Frontispiece
MEI LAN-FANG
Frontispiece
Mei Lan-fang in the R61e of Hung-slen
PLAY : The Heroic Maid
f the Om
or ine \-smnese c^^ravna
A COMPLETE EXPLANATORY GUIDE TO
ACTIONS AND SYMBOLS AS SEEN IN THE
PERFORMANCE OF CHINESE DRAMAS
CECILIA S. L. ZUNG
With Synopses of Fifty Popular Chinese Plays
and 240 illustrations.
Benjamin Blom
New York
Ch'eng Yen-ts'iu's Writing
'a oj (Oxplanation
IF I remember rightly, I was taken to the theatre, when I was a child
not more than four years old. My interest in the Chinese drama has
grown with my years. No matter how heavy my day's programme has
been I fall under the spell of good plays, especially those in which a
"tan" (see p. 37) takes the leading part. Though my friends are
not surprised to hear me boasting that there is not a single play in the
repertoire of Mei Lan-fang ( 1f& ~ffi ^) , China's most famous female
impersonator, and his pupil, Ch'eng Yen-ts'iu (H { 5$t), which I have
not seen, yet they do reprimand me for being so foolish as to continue
attending the same performances by the same actors.
With such fondness for the theatre I would have written earlier
on Chinese drama had I not been overcome by the great difficulty of
putting into a foreign language the complicated technique of acting
on the Chinese stage, and the feeling of my lack in literary style. To
F O R E W O R I) c o n ti nn c d
the best of my knowledge no one else has attempted to interpret in
English the Chinese stage technique. And now, it is only through the
strong encouragement and help of interested friends that I have ventured
to undertake this work.
Here I wish to make the following acknowledgments and explana-
tions :
1. Most of the material in Part II has been collected by Professor
J. S. Chi ( jf{ in tU)> but the gestures were personally demon-
strated for me by Mei Lan-fang.
2. Dr. Mei has kindly permitted me to use his pictures to illustrate
some of the more interesting movements. In addition there
are some other movements interpreted by other artists and by
myself.
3. I desire to express my gratitude to the firm of T. Chuang,
Architects, Shanghai, for the theatre plans (see pp. 7-l*i) which
they have drawn for me.
4. The pictures of the musical instruments, stage properties, and
painted-faces are reprinted by courtesy of Professor Chi.
5. Because of the unusual length and scope of the technique of
Chinese drama it is impractical to treat the subject as a whole.
Therefore, I have chosen to emphasize "tan" only, the role in
which I am particularly interested.
6. My hearty thanks are due Professor Lelia J. Tuttle and Miss
Jean F. Craig for their indispensable help in the choice of
English phrase and idiom, and Dr. Mei and Professor Chi for
leading me into a deeper study of the technique of Chinese
drama.
CKOIUA S. L. Zvvai.
Shanghai, China, December, 1936.
rerace
THE English reading public will certainly greet the appearance of
this book on Chinese drama with a warm welcome. The subject dealt
with is very interesting, and at the same time very intricate. To the
uninitiated foreigner, his first experience in a Chinese theatre will
probably be intensely fascinating. But the peculiarities and strangeness
which produce the charm, create also an atmosphere of bewilderment.
Intelligent appreciation, which gives real delight, will come only when
he shall have had his first lessons in Chinese drama, and shall have
thus acquired a knowledge of the basic principles guiding the Chinese
playwright and the essential features controlling stage production.
In setting, plot, and technique, the Chinese drama differs in many
respects from that given on the stage of western countries. One fund-
amental conception t ] o be noted at the very outset is the fact that the
Chinese drama is thought of as having a higher mission than merely to
entertain and amuse. It therefore appeals not only to the senses, but
seeks also through the avenue of thought and reflection, to expound
the meaning of life. The moral is one of the most important elements
as well as one of the most prominent features of a Chinese drama.
With this thought in mind, one can understand and probably even ap-
preciate the setting and general atmosphere of the Chinese stage.
To a person visiting the Chinese theatre for the first time some of
the features may appear to be primitive and absurd. In the waving of
xi
PREFACE -continued
a little whip one is supposed -to see the actor riding and guiding his
imaginary horse. In certain motions of the hands one is to see him
knocking at a make-believe door and pushing it open. There is so
much of imagination and so little of reality. So many of the actions
are symbolic and so few of the properties are real! But Chinese drama
does not strive to be real in its physical presentation, since it is more to
instruct than to amuse.
Again a person may fail to understand why there should be so much
noise and confusion the loud clanging of the gong, the sharp rattle of
the flat drum, the dull clicking beat of the wooden castanets. Above
these we hear the piercing sound of the\ Peking violin, and the falsetto
soprano voice of the singing actor. So much noise, and so much con-
fusion! Yet is it not true to life that when we think and reflect we have
to lift our thoughts above the din of worldly noise? But these intrica-
cies, differences, absurdities, noises, motifs, and technique, all resolve
themselves into an intelligible artistic integrated whole as the author
proceeds sympathetically and understandingly through the pages of her
book.
But amateur though she may be, a real expert she nevertheless is
in the realm of Chinese drama. Ever since her childhood days she has
been interested in plays and later, has often demonstrated her ability
in dramatic performances, both in Chinese and in English. She is
familiar with both types of drama. Furthermore, as a writer in English
the author distinguished herself even in her student days. She is, there-
fore, not only well qualified to write on the subject, but what she writes
should also be well presented.
If a few more personal observations may be permitted, let it be said
that the appearance of this book is significant in two other respects. It
shows, in the first place, the versatility of the author, the broad cultural
basis and wide interest of the new scholar in China, Professional per-
sons are often so much engrossed in their own professions as not to be
interested in other things. The author of this book has not forgotten
that an educated person is one who not only aspires to know everything
about something but also strives to know something about everything.
xii
PREFACE con ti nued
It is also significant, in the second place, in that it shows the capacity and
activity of the new woman of China.
It certainly gives me great pleasure to write this short preface for
a book produced by one of our graduates who is surely emerging into
prominence both as a lawyer as well as writer.
Y. C. YANG.
President's Office,
Soochow University,
Soochow, China.
xiii
Illus. 1* Yu Shu-yen's Writing
onlenls
PART I. BACKGROUND
Chapters:
I. THE CHINESE THEATRE 3
II. THE COSTUMES AND STAGE PROPERTIES . . . . . 17
III. THE MUSICAL INSTRUMENTS . . . . . . . . . . 31
IV. THE CHARACTER TYPES 37
V. THE DEVELOPMENT OF THE CHINESE DRAMA 59
PART II. TECHNIQUE
Chapters:
I. SLEEVE MOVEMENTS 77
II. HAND MOVEMENTS 97
III. ARM MOVEMENTS . . . . 115
IV. FOOT MOVEMENTS . . . . 117
V, LEG MOVEMENTS . . . . . . 123
VI. WAIST MOVEMENTS 127
VII. PHEASANT FEATHER MOVEMENTS . . . . . . . . . . 129
VIII. SOME SYMBOLIC ACTIONS 135
XV
CONTENTS conti nned
PART III. CLASSIFICATION AND SYNOPSES OF PLAYS
Chapters: Page
I. CLASSIFICATION OF PLAYS 151
II. SYNOPSES
1. Comedy of Errors, A Ufc ffl A IS ) 159
2. Cost of Saving the Master's Son, The (A 3% M ) 161
3. Cowherd and the Spinning Maiden, The ("^ fcj ftd ) 163
4. Dream of a Soldier's Wife, The .. ($ ffi ^) 167
5. Empress' Wrath, The (flj ft) 169
6. Excessive Taxation is More Ferocious
than the Tiger < &" Ul JK) 171
7. Faithfulness, Fidelity, Purity and
Righteousness ( 5 ^ & 91 fill R IK ) 173
8. Family of Four Virtues, A . . ( jfe # ff & fin H *fi k-f ) 175
9. Fighting Against the Chins . . . . ( J $r j^) 179
10. Final Parting between the King, P*a
Wang, and His Favourite, The . . ( tf ? J5J IK ) 181
11. Gallant Peace-maker, The . . . . (|S W AT ft) 185
12. (rreat Trial at the Fa-men Monastery,
The (fc PI *) 187
13. History Repeats (jBI <E W) 1 Q()
14. How the Pass of P'u Was Held . . ( JR ft UN ) 191
15. Hsueh-yen, the Faithful Concubine . . (# tff M 9fr) 193
16. Intriguers Intrigued, The . , .. (sjg A SO I 97
17. Iron-faced Judge, An (&H %
18. Judgment (ft
19. Justice Takes a Holiday but Returns . . (Jjj JltJ ^) 203
20. Killing the Tiger General .. . . (jM HE) 20 f >
21. Lady with a Red-marked Hand, The
(# * fc W # # #) 209
22. Late Dawn, A (A tf %') 211
23. Legend of the White Snake Lady, The (ft ft fljt) 213
Part I. The Golden Mountain Mon-
astery (A III *) 213
xvi
CONTENTS cont in ned
Page
Part II. The Meeting at the Fallen
Bridge <|$f ffi) 215
Part III. The Arrest of the White
Snake Lady (- ) 216
Part IV. Offering at the Pagoda (% $) 216
24. Liu Ying-ch'un ($p jj jg=) or The Suspi-
cious Slipper (& ft 89) 219
25. Love Wins Where Discipline Fails . . (^ ffj $|f ^- ) 221
26. Loyalty Finds a Way ( ft ft) 223
27. Ma-ku Offering Birthday Greetings .. ( (ft * JfK ^ ) 227
28. Mu-lan, the Disguised Warrior Maiden (/fcE^ ) 229
29. Nun Seeks Love, A (jg.. /L ) 231
30. Pass of Chao, No. I, The (3fc Hg BE) 233
31. Pass of Chao, No. II, The (gj ^ $]) 235
32. Patriotic Beauty, The, or Hsi Shih . . ( Jfe ) 237
33. Rainbow Pass, The (fi[ f gg) 241
34. Red-maned Steed, The (^lli^JRI) 245
Part I. How Wang Pao-ch'uan
Chose Her Husband .. .. (& m SC) 245
Part II. The Wager .. .. ( = & ^) 246
Part III. Sieh, the Hero, Joins the
Army ( fe .^ JS'J ^ ) 246
Part IV. Pao-ch'uan Refuses to
Stoop .. (#! m m) 247
Part V. Sieh's Second Marriage . . ( ^ { ^) 247
Part VI. The Broken-hearted
Message ( m M f* * ) 248
Part VII. Sieh Returns Home .. (m H BS) 248
Part VIII. The Meeting at Wu
Chia Pu (^ "%. ) 249
Part IX. Clearing of Accounts .. (|? ) 251
PartX. Nemesis Begins Her Work ( ^ Ol) 251
Part XL The Final Score.. .. (M fS BB ) 251
35. Reward of Kindness, The (ifc ^ S> 2 s3
xvii
CONTENTS continued
Page
36. Romance of Chiang Ts'iu-lien, The . . (^ ^t fifi) 254
37. Royal Monument Pavilion, The . . . . (^ $ji ^) 257
38. Significant Sash, The (^ || ffi) 259
39. Snow in June (^ ^ ) 261
40. Spring Romance . . . . . . ( ft ;J1* ^) 263
Part I. The Naughty Maid . . ( ^s * BH *) 263
Part II. The Dream Betrothal . . ($ [gj jg ^) 263
Part III. The Dream Comes True (gj ' ' ^) 264
41. Strategy of an Unguarded City, The . . ($'() 265
42. Su San, the Loyal Sing-song Girl . . ($ r?) 269
Part I. The Extradition . . . . ( jfl .-'; 4*} j|f) 269
Part II. The Re-trial . . . ( .-I S ft tf) 271
43. Tai-yii at the Burial Mound of Flowers (ijj 3; ^ $;) 273
44. Tale of the Lute, The (g @ &) 275
45. Tale of Three Dwarfs, A . . ( >~{ fa -gf BH gp ;-/F. ? JH) 278
46. Trial of Lee Chih, The (tf $ *b) 279
47. Valiant Fisherman and His Daughter,
The <#**) 281
48. What Price Life? (J 3& W) 283
49. Wife's Sacrifice, A (W 5l *S) 285
50. Yang Yen-hui Visits His Mother . . (#g jjp ft? ) 287
Index 293
xviii
<^>L$ isl oj O/ tiuslrahons
Mei Lan-f ang Frontispiece
Mei Lan-f ang in the R61e of Hung-sien. .
