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the:

CHINESE THEATRE

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I

THE CHINESE THEATRE

Digitized by the Internet Archive in

2007 with funding from IVIicrosoft

Corporation

http://www.archive.org/details/chinesetheatreOOchuc

CJ-Vv^**"**

THE CHINESE THEATRE BY

CHU-CHIA-CHIEN. translated from

THE FRENCH BY JAMES

A.

GRAHAM. WITH

ILLUSTRATIONS FROM PAINTINGS, SKETCHES AND CRAYON

DRAWINGS BY

JOHN LANE LONDON

ALEXANDRE JACOVLEFF

THE

BODLEY

HEAD

LIMITED

MCMXXII

K 'TH E N V\' N PUBLIC lir'AA'V il

:

'

ASTOB LSNOK fcNS TILDEH K0UNbfctl9NI

CONTENTS

Preface

5

The Chinese theatre

:

its

origin

15

The theatres

The double

19

20

role of the theatre

Actors and actresses

23

Orchestra and music

,

24

Wings. Greenroom. Discipline, Superstitions

25

The shows

26

•

Analysis of the plays

27

Characters in the plays

29

Costumes and stage decorations

29

Make-up and

32

disguises

Some symbolic and

representative objects

34

Sources from which the plays are drawn

34

Conclusion

35

Theatrical engravings

37

LIST OF ILLUSTRATIONS

WORKS BY JACOVLEFF General

Ma-Soo

in

the

play

historical

" The

Retreat

of

Kiai-Ting"

Young women

Painting sitting

in

Painting

a^^.box

Peking Men's box

Painting

Actress in mourning dress

Painting

Chinese musicians

Painting

Young warrior

Crayon drawing

Scene from the play "

Nan-tien-men " in which the unjustly

condemned young wife

A

—

comedian.

Chinese actor.

Chinese actor. part.

Make-up

is

—A

saved by a faithful servant

—

courtesan.

— A servant. —

The

comedian.

—

sister of the

Empereur

—

Tiger.

woman

of the

—

A

waiter.

Male personage

A man

in

minor

of letters

.

Sketches

Crayon drawing

before the Tribunal

Wous making a

Crayon drawing

—

Wei

the part of General Kiang

for

Actress in the part of an accused

The

A

.

sacrifice

.

Painting

on the

Blue River

Crayon drawing

Scene from the play " Tchan-Houan-Prao "

Crayon drawing

A

Painting

combat

Masks

Painting

Actor on a Actor

in

tree,

the

which

is

represented

by painted

panels.

.

greenroom, his servant about to dress his hair.

iz

Craymi drawing Crayon drawing

Two

A

warriors fighting

Crayon drawing

brigand (minor part)

Crayon drawing

M3rthologicaI personage (a God)

Crayon drawing

A

Crayon drawing

brigand

Warrior on foot

Crayon drawing

Comic mandarin

Crayon drawing

Chinese

Scene

make-up

stage

from

"

play

the

Crayon drawing

Fang-mien-hao "

two

:

comedians Crayon drawing

singing popular songs Mjrthological personage

Actor

making

Make-up

A

up

a

of

Painting

Crayon drawing Crayon drawing

warrior

Crayon drawing

palace servant

Crayon drawing

Traitor statesman

Head

of

a modern

woman

Crayon drawing

THEATRICAL 1.

2.

3.

— A friendly but dangerous invitation — Tch'ang Pan-p'ouo — The request Chu-Ko Leang the of

7.

— — — —

A

8.

—

The

4. 5. 6.

9.

10.

ENGRAVINGS

to

Emperor.

Lake Lo-Ma

The Meeting

of

Liou-Pang and Hiang Yu

The Temple

of

Pa-cha

at

Hong-meng

Bee trap fortress of

— The old and — The return

to

Tu-Mu

the young, the young and the old

K'ing-Cheou

of

Liou and his wife

PREFACE /'N

and passing impressions,

form of fugitive

the

of the

plastic

visions

of

a

Westerner, guided only by the imagination and instincts of a painter, I should like

to

express and to explain the attraction of Chinese dramatic art and the

importance which I attribute It

was

to

it.

at Peking, whose countless walls one after the other reveal the

phantoms and

ancient mysteries of the autocratic East, where the profane hands of the traveller

may

touch the abandoned throne of the Celestials, that I entered into contact with modernised

China and

that I attempted to understand

sand year old

In a hall

it

the

charm

of

her thou-

culture. of

many-coloured woodwork, where the grey mist

the blinding rays of several

as

and comprehend

huge ark

was

lights,

has been preserved in China, an art which

first

is at

of

smoke struggled against

revealed

to

me dramatic

art

once filled with simplicity and with

wisdom. Conventional and profoundly human,

assumed a

definite form.

The

created

by a people, this

initiative of the individual is

—5

ruled

art

has since

by the noble tra-

We

ditions of past dynasties.

Marco

as painted by

are transported back to the earliest times

and

China

see

Polo, or as we divine her in the works of Confucius. * * *

The the

beams of

scarlet

monumental porch, a

the

gay and brilliant mosaic

the lanterns

of the posters,

living forms, the crowd, the tumult of ceaseless

symphony

of

sound and colour.

The sound

and produces almost morbid

the nerves

miniature triumphal arch,

ornamented by

coming and going, movements

the

At times

sensations.

with

letters

form a varied

all

tam-tam, the sound of hard wood

of the

and

beating the measure, guiding the orchestra

sort of

the

of

the actors,

irritates

sharp voice of the

serpent skin violin or the shrill flute dominate all the other noises.

The rhythm

little

of this

strange orchestra produces a visual impression of measure similar to that created

by

music.

Round on the

I

see

cise

me

about

stage.

are amber-coloured heads whose tense expression reflects the action

I do not know what

movement and

I

colour.

and complicated rhythm

it is

all about, nor do

I know what the play

surprising and perfect connection with the pre-

feel their

of those instruments

But I know

which exasperate me.

They can

they are absolutely indispensable, that they are appropriate to the action.

only be applied the basis

which

to this

in order to give

life to its fantastic

But I hear another sound, expressive in over-shrill notes, the

human

beautiful

At

first it

when once one

the value of

the

perhaps even more

voice.

measure

Without them

particular form of action.

is essential

a musical instrument. of the orchestra

its

and

it

as

this action

would lack

expression.

monotony, moving in

its

forced

than any of the other instruments.

artificial

sounds monstrous

accepts

signifies.

such.

to

our western ears.

In

Yet

it is

the ensemble of action

it

and It is

strangely

acquires

a cadenced ornament, sometimes following

It weaves

the varied forms of

movement, sometimes in

direct

oppo-

sition to them.

*

* *

A

jade green sky, splashed with yellow along the horizon, and the pure fresh air of

a Peking October morning.

I near the point where the walls of the Temple of Heaven and the Great Wall form Their a passage almost a mile long. I hear a bizarre chant, a wild and mystic melody. faces turned toward the vast wall, a dozen or so boys are practising,

vision of

an old man with

the

head

of

a eunuch.

under the super-

They are pupils

of

a theatrical

establishment with their old professor. * * *

A

room which appears larger than

few small

electric

it

actually

lamps looking yellow in

the

is,

owing

to

the uncertain light of a

warm, damp atmosphere with

its

heavy

and perfumed vapours. Actors, Sumptuous little world apart.

