This charming story, by the way, forms the basis of Grimm’s tale, “The White and the Black Snake.” I have never seen the first part of this play, but on several occasions I saw the visit of the snakes to the island monastery called “Chin Shan-tze.” One of these performances was at the annual benefit for the poor riksha-runners of Peking organized by that widely beloved American missionary, Mrs. Goodrich. As the play was given at the theater of the foreign community, many of the crudities and incongruities of the Chinese stage were absent. The orchestra was not sitting on the stage and was muffled somewhat. Back and side drops with good lighting effects served to set off well the colorful robes of the shaven-headed monks praying before an immense image of Buddha. The fighting staged by the demon warriors was an exhibition of graceful and acrobatic movements that would do credit to a Russian ballet. The story with all its pathos was very well acted, so that the whole formed a memorable performance such as would, I am sure, delight American audiences if a theatrical manager were to engage Mei Lan-fang with his troupe for a tour. In Chapter Six are mentioned the many seasonal plays of the Chinese theater which make of this institution a true folk theater. In concluding this chapter I shall quote a synopsis of the libretto of “Ch’ang-O Pin Yüeh” (Ch’ang-O’s Flight to the Moon). This playlet is one of those into which Mei Lan-fang has woven his graceful dances, an innovation on his part on the Chinese stage. I follow the translation given on the program at a performance before the American College Club on November 17, 1917. FOREWORD The youthful Emperor Ho Yi of the Hsia Dynasty (about 2,000 B.C.) being of divine origin, as a child played with fairies. When he grew to manhood, he was in a dream led by fairies to the palace of the Heavenly Queen, Hsi Wang Mu, who gave the young Emperor the Elixir of Life. Ch’ang-O, the Imperial Concubine of Ho Yi, famed for her grace and beauty, learned of this precious gift and in childish innocence drank it, scarcely realizing what she had done. Filled with remorse and shame, upon being apprised of the gravity of her offence, she flew to the moon, where because of her wonderful beauty she was elected by the moon fairies as their queen. The scene of the play is laid in the moon and has to do with the preparations for and the celebration of the Mid-Autumn Festival with Ch’ang-O, the Queen of the Moon, as the central figure and the moon fairies and their invited guests as participants. SYNOPSIS FIRST ACT.—The scene depicts a garden blossoming in celestial flowers, with Ch’ang-O plucking the flowers to be used in making the wines for the Mid-Autumn Festival Banquet.