Page
1. Yu Shu-yen's Writing . . . . . . . . . . . . xiv
2. Mei Laii-f ang's Painting . . . . . . . . . . . . xxii
3. Ch'eng Yen-ts'iu 1
4. Ch'&ng Yen-ts'iu in the R61e of Liu Ying-ch'un . . . . 2
5. The Back Drop 5
6a. The Ground Floor Plan of an Old-fashioned "Teahouse" . . 7
6&. The First Floor Plan of an Old-fashioned "Teahouse" . . 8
7a. The Ground Floor Plan of a Palace Theatre 9
7b. The First Floor Plan of a Palace Theatre 10
8a. The Ground Floor Plan of a Modern Theatre . . . . . . 11
86. The Mezzanine Floor Plan of a Modern Theatre . . . . 12
8c. The First Floor Plan of a Modern Theatre 13
9. A Stage with Scenery 11
10. "Tou-p'ung"; "K'ai-k'ao"; "Wu-ch'in" 15
11. "Tieh-tzu"; the Attention Sleeve 16
12. "Mang" and "Yu-tai" 18
13. "P'ei" and "Ch'un" with Embroidered Panels 20
14. The Nun's Attire 26
15. A Manchu Lady in Everyday Attire . . . . . . - - 28
16. "Lao-tan" 29
17. "Chin-i" 30
18* "K'aii-chien"; "Hua-tan" . . 35
xix
1, 1ST OF ILLUSTRATIONS continued
19. "Kuei-men-tan" 36
20. In the Dressing Room 45-47
21. "Tou-p'ung"; "Tao-ma-tan" 48
22. "Shan-tzu-hsiao-shen" 49
23. "Wu-lao-shn"; "K'ai-k'ao" and * fc K'ao-ch'i" 50
24. "Wu-shn" 51
25. "Wu-ch'ou"; "Wu-shen" 52
26. Some Male Roles 55-58
27. The Mandarin Official Robe 68
28. Sun Hui-shn in the Role of He Yii-fgng 69
29. Miss Hsiieh Yen-ch'in in the Role of the Empress . . . . 70
30. Miss Chang Ng6-yuin in the Role of Meng Yii-hua . . . . 71
31. Miss Sin Yen-ts'iu in the Role of Yu-ehing-tao-jen . . . . 72
32. A Posture on Horseback 73
33. The Concealing Sleeve 78
34. The Aside Sleeve 80
35. The Greeting Sleeves 82
36. The Wretched Woman; the Upheld Sleeve 84
37. Looking Backward with Running Sleeves . . . . . . 86
38. The Responding Sleeve 88
39. The Attention Sleeve 90
40. "Mang"; the Hanging Sleeves; the Snatched Sleeve . . , . 92
41. The Dusting Sleeve 93
42. The Shading Sleeve 94
43. The Upheld Sleeve; "Tieh-tzu"; the Open Hand;, "Ch'oiT . . 95
44. "K'an-chien"; "Fun4ien"; the Open Hands .... . . 96
45. The Helpless Hands 98
46. The Contemplative or the Project Hand 100
47. The Fencing Hand 102
48. "Fun-lien"; Pointing Above 104
49. Pointing to the Left Front 106
50. Pointing to Oneself 108
51. The Hindering Hand 110
52. Pointing to the Object Held in the Other Hand . . . . 112
53. Turning on Horseback . . . . . . . , . . . . 124
54. The Exit Posture; Leading a "Horse" 126
55. Holding the Pheasant Feather; "Chih-vei-hsiao~shn" . . 128
XX
LIST OF ILLUSTRATIONS co n tinned
Page
56. "K'ai-k'ao" and "K'ao-ch'i"; Dancing with the Pheasant
Feathers . . . . . . . . . . . . . . . . 130
57. Dancing with the Pheasant Feathers . , . . . . . . 132
58. The Dead Body; the Upheld Sleeve; the Folding Sleeve . . 134
59. The "Heart-protecting Glass"; Mounting an Imaginary Horse 138
60. Reining up a "Horse" 140
61. Starting on Horseback 142
62. Making Shoe Thread 146
63. The Mistress and the Maid 158
64. The Spinning Maiden 164
65. "Tan" and "Hsiao-shen" 166
66. The Beggar's Costume 170
67. "Wa-wa-shen" 176
68. Holding the Pheasant Feather 178
69. A Posture in the Sword Dance . . . . . . . . . . 182
70. Aside; "W&n-ch'ou" 194
71. A Posture in the Sword Dance; the Fencing Hand . . . . 196
72. The Resting Sleeves; the Repulsing Sleeve; "Wu-ch'in" . . 206
73. "Chang-tzu"; "Teng Tso" 208
74. Miss Hsiieh Yen-chin in the Role of the White Snake Lady 214
75. The Unfounded Suspicion 218
76. An Aside 224
77. A Posture in the Tray and Winepot Dance 226
78. Mei Lan-fang in the Role of Mu-Ian 228
79. The Nun at Worship 232
80. A Posture in the Flute and Plume Dance 236
81. The Fan Dance 238
82. The Spear Dance 240
S3. The Spear Dance 242
84. A Scene in "The Rainbow Pass" 244
85. The Aside Sleeve 250
86. A Scene in the "The Royal Monument Pavilion" . . . . 256
87. "Wu-ch'in" 266
88. "WSn-ch'ou"; the Fish-shaped Stocks 268
89. Starting to Bury Flowers 272
90. On Board Ship; the Open Hand 280
91. The Mandarin Style of Dress . . . . 288
xxi
Illus. 2. Mei Lan-fang's Painting
Mei Lan-fung's Painting
Sketch of ^Vvlei oL an=\
an=ang
Two external influences were powerful in moulding the genius of
Mei Lan-fang: the musical environment of Peking (now Peiping) and
the Movement for the Emancipation of Women ( %ft & $? $c $g gfr ). By
the first was developed his highly aesthetic talent for drama; by the
help of the second was accomplished the leadership of "tan'* (the female
r61e, see p. 37).
His grandfather, Mei Chiao-lin ( # *5*fr), was an imperial court
actor and the Director of the Peking Szu-hsi Dramatic Training
School ( JB SE ) . His father having died a very young man, the child
was reared by his paternal uncle, Mei Yu-tien (#$ H IB), a f ambus per-
former on the "hu-eh'iiT (the Chinese violin, see p. 31, Item 3). This
musical atmosphere may have played a large part in making the artist
what he is today.
xxiii
BIOGRAPHICAL SKETCH continued
In real life woman was considered inferior to man, and this attitude
was reflected on the stage. Those who played "chin-i," the role for
a virtuous woman (see p. 37) , were placed in the fourth rank, whereas
"lao-shen," the players of aged masculine roles (see p. 37), occupied
the foremost position. Then, when woman's struggle for equality won
a great number of sympathizers, the movement exerted no less influence
on the stage than it had on real life : the leadership of "tan" had become
possible. Above all forces contributing to Mei Lan-fang's success, how-
ever, are the upright character and the indefatigable effort of the
artist himself.
On October 22, 1894, the historic city of Peking became the birth-
place of the great artist. Though Mei Lan-f ang was only eleven years of
age when he made his first stage appearance, yet he so impressed the
fastidious connoisseurs that they assured his uncle that the little man
was a piece of "jadestone worthy to be fashioned and polished." They
also foretold that if he were properly trained he would achieve a
brilliant career. Their prophecy was soon fulfilled; his first visit to
Shanghai in 1913 was such a marked success that on his return to
Peking he began to be ranked above "lao-shen." Since 1917 Mei Lan-
f ang has been and still/is peerless in the dramatic world of China.
Though he had never been an actor of the Imperial Court, Mei
Lan-f ang was granted an audience in the Yang Sing Hall (% f% jg?) of
the Forbidden City by the ex-emperor, Hsiian-t'ung (*fa $), who not
only presented him with some rare porcelains but made him head of
the Tsing Chung Temple (fg J& Jjpf ), which title according to the Manchu
custom was the highest honour an actor could acquire.
He has produced a great number of new plays based on classical
literature, and having either historical background or ethical teaching
as the motive. His greatest contribution to the Chinese drama is his
revival of the ancient classical dances, such as:
(a) Sword Dance in "The Final Parting between the King, Pa Wang, and His
Favourite" (Illus. 69, 71)
"The Heroic Maid" (frontispiece)
"The Filial Daughter, Lien Chin-fSng" (Illus. 47)
(c) Spear Dance in "The Rainbow Pass" (Illus. 82, 83)
(d) Jan Dance (Illus. 81)^
Flute and Plume Dance (Illus. 80) j J *
xxiv
BIOGRAPHICAL SKETCH continued
His performances have attracted crowded audiences not only of
his own countrymen but of foreign spectators as well. He has been
requested to visit a number of foreign countries and present Chinese
drama, but he has only accepted the invitations of Japan, the United
States, and Russia.
His tours to Japan in 1919 and 1924 resulted in the appearance of
a number of "Mei-style" plays upon the Japanese stage. In 1930 he
visited the United States and was most enthusiastically welcomed. He
was elected to honorary membership in both the American Dramatic
Association and the Organization of International Adventurers. He
was the recipient of the honorary degree of Doctor of Letters from
Pomona University and from the University of Southern California.
In 1934 he was invited by Soviet Russia to give performances in
Moscow and Leningrad. The Chinese Government sponsored the trip, so
in January, 1935, he began the journey in the boat sent by the Russian
Government. Among the ovations he received, those for "The Valiant
Fisherman and His Daughter" (see synopsis) were the greatest. Then
while his troupe returned home, he toured Europe to investigate western
drama. He has been repeatedly asked to bring his troupe to Europe,
and he laconically replied, "I may, some day."
As a man he is shy, yet friendly; retiring, yet ambitious. He hates
publicity, yet delights in society. He has been criticized for being too
courteous and gentle, and for lacking at least one human characteristic,
temper.
His boyhood schooling was desultory; his education has been
attended to mostly by private tutors. Even up to the present time, in
the midst of his manifold social obligations, he reserves at least three
hours a day for study and research in the spirit of
"One who never turned his back, but marched breast forward."
XXV
Xc
J
Illus. 3, Ch'eng Yen-ts'iu
Illus. 4. Ch'eng Yen-ts'iu in the R61e of Liu Ying-ch'un
PLAY: Liu Ying-ch'un or The Suspicious Slipper
CHAPTER
ONE
N the early days there was no permanent establishment like
the theatre of today. On special occasions voluntary contri-
butions were collected from the families of the neighbourhood
to pay the actors. A temporary two-storied structure was
erected, the ground floor being used for the dressing room
and the first floor for the stage. The spectators seated themselves at
their ease in the open air on stools or benches brought from their own
homes, and arranged along the sides and in front of the stage.
There were also private performances, sponsored by rich families
or officials, to entertain their guests or to celebrate certain occasions.
These shows were usually given in the main hall of /the host's stately
mansion and therefore only the invited guests were admitted to this
kind of performance. The honoured guest may order his favourite play
to be performed popularly known as "Tien-hsi." 1
In the later dynasties, besides the permanent stage in the temples,
"teahouses" began to be used for theatrical performances. People went
* 'Tien-hsi" (SA Jtt), to order a play to be performed. If the Emperor, a noble
or any special guest was in the audience, the man in charge of the theatrical ijroup
offered him the repertoire of plays and a pen with which the honoured guest
"dotted" his favourite plays. These were immediately performed in the order
designated, even if the play in progress were not yet finished. Hence, up to this
day, the term "tien-hsi" (to dot a play) is used if one wants another to do
a certain business for him.
