It is singular, however, that the noise of the gong, tamtam, trumpet, etc., are inseparable from all Chinese dramatic performances: although the noise is deafening, and the voices of the actors are sometimes drowned in spite of their shouting themselves hoarse, yet this pandemonium only gives tranquil delight to the Chinese spectator whether he be of high or low class. It is so extraordinary a fact that physiologists and anatomists have endeavored to prove that the cause is due to a peculiar formation of the Chinese ear.[138] Certain it is that the Chinese are so passionately fond of the drama, that they will sometimes pass many hours in succession in this noisy entertainment. There is a tremendous number of comedians in China; most of them are purchased in early infancy by the chiefs of troupes, and by them trained in music, singing, declamation, pantomime, and dance. It is a species of slavery, not very unlike that of old Rome, but is not always life-long. Some comedians, especially the chiefs, acquire large fortunes in the exercise of their calling, but the caste is so looked down upon, by the general public, and the facility of confiscating their fortune is so great, that they seldom attempt to leave the profession, or make any display of their wealth, lest it should be seized under any pretext by some mandarin, in which case (in spite of the theoretical justice of China) it would probably be beyond recovery.[139] We may mention here, a peculiar mode of paying actors, in Cochin China. The occasion described is an entertainment, the expenses of which were borne by the Quong, or provincial governor. An Englishman who was present, thus speaks of the affair,—“The Quong was there squatted on a raised platform in front of the actors, with a small drum before him, supported in a diagonal position, on which he would strike a tap every time any part of the performance pleased him; which was also a signal for his purse bearer to show a small string of about twenty _cash_ to the actors. To my taste this spoiled the effect of the piece; for every time the _cash_ fell among them, there would be a silence, and the next moment a scramble for the money; and it fell so frequently as almost to keep time with the discordant music of the orchestra. The actors were engaged by the day, and in this manner received their payment, the amount of which depended upon the approbation of the _Quong_, and the number of times he encored them by tapping his drum. I could see that many of them paid far more attention to the drum than they did to their performance; though I suppose the amount thrown to them is equally divided. Sometimes the string on which the _cash_ was tied, unluckily broke, and the money flew in all directions; by which some of the by-standers profited, not being honorable enough to hand it up to the poor actors.[140]