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 My soul I elevate. There in th’ immensity Of the eternal springs Of Fame which cannot die And constant happiness Are your immortal souls. The vision transport brings Your valor has reward Your virtues Heaven doth bless Around your joyous souls Each new delight it flings. Ineffable your joy Your constant happiness. If I in spite of faults And of insufficience Am called on by the high Decrees of Providence, To fill upon the Earth The very highest place ’Tis but because I am Descendant of your race. Although I never may In your great footsteps move Yet I will care display Throughout my life’s high course That every act of mine Shall to descendants prove That I lived not in vain And need not feel remorse.

In giving this, necessarily weak, translation of the opening part of the hymn, we have endeavored to preserve the short Iambics of the Chinese version; but in the Chinese there are only eight lines to the first division, therefore four lines of the translation correspond to one of the original. After the chorus has sung as far as this, which is only an exordium, or manner of worthily preparing for the following exercises, the emperor prostrates himself three times, touching his forehead to the earth each time, and then taking the libations, offers them up to the departed: meanwhile the chorus sing the second part of the hymn, still in the name of the emperor.[120] In this he again alludes _per_ chorus, to his noble descent, and thanks them for leaving their abode of bliss to visit him, and humbly prostrated, begs to render homage to them, and entreats that they will accept the libations offered, as a testimonial of profound respect and perfect love.[121] After offering these, the emperor prostrates himself nine times to the earth, and then resumes his position in front of the table, while the chorus sing the third part of the hymn. During this final division of the music, the spirits which descended at the first part are supposed to be reascending to Heaven. In the third part the emperor (still by proxy) states how mean and pitiful he feels, after such illustrious predecessors, and tells how heavy the burdens of state are to him, and thanks his ancestors for their spiritual assistance. He concludes with the statement that he can do very little to testify his appreciation of all their benefits, but what he is able to do he has done.

“Three times with respect, have I offered the triple sacrifice; not being able to do more, my vows are satisfied.” The hymn being finished, the emperor retires with his ministers and _cortege_ in the same order in which they entered the hall. The music continues until he has reached his own apartments. Dancers participate in this ceremony and are sumptuously clad and really assume a _role_ of much importance. As with the ancient Greeks and Romans, they are not to be thought of as being jumpers or twirlers; they express by their motions the sentiments which actuate the emperor as he eulogizes his ancestors, expresses his own unworthiness, his gratitude, pride, and other emotions. The music of this august ceremonial, is entirely written in whole notes, without any change of rhythm whatever. It is rather monotonous than distressing to our ears.

This is not the case with other vocal compositions of the Chinese; nearly all travellers agree in saying that their music, in this branch especially, resembles far more the cries of the nocturnal cat than the human voice. The composers seem to have an aversion to progression by degrees, in their songs, and a decided _penchant_ for long skips. We do not intend a slur upon the Scotch music when we say that there are points of resemblance between the Chinese music and the former. Some Chinese airs (given by Irwin and Barrow[122]) show this resemblance startlingly. Although the Chinese understand the division of the chromatic scale perfectly well, yet they never use it; five tones are all they ordinarily employ; these are

FA, SOL, LA, DO, RE,

omitting even the semitone of our diatonic scale. Some of their most eminent theorists have maintained that the notes pienkoung (si) and pienche (mi) are as useless to music as a sixth finger would be to the hand.

It will be observed that the semitone progression is not used in China, and though known, is universally proscribed and avoided; it is this which occasions the peculiarities of Chinese music. On this subject we cannot refrain from re-quoting an article on Chinese music, which appeared in the “China Mail,” a Hong-Kong newspaper, in 1845.[123]

“One possessed of a musical ear, and at all conversant with the musical art, cannot fail, on his arrival in this country, to be struck with the peculiarities of what is esteemed music here. He notices at once, that the characteristics of western melody, are almost wholly wanting. Nearly every note seems out of place, and there is neither beginning, middle nor end, to the airs he listens to. Instead of a theme which is developed and embellished by the whole performance, he hears a hurry-skurry of notes, apparently flung together without link or affinity; and even the confusion of sounds to make it worse, instead of finishing in a quiescing cadence, passes beyond what is looked for as the last note, and sometimes ends with what we should call a flatted keynote, leaving the listeners in a most uncomfortable state of suspense and uncertainty as to what may follow. For my own part, I have not been able as yet to discover whether the Chinese recognise such a thing as a keynote among the parts of song, or whether their composers begin, continue, and end their tunes _ad libitum_.”

