One is none the less a woman for being a Chinese woman. Woman is the same everywhere. It is she who charms us—not to say who rules us. And no matter in what part of the globe, it is she who is always the great attraction of life.
They all know it; and without any need of a general understanding amongst themselves, all the sisters of the universe do the best they each can to render themselves more beautiful, or prettier, or merely more agreeable. They need for that no othermaster that that instinctive desire to please, which is a special feature of the female nature. Albeit our women know neither how to grow fat or thin, or how to dye their hair, or how to make use of a thousand other tricks, which beauty uses to repair the irreparable ravages of time; they know how to paint themselves, and how to adorn their persons. They are very skilful in the use of red paint for the lips, of black for the eyebrows, and of white for the face. The particular taste of each race modifies the forms of coquetry. In Europe, you prefer large eyes and a Grecian nose; in China, small eyes and a thin and delicate nose are considered the most beautiful. On the other hand, we agree with you in admiring fine white teeth, and little wrists and ankles.
It is said, in China, that a woman’s eyebrows should be elongated and thin, like the silhouette of distant mountains; that the eyes should be limpid, as water is in autumn; and the lips red, like dawn of day. Dimples aregreatly admired in China. We call them the “wine hollows.”
The flush of the cheeks is called “the colour of drunkenness.”
From Nature, let us pass on to Art.
Formerly, women used to dress their hair high up on their heads, the coiffure being built up on a framework of iron wire. Little by little this style was modified, and to-day the greatest simplicity is the rule. Our ladies dress their hair almost in the Greek style, with this difference, that the hair always remains smooth, curls never having been in fashion in China. I may add, that natural curls are quite unknown at home. A gold or silver pin, shaped like a double spatula, and bent in the middle, is fixed in the centre of the chignon, so as to keep the hair in place. Sprigs of flowers are fixed round this pin. Sometimes, in the spring, a little wreath of scented flowers is put on the back of the head. These simple ornaments are so much appreciated, that many ladies have a standing arrangement with agardener to bring them fresh flowers every morning.
A poet has said about this custom:
“After having finished dressing her hair she casts another glance in her mirror,To see what kind of flowers will best suit her hair.Therefore, before changing her morning toilette,Behold her setting forth for the garden with a pair of scissors in her hand.”
“After having finished dressing her hair she casts another glance in her mirror,To see what kind of flowers will best suit her hair.Therefore, before changing her morning toilette,Behold her setting forth for the garden with a pair of scissors in her hand.”
“After having finished dressing her hair she casts another glance in her mirror,To see what kind of flowers will best suit her hair.Therefore, before changing her morning toilette,Behold her setting forth for the garden with a pair of scissors in her hand.”
“After having finished dressing her hair she casts another glance in her mirror,
To see what kind of flowers will best suit her hair.
Therefore, before changing her morning toilette,
Behold her setting forth for the garden with a pair of scissors in her hand.”
When flowers are wanting, butterflies, made in every conceivable shape, and of all kinds of materials, are placed in the hair above the temples. At grand ceremonies imitation flowers, made in jewels, are used instead of natural flowers.
The forehead is always left free. Only young girls wear fringes, the rest of the hair being allowed to fall down loose at the back of the head, or being gathered up into two bunches on either side. The enormous coiffure that you see in pictures, and which forms a kind of bull’s head, is known as the coiffure in the style of “a crow with outstretched wings.” It is now only to be seen in Canton.
Ladies in China never wear hats or bonnets. At ceremonies they wear a helmet-shaped crown, and on less solemn occasions a little band of embroidered stuff, which crosses the forehead and terminates in points behind each ear. In the centre is a large pearl or other precious stone, and round it a single or double row of pearls is entwined. Women wear shorter clothes than the men, the shape being about the same for both sexes. The clothes come down to the knees. On special occasions a petticoat, which comes down to the feet, is worn, while indoors a pair of trousers is added; which in the north is fastened round the ankles with ribbons, and left loose in the south. The upper garment has wide sleeves, with facings of embroidered satin. The uniform—for ladies in China wear a uniform on grand occasions suited to the rank of their husbands—consists in a dress of red satin, embroidered with dragons, over which is a garment shaped like a waistcoat, also embroidered. If the husband has a highrank, the wife also wears a pearl necklace. Whatever may be the rank of the woman, she always makes her own shoes. There are no shops in China for the sale of women’s shoes.
Jewels are never used for trimming dresses; at the very utmost, a few gold or jewelled buttons are sometimes used; but bracelets are worn in great numbers, according to the position and fortune of the wearer. Some young girls wear ankle-bands, also necklaces in the shape of collars, either in silver or gold, and fastened with a locket in the shape of a padlock.
The general custom of wearing the nails very long has caused the use of a special nail-glove, which is made of gold. It is shaped like a thimble, open at both ends, and is prolongated by a gold nail, which is intended to cover the real nail and to protect it. I may mention that in China, as everywhere else, it is the demi-monde that creates the fashions. But fashion varies considerably in the different provinces.Only a few ladies, who have travelled a great deal, know how to combine the various styles, often with the happiest effect. As a rule, one can tell at a glance to what province a woman belongs.
One of the most feared of our Censors, a man before the severity of whose criticism the whole world used to tremble, and who was all the more feared that nobody could find any fault in him, was one day surprised in the act of painting his wife’s eyebrows. I leave you to judge how delighted his enemies were to be able to tell the sovereign that this rigid guardian of public morality was, after all, but a very frivolous man. The Censor was sent for and asked if the report were true.
“Yes, your Majesty,” he answered; “but what is there frivolous in that? Is not everything allowed between man and wife?”
