stage. But, unfortunately, even this classic resemblance to the legitimate farce of our civilization was deceptive. Another brocaded actor, who represented the hero of the play, turned three somersaults, and not only upset my theory and his fellow-actors at the same time, but apparently run a-muck behind the scenes for some time afterward. I looked around at the glinting white teeth to observe the effect of these two palpable hits. They were received with equal acclamation, and apparently equal facial spasms. One or two beheadings which enlivened the play produced the same sardonic effect, and left upon my mind a painful anxiety to know what was the serious business of life in China. It was noticeable, however, that my unrestrained laughter had a discordant effect, and that triangular eyes sometimes turned ominously toward the "Fanqui devil"; but as I retired discreetly before the play was finished, there were no serious results. I have only given the above as an instance of the impossibility of deciding upon the outward and superficial expression of Chinese mirth. Of its inner and deeper existence I have some private doubts. An audience that will view with a serious aspect the hero, after a frightful and agonizing death, get up and quietly walk off the stage, cannot be said to have remarkable perceptions of the ludicrous.
