Chapter XIV: Social Life Among the Chinese (2)

Officers avoid meeting each other, especially in public, except when etiquette requires them. An officer of low rank is obliged to stop his chair or horse, and on his feet to salute his superior, who receives and returns the civility without moving. Those of equal grades leave their places and go through a mock struggle of deference to get each first to return to it. The common people never presume to salute an officer in the streets, nor even to look at him very carefully. In his presence, they speak to him on their knees, but an old man, or one of consideration, is usually requested to rise when speaking, and even criminals with gray hairs are treated with respect. Officers do not allow their inferiors to sit in their presence, and have always been unwilling to concede this to foreigners; those of the lowest rank consider themselves far above the best of such visitors, but this affectation of rank is already passing away. The converse, of not paying them proper respect, is more common among a certain class of foreigners.

Children are early taught the forms of politeness toward all ranks. The duties owed by younger to elder brothers are peculiar, the firstborn having a sort of birthright in the ancestral worship, in the division of property, and in the direction of the family after the father’s decease. The degree of formality in the domestic circle inculcated in the ancient _Book of Rites_ is never observed to its full extent, and would perhaps chill the affection which should exist among its members, did not habit render it easy and proper; and the extent to which it is actually carried depends a good deal upon the education of the family. In forwarding presents it is customary to send a list with the note, and if the person deems it proper to decline some of them, he marks on the list those he takes and returns the rest; a douceur is always expected by the bearer, and needy fellows sometimes pretend to have been sent with some insignificant present from a grandee in hopes of receiving more than its equivalent as a cumshaw from the person thus honored. De Guignes mentioned one donor who waited until the list came back, and then sent out and purchased the articles which had been marked and sent them to his friend.

~CUSTOMS AT DINNER.~

Travellers have so often described the Chinese formal dinners, that they have almost become one of their national traits in the view of foreigners; so many of these banquets, however, were given by or in the name of the sovereign, that they are hardly a fair criterion of usual private feasts. The Chinese are both a social and a sensual people, and the pleasures of the table form a principal item in the list of their enjoyments; nor are the higher delights of mental recreation altogether wanting, though this part of the entertainment is according to their taste and not ours. Private meals and public feasts among the higher classes are both dull and long to us, because ladies do not participate; but perhaps we judge more what our own tables would be without their cheerful presence, while in China each sex is of the opinion that the meal is more enjoyable without interference from the other.

An invitation to dinner is written on a slip of red paper like a visiting-card, and sent some days before. It reads, “On the -- day a trifling entertainment will await the light of your countenance. Tsau San-wei’s compliments.” Another card is sent on the day itself, stating the hour of dinner, or a servant comes to call the guests. The host, dressed in his cap and robes, awaits their arrival, and after they are all assembled, requests them to follow his example and lay aside their dresses of ceremony. The usual way of arranging guests is by twos on each side of small uncovered tables, placed in lines; an arrangement as convenient for serving the numerous courses which compose the feast, and removing the dishes, as was the Roman fashion of reclining around a hollow table; it also allows a fair view of the musical or theatrical performances. On some occasions, in the sunny south, however, a single long or round table is laid out in a tasteful manner, having pyramids of cakes alternating with piles of fruits and dishes of preserves, all covered more or less with flowers, while the table itself is partly hidden from view by nosegays and leaves. If the party be large, ten minutes or more are consumed by the host and guests going through a tedious repetition of requests and refusals to take the highest seats, for not a man will sit down until he sees the host occupying his chair.

On commencing, the host, standing up, salutes his guests, in a cup, apologizing for the frugal board before them, his only desire being to show his respects to them. At a certain period in the entertainment, they reply by simultaneously rising and drinking his health. The Western custom of giving a sentiment is not known; and politeness requires a person when drinking healths to turn the bottom of the tiny wine-cup upward to show that it is drained. Glass dishes are gradually becoming cheap and common among the middle class, but the table furniture still mainly consists of porcelain cups, bowls, and saucers of various sizes and quality, porcelain spoons shaped like a child’s pap-boat, and two smooth sticks made of bamboo, ivory, or wood, of the size of quills, well known as the _chop-sticks_, from the native name _kwai tsz’_, _i.e._, ‘nimble lads.’ Grasping these implements on each side of the forefinger, the eater pinches up from the dishes meat, fish, or vegetables, already cut into mouthfuls, and conveys one to his mouth. The bowl of rice or millet is brought to the lips, and the contents shovelled into the mouth in an expeditious manner, quite suitable to the name of the tools employed. Less convenient than forks, chopsticks are a great improvement on fingers, as every one will acknowledge who has seen the Hindus throw the balls of curried rice into their mouths.