The Emperor was quite satisfied with this answer, and the matter dropped. The story is repeated everywhere now-a-days as symbolic of domestic felicity. I see in it,above all things, the triumph of feminine coquetry, which knows how to subjugate mankind, even the most austere, and enslaves us to its delicious trivialities and its irresistible frivolities.
I say fans in the plural, because we have two kinds, the folding fan and the round fan. We use the former during the mild seasons, and the latter during the very hot weather. The reason of this is not easily understood, as the round fan fans much less effectively than the other one. Doubtless it offers this advantage—that it can be used as a substitute for the parasol, which we never carry, and thus plays a double part. I may add, that in summer men and women alike go out bareheaded, so that some protection, such as is afforded by the screen fan, is needed. As a general rule, thereis a picture on one side of our fans, and some writing on the other. Common folk buy their fans ready painted and written upon, whereas people of fashion buy their fans blank, and ask distinguished people to illustrate them with a painting or a piece of writing. Some collectors possess hundreds of fans, which replace with us the autograph albums that you have in Europe.
Fans are given as presents to one’s friends. They are always given by schoolmasters as prizes to their scholars.
The folding fan has a varying number of stems. Women’s fans have generally thirty thin stems. The most common are made of bamboo; the best are made of ivory, betel, or sandal wood. They are carried in a case of embroidered satin, which is fastened to the belt by a ring of jade. The round fan is usually made of silk, with ivory or bamboo handles, the prolongation of which is either hidden between a double mask of stuff, or is visible on one side only. Ladies use them atplay for catching butterflies, or fireflies at night. On such occasions they fasten a sachet of scent to the end of the handle, which scents the air as the fan is moved.
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.
A favourite named Pan-Tie-Tsu, beloved at one time by Emperor Hiao-Tcheng, seeing herself deserted, sent a fan to her master, on which she had written the following lines:—
“I have just woven with my own hands this white silk,White as the snow and as the ice.I cut it to make a fan of it,Round as the full moon is.I would wish that it might be with you wherever you may go,And that the air it gives you may, from time to time, refresh your memory.I foresee, however, that when autumn comes,Or the cold weather shall reduce the heat of the day,It will be cast aside into some box, and removed from the favour of your Majesty,Even as she is who gave it to you.”
“I have just woven with my own hands this white silk,White as the snow and as the ice.I cut it to make a fan of it,Round as the full moon is.I would wish that it might be with you wherever you may go,And that the air it gives you may, from time to time, refresh your memory.I foresee, however, that when autumn comes,Or the cold weather shall reduce the heat of the day,It will be cast aside into some box, and removed from the favour of your Majesty,Even as she is who gave it to you.”
“I have just woven with my own hands this white silk,White as the snow and as the ice.I cut it to make a fan of it,Round as the full moon is.I would wish that it might be with you wherever you may go,And that the air it gives you may, from time to time, refresh your memory.I foresee, however, that when autumn comes,Or the cold weather shall reduce the heat of the day,It will be cast aside into some box, and removed from the favour of your Majesty,Even as she is who gave it to you.”
“I have just woven with my own hands this white silk,
White as the snow and as the ice.
I cut it to make a fan of it,
Round as the full moon is.
I would wish that it might be with you wherever you may go,
And that the air it gives you may, from time to time, refresh your memory.
I foresee, however, that when autumn comes,
Or the cold weather shall reduce the heat of the day,
It will be cast aside into some box, and removed from the favour of your Majesty,
Even as she is who gave it to you.”
Another woman, who had been disfigured by disease, sent her lover a fan, on which she had written the four following lines:—
“Oh, the fan! Oh, the fan!You serve to hide my unhappy face.I am hideously ugly;And I am ashamed to present myself before my lover.”
“Oh, the fan! Oh, the fan!You serve to hide my unhappy face.I am hideously ugly;And I am ashamed to present myself before my lover.”
“Oh, the fan! Oh, the fan!You serve to hide my unhappy face.I am hideously ugly;And I am ashamed to present myself before my lover.”
“Oh, the fan! Oh, the fan!
You serve to hide my unhappy face.
I am hideously ugly;
And I am ashamed to present myself before my lover.”
Besides these two kinds of fans, there is also the feather fan, which was first made in the time of dynasty of the later Hans.
The Prime Minister, named Tsu-Kia-Liang,used this fan for all his military commands. It was, in his hands, a substitute for the field-marshal’s baton.
It is also said, that the first fan of this kind was introduced into China by the King of Siam, who sent it, with other objects, by way of tribute. But Tsu-Kia-Liang still, to-day, is represented with a feather fan in his hand, the baton with which he directed the orchestra in the symphony of the battle.
Betel leaves, cut into the shape of a fan, are also used in China. As this dry leaf can neither be written nor painted upon, it is decorated with engravings, either of pictures or of writing, which are traced upon it by means of a lighted stick of incense. This delicate and difficult work is generally done by women. Both leaves and incense come from Formosa.
Another kind of fan is made in Canton. A bamboo stick is taken, of which one end is left to serve as handle. The upper end is shredded into very fine threads,which spread out into the shape of a lyre; silk is passed over these, and the lower part of the lyre is consolidated with a piece of curved wood, through a hole in which the handle passes. It is a very pretty kind of fan, and wears very well indeed.
All these varieties are fancy articles. In ancient China, the round fan alone was known; the folding fan has only been known since the last five centuries. It was first presented by the Corean ambassadors to Emperor Ung-Lo, of the Ming dynasty. The sovereign found it not only pretty, but very convenient, and less troublesome to carry, and gave orders for the manufacture of a large quantity, to be distributed amongst the officials of his empire.