3
4 ... SECRETS OF THE CHINESE DRAMA
there to sip tea while the performance was going on. That was why
tables and stools (Illus. 6a, R) were put where we have our stall seats
today. Originally, only tea was sold and the admission fee for the
show was included in the "tea money. 9 * This custom, however, was
changed and though an admission fee was charged for the show with
tea money as its accessory, the theatre still retained the name of
"teahouse." Tables were sold in entirety like boxes and individuals
could only obtain inferior, cheaper seats on the sides of the stage or
behind the tables (Illus. 6a, u). Later, "tien-hsi" began to develop in
these "tea houses" and for each of the specially ordered plays an extra
fee was charged.
The stage was almost square. A red or black lacquered pillar (Illus.
6a, o) at each front corner supported the projecting roof structure.
Under the middle front of this roof and facing the audience, a large
wooden board, lacquered or gilded, and bearing the name of the
"teahouse," was hung. When a show was on, the stage was almost
empty. At the back of the stage there usually hung a beautiful,
embroidered curtain (Illus. 5, 6a, N) in which there were two openings,
through which the actors made their entrance and exit. The entrance
on the left (Illus. 6a, K) was called "Shang-ch'ang-men" ( k jj pg) and
the exit on the right (Illus. 6a, L) was "Hsia-ch'ang-men" ( p Jtg p^).
There were two smaller, but no less beautiful curtains hanging over
these "doors." The place where the orchestra used to sit was called
"Chiu Lung Kou" (-Ji ff| p literally, the nine-dragon entrance, Illus.
6a, j). The name originated from a practice of Ming-huang (A.U. 712-
756), an Emperor of the Tang Dynasty who was so fond of music that
whenever his favourite, Yang Kuei-fei, was dancing, he himself directed
the orchestra. It is said that nine dragons, the symbol of the Emperor,
were carved on the platform where he sat. Any actor appearing had
to pass His Majesty before he reached the centre of the stage and to pay
him respect he had to stand a moment before the nine-dragon platform
to let him examine whether his appearance and movement were
pleasing to the eye. Now, even though the orchestra does not always
sit kt this place, the name "Nine-dragon Entrance** still denotes the
location on the stage, at which every actor of today on his first appear-
ance, stands a minute to perform a "Turning" sleeve (see Part II, Ch.
I, 1) or some other movement to let the audience inspect and classify
THE CHINESE THEATRE
Illus. 5. The Back Drop
(Left to right) I The Messenger. 2 Mu-lan. 3 and 4 Mu-lan's
Parents. 5 Mu-wei.
him as to his artistry. Behind K the actors usually stood when they
were ready to appear or when they sang or spoke to represent persons
approaching from a distance or some bystanders responding to the
character on stage.
As the ground floor seats were for men only, the first floor boxes
were reserved for women. They were partitioned by screens (Illus. 6b,
s). In front of the box seats there was a broad railing, higher than
an ordinary table, to be used when serving tea. Behind the boxes were
the dress circle seats (Illus. 6b, x).
The palace theatre was like the "teahouse," above mentioned, in
structure, but was more elaborately carved. It had only one floor for
the audience, but there were two stages instead of one, the upper (Illus.
7b, HO and the lower (Illus. 7a, H). Whenever celestial beings were
portrayed, the upper stage was used to represent their abode, while at
the same time those who took human r61es were acting on the lower
stage. In one palace theatre there was a three-storied stage, the bottom
6
SECRETS OF THE CHINESE DRAMA
being used to represent the realm of devils or spirits of the dead. The
seats opposite the stage (Illus. 7a, s') were allotted to the Emperor and
his royal family while those on the sides (Illus. 7a, R') were for officials
and court ladies. The different sexes were never permitted to sit
together.
With the influx of western architecture, the modern Chinese theatre
has done away with the pillars on the stage, the lacquered board, etc.
Customs, too, have changed, the most important of which being women's
preference for the more expensive stall seats rather than the boxes
where ladies were formerly compelled to sit.
The back embroidered drop with the entrance and exit openings
remains the same, but two additional doors, further to the sides and
more to the front (Illus. 8a, K' and L'), are being used for entrance and
exit. Much to the disgust of the lover of old Chinese drama, realistic
scenery is sometimes used on the stage (Illus, 9) . In short, the Chinese
theatre of today has been very much modernized.
KEY TO ILLUSTRATIONS No. GA No. 8c.
A Street Entrance
A' Royal Entrance
B Entrance
B' Officials* (or Court Ladies 1 ) En-
trance
C Ticket Office
D Lobby
E Bar Room
F Lounge
G Stalls
H Stage
H' Upper Stage
I Set
J Orchestra
K,K' Shang-ch'ang-men (Entrance)
L,L' Hsia^ch'ang-men (Exit)
M Off Stage
N Back Drop
Pillar
P Dressing Room
Q Stage Entrance
Q' Upper Stage Entrance
R Reserved Seats
R' Officials* (or Court Ladies') Seats
S Boxes
S' Royal Box
T Dress Circle Seats
U Seats
V Stairs
W Gentlemen's Lavatory
X Ladies' Lavatory
Y Scenic Properties
Z Exit
a Business Office
b Cloak Room
'HE CHINESE THEATRE
M
w
OD
ad
IE
DE
PD
Ha
pal [a i
aaLJdi
33 n
IP p
p a
u
Illus. 6a. The Ground Floor Plan of an old-fashioned "Teahouse"
SECRETS OF THE CHINESE DRAMA
J
Y.
W
W
n
L I I
ZJ L
I I
I 1
Illus. 6b. The First Floor Plan of an old-fashioned "Teahouse/
THE CHINESE THEATRE
' -pltlttLIJFl
P
p
P 9
m Y m IHI.I-I i
J
1
1
i
1
D
RL
ft
n
I
D
>
in
n
r
U
n n D D
. L -
PI
Hi!
i-
pi
p
W
"T""*
mam
P
p
p
1
Id 1L
(
1
1
3
i!
P
T
JL
R
D
8
n
]'
n'
Illus. 7a. The Ground Floor Plan of a: Palace Theatre
10
SECRETS OF THE CHINESE DRAMA
IH
H'
Illus. 7b. The First Floor Plan of a Palace Theatre
THE CHINESE THEATRE
11
t/VWH/ 11
fflus. 8a. The Ground Floor-Plan of a Modern Theatre
12
SECRETS OF THE CHINESE DRAMA
DM
_. v *~
i x^"
JJ".
MMk
_
/
Illus. 8b. The Mezzanine Floor of a Modern Theatre
THE CHINESE THEATRE
13
Illus. 8c. The First Floor Plan of a Modern Theatre
14
SECRETS OF THE CHINESE DRAMA
Illus. 9. A Stage with Scenery
(Left to right: The Maids, by Yao Yii-fu, Mei Lan-fang and Wei Lien-fang;
The Master, by Chiang Miao-hsiang) .
THE CHINESE THEATRE
15
Illus. 10. "Tou-p'ung" ("Tan" by Mei Lan-fang); "K'ai-k'ao"
("Wu-ch'in" by Kin Shau-shan)
PLAY : The Final Parting between the King and His Favourite.
16
SECRETS OF THE CHINESE DRAMA
Illus. 11. "Tieh-tzu"; The Attention Sleeve (by Mei Lan-fang)
CHAPTER
CJbiAKlJbiK x-y x j
TWO C/ne t/oslumes ana
roperhes
In the very early days, actors, as well as stage properties, were
owned by the rich. Special servants were appointed to control them.
Naturally the drama was very simple and was produced on a small
scale, but, as time passed, additions and alterations to the ancient
plays made the art more and more complicated. In the Tang Dynasty
(A.D. 618-907) the Emperors became interested and began to patronize
the art, so the costumes and stage properties were much better
than before. Moreover, in the late Ch'ing Dynasty (A.D. 1644-1911)
the rich, extravagant salt merchants offered specially woven
silk to the Emperor to be made into elaborate costumes. The
actors who played gods and goddesses wore the most beautiful robes.
The stage was so spectacular that millionaires began to patronize
it and the paraphernalia became so complicated that professional pro-
perty-men had to be hired to take charge of the innumerable kinds of
theatrical property. Now its scope has been further broadened by Mei
Lan-fang's introduction of "ku-ch'uang" ( $& literally, the ancient
apparel, Illus. 9, 37, 69, 80). He follows the fashion in women's dress
of more than two thousand years ago.
There are strict conventions that the colour and style of costume
must correspond with the status of the person, the character he repre-
sents and the occasion when he appears, e.g.
17
18
SECRETS OF THE CHINESE DRAMA
Illus. 12. "Mang" and "Yti-tai" (by Mei Lan-fang)
THE COSTUMES AND STAGE PROPERTIES ... 19
The Emperor yellow
The members of the royal household . . . . light yellow
The honourable or respectable class . . . . red
The virtuous and kind . . blue
The young white
The old . . . . . . . . . . . . . . brown
The straightforward and brusque black
At formal, state 'occasions:
Both civil and military officials wear "mang" (see below).
On ordinary days, when off duty:
The characters wear "Tieh-tzu" (see below).
On the battlefield 'or when reviewing troops:
The military officials wear "K'ai-k'ao" (see p. 21).
The actors of today, however, enjoy much freedom in choosing their
costumes. So long as they suit the taste of their audience, they are
allowed to discard some of the old conventions.
The following are some important kinds of costumes:
1, MANG ($), the official robe (Illus. 40). This robe has a round
collar, and long "rippling-water sleeves" (see p. 77). It is embroidered
with dragon designs and at the lower edge with water-waves. It is
usually made of satin and is worn on state occasions or at other
formal celebrations. Robes for the female characters are shorter
(Illus. 12,40).
2. YU-TAI ( 3? 1$ ), the precious-stone belt (Illus. 12, 40). This belt
is made of some hard material inlaid with pieces of semi-precious or
imitation stones. It is always worn with the "mang" a little below the
waist.
3. TIEH-TZU (jg ^y-), the everyday apparel (Illus. 11). It also has
long "rippling-water sleeves" and is buttoned only at the collar and the
waist. It may be made of stiff satin or soft crepe, either embroidered or
plain, in black or in bright colours. The plain black kind is worn of tener
than the "Tieh-tzu" in other colours. The white sash may or may not
be used. "Tieh-tzu" worn by the male character is much longer.
The front piece overlaps towards the right side, therefore it is buttoned
under the arm (Illus. 43).
20
SECRETS OF THE CHINESE DRA
Illus. 13. "P'ei" and "Ch'un" with Embroidered Panels (by Ch'&ig Yen-ts'i
THE COSTUMES AND STAGE PROPERTIES 21
4. P'EI (K), the overcoat (Illus. 13, 33). Unlike "tieh-tzu" it is
buttoned only at the a waist for the collar is very low and the whole dress
reaches to the knees. It may cover the "tieh-tzu." It may be plain or
embroidered with birds, flowers, dragon, phoenix or any other design.
It is to be worn as a party dress on less formal occasions than when
the "mang" is used.
5. CH'UN ($g), the skirt (Illus. 11, 13, 33). Skirts are worn by
female characters only. They may have plain or embroidered front
and back panels, the side-pieces being usually plaited. The formal
official skirt is made of red satin, always with embroidered panels.
When a skirt (or an additional skirt) is fastened about the bust, it
represents a poor, wretched or distressed woman or maiden (Illus. 36) .
Sometimes it symbolizes travelling on a long journey for it shows that
the character is not properly clad.
6. K'U-AO OJ| $0, the blouse and trousers (Illus. 62, 63), or
CH'UN-AO (ffi |), the blouse and skirt (Illus. 18). A "hua-tan" (see p.
