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The Chinese, according to some writers, would seem to be even more devoted to theatrical amusements than the Greeks or Romans. The Indo-Chinese Gleaner, a newspaper published under the direction of one of the most capable and creditable English writers in the East at the time, gave some particulars of the theatre in Macao in 1831, from which such an opinion may be founded. That town, consisting chiefly of Portuguese, contained but few wealthy Chinese: yet, as was stated, twenty plays were annually performed in front of the great temple, at the expense of 2,200 dollars, with out including the cost of the building; while at another temple near the entrance of the harbor, 2,000 dollars were expended for the performances. There were others besides, which raised the whole yearly expense to 6,000 dollars; and all this was drawn from a small and chiefly poor population of shopkeepers and artizans.

They appear to have no permanent theatres of any considerable size; the plays being performed in temporary edifices, " erected with surprizing facility, of bamboos and mats," in front of their temples. The occasions when these amusements are most in vogue, are certain idolatrous festivals, when, as in Rome and her spiritual dependencies, the people are thus chained to their superstitions and their idols, by means of their very amusements.

When the extravagance of the former is considered, it may naturally be presumed that there can be but little in the latter, to elevate or instruct the mind, or to purify the character. Another pretty direct evidence of their general tendency may be found in the fact, that the government holds them under its open patronage. No restriction appears to be laid upon them; we hear not even of any taxes: but, on the contrary, as in Paris, the government actually pay something for their support-not, however, very regularly; but the mandarins, on particular days, contribute money.

From some specimens of Chinese dramas which have been published in Europe, ideas might be formed, not very unfavorable to their moral tendency; and indeed some of them, no doubt, contain passages interesting to foreigners, because they disclose traits of Chinese domestic life and manners, which we have not been able otherwise to discover. Many of their plays are printed; and it is

mentioned of a collection of Chinese books belonging to the East India Company, not less than 200 are dramatic works, one of which consists of 40 volumes, and contains one hundred plays.

But we may safely conclude that the Chinese theatre is of the same immoral character with that of other countries, ancient and modern, when we find that its agents, the actors, are of the same low character as elsewhere. "The players in general, says Governor Davis, (of Hong-Kong,) come literally under our legal definition of vagabonds, as they consist of strolling bands of ten or a dozen, whose merit and rank in their profession, and consequently their pay, differ widely according to circumstances. "They have no scenical deception," remarks one writer, and another tells us in illustration of the manner in which they make up for the want of it, "a general is ordered upon an expedition to a distant province; he brandishes a whip, or takes in hand the reins of a bridle, and striding three or four times round the stage, in the midst of a tremendous crash of gongs, drums and trumpets, he stops short, and tells the audience where he has arrived."

We add more extracts, selected from different parts of the same writer's account of the Chinese theatre.

"A tolerable judgment may be formed of what little assistance the imaginations of an English audience formerly derived from scenical deception, by the state of the drama and the stage as described by Sir. Philip Sidney about the year 1583. "Now you shall have three ladies walk to gather flowers, and then we must believe the stage to be a garden.-By and by we have news of ship-wreck in the same place; then we are to blame if we accept it not for a rock. Upon the back of that comes out a hideous monster with fire and smoke; and then the miserable beholders are bound to take it for a cave; while in the mean time two armies fly in, represented with four swords and bucklers, and then what hard heart will not receive it for a pitched field."

The costume, at least, of the Chinese stage is sufficiently appropriate to the characters represented, and on most occasions extremely splendid. Their gay silks and embroidery are lavished on the dresses of the actors, and as most of the serious plays are historical, and for obvious reasons do not touch on events that have occurred since the Tartar conquest, the costumes represent the ancient dress of China, which in the case of females is nearly the same now as ever; but as regards men, very different. The splendor of their theatrical wardrobe was remarked by Ysbrandt Ides, the Russian ambassador, as long ago as 1692.

First entered a very beautiful lady magnificently dressed in cloth of gold, adorned with jewels, and a crown on her head, singing her speech with a charming voice and agreeable motion of the body, playing with her hands, in one of which she held a fan. The prologue thus performed, the play followed, the story of which turned upon a Chinese emperor long since dead, who had behaved himself well towards his country, and in honor of whose memory the play was written. Sometimes he appeared in royal robes, with a flat ivory sceptre in his hand, and sometimes his oflicers showed themselves with ensigns, arms, and drums, &c.