This is all that I consider it necessary to say about fans in China. It may be found that I have used a great many words about very little. But how can words be better used, since it was said of them by an ancient Roman that they fly, than in speaking about winds and fans?
Beautiful women are called in China flowers, or jade jewels, or still better, the destroyers of the empire, or the destroyers of cities. The latter nicknames originated in a poem of the celebrated Li-Yan-Nein, of the dynasty of Han, thus conceived:
“A beautiful woman lives in the north,Whose beauty has never in any age been rivalled;To see her is to lose the empire.If one sees her twice, the kingdom no longer exists.But I may add, that one prefers to lose both empire and kingdomThan to renounce the beautiful woman whom one will never see again.”
“A beautiful woman lives in the north,Whose beauty has never in any age been rivalled;To see her is to lose the empire.If one sees her twice, the kingdom no longer exists.But I may add, that one prefers to lose both empire and kingdomThan to renounce the beautiful woman whom one will never see again.”
“A beautiful woman lives in the north,Whose beauty has never in any age been rivalled;To see her is to lose the empire.If one sees her twice, the kingdom no longer exists.But I may add, that one prefers to lose both empire and kingdomThan to renounce the beautiful woman whom one will never see again.”
“A beautiful woman lives in the north,
Whose beauty has never in any age been rivalled;
To see her is to lose the empire.
If one sees her twice, the kingdom no longer exists.
But I may add, that one prefers to lose both empire and kingdom
Than to renounce the beautiful woman whom one will never see again.”
The poem fell under the eyes of the Emperor, who immediately asked if such a woman really did exist, or was only the creation of the poet’s imagination. On receiving an affirmative answer, he expressed his desire to know this beauty, and it was upon her that he afterwards bestowed his exclusive favour. An Emperor is no less a man.
One of the favourites of Emperor Han-Wou-Ti, named Li-Kiang—pretty girl—conquered the heart of her sovereign at the age of fourteen. Her beauty was perfect, and her body was of extreme delicacy. She clothed herself alone in the lightest tissues, for fear that coarser stuff might injure her very delicate skin. Her master built for her a crystal palace, so that, as he said, no dust should come to stain the whiteness of her darling person. Her breath was so sweet, that when she sang all the flowers in the garden danced.
Emperor Ouei-Weng-Ti, having heard it said that a young girl named Sie-Ling-Yung,was reputed to be of incomparable beauty, wrote to the prefect, bidding him to send her to the capital. On bidding good-bye to her parents, Sie-Ling-Yung wept red tears, which were tears of blood.
Her reception at the capital was an extremely brilliant one. The Court sent out ten carriages to meet her, and sandal leaves were burned all along the way she was to pass through. A lofty tower was erected for the occasion, and was illuminated, as were all the houses in the city.
It was a memorable night, and is still mentioned in our histories. His Majesty went out in person to meet the beautiful woman, driving in a carriage of carved jade. At regular intervals bronze milestones, two metres high, had been erected. At last this marvellous woman was received in the arms of the sovereign, who gave her the name of Ye-Lae, which means “She who came in the night.”
She was an incomparable artist at embroidery. She could embroider in the darkmasterpieces which could not be imitated in daylight by any other woman. On account of this she was also called “The Genius of the Needle.”
The celebrated poet Soung-U says, in a poem about his neighbour:
“All the beautiful women in the worldAre not worth my lady neighbour of the west.Were you to add one inch to her height, she would be too tall;Were you to reduce her stature by one inch, she would be too small.Powder would give her too white a colour,Vermilion would make her look too red.Her eyebrows are like the lightest feathers;Her skin is like the purest snow;Her waist is small as a piece of silk;And her teeth resemble a row of pearls.When she condescends to smile, the most reasonable man is troubled.”
“All the beautiful women in the worldAre not worth my lady neighbour of the west.Were you to add one inch to her height, she would be too tall;Were you to reduce her stature by one inch, she would be too small.Powder would give her too white a colour,Vermilion would make her look too red.Her eyebrows are like the lightest feathers;Her skin is like the purest snow;Her waist is small as a piece of silk;And her teeth resemble a row of pearls.When she condescends to smile, the most reasonable man is troubled.”
“All the beautiful women in the worldAre not worth my lady neighbour of the west.Were you to add one inch to her height, she would be too tall;Were you to reduce her stature by one inch, she would be too small.Powder would give her too white a colour,Vermilion would make her look too red.Her eyebrows are like the lightest feathers;Her skin is like the purest snow;Her waist is small as a piece of silk;And her teeth resemble a row of pearls.When she condescends to smile, the most reasonable man is troubled.”
“All the beautiful women in the world
Are not worth my lady neighbour of the west.
Were you to add one inch to her height, she would be too tall;
Were you to reduce her stature by one inch, she would be too small.
Powder would give her too white a colour,
Vermilion would make her look too red.
Her eyebrows are like the lightest feathers;
Her skin is like the purest snow;
Her waist is small as a piece of silk;
And her teeth resemble a row of pearls.
When she condescends to smile, the most reasonable man is troubled.”
It is a matter of great regret in China that the poet did not even mention the name of this beauty, who, according to his account, must have been as desirable a person as she was desired by him.
When the famous Fi-Yen—The FlyingSwallow—was presented to Emperor Yang-Ti, he was transported with joy. Not only was she beautiful, but her body was so light, that the king used often to take her up on one hand to play with her. In a moment of effusion the Emperor said that he had only one ambition in life, and that was to live and die by the side of her whom he loved, and that, unlike his ancestors, he should not commit the folly of seeking for the land of clouds, by which he meant Paradise.
