It is well known that the Chinese often give, on the stage, a representation of the life of the hero of the play from early infancy (sometimes even _from birth_) to death, and these representations last weeks in their performance; every action being done deliberately; for example, if a performer smokes a pipe, he does not give a whiff or two and then go on with the action, but calmly and placidly smokes it out to the last puff. Fairy spectacles, the Chinese also possess, in which Genii appear and disappear, as well as birds and beasts endowed with the power of speech. Their farces are of a much broader character, and often in these, the clownish, awkward character is a European or an American; they heartily enjoy all his mishaps, even his manner of lifting his hat and bowing, being held up to ridicule; it is very much the same kind of pleasure as we “western barbarians” enjoy in seeing such farces as “_Ici on parle Francais_” or “The Perplexed Dutchman,” where the habits of a Frenchman, and German, are the mirth-provoking element; or of a piece with the character of Sir Hugh Evans and Dr. Caius, in Shakespeare’s “Merry Wives of Windsor.” There is another point of resemblance in Shakespeare, to the Chinese drama: his following of the life of Henry VI. so closely and extensively (through three parts) suggests the more extensive life-history-dramas of the celestial empire. But the Chinese also give the “outside barbarians” a thrust, _au serieux_; for in their plays the devil often appears, dressed as a European. In the music of their dramas, the Chinese are decidedly Wagnerian, for not only do they use a great many loud instruments (chiefly of percussion) but they illustrate with them the action of the drama; when an actor enters into a combat at arms, the orchestra pound away at their instruments with redoubled vigor. The characters often sing long _arias_ to the accompaniment of these voice-drowning instruments.[134] There is much spoken action as well as song in these dramas, which therefore approach more nearly to our _vaudevilles_ than any thing else. Choruses are few in Chinese pieces, but sometimes the air is sung by many voices, in order to emphasize it, and make it more plainly perceptible above the racket of the orchestra. The Chinese have also many tragedies and comedies wherein no music whatever is employed. The actors in these, assuming the ordinary conversational tone. Conjugal infelicity and infidelity, form a staple plot with these, and the same inappropriate and ludicrous entering into detail is apparent in them.[135]