Some of their stage pieces are no doubt of a vulgar and indecent description; but these in general constitute the amusement of a particular class of society, and are generally adap ted to the taste of those who call for them at private entertainments, as already noticed.A list of the plays which the company of actors is prepared to represent, is handed to the principal guest, who makes his selection in the way most likely to be agreeable to the audience.

The first specimen of a play was translated into French by the Jesuit Premare, who although actually residing at Peking, and a most accomplished Chinese scholar, (as appears from his Notitia Linguæ Sinica,) did not give more than the prose parts, leaving out the lyrical portions, or those which are sung to music, because, as he observes, "they are full of allusions to things unfamiliar to us, and figures of speech very difficult for us to observe." Voltaire made Prèmare's translation of the Orphan of Chaou the groundwork of one of his best tragedies, L'Orphelin de la Chine: it is founded on an event which occurred about a hundred years before the birth of Confucius. In this plot, Dr. Hurd remarked a near resemblance in many points to that of the Electra of Sophocles, where the young Orestes is reared by his pædagogus, or tutor, until he is old enough to enact summary justice on the murderers of his father Agamem

non.

It would be easy to point out a number of instances in which the management of the Chinese plays assimilates them very remarkably to that of the Greek drama; and they may both be considered as originals, while the theatres of most other nations are copies. The first person who enters, generally introduces himself to the audience exactly in the same way, and states briefly the opening circumstances of the action. The occasional, though not very frequent or outrageous violation of the unities in the Chinese drama, may easily be matched in most other languages, and examples of the same occur even in some of the thirty-three Greek tragedies that remain to us; for the unity of action is not observed in the Hercules furens of Euripides;nor that of time in the Agamemnon of Eschylus, Trachynians of Sophocles, and the Sup pliants of Euripides; nor that of place in the

Eumenides of Eschylus. The unimportance however, of a rigid attention to these famous unities has long since been determined, and it is admittted that even Aristotle, to whom they have all been attributed, mentions only that of action at length, merely hints at that of time, and of place says nothing what

ever.

Prèmare's specimen of the Chinese stage was followed, at the distance of about a century, by the translation of the "Heir in Old Age," which is in fact a comedy from the same collection (the Hundred plays of Yuen) that had afforded the former sample. In this the translator supplied, for the first time, the lyrical or operatic portions which are sung to music, as well as the prose dialogue, having endeavored, as he observes in the introduction, "to render both into English in such a manner as would best convey the spirit of the original, without departing far from its literal meaning." The "Heir in old Age" serves to illustrate some very important points connected with the Chinese character and customs. It shows the consequence which they attach to the due performance of the oblations at the tombs of departed ancestors, as well as to the leaving male representatives, who may continue them; and at the same time describes the ceremonies at the tombs very exactly in detail. The play shows the handmaid is merely a domestic slave, and that both herself and offspring belong to the wife, properly so called, of which a man can legally have only one.

We have given these remarks on the Chinese theatre, not for the purpose of commending the stage as it exists, or ever has existed in that or any other country. In our own view, notwithstanding the apologies and the defence often made in its favor, it is one of those modes of self-delusion by which the mind of man, when dissatisfied with his own character and prospects, or with the allotments of Providence designed for his correction and improvement, seeks to withdraw from them to regions of fancy where he may lose his burthen for a time.

"If man were happy, revellings would cease."

The theatre always strikes us like a splendid quack shop, full of false medicines, and thronged with dupes, deluded to their ruin. The scene is the more sad to an intelligent and philanthropic eye, because something more important than the health is involved.

Unparalled Mental Operations.

The following unparalled mental operations in Arithmetic, by Mr. Abram Hagaman of Brighton, Monroe County, N. Y., have been so extraordinary and remarkable that the writer would most respectfully solicit a place for them in the Tribune. The following are the

multiplications mentally performed by Mr. H. or in his head, as the common phrase is, selected with much care and attention, with particular reference to the time of performing each:

1st-987654345678=341,410,259,412.

2d-97532142345679 = 22,877,899,509,

092.