37) usually wears a short blouse with short sleeves and trousers, or
sometimes a skirt instead of the trousers. All of the costumes are in
brilliant colours and embroidered in beautiful designs. An embroidered
sash is always worn by a "hua-tan."
7. K'AN-CHIEN (jfc Jpp, the sleeveless jacket (Illus. 18, 44). This
is commonly worn by soubrettes. There are two kinds, one reaching
to the knees (Illus. 44) and the other, to the waist (Illus. 18, 63, 84).
It may be plain or embroidered with beautiful designs in bright
colours.
8. TOU-P'UNG (if-ll), the cape (Illus. 10, 21). The cape is worn
by both male and female characters while travelling, or just after
leaving the bed to show that the character has not finished dressing.
Sometimes it is worn to represent illness or being outdoors late at night.
It is very long, reaching almost to the feet, and may be plain or
embroidered. Sometimes it has a heavy fringe along the lower border.
9. K'AI-K'AO (^ J|) the armour (Illus. 10, 23, 56, 57, 87) . Characters
of military type wear this costume on state occasions or on the battlefield,
It is usually made of satin, embroidered and with tight sleeves. The
lower part of fhe dress consists of four panels with an embroidered
dragon or tiger head on the front panel at the waist. A mirror called
"the heart-protecting glass" is often worn on the breast (Illus. 21, 54, 59).
22 SECRETS OF THE CHINESE DRAMA
The armour for the female roles has numerous vari-coloured,
embroidered streamers hanging, skirt length, with the panels compar-
atively shorter than those on the male warrior's costume. Sometimes
tiny bells are fastened on the ends of these streamers.
10. K'AO-C'HI ( & $ ) , the military flags (Illus. 23, 56, 57, 87) . Four
Hags, embroidered with dragon, phoenix or flower design, triangular in
shape and of the same colour as the armour, are worn on the back of the
generals. They got their origin from the idea that generals needed to
give orders on the battlefield. The flag was to be used to prove the
authenticity of the order.
11. SKNG-I (f# &), the monk's (or nun's) attire. A monk (or a
nun) wears a cap and a gray or yellow coat, sometimes with a long,
sleeveless jacket over it. There
is, however, another class of nun,
who wear their hair just like $i
ordinary women. On the stage ^^g &
they are allowed to wear the r ^
bright-coloured "tieh-tzu" but
over it there must be a long
sleeveless jacket embroidered in ,, , ^
rhomboid designs. The headdress
with tassels and two embroidered streamers is peculiarly long at the
back. A duster is always held by these religious characters
(Illus 14).
12. FU-KUEM (*$& j(J ;&), the beggar's costume (Illus. 66). To
represent a beggar or a wretched person, the actor wears a "tieh-tzii"
patched with irrcgular-shapcc} pieces of silk or cloth in different colours.
If he wears a cap or hat, it is similarly patched. It is called u thc dress
of the rich and the noble," meaning that the wearer someday may
become better off financially and socially.
13. CH'I-CH'UANG (Jjjf 3), the Mandarin style of dress. From head-
gear to shoes this style worn by the Manchus is different from the above-
mentioned costumes. For instance, the shoe has a 2% by 3-inch wooden
block nailed to the centre of the sole (Illus. 91). Therefore, unless
accustomed to this kind of shoe, the wearer finds walking rather
difficult. The coat is very long, plain or embroidered, but never with
THE COSTUMES AND STAGE PROPERTIES
23
"rippling-water sleeves." Sometimes a short sleeveless jacket is added
to an everyday coat, the front of which overlaps towards the right side,
(Illus. 15). The official coat opens and is buttoned down the centre
front. It is always made of satin (Illus. 27).
Besides the dress, the art of decorating the head and face of the
female impersonator began to develop. Formerly, the "tan" (see
p. 37) used only a piece of blue gauze as a headdress. Not much
decoration was considered necessary, but this simple headdress did not
match the elaborate costumes. Therefore, more beautifying touches
had to be added to the head and face. Specially trained beauty artists
became a necessity. Even the face-powdering, eyebrow-drawing,
painting, hair-dressing, etc., were done by these professionals, and
artistic forms of coiffure were invented. These decorative methods are
still in vogue.
Stage properties were no less complicated than the above-mentioned
details. Only a few examples have been selected for description:
1. SHAN ( |1| ), a hill or mountain.
a. A chair lying on its side and
placed behind a board painted with a
mountain design stands for a hill or
mountain.
6. A chair may stand for a hill or
mountain. The actor mounts the chair
and steps down on the other side to show
A "Hill" or "Mountain" that he has crossed over a mountain.
2. LIN-TSIEN (ft ffi), the mandate arrow. This
arrow represents the command of some powerful man
or woman that the bearer be allowed to pass freely any
post or station, closed to ordinary persons.
3. SHENG-CHIH (lg g>), the royal mandate. A roll
of yellow, embroidered silk, rectangular in shape when
unrolled, bears the two words "sheng" and "chih" (liter-
ally, the royal mandate) and stands for the Emperor's
order or proclamation. While the mandate is read it
is held with the side bearing the words towards the
audience.
24
ft
Ma- pie n
Lantern "A"
Tsiang
Lanterrt"K"
6. TSIANG
Lin-ch'i
Ch'eh-ch'i
SECRETS OF THE CHINESE DRAMA
4. MA-PIEN (&> $$), the horse-whip. A horse-whip
stands for a horse and the actor holding it is supposed
to be on horseback or leading a horse. When a whip
is thrown on the stage, it means that the horse is let
loose to graze or is fastened to a post or tree. The
colour of the whip indicates the colour of the horse.
5. TENG-LUNG ( jg fffi), the
lantern. Besides the royal lantern
(A), the ordinary kind (B) is
merely a wooden frame, the
lower part of which is wrapped in
red silk and the upper larger part
in green. Each of the lanterns
has a long handle and is carried
about to represent night,
the oar. The actor holding an oar
in his hand represents a character on board ship.
7. SHUAI-CH'I (($;{), the Commander-
in-chief's banner. The banner bearing
the word, "shuai" (literally, commander-
in-chief), is often hoistecl behind the
character playing the commander-in-
chief by his close attendant who must,
of course, keep pace with his master.
8. SIN-TCU-CH'I (#1= ?p fiE) the personal
banner. Sometimes a banner bearing
the surname of the general is hoisted in
the manner mentioned above.
9. LIN-CH'I (fa $ ), the commanding banner* The
banner bearing the word "lin" (literally, command)
accompanies an order which the army must obey.
10. CH'EH-GH'I (jj Jfc), the wagon. Two flags, usually
yellow, on each of which is drawn a wheel, represent a
wagon. A servant carries the flags and the rider stands
or walks between them. The flags are always brought
on the stage by a servant whenever a wagon is needed
and taken off as soon as the rider steps out.
THE COSTUMES AND STAGE PROPERTIES
25
Shiii-ch'i
Fung-ch'i
11. SHUI-CH'I OJt $R), *e water banners. Banners
with designs of waves and swimming fish represent
water. Actors usually appear in fours each holding a
water banner and constantly shaking it so as to make
"waves." To represent suicide by drowning, the actor
jumps towards them. Then they fold the flags around
him and exit together.
12. FUNG-CH'I (Jg, jjft), the wind banners. Black
banners stand for windstorms. Actors, in fours, run
across the stage to show the coming of a storm.
13. PU-CH'ENG (%j $), the city wall A
large rectangular piece of blue cloth, painted
to represent the mortared bricks of a
wall, stretched on bamboo poles and hoisted
vertically, represents a city wall. There is
an opening at the lower centre of the cloth so
that the sides may be drawn back to represent
the opening or closing of the city gates.
Whenever a wall is called for, the property-men bring on stage this
cloth wall. As the "gates" are not high enough for the actors to
enter or leave the city easily, the wall is raised to facilitate their passage.
14. TENG Tso ($ $|), light A candle (Illus. 73) or table lamp not
lighted is considered lighted. In recent years, however, some actors
actually light the candle or lamp.
15. YIN (pp), an official seal. A woodeu block, about one-and-a-
half inches square, wrapped in yellow silk or cloth represents an official
seal. It i$ seen in the parallel plays, "The Suspicious Slipper" (jfr J5f
8|) and "The Meeting at Wu Chia Pu" (ft % &). There is another
kind of official seal, similar in structure, only much larger.
16. CH'ENG-LOU ($ ^), the city-tower. To represent a person in
a city-tower, the actor stands on a table placed behind the cloth wall.
In "The Strategy of an Unguarded City," two tables are put side by side
behind the cloth wall. On them is placed another table and a chair.
The actor, playing Chu-ke Liang, first mounts the table and then sits
behind the top table to play on the "ch'in" (^ a seven-stringed musical
instrument) .
26
SECRETS OF THE CHINESE DRAMA
Illus. 14. The Nun's Attire (by Mci Lan-fang)
A Nun Seeks Love
THE COSTUMES AND STAGE PROPERTIES . . 27
17. Nui CH'ANG I (R >Mf), the chair on the back>stage and WAI
CH'ANG I (#\- ^ ^), the chair on the front stage. The former is the
chair put behind the table in the centre of the back stage and the latter
is the chair in front of the table.
18. TAO I (|JJ ;Rf), an overturned chair or a chair lying on its side.
A chair not on its feet is no longer deemed a chair in the play, but
something else, e.g. a mound, a common bench for the weary, etc.
19. SHOU-CHI (g jgfc), the decapitated head. A bundle about the
size of a head wrapped in red cloth (sometimes with beard if an old
man) indicates a decapitated head. Any character decapitated runs
quickly off the stage and the property-man produces the head if called
for.
20. CHANG-TZU (ifcg ^-), the bed, the tower, etc. An embroidered
curtain, usually made of satin, represents a bed (Illus. 73) or a tower.
Sometimes it is also used when high officials, civil or military, sit in
session.
SECRETS OF THE CHINESE DRAMA
IIlus. 15. A Manchu Lady in Everyday Attire (by Wang You Chun)
THE COSTUMES AND STAGE PROPERTIES
Illus, 16. "Lao-Ian" (by Lee Too-ku'ei).
30
SECRETS OF THE CHINESE DRAMA
CHAPTER
THREE
Cy
nslrumenh
The orchestra for Chinese drama is named "Ch'ang-mien" (
literally "the face of the show." As limited space does not allow the
description of all the musical instruments, only the following have been
chosen:
1-2. HAO-T'ITNG (| ft) and
SO-NA (Pg Ppj), the horns. They
are of the trumpet type and
produce loud sounds. They arc
never played when a "tan." (see
p. 37) is singing.
3. HU-CH'IN ( jfl ^), the Chinese violin. This two-
stringed instrument, played with a bow, is made of
bamboo. It was introduced into China from the
northern barbarian tribe Hu; hence, its name, hu-ch'in,
meaning the violin of Hu. It is the leading instrument
of the "p'i-huang" style (see p. 64) . Its tunes are very
high-pitched.
4. I-CRH-HU (.n $) the "minor" Chinese violin. It is
usually played to assist the "hu-ch'in" and its structure
is similar to that of the latter, only its pitch is lower and
its, sound much softer.
31
Erh-hu
32
SECRETS OF THE CHINESE DRAMA
*
Pan
T'ang-kn
ft
Ti and Siao
5-6. YUEH-GH'IN (ft ^), the moon
guitar, with four strings, and SAN-
HSIEN (=1 $), the three-stringed
guitar. Both are used to assist
the "hu-ch'in," therefore their tones
are much softer than those of the
"hu-ch'in."
7. P\N 0$c) the time beater. It is made of three
pieces of hard wood, two of which are tied together,
side by side, with the third piece hanging on a cord.
The third piece is used to strike the other two. A clear
sound is produced. The actor listens to it to keep time.
