[Note 1.]—We are to conceive of rows of small tables, at each of which were set probably but two guests. This seems to be the modern Chinese practice, and to go back to some very old accounts of the Tartar nations. Such tables we find in use in the tenth century, at the court of the King of Bolghar (see [Prologue, note 2, ch. ii.]), and at the Chinese entertainments to Shah Rukh’s embassy in the fifteenth century. Megasthenes described the guests at an Indian banquet as having a table set before each individual. (Athenaeus, IV. 39, Yonge’s Transl.)
[Compare Rubruck’s account, Rockhill’s ed., p. 210: “The Chan sits in a high place to the north, so that he can be seen by all....” (See also Friar Odoric, Cathay, p. 141.)—H. C.]
[Note 2.]—This word (G. T. and Ram.) is in the Crusca Italian transformed into an adjective, “vaselle vernicate d’oro,” and both Marsden and Pauthier have substantially adopted the same interpretation, which seems to me in contradiction with the text. In Pauthier’s text the word is vernigal, pl. vernigaux, which he explains, I know not on what authority, as “coupes sans anses vernies ou laquées d’or.” There is, indeed, a Venetian sea-term, Vernegal, applied to a wooden bowl in which the food of a mess is put, and it seems possible that this word may have been substituted for the unknown Vernique. I suspect the latter was some Oriental term, but I can find nothing nearer than the Persian Bărni, Ar. Al-Bărníya, “vas fictile in quo quid recondunt,” whence the Spanish word Albornia, “a great glazed vessel in the shape of a bowl, with handles.” So far as regards the form, the change of Barniya into Vernique would be quite analogous to that change of Hundwáníy into Ondanique, which we have already met with. (See Dozy et Engelmann, Glos. des Mots Espagnols, etc., 2nd ed., 1867, p. 73; and Boerio, Diz. del. Dial. Venez.)
[F. Godefroy, Dict., s.v. Vernigal, writes: “Coupe sans anse, vernie ou laquée d’or,” and quotes, besides Marco Polo, the Regle du Temple, p. 214, éd. Soc. Hist. de France:
“Les vernigaus et les escuelles.”
About vernegal, cf. Rockhill, Rubruck, p. 86, note. Rubruck says (Soc. de Géog. p. 241): “Implevimus unum veringal de biscocto et platellum unum de pomis et aliis fructibus.” Mr. Rockhill translates veringal by basket.
Dr. Bretschneider (Peking, 28) mentions “a large jar made of wood and varnished, the inside lined with silver,” and he adds in a note “perhaps this statement may serve to explain Marco Polo’s verniques or vaselle vernicate d’oro, big enough to hold drink for eight or ten persons.”—H. C.]
A few lines above we have “of the capacity of a firkin.” The word is bigoncio, which is explained in the Vocab. Univ. Ital. as a kind of tub used in the vintage, and containing 3 mine, each of half a stajo. This seems to point to the Tuscan mina, or half stajo, which is = ⅓ of a bushel. Hence the bigoncio would = a bushel, or, in old liquid measure, about a firkin.
[Note 3.]—A buffet, with flagons of liquor and goblets, was an essential feature in the public halls or tents of the Mongols and other Asiatic races of kindred manners. The ambassadors of the Emperor Justin relate that in the middle of the pavilion of Dizabulus, the Khan of the Turks, there were set out drinking-vessels, and flagons and great jars, all of gold; corresponding to the coupes (or hanas à mances), the verniques, and the grant peitere and petietes peiteres of Polo’s account. Rubruquis describes in Batu Khan’s tent a buffet near the entrance, where Kumiz was set forth, with great goblets of gold and silver, etc., and the like at the tent of the Great Kaan. At a festival at the court of Oljaitu, we are told, “Before the throne stood golden buffets ... set out with full flagons and goblets.” Even in the private huts of the Mongols there was a buffet of a humbler kind exhibiting a skin of Kumiz, with other kinds of drink, and cups standing ready; and in a later age at the banquets of Sháh Abbás we find the great buffet in a slightly different form, and the golden flagon still set to every two persons, though it no longer contained the liquor, which was handed round. (Cathay, clxiv., cci.; Rubr. 224, 268, 305; Ilch. II. 183; Della Valle, I. 654 and 750–751.)
