope,” Harvard Journal of Asiatic Studies , no.  (), –. . William Bruce Cameron, . Readers with academic experience will suspect that only dire necessity could drive a seasoned prof to numerophilia as explanatory ace-in-the hole. For analysis on the wrangle and weaknesses that dictated the spread of numerophilia, see—among others—Theodore Porter, Trust in Numbers: The Pursuit of Objectivity in Science and Public Life (Princeton University Press, ), esp. p. .