The succession of dishes is not uniform; soups, meats, stews, fruits, and preserves are introduced somewhat at the discretion of the major-domo, but the end is announced by a bowl of plain rice and a cup of tea. The fruit is often brought in after a recess, during which the guests rise and refresh themselves by walking and chatting, for three or four hours are not unfrequently required even to taste all the dishes. It is not deemed impolite for a guest to express his satisfaction with the good fare before him, and exhibit evidences of having stuffed himself to repletion; nor is it a breach of manners to retire before the dinner is ended. The guests relieve its tedium by playing the game of _chai mei_, or morra (the _micare digitis_ of the old Romans), which consists in showing the fingers to each other across the table, and mentioning a number at the same moment; as, if one opens out two fingers and mentions the number four, the other instantly shows six fingers, and repeats that number. If he mistake in giving the complement of ten, he pays a forfeit by drinking a cup. This convivial game is common among all ranks, and the boisterous merriment of workmen or friends at their meals is frequently heard as one passes through the streets in the afternoon.[379] The Chinese generally have but two meals a day, breakfast at nine and dinner at four, or thereabouts.

~TEMPERANCE OF THE CHINESE.~

The Chinese are comparatively a temperate people. This is owing principally to the universal use of tea, but also to taking their arrack very warm and at their meals, rather than to any notions of sobriety or dislike of spirits. A little of it flushes their faces, mounts into their heads, and induces them when flustered to remain in the house to conceal the suffusion, although they may not be really drunk. This liquor is known as toddy, arrack, saki, tsiu, and other names in Eastern Asia, and is distilled from the yeasty liquor in which boiled rice has fermented under pressure many days. Only one distillation is made for common liquor, but when more strength is wanted, it is distilled two or three times, and it is this strong spirit alone which is rightly called _samshu_, a word meaning ‘thrice fired.’ Chinese moralists have always inveighed against the use of spirits, and the name of Í-tih, the reputed inventor of the deleterious drink, more than two thousand years before Christ, has been handed down with opprobrium, as he was himself banished by the great Yu for his discovery.

The _Shu King_ contains a discourse by the Duke of Chau on the abuse of spirits. His speech to his brother Fung, B.C. 1120, is the oldest temperance address on record, even earlier than the words of Solomon in the Proverbs. “When your reverend father, King Wăn, founded our kingdom in the western region, he delivered announcements and cautions to the princes of the various states, their officers, assistants, and managers of affairs, morning and evening, saying, ‘For sacrifices spirits should be employed. When Heaven was sending down its [favoring] commands and laying the foundations of our people’s sway, spirits were used only in the great sacrifices. [But] when Heaven has sent down its terrors, and our people have thereby been greatly disorganized, and lost their [sense of] virtue, this too can be ascribed to nothing else than their unlimited use of spirits; yea, further, the ruin of the feudal states, small and great, may be traced to this one sin, the free use of spirits.’ King Wăn admonished and instructed the young and those in office managing public affairs, that they should not habitually drink spirits. In all the states he enjoined that their use be confined to times of sacrifices; and even then with such limitations that virtue should prevent drunkenness.”[380]

The general and local festivals of the Chinese are numerous, among which the first three days of the year, one or two about the middle of April to worship at the tombs, the two solstices, and the festival of dragon-boats, are common days of relaxation and merry-making, only on the first, however, are the shops shut and business suspended. Some persons have expressed their surprise that the unceasing round of toil which the Chinese laborer pursues has not rendered him more degraded. It is usually said that a weekly rest is necessary for the continuance of the powers of body and mind in man in their full activity, and that decrepitude and insanity would oftener result were it not for this relaxation. The arguments in favor of this observation seem to be deduced from undoubted facts in countries where the obligations of the Sabbath are acknowledged, though where the vast majority cease from business and labor, it is not easy for a few to work all the time even if they wish, owing to the various ways in which their occupations are involved with those of others; yet, in China, people who apparently tax themselves uninterruptedly to the utmost stretch of body and mind, live in health to old age. A few facts of this sort incline one to suppose that the Sabbath was designed by its Lord as a day of rest for man from a constant routine of relaxation and mental and physical labor, in order that he might have leisure for attending to the paramount duties of religion, and not alone as a day of relaxation and rest, without which they could not live out all their days. Nothing like a seventh day of rest, or religious respect to that interval of time, is known among the Chinese, but they do not, as a people, exercise their minds to the intensity, or upon the high subjects common among Western nations, and this perhaps is one reason why their yearly toil produces no disastrous effects. The countless blessings which flow from an observance of the fourth commandment can be better appreciated by witnessing the wearied condition of the society where it is not acknowledged, and whoever sees such a society can hardly fail to wish for its introduction.

Converts to Christianity in China, who are instructed in its strict observance, soon learn to prize it as a high privilege; and its general neglect among the native Roman Catholics has removed the only apparent difference between them and the pagans. The former prime minister of China once remarked that among the few really valuable things which foreigners had brought to China, the rest of the Sabbath day was one of the most desirable; he often longed for a quiet day.[381]

