In the case of firms having any considerable business, after the day's work is all over, the clerks are liable to be required to spend the evening in untying all the numerous strings of cash that have come in, with a view to the discovery of any rare coins that might be sold at a special price. All is fish that comes to a Chinese net, and sooner or later there is very little that does not find its way there to the profit of its owner. If the time should ever come, as come it may, when the far-distant West comes into close and practical competition with the patient Chinese for the right to exist, one or the other will be behind-hand in the race and it is safe to venture the prediction that it will _not_ be the Chinese! The village shop keeps different kinds of weighing poles for buying and for selling, works off all its uncurrent cash and bad bills on any one upon whom it can impose, and generally drives a hard bargain with those who deal with it, who retaliate in kind as opportunity offers. But as elsewhere in this mixed world, much depends upon the individuality of its head manager. VIII THE VILLAGE THEATRE That the Chinese are extravagantly fond of theatrical representations, is well known to all who live in China. The Chinese trace the origin of the stage to the times of the Emperor Ming Huang, of the T'ang Dynasty (died 762) who, under an alias, is supposed to be worshipped as the god of play-actors. It is a popular saying that if the players neglect to do homage to this patron, they will altogether fail in their representations, whatever these may be. With the history of the Chinese stage, we have in this connection no concern. According to the Chinese themselves, it has degenerated from its ancient function of a censor in morals, and has become merely a device for the amusement of the people. It is a remarkable circumstance that while the Chinese as a people are extravagantly fond of theatrical exhibitions of all sorts, the profession of play-actor is one of the few which debars from the privileges of the literary examinations. The reason for this anomaly is said to be the degradation of the theatre by pandering to vitiated or even licentious tastes. To what extent the plays ordinarily acted are of this sort, it is impossible for a foreigner to decide. The truth seems to be that the general (theoretical) contempt for the stage and its actors in China, is a product of the moral teachings of Confucianism, which uncompromisingly condemn the perversion of the right uses of dramatic representation. But while this (theoretical) view is the one which is constantly met, it is like many other Confucian doctrines, chiefly remarkable for the unanimity with which it is disregarded in practice.