These stones, called Yu, are found near the mountain streams and torrents of Yun-nan. They are of extreme hardness and are polished in the same manner as agate and precious stones. Large specimens are extremely rare; those which Amiot saw at the Imperial palace, were three feet by one foot eight inches in size, but they were considered unique.
Their weight (specific gravity) is also very wonderful, for stones which seem to be not too heavy a burden for one man, require four men to move them.[109] Those in the palace were of many colors, milk-white, sky-blue, indigo-blue, yellow, orange, pale green, sea-green, red and gray. Those most esteemed were of a single color throughout, though when five colors blended, it was considered a valuable specimen. It may be mentioned in this connection that the number five seems to acquire a mystical significance among the Chinese, for their music has five principal tones, they recognize five elements, five virtues, five senses, five duties, and five principal ceremonies.[110]
Some of these stones resemble marble, and others seem to be petrifactions of some sort. We are unaware whether those belonging to the emperor have been examined by any recent geologist. The Duke de Chaulnes in the last century, came to the conclusion that the stone was marble, but that its organization differed in some respects from ours; and that iron entered into its composition.
It is very difficult to complete an octave with the best of musical stones. In carving and ornamentation they require most skillful manipulation lest the pitch be endangered.
Under the Han dynasty a most harmonious king was presented to the emperor. The designs traced upon the stones were not quite satisfactory to that potentate; on endeavoring to alter slightly the fashion of the stones, the pitch of the instrument was irrevocably lost, and its harmony destroyed forever.[111] The king has from time immemorial been played by striking the stones with a stick or mallet of hard wood. The skill of the player is shown in the degree of shading he can impart to the tones, by varying the force of his blows. Of all instruments, the Chinese claim that the king blends best with the human voice. The entire Chinese chronicles teem with praises of this peculiar instrument. Confucius was thrown into ecstatic bliss on hearing it for the first time. The musical work entitled Li-ki says: “the harmonious sound of the king invites the sage to think of the end of life. When he hears it, he thinks of death, and fortifies himself in his love of duty.” But this passage refers only to the great king made of Yu (the finest melodious stones), which was only played on great religious occasions; it is not singular that this instrument should be associated with religious thoughts. There were other kinds of kings which were used on lesser occasions. In the imperial palace were several of smaller size, called pien-king, which were composed of sixteen stones each. The tse-king consisted of one large stone, and is used to give the pitch to other instruments, to signalize the commencement of a tune, and according to some writers, was anciently used to beat the time throughout a composition.
The shape of the stones is much like a carpenter’s square; and if sixteen of these tools were suspended from a clothes horse, the shape at least of the king would be attained; but in the most ancient specimens the stones are shaped with much more diversity, fishes, bats, and other quaint forms appearing with much ingenuity in the different pieces. The only modern instrument of similar style to the king, which is known to American readers, is the glass-harmonica, where short strips of glass, being struck by a mallet, give out a melodious, but not very manageable tone, and any person performing on the musical glasses, not by friction, but by percussion, can give a fair representation of the music of the favorite instrument of China.
OF THE SOUND OF METAL.
Bells have been in China from the earliest ages the most esteemed of instruments. At first their duty was to be a sort of tuning fork; one bell being made for chief or fundamental tone, and eleven others giving the various semitones. These bells were much different from our church and tower bells; they rather resemble large hand bells, but were of somewhat greater weight. The smallest bells were used in an instrument called Pien-tchoung, which consisted of sixteen of them, tuned in unison with the sixteen stones of the king. We have already spoken of the efforts made to suppress the bells, and through them, the authentic pitch of Chinese music, by one of the conquering emperors.
OF THE SOUND OF BAKED CLAY.
Of this the Chinese made a deep-toned whistle, with five to seven apertures called Hiuen. This was probably the primitive instrument in China, as it is mentioned as already existing before the reign of Hoang-ty, about 2637 B. C. An ancient Chinese Dictionary speaks of the two varieties of these, saying, “the larger hiuen should be of the size of a goose egg, the smaller, of that of a hen.”