8-9. TAN-P'I-KU (.f[ jfc gj), the one-
m sided drum and HUAI-KU (^ |$), the
breast drum. These two instruments
assist the "pan" to indicate time in
Nuat-ku case the other instruments are so loud
Tan-p'i-ku that the "pan" cannot be heard clearly.
10. TANG-KII ($f JJf), the large drum. It is seldom
used in ordinary plays. When the more prominent
actors sing the "fan-erh-huang" tune 1 in the street scene
in "Snow in June," this instrument is always used to
assist the "pan." It is so delightful to the ear that it is
now in vogue whenever that tune is sung. Moreover,
in some of the dance scenes of Mei Lan-fang ($$ $j $)
and Ch'ng Yen-ts'iu (^ fiji 5$c), it is used to accompany
the "hu-ch'in."
11-12. Tr (30 and Sue (1), the flutes. There are
two kinds of flutes, "ti" (left) and "siao" (right). They
look like the western flute, only the former when
played is held parallel to the lips, with the second hole
on the instrument where a piece of bamboo tissue is
pasted serving as the mouth piece. In K*un-eh'u plays
(see p. 63) /"ti" is the leading instrument.
plays.
*Tan-rh-huang" is a tune relative <to "6rh-huang" usually given in tragic
THE MUSICAL INSTRUMENTS
33
Sheng
f N
Sin
Hsiao-lo
m
m
Vain-lo
Nao
P'i-p'a
13. SHENG ( 2g ) , the reed-organ. This instrument is
made of a set of tube-like bamboos fastened together.
Its notes are very soft and pleasing.
14. SIN ( J| ) , the cup-shaped bells. These bells help
the "pan" to beat time. They are nearly always used
with the large drum when the tragic songs in "f an-erh-
huang" are sung. They are made of brass in the shape
of round cups, in the bottom of which a cord is fastened
so that the outer end of it may be used as a handle.
When one bell hits the other, a delightful sound is
produced.
15-16. Lo OR), the gong and HSIAO-LO (/j^ g|), the
small gorig. They are of the same structure, only the
latter is much smaller. "Lo" produces very loud
sounds and is generally used in playing the overture.
Sometimes one or two strokes may be sounded between
the musical passages or before some significant action
takes place. The small gong is always used just before
the "tan" steps on the stage.
17. YUIN-LO (gf $|), gongs in scale. This instru-
ment consists of ten gongs, each being about two-and-a-
half inches in diameter, hung in a wooden framework
and each representing a different musical tone in the
graduated series. A little wooden striker is used to
hit the gongs,
18-19. NAO (^) and PA
( $fc ) , the cymbals. They are
very loud instruments made
of brass, and generally used
with the gong.
20. P'I-P'A (g H), the lute. In olden times, "p'i-
p'a" was the leading instrument in the orchestra of
the Northern School of drama (see p. 62). It is made
of wood and has four strings, a long neck and a bent
head. Its sound box is semi-globular like that of the
western ukelele.
Pa
34 , . . SECRETS OF THE CHINESE DRAMA
As in the drama in other countries, the musical instruments are
played to accompany the songs. Different, however, from practices in
foreign shows, special musical passages, called 4v ku-men" (^ pg)
literally "through the door," are played after each sentence, or line of
poetry in songs, in which case the music is of a slow tempo, usually %
time. These musical passages give the actor time to rest or to make
some artistic gestures, for the music must correspond with the actions,
as well as with the atmosphere of the play. Therefore, a frequent
theatre-goer can tell at once what kind of a song is going to be sung or
what kind of action will follow, as soon as ho hears the. "ku-men."
Formerly, the "Chiang-mien 1 " (orchestra) was provided by the
troupe manager, so the music was always the same, but after the leading
stars began to write and sing their own compositions, these common
orchestras could no longer meet their needs. Special musicians had to
be trained for each particular artist. Therefore, the orchestra of the
more prominent actors is always provided by themselves. As to the
less prominent actors they only have violinists of their own.
MUSICAL INSTRUMENTS
35
Illus. 18. "K'an-chien"; "Hua-lan" (by the Author).
36
SECRETS OF THE CHINESE DBA
Illus. 19. "Kuei-men-tan" (by the Author)
CHAPTER
FOUR &ke (Zkarader
All the characters in the Chinese drama except "tan" play male
roles. The following may give some idea of the division of the character
types :
TAN ( J3 ), the female roles.
(a) lao-tan (3g J3 ) a dignified old woman (Illus. 16),
(fc) chin-i (flf ^c) a virtuous woman. This name, "blue coat,"
was derived from the colour of the garment, formerly worn
in this role. Now the dress is black (Illus. 17).
(c) hua-tan ($ JB flower-"tan") a coquettish woman or
vivacious soubrette (Illus. 18).
(d) kuei-men-tan (|i| f!J J3 in-the-chamber-"tan") a young
or unmarried woman (Illus. 19).
(e) tao-ma-tan (7JJ^ J[ sabre-steed-"tan") the military type
of woman (Illus. 21).
(/) ch'ou-tan (gt ji) comedienne.
SHEN (& Illus, 26).
(a) lao-shen (^ ^fe)--a dignified aged man (Illus. 20b, 43).
(6) hsiao-shen (/J> & young-"shen") a youth (Illus. 65).
1. shan-tzu-hsiao-sh&a (^ ^f* /J> & fan-"hsiao-shen") a
young man who always holds a fan (Illus. 22).
37
38 . . . SECRETS OF THE CHINESE DRAMA
2. chih-vei-hsiao-shen ($ H /] ^ pheasant-f eather-"hsiao-
shen") a young man who wears pheasant feathers on
his headgear (Illus. 55).
(c) wa-wa-shen (*!*!& child-'^hen") a child (Illus. 67).
Those of the military type are known as "wu-lao-shen" (^ ^
Illus. 23) and "wu-shen" ( K Illus. 24, 25) respectively,
CH'OU (3fc) a comedian.
(a) wen-eh'ou ( a) a clown (Illus. 70, 88).
(b) wu-ch*ou (5 3t) a comedian of the military type (Illus.
25). This role requires a slightly-powdered face usually
with the design of a butterfly.
CH'IN ($), the painted-face characters.
(a) hai-teu (|gg black-head) the black face type (Illus. "/'
p. 41).
(6) fun-lien ($) Jj& powdered-face) the white-powdered face
type (Hlus. 48).
(c) the mixed-type the type of characters with faces painted
in colours other than black and white.
(d) wu-ch'in (jSi$* military-"ch'in") painted-face characters of
the military type (Illus. 10, 72, 87).
As the painted-face character type is not found in the western drama,
it may interest the reader to know something of the development of this
peculiar feature of the Chinese drama.
Though no definite date can be found for the beginning of face-
painting on the Chinese stage, yet we are sure that it was not perfected
before the Ming Dynasty (A.D. 1368-1644), because before then only the
wicked characters, such as the "white powdered faces/' Nos. 1, 2 and 3
(see p. 43) , wore paint. The reason why it did not flourish during the
Yuan Dynasty (A.D. 1277-1368) was that only "shen" .and "tan," who never
wore painted faces, took the leading parts. It did not seem worth while
to develop the art of face-painting for the minor characters. Historians,
however, have found that as far back as the Northern Chi Dynasty
(A.D. 550-577) that Prince Lan-ling and later Ti Ts'ing of the Sung
Dynasty (A.D, 960-1277) wore formidable masks on the battlefield to
cover up their handsome faces in order to frighten their enemies,
THE CHARACTER TYPES
During the Ming Dynasty, strict rules began to be set down as to
which character should wear which face. As years passed, the facial
make-up became more and more complicated. To show the gradual
changes, the following painted faces which General Ma Wu wore have
been selected:
(E
(a) The Ming Period
(A.D. 1368-1644)
*
(b) The Ch'ien-lung Period
(A.D. 1736-1796)
ft
(c) The Hsien-feng Period
(A.D. 1851-1862)
(d) The Tung-ch'ihTeriod
(A.D. 1862-1875)
(e) The Kuang-sii Period
(A.D. 1875-1909)
40
SECRETS OF THE CHINESE D R \ M A
From the fact that six terms for make-up are often spoken of among
actors, in the order of main background, eyebrows, eye circles, nose,
mouth corners and cheek lines, we can see how face-painting was
developed. Special meanings are shown by the figures drawn on the
faces, e.g.
Cloud designs for the God
of Clouds.
(g) Flame designs for the God
of Fire.
tt
m
Mr
(h) Leopard spots for a
Leopard Devil.
(i) An elephant's face for the
monster whose original form
was an elephant.
THE CHARACTER TYPES
41
(/) A Moon ! on the forehead
of P'ao-tsen (fe SO, the won-
derful judge, who could go to
the Land of Spirits to find out
the real facts from the dead.
(k) The double battle-axe design
on the forehead of Tou Erh-
tung (H r: 1C), the expert
in fighting with that weapon.
Besides, actors use face-designs to show their respect or contempt
for the ancient men whom they represent.
Different colours represent different characteristics. At first, there
were only five colours, indicating the following meanings :
1. Red loyalty and uprightness.
2. Purple same as (1) only less in degree; old age.
3. Black simplicity and straightforwardness.
4. Blue obstinacy and ferocity.
5. Yellow hidden craftiness or cleverness.
Later, these colours were added :
6. Gold and silver dignity (mostly gods and fairies).
7. Green wickedness (ghosts and devils).
8. Pink and gray old age.
As time passed, actors took much liberty in using the brighter
colours with no other reason than to please themselves.
Generally speaking, there are the following nine kinds of painted-
faces:
i The moon stands for night when the dead come forth and are active, whereas
the sun stands for day, when the ghosts hide.
42
SECRETS OF THE CHINESE DRAMA
(a) The Predominant-colour Face
(fttt)
The whole face except
the eyebrows has only
one colour.
(c) The Shattered Face (#)
The face is painted with such
irregular designs and in so
many different colours that it
looks as if it had been broken.
(b) The Trisected-tile Face
(HSI
The eyebrows are broadened and
lines are added above and below
the eyes so as to divide the fore-
head and the checks into three
parts.
(d) The Aged Face (^ |fr)
The eyebrows are prolonged down
to the lower edge of the ears for it
was believed that the aged have
extremely long eyebrows.
(e) The Distorted Face (ft jft
The features of the face are
abnormal, e.g. an improperly
located eye or nose.
THE CHARACTER TYPES
43
The predominant white colour represents a wicked and vicious man.
In the following four kinds of faces, the degree of wickedness and
craftiness is represented in direct proportion to the amount of white
paint.
(/) No. 1 "Ta-hua-lien" or the
Entirely White Powdered
Face (*
No. 2 "Erh-hua-lien" or the
Half White Powdered Face
(h) No. 3 "Hsiao-hua-lien"
or the Slightly White
Powdered Face ( 'h ft
ft It ft *fc It).
(i) The White-Nose Face
Only the nose is painted white, but
on the present stage the painted
part is much bigger than it was
before. It is usually worn by
military comedians, whose charac-
ter, though not dignified, is quite
upright.
44 ... SECRETS OF THE CHINESE DRAMA
Besides, each character type has its own peculiar way of being
acted, for instance, a "tan's" smile is not in the least like that of the
other character types. A "ch'in" laughs robustly and loudly; a "lao-
shen" laughs sturdily and in a dignified manner; a "ch'ou" enjoys much
freedom which is denied other actors, while a "tan" must smile charm-
ingly and with more tranquillity.
As to laughing and smiling, there are the following twenty kinds:
1. To laugh happily (j
2. To laugh coldly (
3. To laugh conceitedly
4. To laugh jealously ($f ^)
5. To pretend to laugh ($ *j
6. To laugh surprisedly ($|
7. To laugh hysterically (ft
8. To laugh coquettishly (#| $).
9. To laugh coyly ( ).
10. To laugh broken-heartedly (51 ^).
11. To laugh scornfully (g| ^).
12. To laugh insanely (flg, ^).
*s&
13. To laugh treacherously (#f ^) often performed by actors
playing successful wicked roles.