3d-4637561954625125-2,533,273,984,

827,375.

4th-123456789 123456789=15,241,578,750,190,521.

5th-96153245164256484144 · 40,927,

476,341,768,474,304.

6th-8252761352949243126216=4,063,

917,606,786,202,647,264.

7th-951427523675484324256144-460,

799,427.678,822,324,209.200.

8th831532463519643234375246 = 534,

870,264,668411,251,650,674.

9th-648728418968421875625125=273,

682,706,444,726,657,121,000.

The first, second, third and fourth examples he accomplished in from one and a-half to two hours; fifth, sixth, seventh and eighth examples from two to three hours. The ninth examples he actually accomplished in less than one hour, owing to the favorable nature of the multiplier (421675625125). Here it will be seen Mr. H. has multiplied twelve places of figures by twelve places, showing a most powerful strength of memory, to carry out and retain a result of such vast magnitude" in the head" alone. This, we believe, is the greatest mental accomplishment in numbers on record. Colburn, it is said, in his best days, could multiply but five or six. Mr. H. has given his attention mostly to mathematical studies for more than thirty years, in solving abtruse and difficult questions in the various branches of mathematics, though it was but very recently that he commenced his mental operations. Mr. H. has been an invalid for the last fourteen years of his life, during which time he has been confined to his room -yet so strong is his attachment to mathematical studies, that his friends can scarcely prevail upon him to forego it even for one day. -N. Y. Tribune.

COST OF WAR AND ITS INHUMANITY.

North Carolina,

The line-of-battle-ship which lies at anchor in the harbor of New York, doubtless has cost more money than all the donations made to Yale College, and the entire funds invested in its erection, since the institution was founded. What a fruitful topic of reflection is War-its demoralizing influences, its flagrant waste of human life, and its enormous expenditure of money, a direct tax upon the toil of the people!

What has Yale College accomplished ?—It has filled the land with educated men and scholars; spread over every portion of this vast Union learned divines, lawyers, physicians, scholars, statesmen. It has given to the rising generation its instructors; to commerce and the arts, men of intelligence and

:

integrity to science the most enlightened minds; to literature the purest and loftiest devotion; and diffused over our whole country an influence so extensive in its ramifications, and so stupendous in their moral, social, political and religious results, that they are beyond the reach of human computation.

What has the "North Carolina" battleship achieved, and what is it proposed she shall accomplish? A proud monument of human skill, she lies upon the bosom of the waters a useless engine of modern warfare. Garrisoned by nearly eight handred men and officers, the cost for her support, in addition to the original outlay of half a million, is enormous. Well, when put to her legitimate uses, does she spread knowledge instead of diffusing ignorance; cultivate peace instead of discord; carry over the bosom of the ocean the blessings of civilization: or is her path stained with blood? These are mere brief suggestions, which if amplified would fill volumes; but they may afford copious reflection for intelligent readers, who choose to run out the parallel.

Some months since a Paixhan shell exploded accidentally in one of the streets of New York. It instantly killed two or three individuals, dreadfully mutilated others, and spread horror and consternation over a populous neighborhood. The newspapers were full of lamentations, and the pulpit deprecated the awful consequences of such a terrific explosion. But this destructive engine of war only accomplished the purpose for which it was designed, and slaughtered only a frac tional part of the number it was intended to kill! Ships of war, Paixhan guns, and explosive shells are designed to murder men by wholesale, but when one is accidentally slaughtered by these terrific implements, how long and loud are public lamentations. is the device of corrupt and perfidious men -Peace the attribute of God.

War

[New Haven Paper.

Gaming for Amusement.

Mr. Green, in his remarks upon the socalled "gaming for amusement," tells an incident, the substance of which we will try to give:

In 1836, Mr. G. went down the Mississippi, on his way to New Orleans. The boat (the Mediterranean) was a splendid one, and had a large number of passengers, among whom were many gamblers. They entertained themselves by playing, but the pigeons were scarce. The boat arrived at Memphis, and rounded to, touched at the wharf boat.Among those who stepped aboard was a young man apparently of about eighteen years. Green saw him enter the cabin, and noted the genteel stranger; the flash of his eye, and the elegance of his exterior, told him that he was full of fire and enthusiasm, fond of excitement and perhaps fond of play. He approached him and asked him if he played.

