Chapter NINE: Analogies Between East and West (2)

“... I can tell you the history of the play. Harry Benrimo,
actor and stage-director, is a native of San Francisco. He
saw much of the Chinese in California. His father was a
contractor, employing Chinese labor and doing business with
Chinese merchants. As a young actor, Benrimo became interested
in the Chinese theaters of San Francisco. That was the golden
age of the Chinese theater in America. The price of admission
made the Jackson Street Company and the Washington Street
Company rich on Chinese standards and they were able to get
some great actors—just as the money from the Metropolitan
Opera drew Caruso from Italy. Ah Chic, leading tragedian of
the Jackson Street Company, was as great an actor as I ever
saw.... Benrimo sketched out a scenario made not from any one
Chinese play, but from a dozen—situations or bits of business
or dialogue which he remembered from his old days in San
Francisco theaters. Benrimo called into collaboration the late
George Hazelton, playwright. On this scenario they worked out
The Yellow Jacket.... Several Chinese, notably one man—name
forgotten—from the Consulate helped with the rehearsals.
Deliberately the authors took certain liberties with Chinese
drama and psychology in order to make the play effective for
an Occidental audience. Notably, they made the love of man for
woman the main theme. One piece of business, I remember, caused
endless dispute. It is where the happy and united lovers kiss.
That would not happen, of course, with the Chinese. Benrimo
understood that perfectly. But he said that an Occidental
audience would expect it. And he had his way. I remember that
whenever this piece of business occurred in the rehearsals, the
man from the Consulate used to giggle.

“Lately I was talking over The Yellow Jacket with Percy
Hammond, dramatic critic. ‘Do you know what made it a success?’
he said, ‘The Property Man as played by Shaw.’ Possibly he’s
right about that. But the play served its artistic purpose.
It made American audiences understand something of this
extraordinary art. And I’ve no doubt but that if Hazelton and
Benrimo had stuck close to the originals our audiences wouldn’t
have understood half so well.”

So far as my experience goes, making love the main theme is not
un-Chinese, but The Property Man as played on our stages is.
Possibly Cantonese usage differs in this respect, but in Peking
property men are always on the stage, coolies dressed in shabby
blue cotton, but they are conspicuous only to the Westerner
not used to Chinese conventions. They by no means have the
importance attached to them in The Yellow Jacket. Compare the
chapter, “External Aspects.”

The Chinese Drama. R. F. Johnston. Kelly & Walsh, 1921.

A slender volume that came to be written because the publishing
firm had four paintings of Chinese actors which they wanted
to issue in calendar form with a few words of comment from
the well-known sinologue. Mr. Johnston became absorbed in the
subject and wrote so much and so interestingly on it that Kelly
& Walsh decided to make a book out of it. The text is much
better than the pictures.

Le Théâtre Chinois. Chu Chia-chien. Paris, 1922.

The chief features of this book are the excellent paintings
and sketches made in Peking theaters by the Russian artist,
Alexandre Jacovleff. An English edition has been published by
Putnam. No other book can give such a vivid notion of the real
appearance as well as the spirit of the Chinese stage as this
volume of inspired drawings. M. Chu Chia-chien, instructor in
the École des Langues Orientales in Paris, writes well, but too
briefly, on the conditions and conventions of the Chinese stage.

Chinesische Literatur. Eduard Erkes. Hirt, Breslau, 1924.

A brief, but up-to-the-minute sketch of Chinese literature.
This volume by a University of Leipzig Privatdozent is one of
a series on the literatures of various nations. The book came
to me too late to include what it said on the origin of the
theater in China in the text, and therefore I shall quote an
interesting paragraph here. (The author speaks of the Pear
Garden origin as a myth and says that the Chinese had a theater
as early as other nations):