14. To laugh heartily (^ ^) the performer usually laughs aloud
three times to show exceeding joy.
15. To laugh reluctantly (& tj) being dissatisfied at heart, yet
feeling it impossible to do anything but laugh.
16. To laugh grievingly (^^) full of grief, yet without any
means of expressing the feeling.
17. To laugh violently ($E 9) the actor usually laughs three
times with upheld hands, either empty or with objects.
18. To laugh uneasily (if $z) to hide embarrassment.
19. To laugh affrightedly (fl| $) though already out of danger,
the person is still overwhelmed with the recollection of his past
experience.
20. To laugh flatteringly (|^ ^) commonly performed by the
'slightly white powdered face" character.
THE CHARACTER TYPES
45
10 11 12
By the courtesy of Mr. Wang Yu-wei
Illus. 20a. In The Dressing Room: "Tan" (by Mci Lan-fang)
46
SECRETS OF THE CHINESE DR4MA
11 12
By the courtesy of Mr. Wavy Yu-iuci
Ilius. 20K In The Dressing Room: "Lao-shen" (by Ma Lien-Hang)
THE CHARACTER TYPES
47
11 12
By the courtesy of Mr. Wang Yu-wei
Illus. 20c. In The Dressing Boom: "Ch'in" (by Kin Shau-shnn)
SECRETS OF THE CHINESE DRAMA
Jilus. 21. "Tou-p'ung"; "Tao-m-tan" (by the Author)
THE CHARACTER TYPES
49
Illus. 22. "Shan-tzu-hsiao-shn" (by Ch'eng Yen-rts'iu, playing that r61e in jest)
NOTE: Sometimes actors play roles other than their professional ones, to amuse
the audience.
50
SECRETS OF THE CHINESE DRAMA
fflus. 23. "Wu-kMMMn"; "K'ai-k'ao" and K'axh'i"
(by Yu Slro-yen, China's leading "Lao-sWn")
THE CHARACTER TYPES
51
IlJus. 24. "Wu-shen" (by Lee Wan-ch'un)
52
SECRETS OF THE CHINESE DRAMA
Illus. 25. (Left) "Wu-ch'ou" (by Wang Ch'ang-lin) ; (Right) "Wu*shen"
(by Ma Lien-Hang)
THE CHARACTER TYPES . . . . 53
SOME MALE ROLES
(For Illustrations see pp. 55-58.)
1. MA LIEN-LIANG in civilian dress.
Ma Lien-Hang in the role of:
2. SIEH P'ING-KUEI. Play : The Red-maned Steed, Part II (.X ft ^) *f
3. CHU-KE LIANG. Play: The Three Respectful Visits (^ g ^ Jt)
4. Liu P'ANG, THE KING OF HAN. Play: The Final Parting between
the King and His Favourite (f| 3 W\ iE)*t
5. THE EMPEROR, SIEH P'ING-KUEI. Play: The Red-maned Steed,
Part xi (mm mr
6. A HERMIT, CHIEH TSU-T'SIA. Play : Conflagration of the Mien Hill
7. A WARRIOR, Hsu TA. Play: Kuang-tai Chuang (J^ -
8. YAO-LI. Play: The Assassination of Ch'ing-chi ($)
9. Liu PEL Play: The Gallant Peace-maker (^ pg #
10. CHANG, THE TAOIST MAGICIAN. Play: A Tale of Three Dwarfs
11. FAN CHUNG-YU. Play: The Court Banquet (Jg$f;
12. TENG CHIH. Play: Conquest along Five Lines
13. SUN PE-YANG. Play: The Forged Mandate (flg
14 Liu PEL Play: Hero Judges Hero (^ jg ffr
15. CHI SIN. Play: The Conquest of Yung-yang
16. CHAO K ? UANG-NI, THE USURPER. Play : The Empress' Wrath ( jg jg) * f
17. EMPEROR TSEN-TE. Play: The Emperor Steps Out ($ f| gs JKL)
18. THE FEARLESS MINISTER, CH'U SUI-LIANG. Play: The Ten Pro-
posals (-]- Jt 3|c)
19. PE HUAL Play: The Able Public Clerk (^ PP |fc A)
20. CHU-KE LIANG. Play : The Strategy of an Unguarded City (
21. T'SIN CH'IUNG. Play: The Invasion of Tengchow (ft jf
22. ME CHENG. Play : Hsueh-yen, the Faithful Concubine ( ^ g ) *
23. TIEN TAN. Play: The Charge of the Ox Brigade (^ 4*
* See Synopsis.
fMa Lien-liang has never taken these roles in the respective plays. The
pictures have been taken merely to show how the characters would look on stage.
54 . . . SECRETS OF THE CHINESE DRAMA
24. YANG YEN-HUI. Play : Yang Yen-hui Visits His Mother ( fi[5 $$:)*
25. CHU-KE LIANG. Play: Offering at the River Loo (^ }f ff)
26. MENG YU-HUA'S FATHER. Play: The Royal Monument Pavilion
(ft * *>*t
27. MU-LAN'S FATHER. Play: Mu-lan, the Disguised Warrior Maiden
28. THE PATRIOTIC AMBASSADOR, Su Wu. Play: The Ambassador
Shepherd ( ft *)
29. KUNG-SUN TSAN. Play: The Battle of the River Pan ( ft $f Vfc)
30. SIAO ENG. Play: The Valiant Fisherman and His Daughter (fx
m m *)*
31. Liu PEL Play: The Fatal Camping Place (j g )
32. SIEH PAO. Play: A Family of Four Virtues (H ft ft 3 1 )*
33. CHIAO HSUAN. Play: The Intriguers Intrigued (# J ^)*
34. CH'U PIAXJ. Play: The Arrest of Fei Te-kung (Jjft 4g Jfi)
35. THE OLD GENERAL, YANG CHI-YEH. Play: The Death of Yang
Chi-yeh (ft & m l)
36. SUNG SHIH-CHI, THE LAWYER. Play : Faithfulness, Fidelity, Purity,
and Righteousness (JS Ji )*
37. Wu SHEH. Play: The Pass of Chao, No- I
38. Wu YUIN. Play: The Pass of Chao, No. II
39. WANG MANG. Play: Yuin T'ai Kuan
40. SHENG YING. Play: The Lily Lake
41. WANG MANG. Play: Pe Mang T'ai
42. THE RICH WIDOWER, HAN. Play: The Reward of Kindness ($c$?Jg)*
43. Wu Tzu-su. Play: The Pass of Chao, No. I ($;
44. K'UANG HUNG. Play: Loyalty Finds a Way (*$
45. TS'AI YUNG'S FATHER. Play : The Tale of the Lute ( g g i ) * t
46. THE CHIEF EXAMINER. Play: The Royal Monument Pavilion
47. KUNG-SUN. Play : The Cost of Saving the Master's Son ( A 3| ) * t
48. GENERAL YANG PE. Play : The Two Faithful Officials ( - J
* See Synopsis.
fMa Lien-liang has never taken these roles in the respective plays. The
pictures have been taken merely to show how the characters would look on stage.
THE CHARACTER TYPES
55
Illus. 26. Some Male Roles
56
SECRETS OF THE CHINESE DRAMA
14
18
Illus. 26. Some Male Roles
THE CHARACTER TYPES
Illus, 26. Some Male Roles
SECRETS OF THE CHINESE DRAMA
Illus. 26. Some Male Holes
CHAPTER
C//ie \=JJevelopmenl oj In
@k
nnese
Gestures which are an essential part of the Chinese drama were
derived from the ancient dance, but not until the T'ang Dynasty (A.D.
618-907) did the art of acting acquire its concrete form. Some scenes in
Mei Lan-fang's play, "Yang Kuei-fei," Part III, may give us an idea of
how the Tang Emperor, Ming Huang (A.D. 712-756), himself a musician,
encouraged the dramatic art.
When it was felt that mere "p'e" ( & dialogue) was insufficient to
arouse the interest of the audience, songs were introduced; later, when
even the addition of songs no longer satisfied the audience, the dance
was developed. This was not bringing in an unrelated art, for the
actors themselves were conscious that when they concentrated their
minds in singing, they involuntarily moved their hands and feet in
accompaniment. Therefore, in a short time the interpretative dance
reigned in the dramatic world.
Great changes, however, intervened, and the dances were gradually
transformed into the present conventional movements or gestures. By
studying carefully the dances of the T'ang Dynasty and by reading the
names of the particular postures, one cannot fail to find a distinct
analogy between the movements or actions on the present stage and
those of the ancient dances, even though only a fractional part of the
record has been preserved. Besides, though not a few changes were
made during the later dynasties, the fundamental principles remain
59
60 . . . SECRETS OF THE CHINESE DRAMA
almost the same as in the early days, e.g. practically all arm and hand
movements are still done in curves rather than in straight lines. Such
gestures were (and still are) so appreciated by society that those per-
formers who could only master singing were no longer as popular as
those who could also dance.
Therefore, it is not exaggerating to say that the dance is the source
of Chinese drama. The earliest form of dancing was the very simple
kind given at the social gatherings of the primitive tribesmen or before
the altars where offerings were made to the deities. At a later period,
dances were performed only by picked men and women. Finally, pro-
fessional dancers began to appear. The main purpose was to provide
entertainment for the Emperor, for the nobility, and to please the gods.
Those plays given at the temples were open to the masses and were of
a more popular nature.
Even in the Chow Dynasty (1122-314 H.C.) the dance, though crude,
was indispensable in the primitive plays. Those presented in the Han
Dynasty (206 B.C. A.D. 220) were also very simple and crude. Most of
them depicted impossible stories of monsters or unusual happenings.
The far-reaching military conquests of the T'ang Emperors caused
an influx of foreign music. The dramatic art was so encouraged by
these rulers that it has been said drama reached its climax then. Satir-
ical dialogue, lacking before that time, began to flourish in the T'ang
plays.
Starting with the Sung Dynasty (A.D. 960-1277) simple comedies
became very popular. Whole stories began to be portrayed. Even
after Northern China was overrun by the barbarian tribes, Chinese
civilization, including drama, was accepted as a whole? by the invaders,
and dramatic art remained almost unchanged.
Up to the Yuan Dynasty (A.D. 1277-1368) "shen," the male character,
took the leading part in all of the plays. Not until this period was
"tan," the female role, elevated to share the leading parts. Practically
all the parts were sung in solo, though action and declamation were no
less essential than singing in the play as a whole.
It was in this dynasty that the drama began to be popularly divided
into two classes, namely, the Northern or "Tsa-chu" (H jftj) and the
Southern or "Hsi-w6n" (ft ;). The following are the salient differ-
ences between the two types:
THE DEVELOPMENT OF THE CHINESE DRAMA . . 61
1. DIFFERENCES IN NATURE.
(a) The composition of the play. Each of the Northern Yuan plays
was generally divided into four "turns" ( #f ) in each of which a "shen"
or a "tan" took the leading part. Only the actor who played that part
sang, the other minor characters responded in speech. Whenever both
"shen" and "tan" were equally prominent in a "turn" they sang alternate-
ly. Moreover, the leading part was not limited to the same character
throughout the play, e.g. a "shen" or "tan" might play character A in
the first "turn" and characters B and C in the following "turns." Thus he
played the leading parts in all the "turns" but not the same character. As
to declamation the usual order was (1) some passage of poetry, (2) the
past life history of the character or self -introduction, and lastly, (3) the
dialogue. The minor characters usually appeared on the stage first,
gave some declamation or action and then followed the leading
character, who also declaimed before he began to sing.
The Southern type was not limited to four "turns." A single play
might contain from forty to fifty scenes, e.g. the representative play of
this school, "The Tale of the Lute" (|g ff K). had forty-three scenes,
Though they were much shorter than the Northern type scenes, the
whole Southern play was at least six or seven times as long as "Tsa-chii."