We have inserted the above that the reader may judge how strongly the music distresses the musical European at first hearing; but it is also not to be forgotten that the Eastern, (Hindoo and Arabian) music had a similar effect upon persons who a year later were obliged to acknowledge that they had begun to find beauty, and take pleasure in it.

Of other court musical ceremonies, the emperor’s birthday, the harvest sacrifice, the feast of agriculture, and the fifteenth day of the first moon, are the most important. The first occasion is described by Lord Macartney, who heard it on the 17th of September, 1793. It began with a slow majestic sound of deep-toned bells and muffled drums, in the distance. This impressive music was occasionally interrupted by sudden pauses; with equal suddenness the whole force of singers and instrumentalists would burst out with their utmost strength, while the entire court bowed their faces to the earth as often as the refrain was sung:—“Bow down your heads ye inhabitants of the earth, bow down your heads before the great Kien-long.”

The emperor was not visible during these ceremonies.

Among the secular pieces, collected by Amiot, is one which demands especial notice; it is an instrumental representation of a battle. It will be recollected that fifty years ago, many popular European compositions took this shape. “The battle of Navarino,” “the battle of Prague,” “Waterloo,” etc., were the out-crops of this mania: the Chinese certainly have better instruments than we had, wherewith to represent the din of combat.

In the accompaniment of songs, the Chinese seem to stand, as regards their harmony, about where Europe stood in the middle ages, for they use as sole and only harmony, when playing on the _kin_, a succession of _fourths and fifths_.[124]

The constant use of instruments of percussion, in slow and monotonous songs, is one of the most tiresome institutions of the Chinese music; almost all the tunes are taken at an _andante_ or _adagio_ pace, and it is but just to say, that the Chinese chiefly dislike European music because it is often played quickly.

“To what purpose” they ask, “should one dance and hurry in this manner, and how can such things penetrate to the soul? With us” they add proudly, “all is done calmly, and without precipitation.[125]”

It must be acknowledged, that the Chinese love, and take pride in music, that is, in their own kind. In every great state ceremony, in theatres, in religion, it everywhere plays the leading _role_.

One of the nine tribunals which have charge of the general affairs of the empire, is charged with the care of music, rites, and ceremonies; and the mandarins of music are considered of much higher rank than the mandarins of mathematics, and have their college in the enclosure of the imperial palace.

The fondness for the art is apparent in all classes, and music is used on almost every occasion of festivity, high or low. The streets of the cities are full of peripatetic musicians, who earn their living by catering to the general public, somewhat as the organ grinders do with us.

The feast of lanterns is the greatest of all popular Chinese festivals; it takes place on the fifteenth day of the first moon, and corresponds to a New Year’s feast. On this occasion every part of the immense cities of the empire glows with the light of innumerable lanterns, while fire-works and decorations are seen on all sides. In the streets are seen large _Lantern Theatres_, that is to say, edifices made of paper; on the inside, which is brightly illuminated, is a stage whereon actors and singers give plays and concerts. Another great festival, where music plays a leading part, takes place on the fifteenth day of the eighth moon. On this evening the Chinese imagine that a _hare_ is seen in the moon, and to the sound of many instruments, the entire population turn out to look at it. It is customary for friends to send each other cakes, on which the figure of a hare is moulded, in sugar. Concerts are an important accessory to this festival with both rich and poor; the former make every effort to secure the best singers and performers for their entertainment on this holiday; the latter, not being able to have the more delicate instruments content themselves with a clatter of basins, pots and frying-pans, and make with these a sort of burlesque concert.

At each full moon there takes place a festival in which gongs and cannons rather than musical instruments are heard. Besides these festivals which are celebrated throughout the empire, there are also local ones, which are numberless. The richest class generally keep their private troupe of musicians, whom they own almost as slaves. Often also they educate young children of both sexes, in the musical art with the utmost care, in order that when grown up they may swell the ranks of their musical retinue. Among these are often special artists whom they will not allow to appear on ordinary occasions, but reserve to perform before their own family, or intimate friends to whom they wish to show especial honor; at such times, the ordinary performers are sent away.