“_Es hat sich aus den bei festlichen Gelegenheiten aller Art,
bei Krieg und Jagd, bei Opfer und Gelage, inszenierten Tänzen
entwickelt, in denen man vorher im Spiel darstellte, was sich
nachher zutragen sollte, um so auf magische Weise das Geschick
günstig zu lenken, und nachher seiner Freude mimischen
Ausdruck verlieh. Zu diesen Tänzen sang man Wechselgesänge mit
Rede und Gegenrede, wie solche uns anscheinend aus mehreren
Liedern des Schi-king erhalten sind, so dasz das China der
Urzeit auch hierin das Leben anderer primitiver Völker geführt
hat. Aus Südchina sind uns Texte solcher Dramen religiösen
Charakters, wie sie auch K’üh Yüan im dritten Jahrhundert
vor Christo bearbeitete, mehrfach überliefert, und bereits
aus dem Jahre 545 v. Chr. haben wir eine Notiz nach der bei
Tempelfesten, ganz ähnlich wie im alten Hellas, nach den
ernsten Schaustellungen eine Burleske von den Stallknechten
aufgeführt wurde. Das zeigt also, dasz die dramatische Kunst
der Tang-Zeit nicht einen Anfang, sondern nur eine späte
Etappe auf einem langen Wege bedeutet. Auch die Han-Zeit
hatte ihre Singspiele, die bereits mit einem umfangreichen
szenischen Apparat auf geführt wurden und vielleicht
kompliziertere Bühneneinrichtungen voraussetzen lassen,
als sie das heutzutage an Einfachheit unserer modernsten
Schaubühne ebenbürtige—vielleicht für sie vorbildlich
gewordene?—chinesische Theater jetzt bietet._” Pages 58-59.

Altchinesische Liebeskomödien, aus dem chinesischen Urtexte ausgewählt und übertragen von Hans Rudelsberger. Kunstverlag von Anton Schroll & Co. Wien, 1923.

Free translations of five comedies of love (among them two
comedies discussed in this book on pages 33 and 96). The
work is a splendid specimen of book-making with five colored
illustrations by the Chinese artist Hua Mei-chai and numerous
woodcuts from the original Chinese editions.

_Journal of the North China Branch of the Royal Asiatic Society._

This very interesting journal, so far as I have been able to
examine the files, contains only two articles on the theater:
Volume XX, “Chinese Theatricals”, and Volume XXI, “Histrionic
Notes.” Neither is very important.

This bibliography is by no means exhaustive. There are a great many articles not mentioned here, but they are generally not very instructive. In most cases they are written by travelers who note the obvious things about the Chinese theater. Naturally there is also a great deal of repetition in these writings.

FOOTNOTES

[1] As I find the Revised Version, with a fuller understanding of Oriental life, prefers to phrase it.

[2] Commercial Press, Shanghai, 1915.—A small volume of about 200 pages. Not translated into a European language.—The same author has issued a “Dramatical Catalogue”, same publishers, 1917.

[3] Quoted by De Groot, “Religious Systems of China”, vol. VI, p. 1187.

[4] The chief reason why theatricals are given at the village temples to-day is that they are public buildings with convenient stages. Not only religious but also secular plays are performed, sometimes vulgar and immoral ones. On the whole the moral standard of the Chinese stage is very high and must be called a good influence for the largely illiterate population. The worship at Chinese temples in the course of the religious festivals has the general character of a carnival with money changers, booths for eating and drinking, acrobats, magicians, beggars, gambling devices, etc.

[5] See Sir William Ridgeway, “The Dramas and Dramatic Dances of Non-European Races in Special Reference to the Origin of Greek Tragedy,” Cambridge University Press, 1915.

[6] Professor Porter calls my attention to the fact that Doctor Hu Shih calls these court jesters “sophists.” They were the ones to make the shrewdest observations among all courtiers. The suggestion of the revolutionary element probably accounts for the death sentence.

[7] _La Revue de Genève_, January, 1921.

[8] Note by Professor Porter: Mr. Wang develops his argument very well, using evidence from the odd foreign names of countries, localities and places. At the period it is known that there was extensive intercourse between Western countries and China along the northern and southern caravan routes.

[9] Page 257.

[10] The difficulty in acquiring a reading knowledge of the classical Chinese (Wen Li) does not consist chiefly in learning to read five thousand or more ideograms—that is only a minor trouble—but in the retention in the memory of the texts of the classics to which constant allusion is made in a manner to confuse utterly the uninitiated. “The dragon has gone down to the sea” means “the emperor has died.” Or to translate the idea into English; the Bible says, “The words of the wise are as goads” (Ecclesiastes xii, II) and Shakespeare (Hamlet V, I). “There is no ancient gentleman but gardeners”; therefore the reader would have to know that “goads” stands for the words of the wise and “ancient gentlemen” for gardeners. But connoisseurs regard this classical language as the greatest monument of China, far finer than Sung pottery or the Temple of Heaven. Said a friend to me one day, picking up a copy of Omar at the verse:

O Thou, who man of baser earth didst make,
And didst with Paradise devise the snake,
For all the sin wherewith the face of man
Is blackened, man’s forgiveness give and take.