[Referring to the “large and very beautiful piece of workmanship,” Mr. Rockhill, Rubruck, 208–209, writes: “Similar works of art and mechanical contrivances were often seen in Eastern courts. The earliest I know of is the golden plane-tree and grape vine with bunches of grapes in precious stones, which was given to Darius by Pythius the Lydian, and which shaded the king’s couch. (Herodotus, IV. 24.) The most celebrated, however, and that which may have inspired Mangu with the desire to have something like it at his court, was the famous Throne of Solomon (Σολομώντεος Θρóνος) of the Emperor of Constantinople, Theophilus (A.D. 829–842).... Abulfeda states that in A.D. 917 the envoys of Constantine Porphyrogenitus to the Caliph el Moktader saw in the palace of Bagdad a tree with eighteen branches, some of gold, some of silver, and on them were gold and silver birds, and the leaves of the tree were of gold and silver. By means of machinery, the leaves were made to rustle and the birds to sing. Mirkhond speaks also of a tree of gold and precious stones in the city of Sultanieh, in the interior of which were conduits through which flowed drinks of different kinds. Clavijo describes a somewhat similar tree at the court of Timur.”
Dr. Bretschneider (Peking, 28, 29) mentions a clepsydra with a lantern. By means of machinery put in motion by water, at fixed times a little man comes forward exhibiting a tablet, which announces the hours. He speaks also of a musical instrument which is connected, by means of a tube, with two peacocks sitting on a cross-bar, and when it plays, the mechanism causes the peacocks to dance.—H. C.]
Odoric describes the great jar of liquor in the middle of the palace hall, but in his time it was made of a great mass of jade (p. 130).
[Note 4.]—This etiquette is specially noticed also by Odoric, as well as by Makrizi, by Rubruquis, and by Plano Carpini. According to the latter the breach of it was liable to be punished with death. The prohibition to tread on the threshold is also specially mentioned in a Mahomedan account of an embassy to the court of Barka Khan. And in regard to the tents, Rubruquis says he was warned not to touch the ropes, for these were regarded as representing the threshold. A Russo-Mongol author of our day says that the memory of this etiquette or superstition is still preserved by a Mongol proverb: “Step not on the threshold; it is a sin!” But among some of the Mongols more than this survives, as is evident from a passage in Mr. Michie’s narrative: “There is a right and a wrong way of approaching a yourt also. Outside the door there are generally ropes lying on the ground, held down by stakes, for the purpose of tying up the animals when they want to keep them together. There is a way of getting over or round these ropes that I never learned, but on one occasion the ignorant breach of the rule on our part excluded us from the hospitality of the family.” The feeling or superstition was in full force in Persia in the 17th century, at least in regard to the threshold of the king’s palace. It was held a sin to tread upon it in entering. (Cathay, 132; Rubr. 255, 268, 319; Plan. Carp. 625, 741; Makrizi, I. 214; Mél. Asiat. Ac. St. Petersb. II. 660; The Siberian Overland Route, p. 97; P. Della Valle, II. 171.)
[Mr. Rockhill writes (Rubruck, p. 104): “The same custom existed among the Fijians, I believe. I may note that it also prevailed in ancient China. It is said of Confucius ‘when he was standing he did not occupy the middle of the gate-way; when he passed in or out, he did not tread on the threshold.’ (Lun-yü, Bk. X. ch. iv. 2.) In China, the bride’s feet must not touch the threshold of the bridegroom’s house. (Cf. Dennys’ Folk-lore in China, p. 18.)
“The author of the Ch’ue keng lu mentions also the athletes with clubs standing at the door, at the time of the khan’s presence in the hall. He adds, that next to the Khan, two other life-guards used to stand, who held in their hands ‘natural’ axes of jade (axes found fortuitously in the ground, probably primitive weapons).” (Palladius, p. 43.)—H. C.]