~NEW YEAR’S CUSTOMS AND CEREMONIES.~

The return of the year is an occasion of unbounded festivity and hilarity, as if the whole population threw off the old year with a shout, and clothed themselves in the new with their change of garments. The evidences of the approach of this chief festival appear some weeks previous. The principal streets are lined with tables, upon which articles of dress, furniture, and fancy are disposed for sale in the most attractive manner. Necessity compels many to dispose of certain of their treasures or superfluous things at this season, and sometimes exceedingly curious bits of bric-a-brac, long laid up in families, can be procured at a cheap rate. It is customary for superiors to give their dependents and employees a present, and for shopmen to send an acknowledgment of favors to their customers; one of the most common gifts among the lower classes is a pair of new shoes. Among the tables spread in the streets are many provided with pencils and red paper of various sizes, on which persons write sentences appropriate to the season in various styles, to be pasted upon the doorposts and lintels of dwellings and shops,[382] or suspended from their walls. The shops also put on a most brilliant appearance, arrayed in these papers interspersed among the _kin hwa_, or ‘golden flowers,’ which are sprigs of artificial leaves and flowers made in the southern cities of brass tinsel and fastened upon wires; the latter are designed for an annual offering in temples, or to place before the household tablet. Small strips of red and gilt paper, some bearing the word _fuh_, or ‘happiness,’ large and small vermilion candles, gaily painted, and other things used in idolatry, are likewise sold in great quantities, and with the increased throng impart an unusually lively appearance to the streets. Another evident sign of the approaching change is the use of water upon the doors, shutters, and other woodwork of houses and shops, washing chairs, utensils, clothes, etc., as if cleanliness had not a little to do with joy, and a well-washed person and tenement were indispensable to the proper celebration of the festival. Throughout the southern rivers all small craft, tankia-boats, and lighters are beached and turned inside out for a scrubbing.

~SETTLING ACCOUNTS AND DECORATING HOUSES.~

A still more praiseworthy custom attending this season is that of settling accounts and paying debts; shopkeepers are kept busy waiting upon their customers, and creditors urge their debtors to arrange these important matters. No debt is allowed to overpass new year without a settlement or satisfactory arrangement, if it can be avoided; and those whose liabilities altogether exceed their means are generally at this season obliged to wind up their concerns and give all their available property into the hands of their creditors. The consequences of this general pay-day are a high rate of money, great resort to the pawnbrokers, and a general fall in the price of most kinds of produce and commodities. Many good results flow from the practice, and the conscious sense of the difficulty and expense of resorting to legal proceedings to recover debts induces all to observe and maintain it, so that the dishonest, the unsuccessful, and the wild speculator may be sifted out from amongst the honest traders.

De Guignes mentions one expedient to oblige a man to pay his debts at this season, which is to carry off the door of his shop or house, for then his premises and person will be exposed to the entrance and anger of all hungry and malicious demons prowling around the streets, and happiness no more revisit his abode; to avoid this he is fain to arrange his accounts. It is a common practice among devout persons to settle with the gods, and during a few days before the new year, the temples are unusually thronged by devotees, both male and female, rich and poor. Some persons fast and engage the priests to intercede for them that their sins may be pardoned, while they prostrate themselves before the images amidst the din of gongs, drums, and bells, and thus clear off the old score. On new year’s eve the streets are full of people hurrying to and fro to conclude the many matters which press upon them. At Canton, some are busy pasting the five slips upon their lintels, signifying their desire that the five blessings which constitute the sum of all human felicity (namely, longevity, riches, health, love of virtue, and a natural death) may be their favored portion. Such sentences as “May the five blessings visit this door,” “May heaven send down happiness,” “May rich customers ever enter this door,” are placed above them; and the doorposts are adorned with others on plain or gold sprinkled red paper, making the entrance quite picturesque. In the hall are suspended scrolls more or less costly, containing antithetical sentences carefully chosen. A literary man would have, for instance, a distich like the following:

May I be so learned as to secrete in my mind three myriads of volumes:
May I know the affairs of the world for six thousand years.

A shopkeeper adorns his door with those relating to trade:

May profits be like the morning sun rising on the clouds.
May wealth increase like the morning tide which brings the rain.
Manage your occupation according to truth and loyalty.
Hold on to benevolence and rectitude in all your trading.

The influence of these mottoes, and countless others like them which are constantly seen in the streets, shops, and dwellings throughout the land, is inestimable. Generally it is for good, and as a large proportion are in the form of petition or wish, they show the moral feeling of the people.

Boat-people in Kwangtung and Fuhkien provinces are peculiarly liberal of their paper prayers, pasting them on every board and oar in the boat, and suspending them from the stern in scores, making the vessel flutter with gaiety. Farmers stick theirs upon barns, trees, wattles, baskets, and implements, as if nothing was too insignificant to receive a blessing. The house is arranged in the most orderly and cleanly manner, and purified with religious ceremonies and lustrations, firing of crackers, etc., and as the necessary preparations occupy a considerable portion of the night, the streets are not quiet till dawn. In addition to the bustle arising from business and religious observances, which marks this passage of time, the constant explosion of fire-crackers, and the clamor of gongs, make it still more noisy. Strings of these crackling fireworks are burned at the doorposts, before the outgoing and incoming of the year, designed to expel and deter evil spirits from the house. The consumption is so great as to cover the streets with the fragments, and farmers come the week after into Canton city and sweep up hundreds of bushels for manure.