On

lances.

hanging on pegs

robes are

They look

like

form a

visitors,

and

together with banners

pompoms, pheasants plumes, gilded

shelves are hats, helmets, crowns, silk

and shining ornaments.

casual

dressers, patro7is of the stage,

rows of fantastic flowers on the shelves of a

hot-house. for each colour

—

stand rows of pots of greasepaint on cast-iron heaters. The bright, intense colours

of

In

front of frames bristling with

some

The smell

The

up.

They are intended

make-up.

this pallet are not appropriate to character

mask which suppresses

the completely conventional

— one

forty paintbrushes

in the actor all personal element.

The

mingles with the smell of perspiration.

of tallow

The

making

actors are

In one hand

agility of those yellow, emaciated fingers is marvellous.

small mirror.

produce

to

other holds, Chinese fashion, a paintbrush which

is

a

moves over the face

with rapidity and precision, laying out on the smooth and beardless surface colours

and primitive

separated one from the other with pure

The painted mask reminds one ings.

It is

they squint

of those seen

mask

is so

—

commedia

But even without

and conventional

why

is

is the theatre of

It is this

ancient traditions.

precise

That

in the play of expression.

are very rarely used

that the

the Chinese theatre

masks and

which brings

it

the beard the

moral

takes no

of characters created

part

masks

and defined by mystery

so near the antique theatre, the

which are not the

It is art

which thus

a people.

choice of the conventions necessary to the action is comparatively restricted.

The limited means sify his art to

form from graceful

traits of

ornamen-

— although actual

expression of individual personality, but the reflection of a race.

The

mouth

del arte, so near to all forms of theatrical art

serves to express the

But

life.

Often the mouth, the most mobile part of the

hidden by a thick, silky beard.

tation of the painted

with an exaggerated

This, together with the rest of the sumptuous paraphernalia,

evokes certain gods of the Taoist temples. face, is entirely

live

Sometimes, when not moving, they recall

rather than mimic.

inlaid quartz or agate.

plays, the

on ancient pictures and popular engrav-

a real mask in which only the eyes

and dance

clearness.

of

which

a high degree.

But

for this very reason he arrives at

How

the technical point of view.

manner with which an

imaginary shadow.

him to simplify and

the actor disposes has naturally led

actor opens

His supple and

precise

the most

intenperfect

often have I not observed the sober into

an

expression

in

a non-existing door and steps

movement

finds

complete

and

the logic of rhythm, that basis of all plastic art.

The tam-tam

beats

drums transports you

crazy measure.

its

to

the field

The sound

of battle.

of the

Here comes

the

trumpets,

gongs,

warrior.

A

golden insect, resplendent with bright colours, brutal in their harmony, gical.

He

comes on with the

tiger's step,

and

shining,

but always lo-

a traditional motion, proud and aggressive.

On

reaching the front of the stage the movement becomes wilder and recalls the image of the

—7—

feacock displaying the glory of regulate his movements in

its

plumes.

harmony with

One

His

all his surroundings.

composition of his attitudes produce pure and voluntary arabesques. a geometrical formula. zontals

and

verticals are

The principal

lines of the square are very

opposed

diagonals.

to the

There

is

Combats and rapid movements are under absolute

tating.

thing is transformed into a statuesque vision. expression.

Rather

Yet

it

is

is it the static stylisation of action.

idea of a lifeless pose.

Sometimes a hand, sometimes a

ment

you

of the eyes gives

perfect laws of rhythm.

gestures

He

and

to

the

guided by

is

distinct,

the

hori-

nothing confused or hesicontrol.

Suddenly every-

not a gesture arrested in full

But

finger,

it

does not give one the

sometimes the mere move-

the dramatic sense of the action.

The expression

has the desire

feels that the actor

But

all is ruled

of the gestures, the opposition of the

by the

movements,

the sense of their

dynamic value produce an impression only

dium

which, by the accumulation of century old traditions, has become a

of

an

art

possible through

the

perfect craft.

Alexandre

—8

JACOVLEFF.

me-

THE CHINESE THEATRE

THE CHINESE THEATRE ITS

HISTORY

does not actually

we know

is

that

the

tell

ORIGIN

us

when

the

drama was born

Emperor Ming- Huang,

T'ang

of the

in China.

All

Dynasty,

who

reigned from the year 712 to the year 755 of the Christian era, employed a

company of

of

300 comedians which he directed and supervised himself in the " Garden

Pear-trees ".

mame

Chinese historians

of chuan-chi, date

from

agree that the earliest

of

more

vate residence. life

— one of Owing

himself,

and acted

in person

His love of the stage cost this ruler his favourite actors stabbing

him

and the

amongst

his

first his

to political upheavals^ dramatic art then suffered

three centuries,

He

comedians in prestige

an

"

made-

his

and then

pri-

his

eclipse lasting

half

The Song Dynasty, which ruled

brought a return to the old traditions in

— 15 —

stage.

three years

to death.

a century up to the beginning of the Song period. for

the

During

information.

precise

Emperor Chuang-tsong, who only reigned

(923-926), W£Ls thoroughly familiar both with music

up " and disguised

known by

this epoch.

But history does give us a certain amount the later T'ang Dynasty the

plays,

all

branches of

art,

and the theatre was again able tic

works written during

Under the reign

The drama-

this period are called hi-k'iu.

of the

loped very considerably. written are

normal development.

to continue its

Yuan (Mongol Dynasty, 1280-1368) dramatic

In spite of the short duration of this

numerous and

A

their style is remarkable.

plays of this period contains masterpieces which are

dynasty the works

collection

one hundred

of

played in

still

deve-

art

certain

parts

of China.

At

this point the history of the Chinese theatre

The plays

of the T'ang, the Song,

ends with the of play. is

of the

fall

Suffice

and the Yuan represent the antique

(1368).

I

theatre,

which

not undertake the analysis of this type

will

say that the plays are composed of several

to

it

Yuan

marked by a profound change.

is

acts, in

which song

intermingled with spoken dialogue, the music being of a high standard.

chief instrument used

appreciated by the kuen-chiang, or

number

the

bamboo

As

flute.

inhabitants of the

songs of Kuen-schan.

and the complicated tricted

is

town But,

type of play was particulary

this

of

Kuen-shan,

owing

to

They could not

their high

interest the

more

popular, so they were soon replaced by a different kind,

Today

cultured audiences.

they

known

are

literary

as

qualities

by a

style of the music, they could only be appreciated

of cultured people.

The

res-

masses and remain

easily accessible to less

there remains only one theatre in China which

still

pro-

duces kuen-chiang.

The necessity

of

Dynasty (1368-1644),

amusing a wider public in the birth of a

resulted, with the

new type

advent of the Ming

of play, the huei-diau.

seen at Huei-cheou, the town from which the imperial family

time onwards plays became very short, generally of one

act,

came.

not at

all

was

first

From

this

It

literary,

and

and remained

accompanied by noisy music. The huei-diau were

at first very popular

so until the day when, under the reign

Manchous (1644- 191 2) they were

of the

replaced by the songs of Peking, or king-diau.

adopted by nearly

all

From

the start

the king-diau were

theatres throughout the country.