Among the strolling musicians, there are many who make their living by going to private festivals of the middle classes, such as weddings, birthdays, and other rejoicings, even when uninvited; these are similar to our ball room musicians, but also bear some resemblance to the itinerant performers of early Eastern nations. In Poland there still exists a similar class.

For the poorer class, there are also, numerous blind musicians, who travel from house to house, sometimes in bands, sometimes alone. We have already compared these to our own organ-grinders, but they differ from them in one particular; they do not rely so much upon making music indiscriminately, but go, with much tact, to those places where their services are likely to be required.

In China the custom of celebrating the birthday anniversary is universal; these wandering minstrels recollect the date of the birth of each individual for miles around, with unerring exactness, and when a birthday _fete_ occurs in any family, they may calculate with some degree of certainty that the music will come without being sent for.

There are other occasions, where these shrewd disciples of the muses can turn an honest penny; if a skillful physician has saved the life of the wife or child of some rich man no higher compliment can be given to him (besides his fee) by the grateful nabob, than to invite him to a great feast, and to send an escort of eight musicians to convey him thither, besides bringing him numerous presents.

Music is employed at funerals, but the friends of the deceased, are not allowed to perform it; for months after, etiquette forbids their touching any musical instruments.

The mourning for a parent, or grandparent is very strict and protracted. In China filial love and obedience are the virtues most insisted upon. If the descendants give forth any musical sounds at all it is only to howl dismally a chant respecting the virtues of the defunct; there are many of these compositions, or “lamentations” in existence, of which the poetry is by no means despicable. When the funeral ceremony is taking place, some trumpets and a drum placed at the door, announce the arrival of visitors who come with their condolences to the afflicted family. After the body is buried with the ancestors, the _bonzes_, (Chinese priests) chant the office of the dead, for nine days, and in the procession itself drums, trumpets, tam tams, flutes, etc., play a discordant dirge.

We have already mentioned the wooden fish suspended at the tent door of military commanders to summon them to audiences concerning public and private affairs. Mandarins have, in like manner, a drum in the outer hall of their palaces, by means of which they can be summoned to give audience to any applicant; they are obliged to give immediate attention to the complaint of any person beating the drum, but woe to the audacious drummer who does not have some very especial wrong to complain of; he is immediately soundly bastinadoed.

At eclipses of the moon, the Chinese use their musical instruments in a purposely hideous manner. This is done to frighten away the dragon which is supposed to be eating up the orb of night. Instruments of percussion are chiefly used on this occasion. The same instruments (i. e. gongs, drums, trumpets and tam-tams) are used to aid the marching of the army.

The _musical language_ such as we use in directing the movements of cavalry and artillery, is much more extended, though differently used in China; such musical signals are used in commanding civil as well as military personages. Various trades have their especial songs also, which they sing at their work.

But the music of China, although extending into every department of social and official life, is totally incapable of any advancement. Musical martinets are continually exclaiming against the changes in style of composition, which innovators are constantly introducing into _our_ art,[126] but it is these changes which give the surest signs of real life and intrinsic merit to modern music.

In China, precisely as formerly in ancient Egypt, no such changes are possible; the music for each and every event is as carefully mapped out and adhered to, as is the cut of the garments, or the exchange of civilities among this precise people.[127]

If ever change takes place in their musical system it will assuredly be a gravitation towards the European, as they have in a certain measure a comprehension, theoretically at least, of our system of semi-tones, but could by no means conceive of, and accurately produce the third and quarter tones of Indian music. We have already related the ineffectual movement towards western style, made in the last century; during the embassy of 1793, Macartney observed many indications of inclination for our system, such as the use of the violin,[128] the notation of music upon ruled paper, and interest in the band concerts given at his rooms each evening. He also found in the emperor’s palace at _Yuen min-yuen_, an English musical clock, made by Geo. Clarke, Leadenhall Street, London, which played many selections from the “Beggar’s Opera.”[129] It is certainly not too venturesome to predict, in spite of the jarring of their music upon us, that they may yet develop a taste for some of the coarser branches of ours.