The first day of the year is also regarded as the birthday of the entire population, for the practice among the Hebrews of dating the age from the beginning of the year, prevails also in China; so that a child born only a week before new year, is considered as entering its second year on the first day of the first month. This does not, however, entirely supersede the observance of the real anniversary, and parents frequently make a solemnity of their son’s birthday. A missionary thus describes the celebration of a son’s sixth birthday at Ningpo. “The little fellow was dressed in his best clothes, and his father had brought gilt paper, printed prayers, and a large number of bowls of meats, rice, vegetables, spirits, nuts, etc., as an offering to be spread out before the idols. The ceremonies were performed in the apartment of the _Tao Mu_, or ‘Bushel Mother,’ who has special charge of infants before and after birth. The old abbot was dressed in a scarlet robe, with a gilt image of a serpent fastened in his hair; one of the monks wore a purple, another a gray robe. A multitude of prayers, seemingly a round of repetitions, were read by the abbot, occasionally chanting a little, when the attendants joined in the chorus, and a deafening clamor of bells, cymbals, and wooden blocks, added force to their cry; genuflexions and prostrations were repeatedly made. One part of the ceremony was to pass a live cock through a barrel, which the assistants performed many times, shouting some strange words at each repetition; this act symbolized the dangers through which the child was to pass in his future life, and the priests had prayed that he might as safely come out of them all, as the cock had passed through the barrel. In conclusion, some of the prayers were burned and a libation poured out, and a grand symphony of bell, gong, drum, and block, closed the scene.”[383]

A great diversity of local usages are observed at this period in different parts of the country. In Amoy, the custom of “surrounding the furnace” is generally practised. The members of the family sit down to a substantial supper on new year’s eve, with a pan of charcoal under the table, as a supposed preservative against fires. After the supper is ended, the wooden lamp-stands are brought out and spread upon the pavement with a heap of gold and silver paper, and set on fire after all demons have been warned off by a volley of fire-crackers. The embers are then divided into twelve heaps, and their manner of going out carefully watched as a prognostic of the kind of weather to be expected the ensuing year. Many persons wash their bodies in warm water, made aromatic by the infusion of leaves, as a security against disease; this ceremony, and ornamenting the ancestral shrine, and garnishing the whole house with inscriptions, pictures, flowers, and fruit, in the gayest manner the means of the family will allow, occupy most of the night.

~CALLS AND COMPLIMENTS AT NEW YEAR’S.~

The stillness of the streets and the gay inscriptions on the closed shops on new year’s morning present a wonderful contrast to the usual bustle and crowd, resembling the Christian Sabbath. The red papers of the doors are here and there interspersed with the blue ones, announcing that during the past year death has come among the inmates of the house; a silent but expressive intimation to passers that some who saw the last new year have passed away. In certain places, white, yellow, and carnation colored papers are employed, as well as blue, to distinguish the degree of the deceased kindred. Etiquette requires that those who mourn remain at home at this period. By noontide the streets begin to be filled with well-dressed persons, hastening in sedans or afoot to make their calls; those who cannot afford to buy a new suit hire one for this purpose, so that a man hardly knows his own domestics in their finery and robes. The meeting of friends in the streets, both bound on the same errand, is attended with particular demonstrations of respect, each politely struggling who shall be most affectedly humble. On this day parents receive the prostrations of their children, teachers expect the salutations of their pupils, magistrates look for the calls of their inferiors, and ancestors of every generation, and gods of various powers are presented with the offerings of devotees in the family hall or public temple. Much of the visiting is done by cards, on which is stamped an emblematic device representing the three happy wishes--of children, rank, and longevity; a common card suffices for distant acquaintances and customers. It might be a subject of speculation whether the custom of visiting and renewing one’s acquaintances on new year’s day, so generally practised among the Dutch and in America, was not originally imitated from the Chinese; but as in many other things, so in this, the westerns have improved upon the easterns, in calling upon the ladies. Persons, as they meet, salute each other with _Kung-hí! Kung-hí!_ ‘I respectfully wish you joy!’--or _Sin-hí! Sin-hí!_ ‘May the new joy be yours,’ either of which, from its use at this season, is quite like the _Happy New Year!_ of Englishmen.

Toward evening, the merry sounds proceeding from the closed doors announce that the sacrifice provided for presentation before the shrines of departed parents is cheering the worshippers; while the great numbers who resort to gambling-shops show full well that the routine of ceremony soon becomes tiresome, and a more exciting stimulus is needed. The extent to which play is now carried is almost indescribable. Jugglers, mountebanks, and actors also endeavor to collect a few coppers by amusing the crowds. Generally speaking, however, the three days devoted to this festival pass by without turmoil, and business and work then gradually resume their usual course for another twelvemonth.