[Note 5.]—Some of these etiquettes were probably rather Chinese than Mongol, for the regulations of the court of Kúblái apparently combined the two. In the visit of Shah Rukh’s ambassadors to the court of the Emperor Ch’êng Tsu of the Ming Dynasty in 1421, we are told that by the side of the throne, at an imperial banquet, “there stood two eunuchs, each having a band of thick paper over his mouth, and extending to the tips of his ears.... Every time that a dish, or a cup of darassun (rice-wine) was brought to the emperor, all the music sounded.” (N. et Ext. XIV. 408, 409.) In one of the Persepolitan sculptures, there stands behind the King an eunuch bearing a fan, and with his mouth covered; at least so says Heeren. (Asia, I. 178.)
[Note 6.]—“Jongleours et entregetours de maintes plusieurs manieres de granz experimenz” (P.); “de Giuculer et de Tregiteor” (G. T.). Ital. Tragettatore, a juggler; Romance, Trasjitar, Tragitar, to juggle. Thus Chaucer:—
“There saw I playing Jogelours,
Magiciens, and Tragetours,
And Phetonisses, Charmeresses,
Old Witches, Sorceresses,” etc.
—House of Fame, III. 169.
And again:—
“For oft at festes have I wel herd say,
That Tregetoures, within an halle large,
Have made come in a water and a barge,
And in the halle rowen up and doun.
Somtime hath semed come a grim leoun;
* * * * *
Somtime a Castel al of lime and ston,
And whan hem liketh, voideth it anon.”
—The Franklin’s Tale, II. 454.
Performances of this kind at Chinese festivities have already been spoken of in note 9 to ch. lxi. of Book I. Shah Rukh’s people, Odoric, Ysbrandt Ides, etc., describe them also. The practice of introducing such artistes into the dining-hall after dinner seems in that age to have been usual also in Europe. See, for example, Wright’s Domestic Manners, pp. 165–166, and the Court of the Emperor Frederic II., in Kington’s Life of that prince, I. 470. (See also N. et E. XIV. 410; Cathay, 143; Ysb. Ides, p. 95.)
CHAPTER XIV.
Concerning the Great Feast held by the Grand Kaan every Year on his Birthday.
You must know that the Tartars keep high festival yearly on their birthdays. And the Great Kaan was born on the 28th day of the September moon, so on that day is held the greatest feast of the year at the Kaan’s Court, always excepting that which he holds on New Year’s Day, of which I shall tell you afterwards.[{1}]
Now, on his birthday, the Great Kaan dresses in the best of his robes, all wrought with beaten gold;[{2}] and full 12,000 Barons and Knights on that day come forth dressed in robes of the same colour, and precisely like those of the Great Kaan, except that they are not so costly; but still they are all of the same colour as his, and are also of silk and gold. Every man so clothed has also a girdle of gold; and this as well as the dress is given him by the Sovereign. And I will aver that there are some of these suits decked with so many pearls and precious stones that a single suit shall be worth full 10,000 golden bezants.
And of such raiment there are several sets. For you must know that the Great Kaan, thirteen times in the year, presents to his Barons and Knights such suits of raiment as I am speaking of.[{3}] And on each occasion they wear the same colour that he does, a different colour being assigned to each festival. Hence you may see what a huge business it is, and that there is no prince in the world but he alone who could keep up such customs as these.
On his birthday also, all the Tartars in the world, and all the countries and governments that owe allegiance to the Kaan, offer him great presents according to their several ability, and as prescription or orders have fixed the amount. And many other persons also come with great presents to the Kaan, in order to beg for some employment from him. And the Great Kaan has chosen twelve Barons on whom is laid the charge of assigning to each of these supplicants a suitable answer.
On this day likewise all the Idolaters, all the Saracens, and all the Christians and other descriptions of people make great and solemn devotions, with much chaunting and lighting of lamps and burning of incense, each to the God whom he doth worship, praying that He would save the Emperor, and grant him long life and health and happiness.