There have been so many celebrated beauties in China, that it is quite impossible to mention all their names here. Let us be satisfied by saying, that some, when they wash their hands in the streams, scent the water; that others found their beauty improved by a little wound on their faces; that some shamed the flowers themselves; and that one of them compelled the moon to hide her face. All those who deserved the name of beautiful woman, owed all their charms to Nature; those that triedto imitate them, only rendered themselves ridiculous. History relates apropos of this, that the beautiful Si-Si used to have the habit of laying her hand to her heart, which gave her an additional charm. Another woman, who lived in her village—thinking that it was this gesture alone that caused her neighbour to be so much admired—imitated it, and got laughed at for her trouble; for, as it was pointed out to her, she had overlooked the fact that what is natural is beautiful, whilst what is forced is often absurd.
Men used to be magnificently gallant towards these beautiful women. Some housed them in golden palaces, others sheltered every step that they took with tents of gauze, so as to protect them against the sun and the wind. Others had screens of pearls carried before their lady-loves, more beautiful than the pearls which were intended for their adornment. It will be seen that our writers did not lack in metaphors for the celebration of charming women. They werein the right. The flowers of rhetoric are never better employed than when applied to those women which the gallantry of our language has baptized with the name of flowers.
When a child in China reaches the age of five or six years, his parents, no matter what their position may be, begin to think about giving him a master, so that his education may be commenced. Although instruction is not compulsory in China, I do not know of any children who do not go to school. Of course, more or less time is spent there by the different scholars, according to their several intelligences or the position of their parents.
A lucky day at the beginning of the year is chosen, and on this day the child is sentto some celebrated man of letters to receive his first lesson, which consists in learning the three first lines of an elementary book called San-Tse-King, in which every sentence consists of three syllables, and which resumes the history of China and the duties of man.
This task having been accomplished, the boy is sent to school, where his real instruction commences, for the course we have spoken about is a mere preliminary formality, undertaken by an honorary professor. As soon as he has got safely through the San-Tse-King, the boy passes on to a second book, called the Tsien-Tse-Weng, a work which contains one thousand different letters. At the same time, the scholar has to paint over in black letters drawn in red in his copy-book by the schoolmaster. At first the child is taken on the knees by his master, who guides his hand, but little by little he is left to himself. Later on, he is given a copy to trace through transparent paper, and so on. A more serious course of instruction,including the four classical works of Confucius and of Meng-Tse, and the five King, or sacred, books, follow this preparatory course. Whilst these studies are going on, the professor instructs his scholars in the poetry of the land. As an exercise, he gives as a daily task a line of seven words, the child having to compose a parallel verse. As an example, heaven, earth, mountain, water, and so on. When a child is able to give the parallel of a line of seven words his intelligence may be considered to be fairly well developed, as we shall see.
I remember one day at school the professor gave us the following theme, which in Chinese is a line of seven words, and which was suggested to him by a phenomenon which he had just witnessed:—
“The flexible body of the bee bends round a drop of dew on a flower.”
My comrade, whose turn it was to answer, reflected silently for a long time, until at last, Providence helping him, he cried out,seeing before his eyes a scene that was being enacted in the garden outside—
“The oblique eye of the sparrow stealthily watches the caterpillar curled up in a leaf.”
I need hardly say that he was vigorously applauded by his comrades, and handsomely rewarded by the professor.
As soon as the books mentioned above have been done with, besides certain selections from historical and literary works, the scholar begins to try his hand at difficult composition, which is preparatory study for our general competitive examinations. These dissertations are composed after the method of the Bakou, which are the eight rules to be followed in composition. Subjects are taken from philosophy or politics, being always chosen from celebrated classical authors mentioned above, and especially from Confucius. Concurrently with these the student practises his hand at poetical composition, very difficult tasks being set.
The young candidates have to presentthemselves, in the first place, at the annual examination, which takes place at the sub-prefecture—this examination being for the degree of bachelor of arts. The examination is a written one. Candidates must, before attaining this degree, undergo another examination before an Imperial examiner, specially commissioned for this purpose. The examination for the licence, or second degree, only takes place once every three years, as does also the examination for the third degree, which is that of doctor. The two examinations do not, however, take place in the same year, or at the same season of the year. The second examination is held in the autumn in the different provincial cities, the third being held at Pekin in the following spring. It is a very usual thing to see a young man, who has passed these three examinations one after the other, return home in triumph to his parents, who up till then have been occupying some very humble position; for in China these competitive examinations are open to all except such personsas have followed dishonourable trades. The family of a common workman, who have had the good fortune to possess a son who has passed these examinations, becomes noblede jure, and the same honours are paid to the parents as to the son. In order to understand to what a degree public sympathy and encouragement are with a successful candidate, and the anxiety that every student has to pass to get his degrees, one must see the reception given to the successful students. When the names of the prize-winners are made public, the official employés come up in great state, carrying the nominations of the winners printed on huge pieces of red paper, which they stick up on the houses of the lucky ones. They are received with crackers and squibs, and candles and incense are burned before the ancestors and the light of day, in token of gratitude for the distinguished favour accorded to the candidate. A day is fixed for the due celebration of the victory, and all the candidates who have passed are present at this feast. From early dawn thefamilies of the successful ones decorate their houses with flags, and await the arrival of their friends and neighbours, who come to bring their congratulations. The candidates go round in person to pay calls on all their friends, riding in sedan-chairs, and dressed in special clothes sent them by their parents-in-law, or in the case of bachelors, by their nearest relations. Those who have won the degree of bachelor wear a blue silk dress, the licentiates one of darker blue, while the doctors wear violet silk. A stiff kind of cape, embroidered in gold and coloured silks, is worn over the shoulders, and two sprays of flowers decorate the hat. In front of the sedan-chair men walk, carrying banners of red silk attached to bamboos still in leaf, while the musicians play their most joyful airs. The auspicious day is called the Day of the Reception of Flowers. For it appears that formerly women used to strew flowers in the paths of the young scholars. The procession fills many hearts with envy. How often have I not heard mothers saying totheir children, “Your turn will come some day if you will only work.”