Nevertheless, owing to ever closer intercourse with Westerners, the Chinese theatre

did not remain entirely free from European influence, as hi,

or " theatre of civilization ".

composed

entirely

of

This

is

is

seen from the wen-ming-

a sort of comedy on the European model

spoken dialogue and

without the

orchestra.

16

—

accompaniment

of

any

fe: ;'*%»»-

General Ma-Soo in the bistorical play

'

The Retreat

of Kiai-Ting"

This

new type

of play

is still

Only the future can

very firmly.

widespread as the other

which has any vogue

tell

whether

it

For the time being

style.

in

an undeveloped

in

China

the

is

state

and has not

yet taken

and become as

will gain a footing

it

king-diau.

may

root

be said that the only drama

And we

shall here only deal with

the latter.

THE THEATRES

Public theatres are found almost everjrwhere in China. In the large

Their architecture there

is

like

cities

The

have

principal entrance to the Chinese theatre

and

the

left of

programme

of the

or two

The

more up-to-date

doorway are

size.

a large double door.

is

This

is

wood, painted red and white, with the name of

of

the theatre inscribed in gold in the centre.

One

six.

One might well

been built according to one plan, differing only in

all

electric lights.

they number from four to

All truly Chinese theatres look alike.

it.

surmounted by a triumphal arch

right

etc.,

very simple, and, apart from certain ornaments of the facade,

is

nothing special about

believe they

Peking, Shanghai,

inscription

theatres use

large red posters with

is

up

lit

at

night by

luminous signs.

To the

black lettering, giving the

evening and of the following days.

After passing through a vestibule, one enters through a second door into a spacious hall.

The stage

It is is

almost square and holds from seven to eight hundred spectators.

at the

six feet high.

end

of the hall facing the entrance.

At each

side

is

It is

almost square and about

a red column covered with poetry in gilded

The columns are some

thirty feet high supporting a kind of dais

roofs in the stage.

three sides are covered with

The stage

Its

itself is

are two doors, one

railed in with

on each

side.

wood

which completely

sculptures.

a red and gold wooden balustrade.

They are

letters.

At the back

closed by silk curtains, heavily embroi-

dered and covered with small, highly polished mirrors. Tradition wills that the actors

come on through the righthand door and go The whole wall forming the back

off

of the stage

dery and small mirrors.

19

—

through the is

left.

covered with

silk

and embroi-

The stage arrangement

itself

is

is

carpeted and

with tables, chairs,

filled

of course altered to suit the different acts, the changes

before the eyes of the audience, for in the Chinese theatre

The

roof of the theatre

The

stools, cushions.

the curtain

made

being

unknown.

is

with a raised centre containing windows which

is flat,

give sufficient light in the day time.

run round the

Galleries

eight to ten people. galleries contain

The

the

sides,

The ground-floor

These are the best seats in the house.

benches on which the poorest

gallery over the entrance

is

spectators

also divided

with the lateral galleries on the corresponding

up

tier.

holding from

containing boxes

tier

first

lateral

sit.

and communicates

into boxes,

Two wooden

staircases,

one on

each side of the door, lead to these boxes.

The space between the door and the

stage,

known

the cheu-dze,

as

contains

and benches.

tables, chairs

At night the theatre used

to be

or electricity

have been used instead,

which

unknown

is still

is

by

lit

oil

gas

last fifteen years

lamps, but for the

at least in the larger theatres.

The only thing

the use of limelights or spotlights.

THE DOUBLE ROLE OF THE THEATRE

In the eyes of the Chinese the theatre

is

not merely a place of amusement,

a place where the ignorant receive moral instruction, and It is

much ceremony, and

not ruled by

in the

European

even partakes

the public has an

The audience smokes, drinks

theatre.

it

thus

fills

amount

of

tea, eats

two

but

roles at once.

freedom unknown

cakes and

or

fruit,

meals during the play.

of

But being a place

of

moral

the theatre

uplifting,

is

expected to stimulate

vir-

tuous sentiments by picturing on the stage great historic acts of bravery and patriotism.

It

must condemn

ungrateful, wives society in satirical

expected

we

will

who

vice

by showing the punishment

are untrue, etc.

plays.

must

It

In order to give

criticise

of traitors, evildoers,

the ridiculous habits of

European readers an idea

summarise two plays which are both wellknown

20

—

the

of

in China.

what

is

mrr

Jeunes femmes dans une loge

Pekin

Loge d'hommes

Young women

Peking Men's box

sitting in a

box

Actrice Jouaut en costume de deuil

Actress dressed in mourning dress

—

I.

The

father

who abandons

his son in order to save his nephew.

During the inveision of a Chinese province by barbarians, Ts'ouei was obliged to

from

flee hastily

his village with his wife, his son,

and

his

nephew, whose father was

dead and whose mother was away.

As the children were very young and unable

weak

in turn, his wife being too

the children was put

done to

down

it

come

And

them

to carry

the party advanced but slowly, for each time one of

What was

refused to walk, crying bitterly.

In order to escape

arrive.

it

was

be

to

essential

to a quick decision.

Ts'ouei, in his generosity,

memory

behind, for

of his

my

brother

by some passer-by. for

conceived the plan of making a great sacrifice ]

had no other

said to his wife: "

He

dead brother.

the gifts to his ancestors,

enough

had

either.

lift

At any moment the enemy might

?

to the

efforts

all his

In spite of

to

to run, Ts'ouei

child than our

and we must save him.

In case he

is killed,

nephew

my

be consoled, oh

must leave our boy

to continue in his family

And mayhap

to bless us with another child. "

heaven

We

And

our son will be saved

We

wife.

are

young

the mother with bleeding

heart consented to this great sacrifice.

On

the roadside was an orchard of mulberry trees.

his son to a branch, in order that

The

father decided to tie

he might eat some berries were he not immediately

found by passers-by. Ts'ouei

and then

made

it

son climb onto one of the branches of a tree to pick some berries

tied^ him tightly to

garment and, tened

his

it

with his

biting his finger, wrote a

Then he

belt.

few words upon

it

from

his

with the blood and fas-

to the child's dress.

In the distance could already be heard the triumphant cries of the invaders.

No

in tears, while the

son

time was to be cried aloud

lost.

on the

The

tree.

father

was

sad, the

mother bathed

But when Ts'ouei wanted to pick up

boy threw himself on the ground and refused to leave

had

tore a piece of silk

to use force to take

him away.

Chance made Ts'ouei's

sister-in-law,

his

his cousin. Ts'ouei r,

mother

21

—

nephew, the

of the child that

and

little

his wife

x.

had been saved,

choose that very road to

flee before

the invaders. Passing by the orchard she heard

She entered and saved her nephew.

the cries of the child.

The invasion was soon repelled and the two Ts'ouei families had the great joy of being safely reunited.

II.