"I have occasionally played whist, and a few other games, merely for amusement at home and in the rooms of the college.""Will you take a hand with us at whist?"The other assented and sat down with three "sporting gents," whom he did not suspect to be gamesters. They shuffled, dealt and played, and soon concluded to stake a quarter a corner, and make the play more interesting. They increased the bets: they ran from the insignificant quarter to five dollars a piece. The young collegian became excited and played with great warmth. They changed the game; whist was too long and dull. Brag was the game. This furnished a fine field for doubling bets. The young man was now playing high, but he lost more than he won. He had taken his pocket book out and from time to time lost from it, already about two thousand dollars. It was empty. He repaired to his stateroom, took a package of several thousands, and brought to the table. Brag was resumed; the passion for the game was now at its flood in the young man. excitement was intense. The blue veins of his temple throbbed and swelled almost to bursting. His spirited eyes flashed and his cheeks were flushed and hot. Yet he did not retrieve a single dollar, he lost, ever lost

His

The victim was drunk with excitement; he played without reason, and was almost blinded with madness at his losses. The pigeon was getting well plucked. He had laid four hundred upon the table; 'twas his bet upon his hand. The clerk entered the cabin, and annonnced their arrival at Helena, where the stranger was to land, and advised him to step to the lower guard if he would be ready. He jumped up, left his bet upon the cloth, and repaired to the lower guard.

His

He changed his mind. He had a faint hope of retrieving; he would go back and play on. He returned, the boat resumed her course, and he sat down to play. Before morning he had not a cent of money; every dollar lost. They arrived at New Orleans, and the three gamsters left the boat and divided the spoils. They amounted to $1,500 a piece. Mr. Green met the young man three days after in the street. He was an altered man. eye was sickly, his cheek was thin, haggard and very pale; he looked like a man who had not slept for three days and nights. His gold watch was absent, and the diamond pin he had sported before. You have not left the city yet?" said Mr. G. No, I am unable to do so for want of money. My watch and diamond pin I have pledged for a trifle to the pawn-broker, I would go if I could bor row the means. Can you let me have two hundred and fifty ?"-Mr. G.-saw he was under an impulse he could not account for; the horrid change in his appearance, the utter desolation which his loss had worked upon the young man struck him, but the gambler likes not to look upon the poor victim of his devilish arts. He gave him the money to rid himself of the face that would haunt him.

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The young man turned upon his heel, and never saw him again. Two years after, Mr. G. was sitting in the Louisville Hotel. An old man entered and asked him if his name was Green. "It is." He then recounted to Mr. G. the circumstances of that night, and asked him if he had met the young man since. "No sir!" "Don't tell me, no," said the old man, "don't tell me, no; tell me where he is." "I assure you, sir, I have never seen him since," said Mr. G. The old man burst into tears. "He was my son, sir. That was the last we've heard of him ever since, for two long years, not a word can I hear, not a single trace of him throughout the land! Tell me where, or how I can find word of him." The old man's grief was overpower. ing and Green could not give him a single hope.

The subject did not recur to his mind till years after; not till after he had reformed. Mr. Green was a passenger on a boat bound from Cincinnati to Maysville. He there fell into conversation with a lady, whom he found to have great aversion to gaming. She told him that during the younger years of her boys, they had been in the habit of playing whist at home with their parents for amusement. That in '36 her husband went to Arkansas to buy land. Her oldest son had just returned from college. Wishing to transmit a large sum of money to her husband he was despatched with it; that he fell among gamblers on the river and was fleeced out of every dollar. They had never heard of him. It has broken the heart of every member of the family. The young man's oldest sister had died a lunatic, another was an inmate of the Insane Asylum at Maysville. His brother had lost his reason, and was dragging out a poor lunatic's existence. The father, after two or three years travel through the United States and Texas in search of his abandoned boy, had finally dissipated his property, and died a drunkard's death.

Her own grey hairs were also nearly brought with sorrow to the grave. She was dependent upon charity for support. All:the wreck of mind and happiness, the loss of her dear boy, the death of her husband, the insanity of her children, she attributed entirely to these first parlor games for amuse

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