“It is undeniable,” admitted Wei Chang, in a tone of well-merited humiliation; “and the attainment of never having yet applied a design in such a manner that the copy might be mistaken for the original has entirely flattened-out this person’s self-esteem.”
“Doubtless,” suggested Fa Fai, with delicate encouragement, “there are other pursuits in which you would disclose a more highly developed proficiency—as that of watching the gyrations of untamed horses, for example. Our more immediate need, however, is to discover a means of defeating the malignity of the detestable Fang. With this object I have for some time past secretly applied myself to the task of contriving a design which, by blending simplicity with picturesque effect, will enable one person in a given length of time to achieve the amount of work hitherto done by two.”
With these auspicious words the accomplished maiden disclosed a plate of translucent porcelain, embellished in the manner which she had described. At the sight of the ingenious way in which trees and persons, stream and buildings, and objects of a widely differing nature had been so arranged as to give the impression that they all existed at the same time, and were equally visible without undue exertion on the part of the spectator who regarded them, Wei Chang could not restrain an exclamation of delight.
“How cunningly imagined is the device by which objects so varied in size as an orange and an island can be depicted within the narrow compass of a porcelain plate without the larger one completely obliterating the smaller or the smaller becoming actually invisible by comparison with the other! Hitherto this unimaginative person had not considered the possibility of showing other than dragons, demons, spirits, and the forces which from their celestial nature may be regarded as possessing no real thickness of substance and therefore being particularly suitable for treatment on a flat surface. But this engaging display might indeed be a scene having an actual existence at no great space away.”
“Such is assuredly the case,” admitted Fa Fai. “Within certain limitations, imposed by this new art of depicting realities as they are, we may be regarded as standing before an open window. The important-looking building on the right is that erected by this person’s venerated father. Its prosperity is indicated by the luxurious profusion of the fruit-tree overhanging it. Pressed somewhat to the back, but of dignified proportion, are the outer buildings of those who labour among the clay.”
“In a state of actuality, they are of measurably less dignified dimensions,” suggested Wei Chang.
“The objection is inept,” replied Fa Fai. “The buildings in question undoubtedly exist at the indicated position. If, therefore, the actuality is to be maintained, it is necessary either to raise their stature or to cut down the trees obscuring them. To this gentle-minded person the former alternative seemed the less drastic. As, however, it is regarded in a spirit of no-satisfaction—”
“Proceed, incomparable one, proceed,” implored Wei Chang. “It was but a breath of thought, arising from a recollection of the many times that this incapable person has struck his unworthy head against the roof-beams of those nobly-proportioned buildings.”
“The three stunted individuals crossing the bridge in undignified attitudes are the debased Fang and two of his mercenary accomplices. They are, as usual, bending their footsteps in the direction of the hospitality of a house that announces its purpose beneath the sign of a spreading bush. They are positioned as crossing the river to a set purpose, and the bridge is devoid of a rail in the hope that on their return they may all fall into the torrent in a helpless condition and be drowned, to the satisfaction of the beholders.”
“It would be a fitting conclusion to their ill-spent lives,” agreed Wei Chang. “Would it not add to their indignity to depict them as struggling beneath the waves?”