“Such is this wonderfully rich, poetic Wen Li, while in Pai Hua (the vernacular) this same thought would cover pages of dull, colorless prose.” Of course, the spoken language is still as poor a vehicle for poetic thought as Italian was before Dante, but its advocates hope for its growth and development.

[11] “Travels of Marco Polo”, Everyman Edition, Dutton and Company, page 186.

[12] The Chinese woman must as a child obey her father, as a wife her husband, and as a widow her son. The four wifely virtues are: (1) to honor and serve her mother-in-law; (2) to respect her husband; (3) to live in peace with her sisters-in-law; and (4) to have pity on the poor.

[13] See Bibliography.

[14] The Chinese name for the instrument is _chin_. Chinese writers on music have set down seven conditions under which one should not play the instrument: when one has just heard the news of a death; when some one is playing the flute in the vicinity; when one is oppressed by business cares; when one has not purified his body; when one is not wearing the ceremonial cap and gown; when one has not lighted sweet-smelling incense; and when there is not present a friend who understands music. Chancellor Tsai Yuan-pei, until 1923 the head of the National University in Peking, was a believer in training in æsthetics, and considered a proper appreciation of the music of the chin a most desirable element in the _mental equipment_ of a cultured man.

[15] Giles, “Chinese Literature”, page 155. “A poet should not dot his i’s. The Chinese reader likes to do that for himself, each according to his own fancy. Hence such a poem as the following, often quoted as a model in its own particular line:

“A tortoise I see
on a lotus-flower resting:
A bird mid the reeds
and the rushes is nesting;
A light skiff propelled
by some boatman’s fair daughter,
Whose song dies away
o’er the fast-flowing water.”

[16] A most readable biography in English has just been published by the Commercial Press, Shanghai: “Yang Kuei-fei”, by Mrs. Wu Lien-teh.—In the _Mercure de France_, beginning August, 1922, there appeared a fascinating series of articles: “La Passion de Yang Kuei-fei”, by Soulie, translations of songs by blind Chinese singers woven into the story of the greatest Chinese tale of love.

[17] “The Jade Chaplet, A Collection of Songs, Ballads, etc., from the Chinese.” Trübner and Company, London, 1874.

[18] The Chinese actually say that the birds imitated her voice in their notes.

[19] One of the many complaints against Yang Kuei-fei was her fancy for fresh _Li-chihs_. She was so fond of these, that she had them, when in season, brought from the South to Ch’ang An daily, a distance of three thousand _li_. This apparently simple fancy was the cause of immense suffering, distress, and injustice; the messengers carrying the luxury, presuming on the protection of their mistress, committed all manner of depredation and violence.

[20] Yang Kuei-fei had intrigued with a noble named An Lu-shan, who afterwards raised the standard of rebellion, it is said, with the hope of obtaining possession of her. Be that as it may, the Emperor assembled a large army, and accompanied by Yang Kuei-fei, went to meet him. On arriving at a place called Ma-kuei in Sze-chuen, the Emperor’s troops mutinied, declaring that Yang Kuei-fei was the cause of the rebellion, and demanding her life, otherwise they would not fight. The Emperor, having no alternative, was forced to comply. Some say he ordered her to be strangled, and that this was done by the soldiers; others again, that she strangled herself—the latter appears the correct version.

[21] For similar practices among the Romans, see Sumner, “Folkways”, page 445.

[22] See also pages 91 and 92.

[23] See Bibliography, book by Arène, for examples.

[24] See outline, page 105.

[25] About a year after the earthquake Tokio’s Imperial Theater was reopened, and the Japanese honored Mei Lan-fang by engaging him for this occasion.

[26] This popular figure, called also “big stomach” or “cloth sack” Buddha, is laughing in anticipation of the happiness to come. His image is found in practically all Buddhist temples and frequently among the _bibelots_ collected by foreigners. In regard to the taste of collectors, Baron de Staël-Holstein, a Russian scholar versed in Buddhist lore, remarked to me one day, “The ugliest of all these figures is the one most sought after by Westerners.”

