Summary

Ki-tong Tcheng Chin-Chin; Or, The Chinaman at Home

Everything, in one word, is lighted up; so that could one take on that night a bird’s-eye view of China from the car of some balloon, she would show like a sky starred with thousands and millions of lanterns, and the dazzled aeronaut would be forced to admit, as he looked down on the last day of the feast of the New Year, that in China, at least, we never have a gloomy New Year’s Day.
Source: Gutenberg

Ki-tong Tcheng Chin-Chin; Or, The Chinaman at Home

In literary circles in China, the most popular amusement is to make verses. Instead of shooting, or playing lawn-tennis, or croquet, or of indulging in any of the many pleasures enjoyed in Europe, our literary folk, as soon as a certain number of them have a little time to spare, meet together in turn at each other’s houses, and give themselves up to poetical tournaments. For, in China, open receptions, political meetings, and public lectures are totally unknown, and the only way that people have of indulging the fancies of the mind is in the culture of pure literature.
Source: Gutenberg

Ki-tong Tcheng Chin-Chin; Or, The Chinaman at Home

The portrait of the fashionable poet of the day is always to be seen painted on the fan; thus Lu-Fong Oun, the popular poet of the thirteenth century, was surnamed Buddha of the Thousand Families, because his portrait was to be seen everywhere, and because his light and graceful verses could be understood by everybody. It is a very usual thing to compare a friend to a fan, because of his refreshing influence on the mind. A woman who fancies that her husband’s heart is hers no longer will compare herself, as we shall see, to a fan cast aside in the autumn.
Source: Gutenberg

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