A History of China

by Wolfram Eberhard

The Chinese empire was greater than it had been before the Mongol epoch, and the population was also greater, so that more officials were needed. Thus in the Ming epoch there began a certain democratization, larger sections of the population having the opportunity of gaining government positions; but this democratization brought no benefit to the general population but resulted in further exploitation of the peasants.

The new "small gentry" did not consist of great families like the original gentry. When, therefore, people of that class wanted to play a political part in the central government, or to gain a position there, they had either to get into close touch with one of the families of the gentry, or to try to approach the emperor directly. In the immediate entourage of the emperor, however, were the eunuchs. A good many members of the new class had themselves castrated after they had passed their state examination. Originally eunuchs were forbidden to acquire education. But soon the Ming emperors used the eunuchs as a tool to counteract the power of gentry cliques and thus to strengthen their personal power. When, later, eunuchs controlled appointments to government posts, long established practices of bureaucratic administration were eliminated and the court, i.e. the emperor and his tools, the eunuchs, could create a rule by way of arbitrary decisions, a despotic rule. For such purposes, eunuchs had to have education, and these new educated eunuchs, when they had once secured a position, were able to gain great influence in the immediate entourage of the emperor; later such educated eunuchs were preferred, especially as many offices were created which were only filled by eunuchs and for which educated eunuchs were needed. Whole departments of eunuchs came into existence at court, and these were soon made use of for confidential business of the emperor's outside the palace.

These eunuchs worked, of course, in the interest of their families. On the other hand, they were very ready to accept large bribes from the gentry for placing the desires of people of the gentry before the emperor and gaining his consent. Thus the eunuchs generally accumulated great wealth, which they shared with their small gentry relatives. The rise of the small gentry class was therefore connected with the increased influence of the eunuchs at court.

7 Literature, art, crafts

The growth of the small gentry which had its stronghold in the provincial towns and cities, as well as the rise of the merchant class and the liberation of the artisans, are reflected in the new literature of Ming time. While the Mongols had developed the theatre, the novel may be regarded as the typical Ming creation. Its precursors were the stories of story-tellers centuries ago. They had developed many styles, one of which, for instance, consisted of prose with intercalated poetic parts (pien-wen). Buddhists monks had used these forms of popular literature and spread their teachings in similar forms; due to them, many Indian stories and tales found their way into the Chinese folklore. Soon, these stories of story-tellers or monks were written down, and out of them developed the Chinese classical novel. It preserved many traits of the stories: it was cut into chapters corresponding with the interruptions which the story-teller made in order to collect money; it was interspersed with poems. But most of all, it was written in everyday language, not in the language of the gentry. To this day every Chinese knows and reads with enthusiasm Shui-hu-chuan ("The Story of the River Bank"), probably written about 1550 by Wang Tao-k'un, in which the ruling class was first described in its decay. Against it are held up as ideals representatives of the middle class in the guise of the gentleman brigand. Every Chinese also knows the great satirical novel Hsi-yu-chi ("The Westward Journey"), by Feng Meng-lung (1574-1645), in which ironical treatment is meted out to all religions and sects against a mythological background, with a freedom that would not have been possible earlier. The characters are not presented as individuals but as representatives of human types: the intellectual, the hedonist, the pious man, and the simpleton, are drawn with incomparable skill, with their merits and defects. A third famous novel is San-kuo yen-i ("The Tale of the Three Kingdoms"), by Lo Kuan-chung. Just as the European middle class read with avidity the romances of chivalry, so the comfortable class in China was enthusiastic over romanticized pictures of the struggle of the gentry in the third century. "The Tale of the Three Kingdoms" became the model for countless historical novels of its own and subsequent periods. Later, mainly in the sixteenth century, the sensational and erotic novel developed, most of all in Nanking. It has deeply influenced Japanese writers, but was mercilessly suppressed by the Chinese gentry which resented the frivolity of this wealthy and luxurious urban class of middle or small gentry families who associated with rich merchants, actors, artists and musicians. Censorship of printed books had started almost with the beginning of book printing as a private enterprise: to the famous historian, anti-Buddhist and conservative Ou-yang Hsiu (1007-1072), the enemy of Wang An-shih, belongs the sad glory of having developed the first censorship rules. Since Ming time, it became a permanent feature of Chinese governments.

The best known of the erotic novels is the Chin-p'ing-mei which, for reasons of our own censors can be published only in expurgated translations. It was written probably towards the end of the sixteenth century. This novel, as all others, has been written and re-written by many authors, so that many different versions exist. It might be pointed out that many novels were printed in Hui-chou, the commercial centre of the time.

The short story which formerly served the entertainment of the educated only and which was, therefore, written in classical Chinese, now also became a literary form appreciated by the middle classes. The collection Chin-ku ch'i-kuan ("Strange Stories of New Times and Old"), compiled by Feng Meng-lung, is the best-known of these collections in vernacular Chinese.

Little original work was done in the Ming epoch in the fields generally regarded as "literature" by educated Chinese, those of poetry and the essay. There are some admirable essays, but these are only isolated examples out of thousands. So also with poetry: the poets of the gentry, united in "clubs", chose the poets of the Sung epoch as their models to emulate.

The Chinese drama made further progress in the Ming epoch. Many of the finest Chinese dramas were written under the Ming; they are still produced again and again to this day. The most famous dramatists of the Ming epoch are Wang Shih-chen (1526-1590) and T'ang Hsien-tsu (1556-1617). T'ang wrote the well-known drama Mu-tan-ting ("The Peony Pavilion"), one of the finest love-stories of Chinese literature, full of romance and remote from all reality. This is true also of the other dramas by T'ang, especially his "Four Dreams", a series of four plays. In them a man lives in dream through many years of his future life, with the result that he realizes the worthlessness of life and decides to become a monk.

Together with the development of the drama (or, rather, the opera) in the Ming epoch went an important endeavour in the modernization of music, the attempt to create a "well-tempered scale" made in 1584 by Chu Tsai-yü. This solved in China a problem which was not tackled till later in Europe. The first Chinese theorists of music who occupied themselves with this problem were Ching Fang (77-37 B.C.) and Ho Ch'êng-t'ien (A.D. 370-447).