—

The punishment

This play deals with the in Chinese history.

make

life

of

an unfaithful woman.

of

Chu Mai-cheng, a man

wellknown

letters

Before achieving fame he was so poor that he had to cut

woman, and incapable

of sharing this miserable

life,

wood

to

His wife, an ambitious

a living, without, however, interrupting his studies.

repeatedly expressed the desire

him.

to leave

At

of

first

the husband dissuaded her, saying that he

would not always be poor,

that his qualities as a writer could not remain long unrecognised

and that he hoped

to

obtain a public post at the next competition.

was resolved

Nevertheless the wife

husband, who told her

how hard

go,

to

She became the wife of a trader of the

pier, for

her

Shortly afterwards

He

cial post.

Chu Mai-cheng went

now you come back

who has abandoned

And saying: "

will take

The woman, self

to the

capital to

came and threw

because

her husband

to her as follows

she was no hap-

compete

herself

for

down

:

"

You

left

I

am

no longer

is

like

water spilled in the dust

ordering a retainer to bring a bowl of water, I

without any

left

an

offi-

before

pardon and that he should take her back.

The magistrate with great calm spoke

a wife

whom

of the

So he returned there in a magistrate's chariot, surround-

His ex-wife hearing of this

his chariot, asking his

poor,

with

district

efforts

passed the examination so brilliantly that the Emperor appointed him

ed by servants.

was

the

treated her with scant kindness.

governor of his native town.

I

all

the parting would be for him, she

regret.

new husband

and despite

so.

Do you

he spilled

it

you back when you can put that water back

bowed down with shame and

shortly afterwards.

22

regret,

me

not ?

because

know

that

"

on the ground, in the

went away and

bowl

".

killed her-

ACTORS AND ACTRESSES

In China there

is

no school which teaches singing, elocution and music.

Actors

are trained by an old comedian or by the director of a troupe of comedians.

Young men who choose humble

They have

origin.

Apprenticeship

submit to severe discipline from their master.

consists in learning a certain

acrobatic

singing,

reciting,

to

the theatre as a profession are usually poor and of

tricks,

number

swordsmanship, and

of

from four

lasts

it

by heart or

parts

to

of

six

years.

As that

their

master has

should afterwards

pupils

his

during this period to pay for their keep,

ponding number

work

for

him

for

nothing

it is

only just

during a

corres-

After paying this debt, they are free to go where they

of years.

will.

From of their

the social point of view comedians are utterly despised.

humble

which

their birth

wise

it

origin, is

which places them outside the ranks

This

of society.

is

It

because is

rather

the cause of this than the fact that they act on the stage, other-

would hardly be conceivable that the ancient emperors should have taken

such close interest in actors.

With regard

to actresses

on the stage under the reign after the

we

learn from Chinese history that while

of the

Mongol emperors,

Emperor K'ien-long took one

the Chinese stage

was deprived

One exception About

for concubine.

company composed

From

then onwards to 1900,

by youths.

mentioned. solely of

women was formed

Shanghai and played in a theatre called the Mau-eul-hi or " theatre of cats still

exists today.

was only

But in

this theatre all the

in 1900 that actors

on the same

and

actresses

acted

appearance was forbidden

of actresses, female parts being played

to this rule must, however, be

forty years ago a

their

women

",

which

male parts are played by women, and were again allowed

to

at

it

appear together

stage.

Actresses are

by no means, however, employed universally, many theatres

preferring to do without them.

— 23

And

at the present

day three

namely those consisting

as the Pekingese theatre,

and those consisting

of actresses only,

be found of what

distinct types are to

mixed

of

of actors

only,

known

is

those consisting

troupes.

ORCHESTRA AND MUSIC

The orchestra by music.

It is

is

essential to the Chinese theatre, as all plays

composed

ments are two-stringed

from eight

of

to ten musicians,

a very sharp tone), clarinet, castanets, cymbals,

dze " (a piece of hollow

principal instru-

drum, tam-tams, " pan-kou " (a kind of drum with

violins,

wood which

is

" hien-

mandoline,

flute, guitar,

mandoline covered with

dze " (a long three-stringed

and the

are accompanied

serpent-skin)

and

" pang-

beaten with a stick).

Naturally these instruments are not

all

used simultaneously

— the brass

instru-

ments, drums and pan-kou accompany military scenes of violent action, while the

instruments with chords accompany songs, and so forth.

The bandmaster himself plays on the pein-kou and uses the

who marks But

it is

the violinist

who

is

the most important of

all

the musicians, for it

the actor on the stage

is

last

on the

list

given above, the pang-dze,

is

he

thirty years ago.

singing in pang-dze, a style of song originating in the

One must

theatres

'

therefore not be surprised to hear both kinds of

song on the same stage, or even to hear the same piece sung in both This does not in

only used

is

province of Shen-si which was introduced into the so-called " king-diau

to

he

the songs.

The instrument mentioned

some

It is

the time.

who accompanies when

castanets.

anyway change

the play, for

it

styles.

does not entail any alteration

the scenery or to the characters depicted in the scenes. It

may, however, be noted that the " king-diau

table to

male

parts, while the

music of Shen-si, which

suited to female parts.

24

—

" or is

Peking style

is

more

slow and languid,

is

sui-

better

Quelques musiciens chlnois

Chinese musicians

Un jeune

guerrier

Young warrior

WINGS

~

GREENROOM

The wings and greenroom by a thin wall and the public

—

DISCIPLINE

—

SUPERSTITIONS

of a Chinese theatre are only separated

forbidden to

is strictly

from the stage

visit this part of

the building

without a special permit.

The stage door leads

straight into the large greenroom,

wooden swords and

boxes,

spears,

flags

which

and other " props

is filled

with tables,

The walls

".

are

covered with masks, wigs, false beards, hats and costumes of different patterns and periods.

In the centre of the room, near the windows,

boxes of greasepaint, mirrors and paintbrushes.

During the show

this

room

is

a busy place.

dressed, stand ready to go on;

fully

Others

awaiting their turn.

make-up and undress.

who have

or

It is

is

a large table covered with

here that the actors

All the actors are united here.

walk backwards and

making up

off,

Some,

remove

female parts,

for

up.

wards patiently

for

come

finished for the evening

Others again are

make

their

or

are

painting their faces as warriors or traitors, or for comic parts.

Nothing can be more fascinating than to watch the proceedings. faces only half painted, figures

from mythology dressed

in

everyday

First

one sees

clothes, extraor-

dinary beings with womens' heads and hair, but dressed as men.

Gradually the faces disappear under coats of paint, and the original sex

is

com-

pletely disguised.

Here, where the whole

company

gathers together, the actors are subjected to

a very severe discipline.

Each one has keeps

his

allowed to

cannot

sit

his seat, consisting of a large,

Only the comedians,

belongings. jest.

And an

will result for

him

in

who

wooden box

else's seat

in

which he

enjoy certain privileges, are

actor playing the female part of a

down on anyone

for this is considered

painted,

woman

of light

morals

without hearing some very rude language,

extremely unlucky by the victim,

who

is

convinced that

it

a number of dire catastrophes.

Chinese actors are highly superstitious, as

— 25

is

shown by the

following custom.

Up

against the wall which separates the wings from the stage stands

never shown to the public.

