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a remedy on all occasions of even the slightest suffering, it wove its chain around him like a merciless master who puts his servant in bonds. But though given to its use all his life afterwards, in later years he took it moderately. Still he was its slave. A man of marvellous genius, a master of the English tongue, he had not full mastery of his own appetite; and one of such talent, bound Andromeda-like to the rock of his vice, ready to be devoured in the sea of his perplexity by what is worse than the dragon of the story, he deserves our pity, nay, even our tears. He tells us how he was troubled with tumultuous dreams and visions, how he was a participant in battles, strifes; and how agonies seized his soul, and sudden alarms came upon him, and tempests, and light and darkness; how he saw forms of loved ones who vanished in a moment; how he heard "everlasting farewells;" and sighs as if wrung from the caves of hell reverberated again and again with "everlasting farewells." "And I awoke in struggles, and cried aloud, 'I will sleep no more!'" CHAPTER IX MUSIC, GAMBLING, EATING, THEATRE-GOING In Chinatown--A Musician's Shop--A Secret Society--Gambling Houses--"The Heathen Chinee"--Fortune-telling--The Knife in the Fan-Case--A Boarding House--A Lesson for Landlords--A Kitchen--A Goldsmith's Shop--The Restaurant--Origin of the Tea-Plant--What a Chinaman Eats--The Tobacco or Opium Pipe--A Safe with Eight Locks--The Theatre--Women by Themselves--The Play--The Stage--The Actors--The Orchestra and the Music--The Audience--A Death on the Stage--The Theatre a Gathering Place--No Women Actors--A Wise Provision--Temptations--Real Acting--Men the Same Everywhere. The reader will now accompany us to a musician's shop in our wanderings through Chinatown. This is located in a basement and is a room about fifteen feet wide and some twenty feet deep. This son of Jubal from the Flowery Kingdom was about fifty-five years old and a very good-natured man. He received us with a smile, and when he was requested by the guide to play for us he sat down before an instrument somewhat like the American piano, called _Yong Chum_. The music was of a plaintive character, and was lacking in the melody of a Broadwood or a Steinway. Then he played on another instrument which resembled a bandore or banjo and was named _Sem Yim_. Afterwards he took up a Chinese flute and played a tune, which was out of the ordinary and was withal of a che
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