Success at these examinations opens every door to the young man, and the only thing that is feared is non-success. Once the examination passed, the career and the fortune of the young man are assured. The bachelor man of letters will at once receive offers of marriage from rich families. This will explain why no laws of compulsory education are necessary in a country where, by study, a man may from one day to another transform the social position of his family. Ambition urges people on to secure a good education for their children. Our students are sober folk. There is no Latin Quarter for him to frequent, politics disturb him not, and the only amusements that he knows of are poetical competitions and excursions into the country. His life is one of work and retirement, but he is never heard to complain, and has indeed no reason to do so; for the future smiles upon him, andthe dusty volumes with which he is surrounded hold out to him the promise of what a familiar locution describes as “the highest honours, the most beautiful women, and the happiest life.”
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. These poeticaltourneys take place all over China, but it is especially in the province of Fou-Kien that they are most common. Thus, when the late Imperial Commissioner of the arsenal of Fou-Tcheou, who was also Viceroy of Nankin, could spare a moment from his official duties, it was his habit to call in his subordinates and compose poetry with them. There are many kinds of verses, and before the opening of the contest it is decided what kind of verse is to be written. A historical or a fancy subject is set, and each of the competitors is asked to write a poem of four or eight lines on this subject. Sometimes two subjects are given, and these must be treated in parallel verses of seven syllables each, each line specially treating one or other of the two subjects. Another way is to choose two words, which must appear in a certain place in two parallel lines of poetry. I give below some examples, which will help the reader to understand these rules. As soon as all the competitors have met, avase is passed round. This vase contains, written on bits of paper which have been rolled up into balls, words denoting certain functions connected with the tourney, such as examiner, copying-clerk, candidate, &c. Each candidate draws one of the papers, and thus it is decided who shall compete and who shall form the committee. Two examiners and four or eight clerks are chosen, according to the number of candidates. One of the examiners then takes up a book and opens it at hazard. Another names a number, say nine. The examiner then reads the ninth line of the page at which the book is open, and from this line a phrase, or sentence, or word is selected to form the subject of the composition. As soon as the subject has been decided upon, another vase is placed upon the table, to which a bell is attached. A thread hangs from the bell, and at the end of the thread is a lighted stick of incense. In about half-an-hour the incense burns out, the thread catches fire, and, as it snaps, lets fall thecounterweight of the bell, which rings, and the lid of the urn falls too. It is then too late for any more poems to be entered for examination. The copying-clerks now empty the vase of the poems, which have been put into it by the competitors, and copy them out, all on one and the same piece of paper, to be submitted to the examiners. By this means anonymity is strictly protected. These make a selection, and when they have decided which of the poems is the best, one of them gets up in a kind of desk and sings forth the prize poem. Each competitor may write as many poems as he chooses on the subject that has been set, but has to pay a small fee for each entry. This money is used for the purchase of paper, brushes, ink, and the prizes which are awarded to the winners. As soon as the prizes have been awarded, a fresh competition of a different kind is commenced. The two poets, whose verses were considered the best in the previous competition, assume the functions of examinersin the second tourney, and this arrangement continues throughout. In the evening a dinner brings the fête to an end. I will now submit some specimens of the kind of poetry which is written at these tourneys.
MIDNIGHT.(Eight-lined Poem.)“The moon shines at midnightAt the top of the white wall,Over which sway the leaves of the bamboo,Casting their shadows on the earth;Whilst the blinds of the windows remain dark and silent,The fire-flys alone gleam in the scented dew.Be careful not to walk near the pond,For fear of awakening the amorous swans.”
MIDNIGHT.(Eight-lined Poem.)“The moon shines at midnightAt the top of the white wall,Over which sway the leaves of the bamboo,Casting their shadows on the earth;Whilst the blinds of the windows remain dark and silent,The fire-flys alone gleam in the scented dew.Be careful not to walk near the pond,For fear of awakening the amorous swans.”
MIDNIGHT.
(Eight-lined Poem.)
“The moon shines at midnightAt the top of the white wall,Over which sway the leaves of the bamboo,Casting their shadows on the earth;Whilst the blinds of the windows remain dark and silent,The fire-flys alone gleam in the scented dew.Be careful not to walk near the pond,For fear of awakening the amorous swans.”
“The moon shines at midnight
At the top of the white wall,
Over which sway the leaves of the bamboo,
Casting their shadows on the earth;
Whilst the blinds of the windows remain dark and silent,
The fire-flys alone gleam in the scented dew.
Be careful not to walk near the pond,
For fear of awakening the amorous swans.”
THE RETURN OF THE LABOURER.(Quatrain.)“The mantle of palm fibres and the hat of bamboo leaves are both spotted with water.Drops of rain, like very fine threads, fall on the plough.It is the best season of the spring.The peach-tree blossoms gleam at the corners of the walls, and the cuckoos are singing.”