[27] See page 83_ff._

[28] See Haigh, “The Tragic Drama of the Greeks”, Oxford University Press; Murray, “Ancient Greek Literature”, Appleton, etc.—So far as I know no scholar has suggested that the goat did the singing of the “goat songs.”

[29] See “Sacred Books of the East”, vol. XXVIII, pp. 92-131.

[30] This has now come to an end. In October, 1924, the deposed emperor was driven out of his palace by the “Christian” General Feng Yu-hsiang.

[31] Thorndyke, “Shakespeare’s Theater”, Macmillan Company, page 139.

[32] _Ib._, page 87.

[33] Page 76.

[34] _Op. cit._, page 394.

[35] See Taine’s description, Book II, chapter II, in his “History of English Literature.”

[36] Page 261.—According to my friend Ferdinand Lessing, a German sinologist, Giles has here made a mistake. In Lessing’s words, Chinese plays contain “_faustdicke Zoten_.”

[37] “Shakespeare’s England,” II, 308_ff._

[38] Quoted from “Shakespeare’s England”, II, 246. See also Thorndyke’s “Shakespeare’s Theater”, page 372.

[39] Goethe, “Frauenrollen auf dem römischen Theater von Männern gespielt.”

[40] “Shakespeare’s England”, page 252_ff._

[41] “Shakespeare’s England”, II, 241.

[42] Thorndyke, page 138, refers to this article, but takes no stock in Mr. Corbin’s arguments. He says that darkness was symbolized by lighted candles, etc., which is precisely the thing done on the Chinese stage.

[43] “Shakespeare’s England”, II, 301.

INDEX

[The names of Chinese dramas are printed in italics]

