its infancy in China.[156] The company which was assembled in the hospitable mansion of Ta-ki, to do honour to the members of the Novara Expedition, was not calculated to impress them favourably with the scope of the Chinese drama. The piece appointed consisted of events in the ancient history of China, for which Chinese dramatic poets have a special predilection, owing to the abundance of material from which to choose, although the multitude seem to have but little sympathy with it. Even our host, who spoke the Canton-English, as it is called, could give us but little explanation or enlightenment as to the plot, and contented himself with repeatedly remarking that the piece related to "old, old times!"

Notwithstanding the universal custom, according to which women are not permitted to enter a theatre, so that even the female characters have to be played by men dressed to represent the part, the majority of the present troupe were girls of from 14 to 20 years of age, who, stained red or white, and elegantly arrayed, appeared mostly in Mandarin dresses on the stage. The most outrageously absurd of the scenes were those most in favour with the numerous domestics who, besides the invited guests, formed the audience. Thus, there was a roar of laughter when a nurse entered with a child in her arms, which had the face of an old soldier, with grey beard, whiskers, and moustachios. They sang a long, rather

melancholious ditty, and then retired, without there appearing to be the slightest connection between this and the following scene. We noted the evident predilection of the Chinese actors for a high-pitched falsetto tone of voice when speaking, which, by the way, must render their assumption of female parts much more easy, and on the present occasion they probably were desirous of giving us a specimen of their skill in this accomplishment. The music on such occasions is, if possible, even more discordant and monotonous than the delivery, and is not confined to merely accompanying the couplets, but continues to play during the intervals till the ear is utterly wearied.

At the close of each act a large board covered with a red cloth was brought on the stage and placed beneath the feet of the actors; on this the steward of the house placed a present for the troupe about four dollars' worth of copper cash, which was forthwith carried away. This was apparently the only intimation to most of the spectators that a piece was ended, and a fresh one about to begin.

After these theatrical representations had lasted about an hour and a half a long pause ensued. One longed to escape outside into the fresh air, to get rid of the wearying sensation of the performances, and the stifling heat which prevailed in the room. The guests were at liberty to walk without obstruction through the various apartments of the extensive residence, and accordingly stumbled upon rooms which are usually, as it were, hermetically sealed to a foreigner, viz.

the apartments of the women. Ta-ki carried his hospitality even this length, and presented us to his wives, as also to his grey-haired mother, seventy years old, for whom he showed the utmost love and respect. Ta-ki's wives, four or five in number, had "assisted" at the theatrical performances, each seated on elevated seats expressly prepared for them, and behaved with the greatest courtesy and ease of manner. They seemed not to have the slightest thought of showing off, or of tittering or joking with the strangers. All were attired in silk, and most tastefully decorated with jewels; all had the usual painfully distorted small feet, which greatly interfered with their powers of locomotion. They did not attend at the banquet, but had their food served in the private apartments.

For supper the quondam theatre was converted into a banqueting-hall. But there was no long wide table set out as in Europe, only small four-cornered tables covered with red cloth, at each of which three Europeans and one Chinese took their seats; the duty of the latter being to do the honours to his companions in the name of the host, who took his seat beside the Commodore, and to minister to their comfort.

As it was the object to give us the most accurate idea possible of a genuine Chinese repast, everything was eliminated which could in any way interfere with the design, and we had accordingly to begin with dessert and conclude with the soup, as also to convey the various descriptions of food to our

mouths with thin strips of ivory ("chop-sticks"), instead of knives and forks.

The peculiarity of Chinese usages, so directly opposed to those of Europe, became likewise strikingly apparent in the course of the meal. And as in China the mark of courtesy is to keep the head covered instead of removing the hat, so the place of honour is on the left hand; the ancestors are ennobled instead of the descendants (which is at once more sensible and more economical); the characters in writing run from right to left instead of the reverse; the mourning colour is white instead of black; the natives carefully extirpate every sign of a beard, instead of cherishing it as a symbol of mature, dignified manhood; thus also meals begin with the food with which we terminate ours, confectionery and fruit. When we were all seated, each table was forthwith covered with a profusion of the most varied dishes on beautiful plates of stained porcelain, and while we were still engaged in attempting to discover the mysterious ingredients of these, the Chinese who was doing the honours at our table was exerting himself to select and lay before us the most dainty morsels of each dish. In performing this part of his functions he thought only to act with more care and attention, in drawing each of the twain chop-sticks between his own lips and withdrawing them before he fished up a fresh piece and laid it on our plate! The dexterity with which all Chinese use these chop-sticks, which are usually made of