Every day

It is

receives offerings

it

go on without

first

consisting of

perfumes, and never

amongst

have

it

that

as Lang-lang-pao-sa,

But

murdered by an

and the actors

and

actors, its history

origin

actor).

deified

is

venerated by Chinese ac-

in spite of its popularity

remain obscure.

nothing but the figure of the

it is

does an actor

it.

tors as the divinity protecting their corporation.

influence

is

a wooden statue having the appearance of a child.

doing homage to

commonly krown

This idol,

an object which

Some

and

authorities

Emperor Chuang-tsong (who was

During his lifetime he was always a patron of the stage,

him

in gratitude.

THE SHOWS

In

all

Chinese theatres two shows are given daily, one in the afternoon and one

in the evening.

Each show

consists of a different

programme and each programme includes a

series of little plays of varied character.

This enables patrons to return to the same

theatre very frequently.

In theatres of the Peking school the plays are always preceeded by a

pantomime

scene called T'iao-chia-kuan, meaning Dance of Chia-huan.

In this scene the mimic, wearing a white tary, first executes

bids

welcome

mask and

dressed as an antique digni-

a dance to the accompaniment of music and then, by gestures,

to the audience.

This scene, being traditional, does not figure on the

programme.

The

first

of a short

play on the programme

curtain-raiser.

The

is

rarely of interest

entertairunent

real

only

and usually

begins with

the

consists

second

piece.

Programmes are usually

well arranged, consisting of plays of varied character,

comedy being followed by tragedy and music by The following

is

a typical programme

—

26

action, so that variety is assured.

Une scene de jeune

la piece chinoise

"Nan

femme injustement condamnee serviteur

fldfele

tlen men" oil la sauvee par un

est

Scene from the play " Nan tien justly

condemned young

-wife

servant

men " is

in -which the un faithful

saved by a

I

Un comique

A

/

Un comique

Acteur chinois

Un personnage metle role secondaire

A

comedia

comedian

Male personage of secondary importance

Chinese actor

Un domestique

A

serva

%

Un garcon de restaurant

A

waiter

Una courtisane

Aoteur

e

personnage du tigre

The Tiger

cliinois

A

court zan

Chinese actor

Un

lettrd

A man

of letters

Maquillage pour

le role

du gSa^ral Kiang

Wei

Make-up

for the part of general

Kiang 'Wei

The Hapfy Family.

/.

The Marriage

II.

of a Fool.

The Young Widow in

III.

IV. Acrobatic

the Cemetery.

scene.

V.

The

Sacrifice

VI.

The

secret

on

the

Blue River.

Yang

Return of General

VII. Shui-lien-tong

to his

Mother.

(mythological play).

ANALYSIS OF THE PLAYS

interest.

god

—

The Happy Family.

/.

It is

of long

life,

number

From

this point of

view

The Marriage

of people

cannot be of

much

a Fool

It is

Young Widow

Liou, the

man

But

it is

on the stage and the beauty

very decorative,

of their

costumes.

well worth seeing.

it is

of

dience laugh heartily.

intrigue.

this play

the god of riches, the god of honour, etc.

to the large

///. The

have already stated why

nothing but a commonplace m3rthological scene, in which appear the

owing

//.

I

is,

as the

indicates, a farce

title

which makes the au-

unnecessary to give a description of in the Cemetery

it.

not a sad story, but merely a merry

is

of letters, goes to the capital to obtain

an

official post

while

his wife stays behind in her native town.

Owing

him

wars the wife remains

Thinking that he has been

husband. for

to the civil

killed,

for several years without

day, while she

cemetery.

suffering

is

His attention

of his servants to see

she builds a tomb on which she weeps

under an

weeping

attracted

is

what

is

new governor

there, the

by the sounds

the matter

of the city passes

and whether

it

is

not a case of some one

injustice.

She wants him

The governor But

at

by the

of lamentation, so he sends one

The servant returns with the widow, who has a complaint

his joy.

of her

daily.

One

vernor.

news

to take

listens to her last the

revenge on the bandit

who has

to

make

killed her

to the go-

husband.

with keen attention being hardly able to dissimulate

woman

recognizes

27

—

in

him her long

,Iost

husband, and

begins to play with his hat

and other

official insignia,

much

to the surprise of the

governor's attendants.

The play ends with a comic dance. IV. The

acrobatic scene requires

no comment.

V. The Sacrifice on the Blue River of the

Emperor

whom

from

and her

she

is

of the

Wus

an

historic play in

which one sees the

sister

lamenting her husband (the future emperor of the Shoo)

separated owing to the political differences between her husband

brother.

VI. The

end

of the

is

The

Return

secret

music and singing.

interest of this play consists in the

of

General

Yang

to

Mother

his

Song period, when China was continuously

at

is

a war episode of the

war with the northern

bar-

barians.

General Yang,

who

seeing China again.

him a

son.

is

His wife

ney

is

the daughter of a Tartar general and has given

Being the son-in-law of the head of the State, he

and he might have been again.

a prisoner in the hands of the Tartars, despairs of ever

Without daring

quite happy,

to tell anyone,

were

it

is

very well treated,

not for his desire to see his mother

he never ceases to dream of being able

to jour-

to China.

His wife, noticing

him

help

It is

how sad

General

Yang

is,

asks

him the cause and promises

to

in his enterprise.

necessary for this to obtain one of the golden arrows which are

used as

sign to pass the military guards at the frontier.

One day when the young

princess

is

in her father's

arms, the child begins to cry, an the Chief of the State is

the matter. "

him

",

He wants

to play with

the daughter replies,

wants. At the same

room with her baby

who

loves

it

fondly asks what

one of those golden arrows and

whereupon the father himself gives the

moment

several

generals

enter the

in her

room and

I

will

child

not

let

what he

the daughter

out unnoticed with the child carrying the arrow.

slips

General Yang,

who

is

only waiting for this opportunity to get away, rides

off

with a trusted servant the same evening, promising his wife to return within a few days.

Some days to give

after the departure of General

Yang

him back the golden arrow with which her

28

the Tartar chief asks his daughter child

had been playing.

She

is

Actrice dans un role d'accus6e devant le tribunal

Actress in the part of an accused

woman before the Tribunal

1,

'I\

/•-i \

^?f\

..^'

.;*!'

,^"" f?\'

^'

'^'

I

soeur de I'empereur des Wou fait un sacriau fleuve Bleu Voir I'analyse de la 5 pifece Les enfants portant les drapeaux d6cor6s de poissons representent le fleuve.

La

fice

.

sister of the Emperor of the AVous making a sacrifice on the Blue River See analysis of 5 play The children with the decorated flags represent the Blue River.

The "'

Une scene de

la pi6ce "

Tchan Houan-Prao

".

—

Sur le rempart Tchao Kouang Yin, fondateur de la dynastie des Song En bas Kao-HauclTo. son general. :

Scene from the play " Tchan HouanPrao ". On the rampart Tchao Kouang Yin, founder of the Song dynasty. Below Kao Huaci To, his general. :

A

Scene de combat

Masques

Masks

combat

-/''

Un personnage arbre

figure

sur un par des

panneaux peiuts

Actor on a is

tree,

which

represented

painted panels

by

Un acteur danssaloge, assists de son serviteur qui s'appprfeie & le

Actor in the greenroom, his servant about to dress bis hair.

coiffer.