Albright, Victor, 201, 216, 217, 218

Amateurs, 109

Archer, William, 217, 219

_Autumn in the House of Han._ _See_ SORROWS OF HAN

Bakst, Leon, 214

Bazin, A. P. L., 4

_Beating the Heartless Husband_, 90

_Beating the Nephew and Worshiping at the Grave_, 87

_Blood-Stained Fan, The_, 70

Brodmeier, Professor, 217

_Burying the Flowers_, 80, 179

_Butchering the Pig_, 168

_Chalk Circle, The_, 32

Ch’ang An, 3, 15, 48, 50, 74

Chang Chien, Mr., 113

_Ch’ang-O’s Flight to the Moon_, 104 _ff._, 159

_Ch’ang-O Pin Yüeh._ _See_ CH’ANG-O’S FLIGHT TO THE MOON

Ch’ang Shan Tien. _See_ PALACE OF ETERNAL LIFE

Chang Yao-shang, actor, 15

Chang Ziang-ling, 142

_Chao Chia Ku-er._ _See_ ORPHAN OF THE CHAO FAMILY

_Chao Mei Hsiang._ _See_ INTRIGUES OF A LADY’S MAID

Chao Tsung, Emperor, 15

Character Types, 25, 112, 149, 151, 152, 153, 175

Chen Kwang Theater, 181

_Ch’i San Hui._ _See_ THREE STRANGE MEETINGS

Ch’ien Lung, Emperor, 69

_Ch’ing Shang Lao Shüeh._ _See_ SLAVE GIRL PLAYS TRICKS ON THE OLD
SCHOOLMASTER

Ch’ing Shih Shan, 194

_Chu Fang Tsao._ _See_ BUTCHERING THE PIG

_Chu Sha Chü._ _See_ CINNABAR SPOT, A

Chu Su-yün, actor, 83, 86

_Chü T’eng Kuan Hua._ _See_ TRIAL OF STRENGTH AND VIEWING THE
ANCESTRAL PORTRAITS

Chu Yuan-chang. _See_ HUNG WU

_Ch’un Yin Hui._ _See_ MEETING OF MANY HEROES

_Cinnabar Spot, A_, 88

Civil Plays, 10, 146

Classical Language. _See_ WEN LI

Clowns, 23, 25, 153, 207. _Cf._ COURT FOOLS

Commedia dell’ Arte, 16

Confucius, 10, 17, 25, 28, 49

Corbin, John, 215

Coryat, Thomas, 208

Court Fool, Yu Meng, 12
Yu Sze, 12

Court Fools, 11, 12, 15, 16. _Cf._ CLOWNS

Craig, Gordon, 214

_Crossing the Milky Way_, 159, 194

Dances, Dramatic, 6

Dottore. _See_ COMMEDIA DELL’ ARTE

Dream of the Red Chamber, The, 80, 93, 188

_Drunkard_, 13

Duke Lan Lu, 13

Dwarfs, 11, 13. _Cf._ COURT FOOLS

Elizabethan Theater, 25, 133, 194 _ff._

Empress Dowager, 188

Fan Kuai, 15

Feng Yu-hsiang, General, 195

Fools, Court. _See_ COURT FOOLS

Gamble, Sidney, 133, 144

Giles, Herbert, 18, 59, 80, 180, 207

Goodrich, Mrs., 104

_Greatest Event in Life, The_, 119 _ff._

Greek Theater, 10, 192 _ff._

Grube, Wilhelm, 80

Han Hsi-ch’ang, actor, 140

_Han Kung Tsu._ _See_ SORROWS OF HAN

Han Lin Academy, 4, 43

Harlequin. _See_ COMMEDIA DELL’ ARTE

_Ho Lan-chi._ _See_ CHALK CIRCLE, THE

_Ho Lang Tan._ _See_ SINGING GIRL, THE

Ho Yi, Emperor, 105

_Hsi Hsiang Chi._ _See_ WESTERN CHAMBER, THE

Hsien, 7, 11

_Hsü Mu Ma Tsao._ _See_ HSÜ’S MOTHER CURSES TSAO TSAO

_Hsü’s Mother Curses Tsao Tsao_, 81

Hu Shih, 11, 21, 22, 74, 78, 117, 198

Hung Lou Meng. _See_ DREAM OF THE RED CHAMBER, THE

Hung Sen, author, 70

Hung Wu, Emperor, 43

Intrigue of a Lady’s Maid, 26

I-Yin, 7

Jade Palace, 3

Jen Tsung, Emperor, 43

Jesters. _See_ COURT FOOLS

Jung Tu-shan, 113, 115

_K’an Tsien Wu._ _See_ MISER, THE

K’ang Hsi, Emperor, 69, 182

Kuan Han-ching, dramatist, 23

Kuan Yin, 99

Kublai Khan, 19

_Kung Chuan Chi._ _See_ RUSE OF THE EMPTY CITY

Kung Shang-jen, author, 70

Lao Tze, 28

Laufer, Berthold, 10, 11, 99

Lessing, Ferdinand, 207

Li Fang-yün, 137

Li Shou-shan, actor, 83

Li Yuan Tzu-ti, 3

Liao Chai. _See_ STRANGE STORIES FROM A CHINESE STUDIO

Literary Language. _See_ WEN LI

Liu Ming-ju, 135

Liu Yen Ming, 96

Marco Polo, 23, 41

_Mask, The_, 13, 14

_Meeting of Many Heroes, The_, 82

Mei Lan-fang, Chapter VIII; 80, 83, 84, 86, 98, 104, 105, 110, 118,
138, 142, 143, 145, 150, 151, 152, 155, 157, 159, 206, 211