~DRAGON-BOAT FESTIVAL AND FEAST OF LANTERNS.~

The festival of the dragon-boats, on the fifth day of the fifth month, presents a very different scene wherever there is a serviceable stream for its celebration. At Canton, long, narrow boats, holding sixty or more rowers, race up and down the river in pairs with huge clamor, as if searching for some one who had been drowned. This festival was instituted in memory of the statesman Küh Yuen, about 450 B.C., who drowned himself in the river Mih-lo, an affluent of Tungting Lake, after having been falsely accused by one of the petty princes of the state. The people, who loved the unfortunate courtier for his fidelity and virtues, sent out boats in search of the body, but to no purpose. They then made a peculiar sort of rice-cake called _tsung_, and setting out across the river in boats with flags and gongs, each strove to be first on the spot of the tragedy and sacrifice to the spirit of Küh Yuen. This mode of commemorating the event has been since continued as an annual holiday. The bow of the boat is ornamented or carved into the head of a dragon, and men beating gongs and drums, and waving flags, inspirit the rowers to renewed exertions. The exhilarating exercise of racing leads the people to prolong the festival two or three days, and generally with commendable good humor, but their eagerness to beat often breaks the boats, or leads them into so much danger that the magistrates sometimes forbid the races in order to save the people from drowning.[384]

The first full moon of the year is the feast of lanterns, a childish and dull festival compared with the two preceding. Its origin is not certainly known, but it was observed as early as A.D. 700. Its celebration consists in suspending lanterns of different forms and materials before each door, and illuminating those in the hall, but their united brilliancy is dimness itself compared with the light of the moon. At Peking, an exhibition of transparencies and pictures in the Board of War on this evening attracts great crowds of both sexes if the weather be good. Magaillans describes a firework he saw, which was an arbor covered with a vine, the woodwork of which seemed to burn, while the trunk, leaves, and clusters of the plant gradually consumed, yet so that the redness of the grapes, the greenness of the leaves, and natural brown of the stem were all maintained until the whole was burned. The feast of lanterns coming so soon after new year, and being somewhat expensive, is not so enthusiastically observed in the southern cities. At the capital this leisure time, when public offices are closed, is availed of by the jewellers, bric-a-brac dealers, and others to hold a fair in the courts of a temple in the Wai Ching, where they exhibit as beautiful a collection of carvings in stone and gems, bronzes, toys, etc., as is to be seen anywhere in Asia. The respect with which the crowds of women and children are treated on these occasions reflects much credit on the people.

In the manufacture of lanterns the Chinese surely excel all other people; the variety of their forms, their elegant carving, gilding, and coloring, and the laborious ingenuity and taste displayed in their construction, render them among the prettiest ornaments of their dwellings. They are made of paper, silk, cloth, glass, horn, basket-work, and bamboo, exhibiting an infinite variety of shapes and decorations, varying in size from a small hand-light, costing two or three cents, up to a magnificent chandelier, or a complicated lantern fifteen feet in diameter, containing several lamps within it, and worth three or four hundred dollars. The uses to which they are applied are not less various than the pains and skill bestowed upon their construction are remarkable. One curious kind is called the _tsao-ma-tăng_, or ‘horse-racing lantern,’ which consists of one, two, or more wire frames, one within the other, and arranged on the same principle as the smoke-jack, by which the current of air caused by the flame sets them revolving. The wire framework is covered with paper figures of men and animals placed in the midst of appropriate scenery, and represented in various attitudes; or, as Magaillans describes them, “You shall see horses run, draw chariots and till the earth; vessels sailing, kings and princes go in and out with large trains, and great numbers of people, both afoot and a horseback, armies marching, comedies, dances, and a thousand other divertissements and motions represented.”

One of the prettiest shows of lanterns is seen in a festival observed in the spring or autumn by fisherman on the southern coasts to propitiate the gods of the waters. An indispensable part of the procession is a dragon fifty feet or more long, made of light bamboo frames of the size and shape of a barrel, connected and covered with strips of colored cotton or silk; the extremities represent the gaping head and frisking tail. This monster symbolizes the ruler of the watery deep, and is carried through the streets by men holding the head and each joint upon poles, to which are suspended lanterns; as they follow each other their steps give the body a wriggling, waving motion. Huge models of fish, similarly lighted, precede the dragon, while music and fireworks--the never-failing warning to lurking demons to keep out of the way--accompany the procession, which presents a very brilliant sight as it winds in its course through the dark streets. These sports and processions give idolatry its hold upon a people; and although none of them are required or patronized by government in China as in other heathen countries, most of the scenes and games which please the people are recommended by connecting with them the observances or hopes of religion and the merrymaking of the festive board.

In the middle of the sixth moon lanterns are hung from the top of a pole placed on the highest part of the house. A single small lantern is deemed sufficient, but if the night be calm, a greater display is made by some householders, and especially in boats, by exhibiting colored glass lamps arranged in various ways. The illumination of a city like Canton when seen from a high spot is made still more brilliant by the moving boats on the river. On one of these festivals at Canton, an almost total eclipse of the moon called out the entire population, each one carrying something with which to make a noise, kettles, pans, sticks, drums, gongs, guns, crackers, and what not to frighten away the dragon of the sky from his hideous feast. The advancing shadow gradually caused the myriads of lanterns to show more and more distinctly and started a still increasing clamor, till the darkness and the noise were both at their climax; silence gradually resumed its sway as the moon recovered her fulness.