The parts were not sung in solo but in chorus or in turn by all or the
majority of the characters, leading and minor.
Lines of poetry and self -introduction were similarly delivered as in
"Tsa-chii," but sometimes, unlike the Northern play, the lines of
poetry were divided among the characters and quoted in turn. Some
more lines of poetry were recited at the end of the scene before the
exit. Again in contrast to "Tsa-chii," almost every scene started with
singing. Another dissimilarity was that the dance was much more
popular in the Southern type than in the Northern plays.
(b) The selection of songs. In the Northern school, numbers of
songs having the same keynote were arranged in a single set. All the
lines in any set had the same rhyme and were sung in the standard Kai-
f eng (the former capital of the Sung Dynasty) dialect of Honan province.
The songs of the Southern type were not limited to the same keynote
nor to one set for each play. On the contrary, there were several sets
of songs in a single play.
62 ... SECRETS OF THE CHINESE DRAMA
(c) The ending. The Northern plays allowed tragic endings
whereas the Southern type, though not without a very few exceptions,
had only happy endings. Even the old tragic plays of the earlier
dynasties were reconstructed for that purpose (see "Snow in June,"
Note II, p. 261).
2. DIFFERENCES IN Music.
Though the two types were developed from the same origin, yet
the intermingling of each type with the folk songs and local music
rendered striking differences along the following lines :
(a) Musical instruments. In the South, the time beater, "pan" (see
p. 32, Item 7), became the leading instrument. The flute was later
added as an accompaniment, while in the North, the lute (see p. 33, Item
20) was the dominant instrument.
(b) Singing method. The Southern songs contained fewer words
and were sung in prolonged tones, which ran continuously with the
notes of the flute, for pause was not emphasized; but the Northern type
had more words and tones were short. Pauses were strictly emphasized
not only in sentences and words but even in the syllables of a single
word. Therefore, the sweetness of the music of the Southern type was
superior to that of the Northern, but its prolonged tones made the songs
hard to understand and this difficulty was its chief defect.
(c) Quality. The Northern music was rigid, simple and stimulating
while the Southern was flexible, elaborate and alluring.
In the early years of the Yuan Dynasty when the Tartars pushed
southward, the northern "Tsa-chu" came with the conqueror. As it was
a novelty to the southerners, it soon became very popular and supplant-
ed the local "Hsi-w6n." Before long, however, "The Tale of the Lute/ 1
the masterpiece of the latter type, began to attract great audiences and
the "Hsi-wen" regained its former popularity, reaching its topmost
position towards the decline of the Ming, the next, dynasty (A.D. 1368-
1644).
After the northern "Tsa-chu" was accepted by the Ming people, each
play was divided into five "turns." The songs were no longer limited to
solos but were sung in duet and chorus as well as by turns in solo. In
addition to the solo dance in the Yuan plays, dancing in groups was
introduced.
THE DEVELOPMENT OF THE CHINESE DRAMA . . 63
During the reign of the Ming Emperor, Chia-Tsing (A.D. 1522-1567),
the musical genius Wei Liang-fu (H g. ft|), invented a new style of
music and named it K'un-ch'u ( J| ^ ), after his native place K'un-shan
a town near Shanghai. The plays of this Southern type, mostly
romantic love stories, are the work of literary men, and are to be per-
formed in a more exquisite and refined manner than the Northern kind.
The songs are sung to the soft accompaniment of the flute.
Soon K'un-ch'u excelled the other older branches of the Southern
school, such as the Hai-yien ($ |$), which originated in the district of
Hai-yien, Chekiang province, and became prevalent in Taichow, Kasheng,
Wuchow, Wenchow, etc.; and the Yu-yao (f $fe), which originated in
Yu-yao and became popular in Yangchow, Hsuchow, Chinkiang, Chang-
chow, etc. During the reign of the Ch'ing Emperors, Kang-Hsi (A.D. 1662-
1723) and Ch'ien-Lung (A.D. 1736-1796), K'un-ch'u, having been introduc-
ed into the imperial palace, reached its climax. Returning after his
visit to the South, Emperor Ch'ien-Lung brought back to the capital a
whole troupe of K'un-ch'u actors, selected and presented by the rich
and extravagant salt-merchants and local officials. Prior to this time
the imperial theatrical department followed the Ming system by having
the eunuchs perform on special occasions the seasonal plays for that
particular day. Outsiders, however, non-professionals were some-
times summoned to assist the eunuchs.
Now, a new department, the "Literary Society" (ft g|5), presenting
only K'un-ch'u plays, was set up parallel with the reorganized old
theatrical system, newly named "Floral Society" Ofl $0, and performed
the following types of plays :
1. YI-YANG (^ g| Jg). This type originated in Yi-yang district,
Kiangsi province, and spread to Peking, Nanking, and the provinces of
Hunan, Fukien and Kwangtung. Its origin can be traced to a period
earlier than the reign of Emperor Van Lib (A.D. 1573-1620) .
2. KAO (jg Jg). It has been said that when "Yi-yang" became
popular in Peking, it was discarded in its native place; it found favour
and flourished in Kao-yang district where it received the new name,
"Kao," No stringed instruments, only drums, gongs, trumpets, etc., are
used in this type, so the music is very loud.
3. CHING (^ Jg ). During years of performance in Peking
64 . . . SECRETS OF THE CHINESE DRAMA
"Yi-yang" was gradually altered into an almost entirely different form,
constituting a separate school, popularly known as Ching.
4. P'ANG-TZU ($|5 ^ jj). The name was derived from the piece of
bamboo called p'ang-tzu, which is employed by the director of the orches-
tra to beat time. Some important alterations gave a softening effect to
the tune and made it very pleasing to the ear. While the original form
was declining, this altered branch, now known as "Nan-p'ang-tzu" ( fg
|$ -JO was chosen by the "p'i-huang" school to accompany romantic
songs in love scenes. Therefore it is entitled to share the present un-
surpassed popularity of the latter school.
5. TS'IN (jjg |jg). This type, though reputed to have originated in
Shensi province was in fact started in the province of Kansu. Its songs
are never accompanied by the flute, but by "hu-ch'in" (the Chinese
violin) assisted by "yiieh-ch'in" (the Moon guitar) . Therefore, it is said
that the essential constituent, "hsi-p'i" (] $) of the "p'i-huang" type,
always accompanied by these two instruments, is but a synonym of
Ts'in.
6. P'I-HUANG (jf $i). It is known to be a combination of "hsi-p'i"
and "erh-huang" music. The name "erh (literally, two) huang" is
derived from the fact that it originated in the two Huang districts in
Hupeh province, namely, Huang-kon, and Huang-pi. Its songs are
accompanied by the high-pitched "hu-ch'in," which instrument was
introduced into China from the northern tribe, Hu.
7. LUAN-TAN (SL 55). This school consisting of all the other types
except K'un-ch'u is called a "medley," because of the mixture. Some
writers, however, hold that it has been so named because the orchestra
of this school consists of many kinds of musical instruments.
8. LOCAL PLAYS. In many districts plays are given in the colloquial
dialect, which is little known or appreciated outside of that locality.
While these are of small dramatic value they do provide entertainment
for the country people who have all too little to alleviate the monotony
of their lives.
During the last years of Emperor Chia-chun (A.D. 1796-1821) when
K'un-ch'u and Yi-yang were at their height, some experienced actor of
Anhwei province selected the best points of those schools, added some
of his own invention, mingled "hsi-p'i," "p'ang-tzu" and "&rh~huang"
together and called this pot-pourri "p'i-huang." Since almost all the
THE DEVELOPMENT OF THE CHINESE DRAMA . . 65
"p'i-huang" actors were Anhwei men, they called themselves the Anhwei
Troupe ($ g). The tunes were so artistically welded together that it
became a powerful rival of the Literary Society. Some other geniuses
like Ch'eng Chang-keng (g g J|), an expert not only in "erh-huang"
but in K'un-ch'u, Yu San-sheng (&HJBE), expert in "hsi-p'i," Wang
Kuei-fung (fiE g #) and Tan Hsin-pei (ff & ^) cleverly improved
the "p'i-huang" plays.
Before long, the different schools stood thus :
(a) Literary Society (IS SK) .................... K'un-ch'u (& ffi )
Kao (Kao-yang)
*
Ch
(b) Floral Society
or Liian-tan(?)
t Jl)
/n . . ,
Chmg (Peking)
(K)
P'ang-tzu ---- > Nan-p'ang-tzii (
(W?)
Ts'in (Shensi) Hsi-p'i
() (H A)
Erh-huang (Hupeh) [-> P'i-huang (Peking)
At the beginning of the reign of Emperor Tao-kuang (A.D. 1821-1851)
K'un-ch'u began to give way to "p'i-huang" for these reasons: First,
because the love stories of the K'un-ch'u type seemed to have been
written after the same pattern and therefore were not so interesting as
the various ethical "p'i-huang" plays; Second, the literary songs were
not as easy to understand as the other simple kind. It is like the old
saying, "The deeper the music, the less appreciative the audience."
And finally, nearly all the K'un-ch'u actors were natives of Soochow,
which city was, of course, their headquarters. When the Taiping
Rebellion broke out, Soochow fell and suffered such great losses that
K'un-ch'u has never been able to recover from the calamity.
About the year 1921, some rich families in Soochow contributed a
considerable sum of money with which a K'un-ch'u Renaissance Institute
was established to train young boys for this dramatic profession.
Though not without significant results, it is far from being in a position
to compete with its rival, the "p'i-huang" type, which is peerless in the
dramatic realm.
66 ... SECRETS OF THE CHINESE DRAMA
During the decline of the Ch'ing Dynasty (A.D. 1644-1911), the influx
of western drama caused the production of a group of modern plays in
which realistic scenery was introduced. These plays were and are
shunned by the conservatives for the latter strongly hold that as the
stage is limited fundamentally in space and time, it cannot look or be
real. There must be imagination! How could a high mountain be
actually moved and put on the stage? How could a big forest be trans-
planted?
It is the main purpose of the Chinese drama that the actor, should
produce an artistic effect rather than be true to life. For iMs the ideal,
not the real, that is intended to be emphasized. The aim is to present the
show as artistically as possible without heeding whether or not the
details are true to life. Not only in intonation, such as musical cadence
in speech, and rhythmical recitation in poetry, but also in bodily move-
ments such as conventional gait and sleeve movement, there are striking
differences from the sounds and actions of daily life. Various kinds of
strict canons or rules must be carefully observed by the actors. Any
expression of feeling a smile, a frown, a sigh, an indication of surprise
must be conventionally given in accordance with special music. If an
actor can make his audience feel and appreciate what he means to
present in the play, it is sufficient. Therefore, the stage for purely
Chinese plays is practically bare, having only a table and some
chairs.
Since, until recent years, the great actors, Ch'eng Chang-keng, Wang
Kuei-fung, Tan Hsin-pei, and Sun Chu-sien (Jfc jfe" $|) played "lao-
shen" 1 (upright, aged masculine roles), naturally persons playing this
role occupied the foremost position. Then, the long-established ranking
system was revolutionized by Mei Lan-f ang after his successful visit to
Shanghai in 1913. For the first time in China's histrionic record, a
"chin-i" (r61e for good and dignified woman), began to be ranked
above "lao-shen," the heretofore superior partner. Since 1917 when
Dr. Mei was chosen "The King of Actors," "tan" has maintained the
foremost position. After this role assumed leadership on the Chinese
stage, the four most prominent female impersonators began to be talked
of as "The Four Kin-kongs" (gg -fc fe p$] the four immense figures which
sit or stand on the sides of the front 'hall in every Chinese temple of
THE DEVELOPMENT OF THE CHINESE DRAMA . . 67
considerable size. The term is now used in the Chinese vocabulary to
represent great persons or things). The "kin-kong tan" actors are:
Mei Lan-fang (>fg gg ^) . . . . (Frontispiece)
Ch'eng Yen-ts'iu Cg $| %fc) . . . (Illus. 4)
Shang Hsiao-yuin (fj /JN ^) . . . (Illus. 27)
SiinHui-shen (iff m fe) - - - - (Ulus. 28)
The four "kin-kong tan" actresses are:
Hsiieh Yen-ch'in ( f& ^) . . . (Illus. 29)
Chang Nge-yuin (* i ) . . . (Illus. 30)
Sin Yen-ts'iu (#f M ft) . < Illus - 31 >
Tu Lee-yuin (f |g ft) . . . . (Illus. 32)
Though many high class people went on the stage as amateurs, yet
the professional players as a class were despised. They were looked
upon as belonging to almost the lowest caste, chiefly because not a few
actors conducted themselves in a despicable manner. Not until ambi-
tious, upright actors, such as Mei Lan-fang, Yu Shu-yen (^ ^ ^), Sun
Chu-sien and Ch'eng Yen-ts'iu came into prominence, was the dramatic
profession regarded as respectable by the conservative society of China.