So^ne de combat de deux guerriers

Two

warriors fighting

Un brigand (role

seoondaire)

A brigand (minor part

Un personnage mythologique (un dieu).

Un brigand

A

brigand

Un combattant

a pied

Mythological personage (a God)

Warrior on

foot

about to be severely punished a

man

of his word,

what she has done when

for

and confesses

returns

to his

Generjil

Yang,

who

is

father-in-law the reason which

has prompted him to act as he has.

The

chief

so

is

that he forgives

moved by

this

example

of

and permits General Yang

all

the love of a son for his mother

to visit his

mother in future as often

as he wishes.

VII. Shui-Lien-tong

is

a mythological play in which one sees the gods give

a genie with the body

battle to

of

a monkey.

CHARACTERS

THE PLAYS

IN

In order better to understand what follows, especially with regard

up and

disguises,

ters in the

is

essential first to

plays. I call

designated

are

it

by

them

names

make-

say something about the traditional characbecause in Chinese plays the characters

traditional,

which

to

indicate

their

activities.

These

designations

are either general or specific, the former being five in number.

Shen

is

a male character, without make-up except in the case

of

mythological

parts.

Tsing or Hoa-Lien (flowered

face),

male personage with make-up.

Tan, female character without make-up.

Mo, male

character, old, without make-up,

and

of

secondary importance.

Cheou, comic character of either sex, always with make-up. Specific

designations are too

many

to enumerate.

Suffice

it

to say that the

Tsing and the Cheou are always made up, and that the Shen unly make up tary

mj^hological

in mili-

parts.

COSTUMES AND STAGE DECORATIONS In view of the fact that Chinese dramas

and drawn from very wide

may

sources, the costumes

be set at very different periods

worn by

the

characters

in

plays are extremely varied.

—

29

—

8

the

They

divided into three categories

are

I.

II.

III.

The

of

countries.

the three are by far the most interesting, and are

first of

on the stage.

jority of actors

of rare magnificence,

By

— The ancient national costume. — The modern national costume. — Costumes foreign We

them

shall therefore deal with

and produce a great

effect

on the eyes

and the richness

the variety of their colouring

of

worn by the maalone.

of the

their

They

are

spectator.

ornamentation the

costumes compensate for the poorness of the rest of the stage decorations. In large Chinese theatres richly embroidered

The

A

social statutes

beggar

may

many

of stuff of

worn are

the costumes

and covered with metal

merely by the

but

all

of

style,

well

the characters the colour,

wear robes

of silk,

most

them being

mirrors.

not shown by difference

is

of

in the texture

and the shape.

of silk, but they

must be made

of small bits

colours like a patchwork quilt.

Colours play a very important part in differentiating between the various condi-

and ranks

tions

Red symbolises joy and White Black condition

also serve to

mark

different conditions of

dignity.

the colour of deep mourning.

is is

worn

in

life.

Yellow of old

They

therefore essential to give their traditional signification.

It is

life.

of the characters.

is

for less formal

mourning

;

it

also symbolises severity

the colour of the imperial family, of

members

and a humble

of a religious order,

and

women.

Blue

is

the symbol

of

honesty and simplicity.

Green designates concubines and servants.

Rose It

is

the colour of gaiety and lightness.

must be understood that these indications are

plete

and

of

which

from being complete and

I

have not taken into account

it is

impossible to give a com-

only indicate the general scheme for the use of colours. the exceptions which are so frequent

far

list.

If historical

or legendary characters

have

30

their

well

determined colours and

costumes,

it is

the novels

— chief source of

the Chinese

drama

—

which furnish us

These the actors would never venture to ignore.

with precise indications.

Before examining the various antique costumes,

we must,

in order

to

make

our task easier, divide up the characters in the plays into the following categories

The male

1.

Male

2.

Male military character.

3.

Female

4.

Female military character.

civilian character

mono, which descends

civilian

:

character.

civilian character.

wears a long, very wide robe in the form of a ki-

to within about ten inches of the ground,

turned back and attached beneath the right arm.

The colour

one corner being

of this robe (with or

without ornaments) varies according to the social standing of the character represented and to the circumstances.

A

Here are some examples

servant wears a black robe, white cuffs, yellow sash, black boots and trousers,

octagonal bonnet of the same colour turned

A

down

at the side.

simple civilian wears a blue robe, with white cuffs, without embroidery and

without a sash, and a straight black bonnet, blue trousers and black satin boots.

A

young student wears a white robe embroidered with a two-cornered hat

cuffs,

of

the

same colour and

which are hidden under the robe, and black

A

having white

embroidered,

trousers

satin boots.

sub-prefect wears a blue robe with white cuffs, a sash ornamented with white

a magistrate's hat (always black) with two

jade,

also

flowers,

trousers

hidden by the

A governor

of

dress,

and black

satin

flaps falling onto the shoulders,

boots.

a province wears a red robe with white

cuffs,

sash decorated with

white jade, magistrate's hat and black satin boots.

An emperor cuffs,

wears a yellow robe embroidered with dragons and having white

sash decorated with jade, a diadem of chiselled gold, and black satin boots.

Male military characters are divided a) warrior

b)

into

on horseback.

warrior on foot.

The former always wears a helmet and a

_

31

battle

_

costume with metal

disks.

He

often has four

same

Dress and flags are always of the

attached to his back.

little flags

colour.

The or blue

an octagonal

foot warrior always wears

pompon and

He

mirrors.

is

silk

dressed in a sort of tight-fitting frock-coat, falling

below the waist and showing trousers to match. tied in front with gold-fringed

When

hat ornamented with red, rose,

Black satin boots, and a

silk

sash

ends hanging to the knees, complete the costume.

not actually fighting, the warriors often wear a big silk cape of bright

colour, embroidered in gold or silver.

Female

civilian characters

wear a shorter and

less

wide robe than the men, and

a skirt only displaying the lower extremity of the trousers. standing do not wear a

fastened by a silk sash. :

warrior on horseback.

woman

The woman on horseback smaller.

is

woman

b)

warrior on foot. dressed in a long robe like that of the man, but

is

She wears a sort of diadem covered vith small mirrors.

her neck are two pheasants' feathers, and two foxbrushes which

on

and onto the

either side

The costume buttoned

of a

woman

and pleated

vest,

With regard

to the

women

fall

Attached to

round the neck

breast.

foot warrior is very simple.

skirt

manner

It

consists of a very tight,

with ribbons.

in

which the hair

nothing, as the subject would be too long. hats, while the

low

servant always wears a long waistcoat covering

warriors are also divided into two classes a)

of

A

The waistcoat

a tight jacket.

Women

skirt.

women

Only

Suffice

is it

dressed on the stage to

say that only the

I will

say

men wear

are either bareheaded, or have head-dresses consisting of

diadems, flowers, ribbons, or jewels, none of which hide the hair completely.

MAKE-UP AND DISGUISES The mere eyes and

fact of

some red on

The kind termed a sort

of

powdering the lips

make-up

of coloured

I

face, putting

and cheeks being wish to discuss

mask

is

some blue greasepaint around the

universal, has

32

interest here.

of a very special character.

painted directly on the face.

