On his return, he had already changed his hat and suit. All round his head, he had a fringe of short hair, plaited into small queues, and bound with red silk.
The queues were gathered up at the crown, and all the hair, which had been allowed to grow since his birth, was plaited into a thick queue, which looked as black and as glossy as lacquer. Between the crown of the head and the extremity of the queue, hung a string of four large pearls, with pendants of gold,
representing the eight precious things. On his person, he wore a long silvery-red coat, more or less old, bestrewn with embroidery of flowers. He had still round his neck the necklet, precious gem, amulet of Recorded Name, philacteries,
and other ornaments. Below were partly visible a fir-cone coloured brocaded silk pair of trousers, socks spotted with black designs, with ornamented edges, and a pair of deep red, thick-soled shoes.
(Got up as he was now,) his face displayed a still whiter appearance, as if painted, and his eyes as if they were set off with carnation. As he rolled his eyes, they brimmed with love. When he gave utterance to speech, he seemed to smile. But the chief natural pleasing feature was mainly centred in the curve of his eyebrows. The ten thousand and one fond sentiments, fostered by him during the whole of his existence, were all amassed in the corner of his eyes.
His outward appearance may have been pleasing to the highest degree, but yet it was no easy matter to fathom what lay beneath it.
There are a couple of roundelays, composed by a later poet, (after the excellent rhythm of the) Hsi Chiang Yueh, which depict Pao-yü in a most adequate manner.
The roundelays run as follows:
To gloom and passion prone, without a rhyme,
Inane and madlike was he many a time,
His outer self, forsooth, fine may have been,