THE RETURN OF THE LABOURER.(Quatrain.)“The mantle of palm fibres and the hat of bamboo leaves are both spotted with water.Drops of rain, like very fine threads, fall on the plough.It is the best season of the spring.The peach-tree blossoms gleam at the corners of the walls, and the cuckoos are singing.”
THE RETURN OF THE LABOURER.
(Quatrain.)
“The mantle of palm fibres and the hat of bamboo leaves are both spotted with water.Drops of rain, like very fine threads, fall on the plough.It is the best season of the spring.The peach-tree blossoms gleam at the corners of the walls, and the cuckoos are singing.”
“The mantle of palm fibres and the hat of bamboo leaves are both spotted with water.
Drops of rain, like very fine threads, fall on the plough.
It is the best season of the spring.
The peach-tree blossoms gleam at the corners of the walls, and the cuckoos are singing.”
THE BLACK PEONY AND THE WAX TAPER.(Double Subject for Parallel Verses.)“His nature is wealthy, so it is a matter of small import to him that he is black.His will is bent, how long will he remain red?”
THE BLACK PEONY AND THE WAX TAPER.(Double Subject for Parallel Verses.)“His nature is wealthy, so it is a matter of small import to him that he is black.His will is bent, how long will he remain red?”
THE BLACK PEONY AND THE WAX TAPER.
(Double Subject for Parallel Verses.)
“His nature is wealthy, so it is a matter of small import to him that he is black.His will is bent, how long will he remain red?”
“His nature is wealthy, so it is a matter of small import to him that he is black.
His will is bent, how long will he remain red?”
There is a double play of words here. The name of peony alludes to the modesty of its position; the peony is sufficiently beautiful not to be afflicted thereby. Red is the aristocratic colour, and, at the same time, the colour of flame. The taper may consider himself a very brilliant object; the time must soon come when its flame must be extinguished, and it will fall back again into obscurity and darkness.
Here is another:
THE DRY BAMBOOS AND THE DEATH OF THE SOVEREIGN.“Two sticks planted in the ground as drying poles for the red sleeves.A thousand families weep heavenwards, whilst they put on white garments.”
THE DRY BAMBOOS AND THE DEATH OF THE SOVEREIGN.“Two sticks planted in the ground as drying poles for the red sleeves.A thousand families weep heavenwards, whilst they put on white garments.”
THE DRY BAMBOOS AND THE DEATH OF THE SOVEREIGN.
“Two sticks planted in the ground as drying poles for the red sleeves.A thousand families weep heavenwards, whilst they put on white garments.”
“Two sticks planted in the ground as drying poles for the red sleeves.
A thousand families weep heavenwards, whilst they put on white garments.”
Dried bamboo stalks are generally used as drying-poles in China, and are set upfor this purpose in every courtyard. A cross-stick holds up the sleeves of the garments that have been hung out to dry. Numerous families put on white clothes. White is the colour of mourning in China.
There is a contrast between the mourning white and the gay red of women’s garments.
Now, here is a poem of a different kind. In this the object was to place certain words in a position designated beforehand. The words given are “palace” and “battle.” They have to be placed at the end of each verse:—
“The names of old servants is familiar to the parrots of the palace.The merits of great generals are known to the chargers in battle.”
“The names of old servants is familiar to the parrots of the palace.The merits of great generals are known to the chargers in battle.”
“The names of old servants is familiar to the parrots of the palace.The merits of great generals are known to the chargers in battle.”
“The names of old servants is familiar to the parrots of the palace.
The merits of great generals are known to the chargers in battle.”
Another, where the task was to place the words “great” and “autumn” at the beginning of the lines:—
“Great snowfall yesterday made me drink up all my wine.Autumn rains prevent neighbours, and even the best friends, from calling upon each other.”
“Great snowfall yesterday made me drink up all my wine.Autumn rains prevent neighbours, and even the best friends, from calling upon each other.”
“Great snowfall yesterday made me drink up all my wine.Autumn rains prevent neighbours, and even the best friends, from calling upon each other.”
“Great snowfall yesterday made me drink up all my wine.
Autumn rains prevent neighbours, and even the best friends, from calling upon each other.”
I have had to recur to inversion, and sohave somewhat spoiled the appearance of these lines to get the words into their right places. Many people will find these pleasures of ours very simple, too simple perhaps. Whatever may be said, they are preferable to gambling. Besides, Europe, which also has her simple pleasures, will not blame us for ours.
China has had its great art epochs, but for the last few centuries, education having been a purely literary one, art seems to have lost ground to a certain extent. However, it must be admitted, by those who care to look into the matter, that all is by no means lost. If we have not progressed during some centuries past, and if we have limited ourselves to the reproduction of certain types which were created long ago, if, in short, we show no originality, but only elegance and ease in our artistic productions, it must, at least, be admitted that we have scrupulously followed our ancient traditions.