—

no

It

may

be

Un mandarin comique

Comic mandarin

Maquillage de sc^ne chinois

Chinese stage

make up

Une

scfene de la pi6ce du cotonl. -

(Filage

"Fang-mien hao " Deux comiques

Scene

Two

from the play " Fang mien hao comedians singing popular songs

'"

chantent des cbansons populaires

Un personnage mythologique

Mythological personage '.I

Acteur chinois se maquillant

Actor making up

Maquillage d'un guerrier

Make up

of a

warrior

Une

sei'vante

du palais

A

Une

palace servant

tete

de

femme

moderne

Un

perflde

Head dern

Uomme

of a

mo-

woman

d'Etat

Traitor statesman

Its origin

probably the real mask.

is

in the fact that

occasionally,

A

it

does not hinder speech.

but not invariably,

may

It

may

conclusions

latter

consists

be of very varied hue, and

be drawn from the colours.

white mask, for instance, denotes a perfidious statesman.

The red mask

is

the sign of the upright

The black mask

make

In order to the

advantage over the

Its

physiognomy

indicates a severe

and

brutal character.

up, the actors have to follow traditional rules which determine

These rules are purely theatrical

of the personages represented.

and are not mentioned

down from

man.

in

They are

any book.

teacher to pupil.

No

actor

Besides, habitues of the theatre

traditional

classic,

and are handed

would dare ignore them.

know them

too,

and they would not stand the

down with regard

slightest infraction of the rules laid

and

to the traditional

make-up

of the characters.

An

actor

making any mistake

or

in

any way

altering his

form accepted by tradition would certainly be received with

make-up from the

hostile, derisive shouts

from the spectators. I

must point

out,

by the way, that the make-up

the whole face, while that of the

Cheou (comedians)

Cheou plays the part of a comic mother-in-law, layer of

powder, he has

brilliant

of the

Shen and the Tsing covers is

only partial.

When

a

his face is covered with a thick

a peasant's head-dress and huge

red cheeks,

boots.

In the feminine roles which are not of a comic nature the make-up small feet of the

difficult matter, for it is essential to imitate the

who

the actors their

own.

specialise in these roles (the tan),

They are

their part, just like

This task warriors,

when

in consequence forced to

woman.

wear small wooden

walk on

tiptoe

is

a very

To do

this

feet attached to

during the whole of

ballet-dancers.

becomes the actor

still

is

more

difficult

in the

forced to execute

dents are nevertheless never recorded.

33

—

case of impersonating female

all sorts

of

perilous

jumps.

Acci-

SOME SYMBOLIC AND REPRESENTATIVE OBJECTS I

have already stated that on the Chinese stage the scenery and

very simple, and that certain things are cessary to

make

the imagination.

left to

are

therefore ne-

It is

the spectator imagine the presence of these things

setting

by means

of

certain conventional objects.

Here are some examples

:

—

The whip represents the

A

flag decorated

Two

A

represents water.

fish

each with a wheel, represent the

cart.

blue curtain with white lines indicates a rampart.

Two

A A A

flags,

with a

horse.

ornamented with rocks represent mountains

panels

cube wrapped up in yellow parcel

wrapped up

fly-flap is the

The fan

is

silk represents

in red cloth represents a

symbol

of purity

and

religion,

a magistrate's seal.

human and

head.

of spirits.

the sign of frivolity and extravagance.

SOURCES FROM WHICH THE PLAYS ARE DRAWN Although the majority

of

Chinese plays

is

without doubt drawn from the history

of the country, the direct source is the historic novel, of intermediary

There

is

an

which has served as a kind

between history and the stage.

from which

interesting novel dealing with each period of history,

dramas are taken.

As model one may well

site

San-kuo-yen-yi (the Story of the

Three Kingdoms) There

are,

of course,

jects vary, dealing

many

different kinds

of historic novel,

and

their

sub-

with love, travel, social conditions, religion, mythology, supersti-

tion, brigands, etc.

Most

of these novels are masterpieces.

or to listen to their being read aloud.

As a

Every Chinaman loves result the

whether real or imaginary, are ever fresh and alive to him.

34

to read

them

personages and incidents,

One

principle stands out

from

drawn from the

as the plays are

all

these novels

same

novels, the

And

right is greater than might.

:

principle reigns

on the

The

stage.

good are ever recompensed, the wicked punished, the innocent vindicated and the guilty executed.

As

drawn from every

for the characters of the plays, these are

Only the characters

society.

in plays

which are pure

class of Chinese

by the ima-

fiction are created

gination of the author.

CONCLUSION

I its

have

my

tried in this short story of the Chinese theatre to explain to

three important aspects

and

to

them an idea

give

of its

readers

moral, artistic and

musical importance. In view of the severity of Chinese morals highest sentiments

;

all

plays must be inspired by the

never could a play of doubtful or

character be present-

risqtie

ed on a public stage without offending the inherent sense of modesty This sense of modesty

tators.

is

pushed to such an extreme

European

theatre, love only plays a very small

Dancing

for

dancing's sake

also

is

and secondary part

unknown

to

the

Chinese

absence of the love interest just alluded to does not in any are

banished

from taking an important part

programme would be considered complete cipal part

was that

by a young man

Owing effects,

of a heroine.

in the it

Only the part

and

to the fact that

the task of the Chinese actor

To say nothing

woman,

it is

plays.

the plays.

stage.

But

that

this

women

Indeed no theatrical

included a play in which the prinof that heroine is usually

played

more

is

of the long

he receives no support from scenic difficult

than that of his European

preliminary studies which

are

required

and general

attitudes

easy to conceive the difficulty of interpreting correctly to the spec-

tator the sentiments felt

When

in

way mean

in order to imitate with accuracy the voice, gestures, walk of a

unlike in the

in disguise.

to these disguises

colleague.

unless

that,

of the spec-

by the opposite

sex.

opening or shutting an imaginary door, when throwing an imaginary

35

stone, twisting a non-existent thread, or sewing all

an

invisible dress, the actor does

with such precise gestures that he produces on those

who watch him an

it

absolute

sense of reality.

When

he pretends to jump on the back of a horse or to rub

When

tually, so to speak, sees the horse.

he imitates the movements of one rowing

against the rushing river current, one feels the flowing waters boat.

It is, therefore,

no exaggeration

to

down, one ac-

it

and the rocking

say that the art of gesture

is

of the

particularly

highly developed in the Chinese comedian.

Of course

it

must be remembered that

ed by the sound of music which each one of the actor's movements.

is

so It is

all

these gestures

combined as

and

actions are support-

to synchronise perfectly with,

thus easy to understand the importance of

the orchestra in the Chinese theatre, as the music does not merely actor, but regulates his walk, punctuates his It

may

in truth

accompany the

speech and marks his very movements.

be said that a Chinese

play

is

a sort

of

dance, animated

by various sentiments, acompanied by song and dialogue, and executed to the

sound

of music.

cnjUv. c/iaJui'-JimU

THEATRICAL ENGRAVINGS The engravings which Northern China.

I

am

Once every

about

purses, the illustrations

been

entirely

discuss

year, during the

are sold everywhere, both in shops

they are seen no more.

to

and

first

and explain are very popular fortnight of the

in the streets.