~ARRANGEMENT AND STYLE OF PROCESSIONS.~

The Chinese are fond of processions, and if marriages and funerals be included, have them more frequently than any other people. Livery establishments are opened in every city and town where processions are arranged and supplied with everything necessary for bridal and funeral occasions as well as religious festivals. Not only are sedans, bands of music, biers, framed and gilded stands for carrying idols, shrines, and sacrificial feasts, red boxes for holding the bride’s trousseau, etc., supplied, but also banners, tables, stands, curiosities, and uniforms in great variety. The men and boys required to carry them and perform the various parts of the ceremony are hired, a uniform hiding their ragged garments and dirty limbs. Guilds often go to a heavy expense in getting up a procession in honor of their patron saint, whose image is carried through the streets attended by the members of the corporation dressed in holiday robes and boots. The variety and participators of these shows are exceedingly curious and characteristic of the people’s taste. Here are seen splendid silken banners worked with rich embroidery, alternating with young girls bedizened with paint and flowers, and perched on high seats under an artificial tree or apparently almost in the air, resting upon frames on men’s shoulders; bands of music; sacrificial meats and fruits adorned with flowers; shrines, images, and curious rarities laid out upon red pavilions; boys gaily dressed in official robes and riding upon ponies, or harnessed up in a covered framework to represent horses, all so contrived and painted that the spectator can hardly believe they are not riding Lilliputian ponies no bigger than dogs. A child standing in a car and carrying a branch on its shoulder, on one twig of which stands another child on one foot or a girl holding a plate of cakes in her hand, on the top of which stands another miss on tiptoe, the whole borne by coolies, sometimes add to the diversion of the spectacle and illustrate the mechanical skill of the exhibitors. Small companies dressed in a great variety of military uniforms, carrying spears, shields, halberds, etc., now and then volunteer for the occasion, and give it a more martial appearance. The carpenters at Canton are famous for their splendid processions in honor of their hero, Lu Pan, in which also other craftsmen join; for this demi-god corresponds to the Tubal-cain of Chinese legends, and is now regarded as the patron of all workmen, though he flourished no longer ago than the time of Confucius. Besides these festivities and processions, there are several more strictly religious, such as the annual mass of the Buddhists, the supplicatory sacrifice of farmers for a good crop, and others of more or less importance, which add to the number of days of recreation.

~THEATRICAL REPRESENTATIONS AND PLAY-ACTORS.~

Theatrical representations constitute a common amusement, and are generally connected with the religious celebration of the festival of the god before whose temple they are exhibited. They are got up by the priests, who send their neophytes around with a subscription paper, and then engage as large and skilful a band of performers as the funds will allow. There are few permanent buildings erected for theatres, for the Thespian band still retains its original strolling character, and stands ready to pack up its trappings at the first call. The erection of sheds for playing constitutes a separate branch of the carpenter’s trade; one large enough to accommodate two thousand persons can be put up in the southern cities in a day, and almost the only part of the materials which is wasted is the rattan which binds the posts and mats together. One large shed contains the stage, and three smaller ones before it enclose an area, and are furnished with rude seats for the paying spectators. The subscribers’ bounty is acknowledged by pasting red sheets containing their names and amounts upon the walls of the temple. The purlieus are let as stands for the sale of refreshments, for gambling tables, or for worse purposes, and by all these means the priests generally contrive to make gain of their devotion.[385]

Parties of actors and acrobats can be hired cheaply, and their performances form part of the festivities of rich families in their houses to entertain the women and relatives who cannot go abroad to see them. They are constituted into separate corporations or guilds, and each takes a distinguishing name, as the ‘Happy and Blessed company,’ the ‘Glorious Appearing company,’ etc.

The performances usually extend through three entire days, with brief recesses for sleeping and eating, and in villages where they are comparatively rare, the people act as if they were bewitched, neglecting everything to attend them. The female parts are performed by lads, who not only paint and dress like women, but even squeeze their toes into the “golden lilies,” and imitate, upon the stage, a mincing, wriggling gait. These fellows personate the voice, tones, and motions of the sex with wonderful exactness, taking every opportunity, indeed, that the play will allow to relieve their feet by sitting when on the boards, or retiring into the green-room when out of the acts. The acting is chiefly pantomime, and its fidelity shows the excellent training of the players. This development of their imitative faculties is probably still more encouraged by the difficulty the audience find to understand what is said; for owing to the differences in the dialects, the open construction of the theatre, the high falsetto or recitative key in which many of the parts are spoken, and the din of the orchestra intervening between every few sentences, not one quarter of the people hear or understand a word.

The scenery is very simple, consisting merely of rudely painted mats arranged on the back and sides of the stage, a few tables, chairs, or beds, which successively serve for many uses, and are brought in and out from the robing-room. The orchestra sits on the side of the stage, and not only fill up the intervals with their interludes, but strike a crashing noise by way of emphasis, or to add energy to the rush of opposing warriors. No falling curtain divides the acts or scenes, and the play is carried to its conclusion without intermission. The dresses are made of gorgeous silks, and present the best specimens of ancient Chinese costume of former dynasties now to be seen. The imperfections of the scenery require much to be suggested by the spectator’s imagination, though the actors themselves supply the defect in a measure by each man stating what part he performs, and what the person he represents has been doing while absent. If a courier is to be sent to a distant city, away he strides across the boards, or perhaps gets a whip and cocks up his leg as if mounting a horse, and on reaching the end of the stage cries out that he has arrived, and there delivers his message. Passing a bridge or crossing a river are indicated by stepping up and then down, or by the rolling motion of a boat. If a city is to be impersonated, two or three men lie down upon each other, when warriors rush on them furiously, overthrow the wall which they formed, and take the place by assault. Ghosts or supernatural beings are introduced through a wide trap-door in the stage, and, if he thinks it necessary, the impersonator cries out from underneath that he is ready, or for assistance to help him up through the hole.

