Sometimes the dancers carried a small shield with bell attached.
The Chinese sages deeply regret the loss of these ancient dances; (for like all excellent customs the modern writers claim that they were at their best in “the good old times,”) it seems that the ancient Chinese, endeavored in the dance, to reproduce an easily-comprehended allegory of the natural actions of men; the movements, gestures, attitudes, and evolutions, all to be natural and easily understood by the spectators. Since the days of Confucius, this simple style of dancing has fallen greatly to decay.
In those days many of the emperors of China studied and understood the art of dancing. History shows many such “Davids” (although not so well known as Israel’s royal dancer) in the dynasties of the empire. Autumn was the favorite season for the study of dancing, as the “feast of ancestors” takes place in the Spring, and the pupils were ready to exhibit their proficiency at that great event. The ancient practice of imperial dancing, was continued even as recently as 1719, when one of the sons of Kang-hi, of the age of twenty, performed before the emperor and his court. There are also mandarins whose duty it is to dance before the emperor; the pantomime of these is especially graceful and dignified. They advance slowly two by two, their limbs and bodies moving gently to the time of a tranquil music; they turn around without quitting their relative positions, and after a series of gestures made in perfect unison, and some symmetrical evolutions, they make the salute of honor, and retire. This dance seems to be only a formal expression of homage to the emperor. The dress of these officials is uniform, and elegant, fine silk capes, caps, etc., the only difference of costume being the buttons, with which the top of the caps are ornamented; the different color of these being indicative of greater or lesser rank. This corps of dancers is recruited from the wealthiest and greatest families of the empire.
In the dances, every detail is strictly systemized and observed; the very positions are calculated according to the points of the compass; thus one dancer is always placed at the north-west, another at the north-east, the entrance is to be made from a fixed cardinal point, the exit at another; all is rule and precision.
The number of dancers is not at present limited to that given above (sixty-four for the emperor, thirty-six for viceroys, etc.) as the ancient standard. At times of great festivity, the dancers of the Imperial court are reckoned by hundreds. Such grandes ballets, are almost always symmetrical and in concerted movements; but there are also solo dances; in these pas seuls the dancer often accompanies himself with both song and instrument. This proves how slow and majestic the motions must be.
In dances, females very often appear, but in private only. Mandarins frequently own female dancers and singers, whose performances are reserved for their own families. It is but rarely, and as a mark of especial honor, that they allow some intimate friend to view the dancing of these slaves.
Spectacular pantomimes, such as delight the theatre-goers at Christmas time in Europe and America, find also a congenial atmosphere in China; a most beautiful one was performed in the presence of the emperor, and Lord Macartney, in 1793. In this representation the object seemed to be, to illustrate upon the stage, the wonders and fertility of the world, or an allegory of the intermarriage of earth and ocean. The earth gave forth in this pantomime, a large number of its animals, and products; elephants, tigers, dragons, ostriches and eagles, as well as oaks, pines, bamboos, and other specimens of vegetation appeared upon the stage; while upon a lower stage, the ocean sent forth whales, dolphins, porpoises, and also vessels, rocks, weeds, sponges, and coral. Each of these creations was true to life, and in many of them were concealed actors who represented the motions and habits of the animals in a manner quite natural. After these products of earth and sea had performed several evolutions separately, each division moving in a separate circle, all united and came to the front of the stage, where a farther series of movements was enacted; suddenly the entire mass of actors divided, moving swiftly to the right and left in order to give place to the whale, who seemed a sort of commander in chief. This immense fish then advanced to the front of the stage, opposite the box in which the emperor was seated; on arriving here, he lifted his head and spurted an enormous mass of water, amounting to many barrels full, into the pit of the theatre; where (holes having been bored to receive it) it swiftly disappeared.[143]
This performance seemed to give the greatest delight to the Chinese part of the audience. The music attached to this spectacle, was as usual of the most deafening character.
Of the lower order of dances, such as tumbling, harlequinades, etc., the Chinese have a vast variety; even puppet shows (marionettes) are greatly used by them, and plays with simple plots, very skilfully given by their means. This is the story represented at one of them;—An unfortunate princess is kept prisoner in a castle surrounded by dragons: to her comes a bold warrior, who after many combats with dragons, wild beasts and other horrible creations, succeeds in killing, vanquishing and dispersing them. He is recompensed by receiving the hand of the grateful princess, and the whole concludes with processions, tournaments and other festivities.[144]
As to the musical part of all these lesser performances, it is nearly always present, and ever of the peculiar style which has filled every traveller (so far as we know without exception), with utter distaste. The juggling performances, of which there are many, both public and private, are accompanied throughout with the above described orchestra. Feats of skill, performed by troupes of children are especially admired by the Chinese, and much sought for. The children begin their training in these arts, very young.