At the epoch, when these dances were at their zenith, the emperors had a peculiar way of showing by them their approbation, or condemnation of their viceroys. When the viceroy was presented at court, if his administration seemed good to the emperor, he was welcomed by numerous and lengthy dances; if, on the contrary his government seemed worthy of censure, the dances were both short and few. The following were the customs observed in presenting them:—Long before the dance began, a drum was sounded “to dispel from the minds of the spectators any thoughts unsuited to the occasion.” On the arrival of the performers, they took three steps forward and put themselves in an attitude, calculated to impress the beholders; a sort of _tableau vivant_. The entrance was always accompanied with a slow movement of the music, which gradually augmented both in speed and volume, until the _finale_, when the climax having been reached, the music had attained a presto movement, and the dancers retired with precipitation in order that the interest might not have time to flag. Sometimes the dancers carried a small shield with bell attached. The Chinese sages deeply regret the loss of these ancient dances; (for like all excellent customs the modern writers claim that they were at their best in “the good old times,”) it seems that the ancient Chinese, endeavored in the dance, to reproduce an easily-comprehended allegory of the natural actions of men; the movements, gestures, attitudes, and evolutions, all to be natural and easily understood by the spectators. Since the days of Confucius, this simple style of dancing has fallen greatly to decay.