Art flourished at its best in China in the reign of the Thang family. The poet, Tou-Fou, was an artist also, whilst the painter, Ouang-Wei, was a poet. Painting could be found in the poetry of the one, and poetry in the painting of the other. Although our old masters did not pay any attention to the laws of perspective, the works of their imaginations have always been highly appreciated. Some of their pictures are exceedingly rare, and like the two spoken about in the following poems of Tou-Fou, have to-day a priceless value:—
I.“On a painting representing some horses, executed by General Tchao.Since the accession of our dynasty,There have been many painters of horses,And the most celebrated of these is General Kiang-Tou.Your reputation as a painter is now thirty years old,And thanks to you we once more see the beautiful mounts.Our late Emperor greatly appreciated your talents,And your name ran through the capitals like the roll of thunder.The decrees of theGazettewere never silent in your praise.Generals after their triumphs have been rewarded,Rich people after the rivalries of their luxury,Cannot assert that they are quite contented,Unless they have your pictures hanging on their walls.Formerly Emperor Tai-Thoung was an amateur of horses,And at the present day the Ko family is also so.In your new picture the two horsesAre the envy of all sportsmen.They have the appearance of war-chargers,Which can hurl themselves one against a thousand.Their white hair throws itself into the wind and the dust.The others, quite as extraordinary, resembleNow a cloud, now snow whirling in space.Their delicate legs seem to run alongside the pine-tree forest,Whilst the spectators who see them pass applaud.Their heads aloft, their proud appearance, and their look, which expresses both pride and obedience.Who is able to appreciate these beautiful horses?Excepted Oui-Foung and Tsse-Tong.I remember that when the Emperor used to go to the Palace of Sin-Foung,Flags and parasols coming from the east clouded the sky;Then 30,000 horses, some trotting, some galloping, resembled the horses in this picture,Whilst this splendid cavalcade passes away into memory.The same forest where this Imperial and important procession was seenResounds to-day only with the song of birds,Which harmonises with the whistling of the winds.II.“You are the descendant of the Emperor Ouei-Ou,Reduced to the state of simple citizen.The splendour of your ancestors has disappeared,But blood and features perpetuate themselves.Your literature has reached the degree of perfection,And your painting makes you forget honours which you do not covet.Emperor Kai-Yung knew your glory, and received you several times at his palace.Thanks to your paint-brush, all our statesmen live again in their portraits on the walls of the Palace of Ling-Yen.The Ministers brilliantly wear the crowns of their wisdom.The Generals have their arrows in their quivers.One might say that their Excellencies Pao and Mo are moving their hair and their beards,Just as if they were returning from those battlefields where they fought so brilliantly.As to the splendid horse of his late Majesty, nobody knew how to paint his exact portrait.A decree ordained that he should be brought before the palace so that you might fix him on a piece of silk;And when your work was finished all the horses of the universe seemed to be plunged into darkness.The Court already possessed the most beautiful horses;It now possesses also the most beautiful picture.The reward which you have now received is the admiration of all.Your scholar, Han-Kang, is already on the way to perfection, but the horse he has painted is only skin with nothing beneath it;He is far from possessing your genius.”
I.“On a painting representing some horses, executed by General Tchao.Since the accession of our dynasty,There have been many painters of horses,And the most celebrated of these is General Kiang-Tou.Your reputation as a painter is now thirty years old,And thanks to you we once more see the beautiful mounts.Our late Emperor greatly appreciated your talents,And your name ran through the capitals like the roll of thunder.The decrees of theGazettewere never silent in your praise.Generals after their triumphs have been rewarded,Rich people after the rivalries of their luxury,Cannot assert that they are quite contented,Unless they have your pictures hanging on their walls.Formerly Emperor Tai-Thoung was an amateur of horses,And at the present day the Ko family is also so.In your new picture the two horsesAre the envy of all sportsmen.They have the appearance of war-chargers,Which can hurl themselves one against a thousand.Their white hair throws itself into the wind and the dust.The others, quite as extraordinary, resembleNow a cloud, now snow whirling in space.Their delicate legs seem to run alongside the pine-tree forest,Whilst the spectators who see them pass applaud.Their heads aloft, their proud appearance, and their look, which expresses both pride and obedience.Who is able to appreciate these beautiful horses?Excepted Oui-Foung and Tsse-Tong.I remember that when the Emperor used to go to the Palace of Sin-Foung,Flags and parasols coming from the east clouded the sky;Then 30,000 horses, some trotting, some galloping, resembled the horses in this picture,Whilst this splendid cavalcade passes away into memory.The same forest where this Imperial and important procession was seenResounds to-day only with the song of birds,Which harmonises with the whistling of the winds.II.“You are the descendant of the Emperor Ouei-Ou,Reduced to the state of simple citizen.The splendour of your ancestors has disappeared,But blood and features perpetuate themselves.Your literature has reached the degree of perfection,And your painting makes you forget honours which you do not covet.Emperor Kai-Yung knew your glory, and received you several times at his palace.Thanks to your paint-brush, all our statesmen live again in their portraits on the walls of the Palace of Ling-Yen.The Ministers brilliantly wear the crowns of their wisdom.The Generals have their arrows in their quivers.One might say that their Excellencies Pao and Mo are moving their hair and their beards,Just as if they were returning from those battlefields where they fought so brilliantly.As to the splendid horse of his late Majesty, nobody knew how to paint his exact portrait.A decree ordained that he should be brought before the palace so that you might fix him on a piece of silk;And when your work was finished all the horses of the universe seemed to be plunged into darkness.The Court already possessed the most beautiful horses;It now possesses also the most beautiful picture.The reward which you have now received is the admiration of all.Your scholar, Han-Kang, is already on the way to perfection, but the horse he has painted is only skin with nothing beneath it;He is far from possessing your genius.”
I.
I.
