The Last Days of Pekin

by Pierre Loti

All these stilt-walkers, it seems, are merely young men of a neighboring village, who have formed themselves into a gymnastic society, and who do this for amusement. In the smallest villages in the interior of China, centuries, yes, thousands of years, before the custom reached us, the men—fathers and sons—began to devote themselves passionately to feats of strength and skill, founding rival societies, some becoming acrobats, others balancers, or jugglers, and organizing contests. It is especially during the long winters that they exercise, when all is frozen, and when each little human group must live alone in the midst of a desert of snow.

In fact, in spite of their white wigs and their centenarian beards, it is obvious that all these people are young, very young, with childlike smiles. They smile naïvely, these droll, pleasant princesses with the over-long legs, whose fan motions are so excited and who dance more and more disjointedly, bending, reversing, and shaking their heads and their bodies in a frenzy. They smile naïvely, these old men with children's faces; they play the cithern or the tambourine as though they were possessed. The persistent unison of the flutes seems to bewitch them, to put them into a special condition of madness, expressed by more and more convulsive movements.

At a given signal each one stands on a single stilt, the other leg raised, the second stilt thrown back over the shoulder; and by prodigies of balancing they dance harder than ever, like marionettes whose springs are out of order, whose mechanism is about to break down. Then bars two metres high are brought in, and they jump over them, every one taking part, including the princesses, the old men, and the genii, all keeping up an incessant play of fans and a beating of tambourines.

At last, when they can hold out no longer and go and lean against the porticoes among the old acacias and willows, another company just like the first comes forward and begins again, to the same tune, a similar dance. They represent the same persons, the same genii, the same long-bearded gods, the same beautiful mincing dames. In their accoutrements, so unknown to us, and with their curiously wrinkled faces, these dancers are the incarnation of ancient mythological dreams dreamed long ago in the dark ages by human beings at an infinite distance from us; and these customs are handed down from generation to generation, and from one end of the country to the other in that unchanging way in which rites, forms, and property in China are invariably transmitted.

This fête, this dance, extremely novel as it is, retains its village, its rustic character, and is as simple as any truly rural entertainment.

They finally cease jumping the bars, and now two terrible beasts come forth, one red and one green. They are big, heraldic dragons at least twenty metres long, with the raised heads, the yawning mouths, the horns, and claws, and horrible squinting eyes that everybody knows. They advance rapidly, throwing themselves onto the shoulders of the crowd with the undulations of a reptile; they are light, however, made of pasteboard, covered with some sort of stuff, and each beast is supported in the air by means of sticks, by a dozen skilful young men who have a subtle knack of giving to their movements a serpentine effect. A sort of master of the ballet precedes them, holding in his hand a ball which they never lose sight of, and which he uses as the leader of an orchestra uses his baton, to guide the writhings of the monsters.

The two great creatures content themselves with dancing before me, to the sound of flutes and gongs, in the centre of the circle of Chinese, which is extended in order to make room for them. At length the struggle becomes quite terrible, while the gongs and cymbals rage. They become entangled, they roll on top of one another, they drag their long rings in the dust, and then, all at once, with a bound they get up, as though in a passion, and stand shaking their enormous heads at one another, trembling with rage. The ballet master, nervously moving his director's ball, throws himself about and rolls his ferocious eyes.

The dust on the crowd grows thicker and thicker, and on the invisible dragon-bearers; it rises in clouds, rendering this battle between the red beast and the green beast almost fantastic. The sun burns as in a tropical country, and yet the sad Chinese April, anæmic from such a drought following the frozen winter, is barely heralded by the tender color of the few tiny leaves on the old willows and acacias of the court.

After breakfast some of the mandarins of the plain from the neighboring villages arrive, preceded by music and bringing me pastoral offerings,—baskets of preserved grapes, baskets of pears, live chickens in cages, and a jar of rice-wine. They wear the official winter head-dress, with a raven's quill, and have on gowns of dark silk with squares of gold embroidery, in the centre of which is depicted, surrounded by clouds, the invariable stork flying toward the moon. They are nearly all dried-up old men with gray beards and drooping gray moustaches. We have great tchinchins with them, profound bows, extravagant compliments, handshakings in which one feels the scratch of over-long nails, the touch of thin old fingers.

At two o'clock I remount with my men and start off through the dilapidated streets, preceded by the same procession as upon my arrival. The gongs are muffled, the heralds sound their cries. Behind me my host, the mandarin, follows in his palanquin, accompanied by the troop on stilts and by the enormous dragons.