"The Sorrows of Han" is considered by Chinese scholars to be one of the largest tragedies in the whole range of the Chinese drama, which is very voluminous. Although, properly speaking, there are no theatres in China, the Chinese are passionately fond of dramatic representations. Chinese acting is much admired and praised by travellers who are competent to follow the dialogue. The stage is generally a temporary erection improvised in a market-place, and the stage arrangements are of the most primitive character; no scenery is employed, and the actors introduce themselves in a sort of prologue, in which they state the name and character they represent in the drama. They also indicate the place where they are in the story, or the house which they have entered. Yet the Chinese stage has many points in common with that of Ancient Greece. It is supported and controlled by government, and has something of a religious and national character, being particularly employed for popular amusement in the celebration of religious festivals. Only two actors are allowed to occupy the stage at the same time, and this is another point in common with the early Greek drama. The plots or stories of the Chinese plays are simple and effective, and Voltaire is known to have taken the plot of a Chinese drama, as Molière took a comedy of Plautus, and applied it in writing a drama for the modern French stage. "The Sorrows of Han" belongs to the famous collection entitled "The Hundred Plays of the Yuen Dynasty." It is divided into acts and is made up of alternate prose and verse. The movement of the drama is good, and the dénouement arranged with considerable skill. E.W. TRANSLATOR'S PREFACE The following drama was selected from the "Hundred Plays of Yuen," which has already supplied to Europe two specimens of the Chinese stage--the first, called the "Orphan of Chaou," translated by Père Premare; and the second, entitled an "Heir in Old Age," by the author of the present version. "The Sorrows of Han" is historical, and relates to one of the most interesting periods of the Chinese annals, when the growing effeminacy of the court, and consequent weakness of the government, emboldened the Tartars in their aggressions, and first gave rise to the temporizing and impolitic system of propitiating those barbarians by tribute, which long after produced the downfall of the empire and the establishment of the Mongol dominion. The moral of the piece is evidently to expose the evil consequences of luxury, effeminacy, and supineness in the sovereign. "When love was all an easy monarch's care, Seldom at council--never in a war."