258 CHINESE LITERATURE
ledge on the subject, it is impossible to say how or why this came about. We cannot trace step by step the development of the drama in China from a purely choral performance, as in Greece. We are simply confronted with the accomplished fact.
At the same time we hear of dramatic performances K'ung Tao-fu, a descendant of Confucius in the forty- fifth degree, was sent as envoy to the Kitans, and was received at a banquet with much honour. But at a theatrical entertainment which followed, a piece was played in which his sacred ancestor, Confucius, was introduced as the low-comedy man; and this so dis- gusted him that he got up and withdrew, the Kitans being forced to apologise. Altogether, it would seem that the drama is not indigenous to China, but may well have been introduced from Tartar sources. However this may be, it is certain that the drama as known under the Mongols is to all intents and purposes the drama of to-day, and a few general remarks may not be out of place.
Plays are acted in the large cities of China at public theatres all the year round, except during one month at the New Year, and during the period of mourning for a deceased Emperor. There is no charge for admission, but all visitors must take some refreshment. The various Trade-Guilds have raised stages upon their premises, and give periodical performances free to all who will stand in an open-air courtyard to watch them. Man- darins and wealthy persons often engage actors to perform in their private houses, generally while a dinner-party is going on. In the country, performances are provided by public subscription, and take place at temples or on temporary stages put up in the roadway.
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