“On a painting representing some horses, executed by General Tchao.Since the accession of our dynasty,There have been many painters of horses,And the most celebrated of these is General Kiang-Tou.Your reputation as a painter is now thirty years old,And thanks to you we once more see the beautiful mounts.Our late Emperor greatly appreciated your talents,And your name ran through the capitals like the roll of thunder.The decrees of theGazettewere never silent in your praise.Generals after their triumphs have been rewarded,Rich people after the rivalries of their luxury,Cannot assert that they are quite contented,Unless they have your pictures hanging on their walls.Formerly Emperor Tai-Thoung was an amateur of horses,And at the present day the Ko family is also so.In your new picture the two horsesAre the envy of all sportsmen.They have the appearance of war-chargers,Which can hurl themselves one against a thousand.Their white hair throws itself into the wind and the dust.The others, quite as extraordinary, resembleNow a cloud, now snow whirling in space.Their delicate legs seem to run alongside the pine-tree forest,Whilst the spectators who see them pass applaud.Their heads aloft, their proud appearance, and their look, which expresses both pride and obedience.Who is able to appreciate these beautiful horses?Excepted Oui-Foung and Tsse-Tong.I remember that when the Emperor used to go to the Palace of Sin-Foung,Flags and parasols coming from the east clouded the sky;Then 30,000 horses, some trotting, some galloping, resembled the horses in this picture,Whilst this splendid cavalcade passes away into memory.The same forest where this Imperial and important procession was seenResounds to-day only with the song of birds,Which harmonises with the whistling of the winds.
“On a painting representing some horses, executed by General Tchao.
Since the accession of our dynasty,
There have been many painters of horses,
And the most celebrated of these is General Kiang-Tou.
Your reputation as a painter is now thirty years old,
And thanks to you we once more see the beautiful mounts.
Our late Emperor greatly appreciated your talents,
And your name ran through the capitals like the roll of thunder.
The decrees of theGazettewere never silent in your praise.
Generals after their triumphs have been rewarded,
Rich people after the rivalries of their luxury,
Cannot assert that they are quite contented,
Unless they have your pictures hanging on their walls.
Formerly Emperor Tai-Thoung was an amateur of horses,
And at the present day the Ko family is also so.
In your new picture the two horses
Are the envy of all sportsmen.
They have the appearance of war-chargers,
Which can hurl themselves one against a thousand.
Their white hair throws itself into the wind and the dust.
The others, quite as extraordinary, resemble
Now a cloud, now snow whirling in space.
Their delicate legs seem to run alongside the pine-tree forest,
Whilst the spectators who see them pass applaud.
Their heads aloft, their proud appearance, and their look, which expresses both pride and obedience.
Who is able to appreciate these beautiful horses?
Excepted Oui-Foung and Tsse-Tong.
I remember that when the Emperor used to go to the Palace of Sin-Foung,
Flags and parasols coming from the east clouded the sky;
Then 30,000 horses, some trotting, some galloping, resembled the horses in this picture,
Whilst this splendid cavalcade passes away into memory.
The same forest where this Imperial and important procession was seen
Resounds to-day only with the song of birds,
Which harmonises with the whistling of the winds.
II.
II.
“You are the descendant of the Emperor Ouei-Ou,Reduced to the state of simple citizen.The splendour of your ancestors has disappeared,But blood and features perpetuate themselves.Your literature has reached the degree of perfection,And your painting makes you forget honours which you do not covet.Emperor Kai-Yung knew your glory, and received you several times at his palace.Thanks to your paint-brush, all our statesmen live again in their portraits on the walls of the Palace of Ling-Yen.The Ministers brilliantly wear the crowns of their wisdom.The Generals have their arrows in their quivers.One might say that their Excellencies Pao and Mo are moving their hair and their beards,Just as if they were returning from those battlefields where they fought so brilliantly.As to the splendid horse of his late Majesty, nobody knew how to paint his exact portrait.A decree ordained that he should be brought before the palace so that you might fix him on a piece of silk;And when your work was finished all the horses of the universe seemed to be plunged into darkness.The Court already possessed the most beautiful horses;It now possesses also the most beautiful picture.The reward which you have now received is the admiration of all.Your scholar, Han-Kang, is already on the way to perfection, but the horse he has painted is only skin with nothing beneath it;He is far from possessing your genius.”
“You are the descendant of the Emperor Ouei-Ou,
Reduced to the state of simple citizen.
The splendour of your ancestors has disappeared,
But blood and features perpetuate themselves.
Your literature has reached the degree of perfection,
And your painting makes you forget honours which you do not covet.
Emperor Kai-Yung knew your glory, and received you several times at his palace.
Thanks to your paint-brush, all our statesmen live again in their portraits on the walls of the Palace of Ling-Yen.
The Ministers brilliantly wear the crowns of their wisdom.
The Generals have their arrows in their quivers.
One might say that their Excellencies Pao and Mo are moving their hair and their beards,
Just as if they were returning from those battlefields where they fought so brilliantly.
As to the splendid horse of his late Majesty, nobody knew how to paint his exact portrait.
A decree ordained that he should be brought before the palace so that you might fix him on a piece of silk;
And when your work was finished all the horses of the universe seemed to be plunged into darkness.
The Court already possessed the most beautiful horses;
It now possesses also the most beautiful picture.
The reward which you have now received is the admiration of all.
Your scholar, Han-Kang, is already on the way to perfection, but the horse he has painted is only skin with nothing beneath it;
He is far from possessing your genius.”
This is a somewhat enthusiastic perception of our old paintings. We have a great number of amateur painters in China, chiefly amongst the literary classes, who paint pictures to give to their friends.
These pictures are precious, because poems are always written by the side of the paintings.
I remember having seen two celebrated pictures which would not be parted with at any price. One represents the open sea, in the middle of which a fisherman is seen in his boat, which is covered with snow. It is accompanied by a poem which fully equals thePauvres Gensof Victor Hugo. The other represents a mountain with its top hidden in clouds. In the middle of the mountain is a stream which runs down to its foot, and floating in the water is seen a cabbage-leaf. The poem that is written on this picture ends with the following line:—