The number of different words in the whole Chinese tongue does not exceed three hundred and fifty; all the additional ones, are simply variations of these by lowering, or raising the voice. This leads the foreigner into endless complications and misunderstandings; for example, the word tchu pronounced clearly with the vowel of medium length, means “master,” but by extending the vowel a trifle it signifies “hog;” it also means “column,” and “cookery.” The syllable “po” has eleven different meanings—“glass,” “boil,” “captive,” “prepare,” etc., each of which must be pronounced with a different pitch and inflection.[117] Among the original words are some which decidedly are taken from nature, such as “tchung,”—“bell,” “miaou,”—“cat,” but these are very few.

Some authors have endeavored to show from these facts, that the Chinese is in all respects a musical language, but this can hardly be conceded, for the inflections spoken of, are so slight as to escape the European ear, which surely would not be the case if they were really musical notes, since we have seen that Father Pereira, in the last century, was able to note down at first hearing, and imitate any Chinese song. The people in conversation give the voice a flute-like sound, but this has scarcely arisen from any special musical quality in the language itself.

CHAPTER XIII.
CHINESE MUSICAL COMPOSITIONS AND CEREMONIES.

The most ancient music with the Chinese as with all people, seems to have consisted of hymns to the Deity, rendering thanks to Him for the benefits given to man in the various departments of labor. These were divided according to the class which used them, into agricultural, military, piscatorial, etc. Very soon after these, there came into existence that reverential ceremony in memory of the ancestors, which is so characteristically Chinese, and which became, of all their festivals, the most important and the most musical.

This ceremonial as conducted by the emperor is as follows. In the vestibule of the hall are retainers who bear a particular kind of standards, which show that the coming of the sovereign is expected. Here also are seen bells, drums, and musicians, as well as officers of the guards, all standing in symmetrical figure, and motionless in their position. On entering the hall one sees, right and left, the performers on the cheng and king, and the minor instruments, all arranged in their proper order. In the middle are placed the dancers, in uniform and each holding in hand the instrument which they are to use in their evolutions. Near the end are placed the players of the che and kin as well as the performers on the style of drum called the po-sou, and the singers. Finally, at the lower end of the hall are seen the representations of the ancestors themselves, either in the form of portraits, or of simple tablets bearing the name of each. Before these is a table on which stand flowers and libations. Each performer and instrument is placed in an allotted position. For example, the bell is at the south-west, the cheng at the north-west, the drum at the south-east, the flute at the north-east, and the table at the south; and this arrangement is never departed from.

When the signal announcing the approach of the emperor is heard, the singers and musicians, slowly and with great majesty, begin the hymn of honor, while the emperor, with stately and dignified tread, advances to the table at the south of the hall.[118] It is a moment of holy awe (somewhat akin to the instant when the Host is elevated in Catholic churches) for the spirits of the departed are supposed at this time to come down from Heaven to their descendants. We give here an English paraphrase of the words of part of this hymn, which we have translated from the version of Father Amiot.

Hymn to the Ancestors.[119]

When’er I think of you

Oh ancestors so great,

Then to the highest Heaven