~DESCRIPTION OF A PLAY.~

Mr. Lay describes a play he saw, in which a medley of celestial and terrestrial personages were introduced. “The first scene was intended to represent the happiness and splendor of beings who inhabit the upper regions, with the sun and moon and the elements curiously personified playing around them. The man who personated the sun held a round image of the sun’s disk, while the female who acted the part of the moon had a crescent in her hand. The actors took care to move so as to mimic the conjunction and opposition of these heavenly bodies as they revolve round in their apparent orbs. The Thunderer wielded an axe, and leaped and dashed about in a variety of extraordinary somersaults. After a few turns the monarch, who had been so highly honored as to find a place, through the partiality of a mountain nymph, in the abodes of the happy, begins to feel that no height of good fortune can secure a mortal against the common calamities of this frail life. A wicked courtier disguises himself in a tiger’s skin, and in this garb imitates the animal itself. He rushes into the retired apartments of the ladies, frightens them out of their wits, and throws the heir-apparent into a moat. The sisters hurry into the royal presence, and casting themselves on the ground divulge the sad intelligence that a tiger has borne off the young prince, who it appears was the son of the mountain nymph aforesaid. The loss the bereaved monarch takes so much to heart, that he renounces the world and deliberates about the nomination of a successor. By the influence of a crafty woman he selects a young man who has just sense enough to know that he is a fool. The settlement of the crown is scarcely finished when the unhappy king dies, and the blockhead is presently invested with the crown, but instead of excelling in his new preferment the lout bemoans his lot in the most awkward strains of lamentation, and cries, ‘O dear! what shall I do?’ with such piteous action, and yet withal so truly ludicrous, that the spectator is at a loss to know whether to laugh or to weep. The courtier who had taken off the heir and broken the father’s heart finds the new king an easy tool for prosecuting his traitorous purposes, and the state is plunged into the depths of civil discord at home and dangerous wars abroad.

“In the sequel a scene occurred in which the reconciliation of this court and some foreign prince depends upon the surrender of a certain obnoxious person. The son-in-law of the victim is charged with the letter containing this proposal, and returns to his house and disguises himself for the sake of concealment. When he reaches the court of the foreign prince he discovers that he has dropped the letter in changing his clothes, and narrowly escapes being taken for a spy without his credentials. He hurries back, calls for his garments, and shakes them one by one in an agony of self-reproach, but no letter appears. He sits down, throwing himself with great violence upon the chair, with a countenance inexpressibly full of torture and despair: reality could have added nothing to the imitation. But while every eye was riveted upon him, he called the servant-maid and inquired if she knew anything about the letter; she replied she overheard her mistress reading a letter whose contents were so and so. The mistress had taken her seat at a distance from him and was nursing her baby; and the instant he ascertained the letter was in her possession, he looked toward her with such a smile upon his cheek, and with a flood of light in his eye, that the whole assembly heaved a loud sigh of admiration; for the Chinese do not applaud by clapping and stamping, but express their feelings by an ejaculation that is between a sigh and a groan. The aim of the husband was to wheedle his wife out of the letter, and this smile and look of affection were merely the prelude; for he takes his chair, places it beside her, lays one hand softly on her shoulder, and fondles the child with the other in a style so exquisitely natural and so completely English, that in this dramatic picture it was seen that nature fashioneth men’s hearts alike. His addresses were, however, ineffectual, and her father’s life was not sacrificed.”[386]

The morals of the Chinese stage, so far as the sentiments of the pieces are concerned, are better than the acting, which sometimes panders to depraved tastes, but no indecent exposure, as of the persons of dancers, is ever seen in China. The audience stand in the area fronting the stage, or sit in the sheds around it; the women present are usually seated in the galleries. The police are at hand to maintain order, but the crowd, although in an irksome position, and sometimes exposed to a fierce sun, is remarkably peaceable. Accidents seldom occur on these occasions, but whenever the people are alarmed by a crash, or the stage takes fire, loss of life or limb generally ensues. A dreadful destruction took place at Canton in May, 1845, by the conflagration of a stage during the performances, by which more than two thousand lives were sacrificed; the survivors had occasion to remember that fifty persons had been killed many years before in the same place, and while a play was going on, by the falling of a wall.[387]

~POPULAR AMUSEMENTS.~

Active, manly plays are not popular in the south, and instead of engaging in a ball-game or regatta, going to a bowling alley or fives’ court, to exhibit their strength and skill, young men lift beams headed with heavy stones, like huge dumb-bells, to prove their muscle, or kick up their heels in a game of shuttlecock. The out-door amusements of gentlemen consist in flying kites, carrying birds on perches and throwing seeds high in the air for them to catch, sauntering through the fields, or lazily boating on the water. Pitching coppers, fighting crickets or quails, tossing up several balls at once, kicking large leaden balls against each other, snapping sticks, chucking stones, or guessing the number of seeds in an orange, are plays for lads.