But once

Being purely commercial and destined

have no

artistic

pretention

and the

first

month, they

this fortnight

for

artists

in

sale to

is

over,

modest

have not always

accurate.

I.

A

friendly

but

dangerous invitation.

From left to rigid : i. A boalnian. z. Cheoii T'saiig, aide-de-camp of Kuan Yu. 3. Kuan V», 'general Liou Pai. 4. Loo Soo, minister of Siien K'iuan. General Kuan Yu, in charge of the defence of King-tcheou (see explanation of n° 4) lias accepted the friendly This invitation of Loo Soo, minister of Woo, luho has been instructed to demand the restitution of King-tcheou. invitation, supposed to be friendly, is merely designed to entice Kuan Yu into the territory of Woo in order to force him to give it up. Towards the end of Jhe banquet Loo-Soo demands the cession of King-tcheou. of

Kuan Yu

Then, rising, he seizes spoil a friendly meeting by introducing political questions. is holding, and with the sword in one hand he catches hold of Loo-Soo by the neck and leads him down to the water where his boat is moored^ Loo-Soo's soldiers, although armed, dare not inter.ind by his courage and sang-froid Kuan Yu thus escavene for fear that Kuan Yu might kill their chief, the

tells

him

not

to

sword his aide-de-camp

pes and quietly returns

to

King-tcheou.

2.

—

Tch'ang Pan-p'ouo.

taken from the place where Chau Yiin, general of Liou Pei, future emperor of child of his master by fighting against the enemy generals Chau Yun having fallen into a ditch is about to be captured, when suddenly after the defeat of the great army. an enormous dragon, spitting fire, comes out of the child's forehead, frightening the enemy and saving the young

The name

of this

play

is

the Shoo, displays all his bravery in order to save the

prince and

Chau Yun.

Lij Tpp ti^ ;=L

3.

^J.i':^!^

— The request of Chu-Ko Leang to the Emperor.

From left to right : i. Houan Chong, a general. 2. Chang Pao (in yellow) a general. 3. Chii-Ko Leang, Premier and generalissimo of the Shoo Empire. 4. The Emperor Heou Chu, son of Lion Pei. 5. A palace eunuch. 6. Kuan Htng, a general and the son of Kuan Yu. 7. Kiang Wei, a general. The Emperor Heou Chu is giving audience to his Premier, Chu'-Ko Leang, a great and devoted statesman, who asks a favour before starting out on a campaign. This historic fact is considered a great act of devotion on the part of an old minister to his young sovereign, for the favour contains the line of conduct laid down it which the young emperor should follow.

m

4-

—

Lake Lo-Ma.

On

the left, on the inland, a group of six brigands ; on the boat a group oj six guards oj the Governor Pou-Ts'iuan. The latter, enemy of all evildoers, has fallen into a trap, and has been taken prisoner by the brigands of Lake Lo-Ma. The guards are searching for the governor and visit the brigands. This plav ends ivith a battle in ivhich the governor is delivered owing to the bravery of Wang T'ien-Pa (mauve hat), chief

of Shell

of the guards.

-f-

5.

—-The

*

jfeL

Meeting of Liou-Pang and Hiang

>P^

Yu

at

Hong-meng.

From left to right : 1. fTiang Po, uncle of Htang Yu. 2. Fan Tseng, councillor of Hiang Yu. 3. Htang-Yu, pretender to the Chinese throne. 4. Hiang Chouang, general of Hiang Yu 5. Liou Pang, rival of Hiang-Yu and future founder of the Han Dynasty. 6. Fan K'oitat, general of Liou Pang. 7. and 8. Chang Leang and K'ing Hi, councillors of Liou Pang. Fan Tseng, counthe camp of Hiang Yu at Hong nieng. The two pretenders to the Chinese throne meet cillor of Hiang Yu, introduces Hiang Chouang into the camp to dance a military dance during which he is to Fan K'ouai arrives in time to save his master. assassinate Liou Pang.

m

irf/v^

6.

— The

Temple

of Pa-cha.

Kong (red and black make-up), ravisher of beautiful T'len Pa, chief of the police of Sheu Pou Ts'iuan.

Fei To of

Wang

7.

—

A Bee

women going

to the

temple, abducts the

wife

trap.

From left to right 1. Shen-shen, eldest son and titular heir of Duke Hien of Tsing. 2. Li Ki, concubine Duke Hien. 3. Luke Hien. 4. Yeou Sheu, eunuch of the duke and accomplice of Li Ki. This is how Li Ki successfully plots to have Shen-shen disinherited in favour of her own son. One day Li Ki sends a message to Shen-shen telling him that the duke is waiting for him in the park. Shen-shen, going to the appointed spot, finds Li Ki with a swarm of bees humming about her head, attracted by the scent of the mass of flowers in her hair. He naturally goes to help her, driving away the insects with his wide sleeves. :

of

Meanwhile

the eunuch Yeou Sheu, accomplice of Li Ki, has invited the duke to follow him onto a terrace, where he shows him Shen-shen apparently embracing Li Ki. The latter presently arrives with swollen face and tearful eyes, and the indignant duke, his suspicions thus confirmed, places his son in disgrace.

M

yt

^ \

y.

From

left to

right

:

i.

An

— The

aide-df-caiiif of Siii

fortress of Tii-Mu.

Jin

Koitei. 2.

.-I

Chinese general.

3.

X'gan T'len Pao, a bar-

barian general.

The picture shows General

Siit

Jen

The

Koitei killing his adversary General

old

and the voung,

tlie vouii"'

and

Ngan

T'len Pao.

tlie old.

a comic play dating from the period of the T'ai p'lng rising. It appears that the latter ravished their passage and, placing them in sacks, sold them all at the same price. The buyer there fore had no choice to make, but had to rely on luck. However, sly buyers, all desiring to obtain a young and pretty woman, tried to judge the women by their voices and to this effect pinched their arms in order to make them cry out. The result was, however, so uncertain that the engraving represents a buyer who finds he has bought his own mother while another has bought his daughter-in-law. This

all the

is

women on

^>1

lo.

2.

From left Chau Yun,

6.

and

7.

to

right

:

i.

—

The return

to K'ing-Cheou of Liou Pei

flj

his wife.

of the last of the Han emperors and future sovereign of the Shoo. servant. 4. The ivife of Liou Pei, sister of Souen K'iuan. 5. .4 servant,

Liou Pei, uncle

general of Liou Pei.

3.

.-J

Siu Cheng and Ting Fong, generals

of

Souen K'iuan.

Liou Pei has kept for himself the with the army of Souen K'iuan, chief his country, where

and

^'1

ivhole of the land of King-Tcheou whic/i had been conquered in The latter is very angry and tells him to of the land of Woo. he wishes to give him his sister in marriage. This is merely a trap in order to

conunon come to capture

him and claim King Cheou. Liou Pei arrives and the marriage actually takes place owing to the intervention But the return to King-Cheou is no easy matter and Liou Pei and his wife of the mother of Souen K'iuan. Their departure is betrayed to Souen K'iuan, who sends two generals after them to have to carry it out in secret. bring thein back. But the sister of Souen K'iuan has sufficient aiithnrity over her brother's officers to intimidate them, and she and her husband are able to escape.

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