Mencius, 17, 28

Military Plays, 10, 13, 77, 79, 146

Ming Huang (Yuen Tsung), Emperor, 3, 70, 135, 181

_Miser, The_, 35 _ff._

_Mu Lan_, 185, 201, 212

Music, Types of, 142, 147, 191 _ff._

Musical Instruments, 148 _ff._, 192

_New Mayor, The_, 115

New World, 132, 143

_Ngoh Chia Chuan._ _See_ NGOH FAMILY VILLAGE

_Ngoh Family Village_, 87

Orphan of the Chao Family, The, 37, 94

_Pai Hua_, 21, 22

Palace of Eternal Life, 4, 70

_Pang Ta Poo Ching Lang._ _See_ BEATING THE HEARTLESS HUSBAND

Pantalone. _See_ COMMEDIA DELL’ ARTE

Pantomimes, 6

_Pavilion of the Royal Monument_, 184

Pear Garden, 3, 18, 135

_Pi Pa Chi._ _See_ STORY OF A LUTE

P’iao Yu. _See_ AMATEURS

Plays, Types of, 146 _ff._, 197

_Po She Chuan._ _See_ WHITE AND BLACK SNAKES, THE

Porter, Lucius, 11, 14

Precious Hairpin, The, 93

Reinhardt, Max, 214

Ridgeway, Professor William, 9, 10

_Ruse of the Empty City, The_, 80

_Ruse of the Nail, The_, 157

San Kuo Chi. _See_ THREE KINGDOMS, THE

_San Yao Hui._ _See_ SHAKING DICE

Scapino. _See_ COMMEDIA DELL’ ARTE

Seasonal Plays, 104 _ff._, 159, 194

_Seeing the Ancestral Portraits._ _See_ TRIAL OF STRENGTH

_Shaking Dice_, 98

_Sha Tze Pao._ _See_ SLAYING THE SON

_Shang Ting Chi._ _See_ RUSE OF THE NAIL

Shih Hu. _See_ HU SHIH

Shih Wang-ti, Emperor, 12

Shui Hu Chuan. _See_ STORY OF A RIVER BANK

_Singing Girl, The_, 29

_Slave Girl Plays Tricks on the Old Schoolmaster, The_, 183

_Slaying of the Son_, 158

Smith, Doctor Arthur H., 66, 68

_Snow in June._ _See_ SUFFERINGS OF TOU-E

Soong Tsung-faung, author, 12, 117, 118

Sophists. _See_ COURT FOOLS

_Sorrowful Korean, The_, 114

_Sorrows of Han_, 37

Spring Willow Dramatic Society, 112

_Ssu Pao-pi._ _See_ DRUNKARD, THE

Stäel Holstein, Baron de, 179

Stanton, William, 4, 159

Stent, George Carter, 71

Stephenson, Professor H. T., 214, 215

_Story of a Lute._ _See_ CHAPTER III

Story of the River Bank, 79

Strange Stories from a Chinese Studio, 80

Suen Lo Ngao, 12

_Sufferings of Tou-E_, 23, 39, 142

_Ta Chih Shang Wen._ _See_ BEATING THE NEPHEW

_Ta Yin Ho._ _See_ CROSSING THE MILKY WAY

_Tai Yü Chuan Hua._ _See_ BURYING THE FLOWERS

Taine, H., 205

T’an Shen-pei, actor, 149, 188

T’an Shoo-shan, actor, 150

_T’ao Hua Shan._ _See_ BLOOD-STAINED FAN, THE

Taoism, 34

Teh Hing, actor, 152

Theater. _See_ ELIZABETHAN THEATER; GREEK THEATER

Thorndyke, Professor A. H., 198, 203, 208

Three Kingdoms, The, 78, 79, 80

_Three Pulls._ _See_ THREE STRANGE MEETINGS

_Three Strange Meetings_, 83, 180

_Tiger, The_, 14

T’ing Hua, critic, 154

_Tou-E._ _See_ SUFFERINGS OF TOU-E

_Transmigration of You Hsin_, 33

_Trial of Strength and Viewing the Ancestral Portraits_, 94, 183

Tsai Yuan-pei, 58

Tung Lo Yuan, 140

Types of Character. _See_ CHARACTER TYPES

Types of Music. _See_ MUSIC, TYPES OF

Types of Plays. _See_ PLAYS, TYPES OF

Vernacular. _See_ PAI HUA

Wang Kuo-wei, 6, 9, 10, 11, 12, 14, 15, 17, 18, 23

Wen Li, 20, 21

_Western Chamber, The_, 24

_White and Black Snakes, The_, 100

Wu, 7, 11

Wu Lien-teh, Mrs., 71

Wu Wang, Empress, 7

Yang Kuei-fei, 4, 70, 71, 72 _ff._, 159, 181 _ff._

_Yang Kuei-fei on a Spree_, 157, 181

_Yang Kuei-fei Tsui Chou._ _See_ YANG KUEI-FEI ON A SPREE

Yang Shiao-lo, actor, 138, 151, 155

_Yellow Jacket, The_, 170, 200, 216

_Yi Tsai Hua_, 111

Yo Fei, 91, 92, 134

_Young Nun Seeks Love, A_, 178

_Yü Chan Chih._ _See_ PRECIOUS HAIRPIN, A

Yu Meng, Court Fool, 12

_Yü Pei T’ing._ _See_ PAVILION OF THE ROYAL MONUMENT

Yü San-yen, actor, 150

Yü Sze, Court Fool, 12

Yuen Tsung. _See_ MING HUANG

Yung Lo, Emperor, 47