~METHODS AND POPULARITY OF GAMBLING.~

Gambling is universal. Hucksters at the roadside are provided with a cup and saucer, and the clicking of their dice is heard at every corner. A boy with but two cash prefers to risk their loss on the throw of a die to simply buying a cake without trying the chance of getting it for nothing. Gaming-houses are opened by scores, their keepers paying a bribe to the local officers, who can hardly be expected to be very severe against what they were brought up in and daily practise; and women, in the privacy of their apartments, while away their time at cards and dominoes. Porters play by the wayside when waiting for employment, and hardly have the retinue of an officer seen their superiors enter the house, than they pull out their cards or dice and squat down to a game. The most common game of luck played at Canton is called _fan tan_, or ‘quadrating cash.’ The keeper of the table is provided with a pile of bright large cash, of which he takes a double handful, and lays them on the table, covering the pile with a bowl. The persons standing outside the rail guess the remainder there will be left after the pile has been divided by four, whether one, two, three, or nothing, the guess and stake of each person being first recorded by a clerk; the keeper then carefully picks out the coins four by four, all narrowly watching his movements. Cheating is almost impossible in this game, and twenty people can play at it as easily as two. Chinese cards are smaller and more numerous than our own; but the dominoes are the same.

Combats between crickets are oftenest seen in the south, where the small field sort is common. Two well-chosen combatants are put into a basin and irritated with a straw until they rush upon each other with the utmost fury, chirruping as they make the onset, and the battle seldom ends without a tragical result in loss of life or limb. Quails are also trained to mortal combat; two are placed on a railed table, on which a handful of millet has been strewn, and as soon as one picks up a kernel the other flies at him with beak, claws, and wings, and the struggle is kept up till one retreats by hopping into the hand of his disappointed owner. Hundreds of dollars are occasionally betted upon these cricket or quail fights, which, if not as sublime or exciting, are certainly less inhuman than the pugilistic fights and bull-baits of Christian countries, while both show the same brutal love of sport at the expense of life.

A favorite amusement is the flying of kites. They are made of paper and silk, in imitation of birds, butterflies, lizards, spectacles, fish, men, and other objects; but the skill shown in flying them is more remarkable than the ingenuity displayed in their construction. The ninth day of the ninth moon is a festival devoted to this amusement all over the land. Doolittle describes them as sometimes resembling a great bird, or a serpent thirty feet long; at other times the spectator sees a group of hawks hovering around a centre, all being suspended by one strong cord, and each hawk-kite controlled and moved by a separate line. On this day he estimates that as many as thirty thousand people assemble on the hills around Fuhchau to join in this amusement if the weather be propitious. Many of the kites are cut adrift under the belief that, as they float off, they carry away with them all impending disasters.

~CHINESE CHESS.~

The Chinese game of chess is very ancient, for Wu Wang (B.C. 1120) is the reputed inventor, and its rules of playing are so unlike the Indian game as to suggest an independent origin, which is confirmed by the peculiar feature of the _kiai ho_, or river, running across the board. There are seventy-two squares, of which eight are run together to form the river, leaving thirty-two on each side; but as the men stand on the intersection of the lines, there are ninety positions for the sixteen pieces used by each player, or twenty-six more than in the European game. The pieces are arranged for playing as in the diagram above.

The pieces are like chequer-men in shape, each of the seven kinds on each side having its name out on the top, and distinguished by its red or black colors. The four squares near each edge form the headquarters of the _tsiang_, or ‘general,’ out of which he and his two _sz’_, or ‘secretaries,’ cannot move. On each side of the headquarters are two elephants, two horses, and two chariots, whose powers are less than our bishop, knight, and castle, though similar; the chariot is the most powerful piece. In front of the horses stand two cannoniers, which capture like our knight but move like our castle. Five _pao_, soldiers or pawns, guard the river banks, but cannot return when once across it in pursuit of the enemy, and get no higher value when they reach the last row. Each piece is put down in the point where it captured its man, except the cannoniers; as the general cannot be taken, the object of each player is to check-mate him in his headquarters, therefore, by preventing his moving except into check. The want of a queen and the limited moves of the men restrict the combinations in the Chinese game more than in western chess, but it has its own elements of skill. Literary men and women play it much, and usually for small stakes. There is another game played less frequently but one of the most ancient in the Empire. It is called _wei-kí_, which may be rendered ‘blockade chess,’ and was common in the days of the sages, perhaps even earlier than chess. The board contains three hundred and twenty-four squares, eighteen each way, and the number of pieces is three hundred, though both the number of points and of pieces may be less than this size of the full game. The pieces are black and white and stand on the crossings of the lines, three hundred and sixty-one in number. The object of the opponents is to surround each other’s men and take up the crossings they occupy, or neutralize their power over those near them. Each player puts down a piece anywhere on the board, and continues to do so alternately, capturing his adversary’s positions until all the crossings are occupied and the game is ended.[388]