Chinese families who live in some state usually eat in the great hall—the k'o-tang, or guest-hall—of their house, as far as they have any usual eating place. But more often than not when in residence here the Wus "dined" (of course, they used for it no such term: it was, as were all their meals, just "rice") in the chamber in which the two men and the child now sat. This house had more than one great hall, and several rooms larger than this, though it was far from small.
It was a passionate room. It throbbed with color, with perfume, with flowers, with quaint picked music and with a dozen glows and warmths of wealth.
High towards the red and sea-green lacquered roof, carved and scrolled with silver and blue, a balcony of pungent sandal-wood jutted from the wall. The floor of the balcony was solid, and from it hung three splendid but delicate lamps, filled with burning attar. The railing of the balcony was carved with dragons, gods, bamboos and lotus flowers, and within the railing sat three sing-song girls. They were silent and motionless until, at a gesture of the master's hand, the eunuch, who was their choirmaster and their guardian, spoke a syllable, and then they began a soft chant to the tinkling accompaniment of their instruments. One played an ivory lute, one a lacquered flute, the third cymbals and bells; and the eunuch drew a deeper, more throbbing note from his chin or student's lute—five feet long, with seven strings of silk, its office to soothe man's soul and drive all evil from his heart. In the corner farthest from the table squatted, on the mosaic floor, a life-size figure of the belly-god. He wore many very valuable rings, an unctuous smirk, a wreath—about his shoulders—of fresh flowers, and very little else. He was fleshed of priceless majolica, but his figure would have been the despair of