Another reason that the status of actors has been raised is that some of
them have gifts other than dramatic, such as painting (see pp. xxii,
xxiii) and writing (see pp. ix, xiv).
68
SECRETS OF THE CHINESE DRAM
Illus. 27. The Mandarin Official Robe (by Shang Hsiao-yuin, in the Role
of the Empress Dowager).
PLAY : Vang Yen-hui Visits His Mother
THE DEVELOPMENT OF THE CHINESE DRAMA
69
Illus. 28. Sun Hui^shen in the Role of He Yu-feng
70
SECRETS OF THE CHINESE DRAM
Illus. 29. Miss Hsueh Yen-ch'in in the Rdle of the Empress
PLAY: The Empress' Wrath
THE DEVELOPMENT OF THE CHINESE DRAMA
71
.. .'. "' ,/\
&V: ''",- '^M.-,'
Illus. 30. Miss Chang Ng6-yuin in the Role of Meng Yu-hua
PLAY: The Royal Monument Pavilion
72
SECRETS OF THE CHINESE DRAMA
Dlu& 31. Miss Sin Yen-ts'iu in the Role of Yii-ching-tao-jn
PLAY : yii-ching-tao-jen
THE DEVELOPMENT OF THE CHINESE DRAMA
73
:,
Illus. 32. A Posture on Horseback (by Miss Tu Lee-yuin)
CHAPTER
ONE
(2J leeve v v lovemenls
Long sleeves were introduced in order to give more grace to the
body movements. In the later dynasties, however, it was felt that
these sleeves were too heavy for quick motiotis. Therefore, for the
sake of lightness as well as cleanliness, cuffs, from one-and-a-half to two
feet long and made of sheer silk, usually white in colour, were attached
to the sleeves, and left open at the seam. This extension of the sleeve,
when flourished, looked like flowing water, hence the term "Rippling-
water sleeve" (7jc U). Generally, the leading artists wear longer
sleeves than the minor actors, not only because they are masters of
sleeve technique, but because they can afford to own more expensive
costumes.
From the saying, "the longer the sleeves, the better the dance," we
can easily see why sleeve movements are the most important of all
dramatic actions. In olden times, in the dance, which was the main
feature of the drama then in vogue, long sleeves were almost indispens-
able. Consequently, sleeve movement was very carefully studied
and taught, as grace was imperiously demanded of both male and
female characters. Moreover, like stage walking, sleeve movements
should be performed in accord with the rhythm of the music. Each
of them indicates some definite meaning; for instance, a "turning" sleeve
(see p. 79) is a signal call for music; a "repulsing" sleeve (see p. 81)
an expression of disagreement, etc.
77
78
SECRETS OF THE CHINESE DRAMA
Illus. 33. The Concealing Sleeve (by Mei Lan-fang)
DRAMATIC ACTIONS SLEEVE MOVEMENTS . . 79
There are more than fifty different kinds of sleeve movements. In
order to avoid pedantry, only those movements which are more com-
monly used on the stage have been selected. In the following chapters,
"sleeve" (with small "s") denotes the "rippling-water sleeve"; "R Sleeve"
(with capital "s") stands for the real sleeve, and "hands," unless other-
wise stated, means the hand hidden by the sleeve. As to the technique
of performance, the descriptions in this book emphasize the "tan's"
movements.
1. THE TURNING SLEEVE ($- iffi).
This is the most important sleeve movement, performed by all the
actors.
Start with right hand, palm inward, a little below the chest. Move
downward and towards the right in a curve. On reaching the front of
the slightly bent right knee, make a quick turn at the wrist, and throw
the sleeve backward and a little to the right. The eyes should follow
the motion of the sleeve and the body should lean forward in harmony
with the hand movement.
The left hand may go through the same movements, but in the
opposite direction. Sometimes both hands may make the same move-
ment either alternately or together. In the latter case, the movements
are called respectively "alternative-turning" sleeves (rff ty ^) and
"double-turning" sleeves (fgHWO-
Meaning: (a) It serves as a warning to the orchestral director 1 that
the actor is ready for a change, e.g. to sing, to talk, or
to proceed with some new gesture.
(6) It also serves as a link between two movements.
Usually, when an actor makes his appearance, he first
walks to "Chiu Lung Kou" (see Part I, Ch. I), where
he stops for just a moment to let the audience have a
clear look at him and see what kind of character he is
to play. Here he often performs this sleeve movement
before he proceeds.
1 "Chiao-pan" ( Wj- ft), or the signal to orchestra. The actor usually prolongs
the last word of his de-clamation as a warning to the orchestra to be ready that
he is about to sing. At the same time a "turning" sleeve is performed.
80
SECRETS OF THE CHINESE DRAMA
Illus. 34. The Aside Sleeve (by Wang Shau-t'ing and Mei Lan-fang)
PLAY: The Suspicious Slipper
DRAMATIC ACTIONS SLEEVE MOVEMENTS . . 81
2. THE ASIDE SLEEVE (flf fft $j).
This is also a very important sleeve movement, because it is per-
formed by all characters.
Raise the right hand to the right side, level with the cheeks. Let
the sleeve hang down naturally from the fingers (Illus. 34, 85). Some-
times the actor walks a few steps to the side of the stage away from
the other players.
The "aside" on the Chinese stage has much the same meaning that
it has in the West. Gestures made or words spoken to oneself in the
presence of other characters on stage are considered either secrets
revealed to the audience only, or private thoughts given aloud (Illus.
70,76).
Meaning; It denotes that the other characters on the stage can no
longer see or hear what the actor, with the sleeve thus
raised, is doing or saying. For instance, he may express
his secret plan, or give warning to his accomplice, or do
anything that is not to be understood by the other characters.
3. THE CONCEALING SLEEVE (jg |ft).
The sleeve is raised just as in (2) only higher and more to the front.
It should be held sufficiently high to hide the actor's face. A semicircle
is formed with the arm. Unlike (2) the actor should remain silent
with eyes looking down (Illus. 33).
Meaning: (a) To show embarrassment.
(&) To prevent oneself from being discovered.
4. THE REPULSING SLEEVE ($ ^),
(a) After a circular wrist movement, throw the sleeve abruptly
towards the person disliked. At the same time cast an angry look al
him, and then turn the head in the opposite direction to show that no
further intercourse is desired.
(b) Raise the right hand relaxed. When it reaches the front of
the chest, by a graceful wrist movement, turn the palm toward the left
front, letting the sleeve hang naturally from the extended fingers.
SECRETS OF THE CHINESE DRAM.
Illus. 35. The Greeting Sleeves (by the Author)
DRAMATIC ACTIONS SLEEVE MOVEMENTS . . 83
Incline the body a little to- the right, and shake the head in negation
(Illus.72).
Meaning: To express dislike, anger, or repulsion.
5. THE SENDING-AWAY SLEEVE (f[ $}).
In a curve movement raise the hand to the front, slightly below the
face, palm inward. Then by a circular wrist movement throw tlje
sleeve forcefully outward from the body, either once or three times,
using both hands alternately. In the latter case the actor steps back-
ward in harmony with the hand movements.
Meaning: To send away a person or thing.
6. THE GREETING SLEEVES (jg;
Place the left hand below the chest on the right side of the waist,
and put the right hand on it. At the same time, make a graceful bow
(Illus. 35).
Meaning: To show respect to the person greeted.
7. THE DUSTING SLEEVE
Raise the left hand a little above the head, with -folded sleeve and
arm upheld in a curve. Simultaneously, bend a little forward at the
waist, slightly brush the seat with the right sleeve, first to the right,
then to the left, and again to the right, as if to dust the chair of the
honourable guest or superior. Similarly, but in opposite directions, use
the left hand to dust the chair. Again dust with the right sleeve (Illus.
41). Sometimes the movements are preceded by a ceremonial offering
of wine, as is shown in the play "Killing the Tiger General" (see
synopsis). This custom remains in real life.
For instance, in an old fashioned wedding celebration, the seat of the
mother-in-law is to be thus "dusted" by the bride, only she may use a
large silk handkerchief if she does not wear long sleeves.
Meaning: To show utmost respect or honour to the person to be seated.
8. THE UPHELD SLEEVE ($j H).
(a) When only one hand is used, this movement is usually made
by the right hand. In addressing a person, raise the hand up a little
to the front and above the head by a quick circular movement at the
84
SECRETS OF THE CHINESE DRAM.
Illus. 36. The Wretched Woman: The Upheld Sleeve (by Mei Lan-fang)
DRAMATIC ACTIONS SLEEVE MOVEMENTS
85
wrist. Throw the sleeve upward and inward so as to fold and let it
rest on the back of the hand. At the same time, bare the "open" (see
p. 99) left hand, palm outward, and touch lightly the raised right hand,
calling the name of the person addressed. Usually, this movement is
followed by a "turning" sleeve (see p. 79).
(b) In lamentation the sleeve is thrown upward and outward
instead of inward, and hangs from the extended fingers of the supine
hand (Illus. 36, 58).
Sometimes both sleeves are raised. The most beautiful way of
performing this is to first raise the left hand as high as the lower chest.
Then pass the right hand between the chest and the left hand. Lift the
arm up in a curve a little above the head and towards the front; fold
the sleeve outward from the head. Raise the left hand similarly and
poise it about four inches from the right. Both arms should be upheld
in graceful curves and a little in front of the head so as to hide a part
of the face. Simultaneously, slightly stamp the right foot to show
deep grief. This movement is beautifully portrayed in the plays "The
Suspicious Slipper" and "Killing the Tiger General."
Meaning: (a) To address a person, in sight, in a picture, at a distance
or deceased.
(b) To express deep sorrow or remorse.
(c) To warn the orchestral director that the actor is ready
to sing or to declaim.
(d) To show desperation in undertaking some serious task
or dangerous enterprise.
9. THE ADDRESSING SLEEVE
Raise the left hand a little below the
chin. Fold the sleeve. Bare the "open"
right hand; touch lightly the raised left
sleeve and greet the person to be address-
ed. This is usually done to a person who
is present, but sometimes this movement
is performed in mentioning the name of
some beloved or honoured person who is
absent.
The Addressing Sleeve
SECRETS OF THE CHINESE DRAMA
Illus.
Looking Backward with Running Sleeves
(Sleeve Dance by Mei Lan-fang)
PLAY : Ma-ku Offering Birthday Greetings
DRAMATIC ACTIONS SLEEVE MOVEMENTS . . 87
The only difference between (8a) and (9) lies in the position of the
hands. In (9) they are held much lower than in the preceding move-
ment.
Meaning: (a) To show respect to the person addressed or mentioned.
(6) To seek attention from the person addressed.
10, THE RESOLUTION SLEEVE (& ^j).
The right hand, raised level with the right shoulder, is turned at
the wrist in an inward and upward circle, and then brought straight
down with the hand prone. Simultaneously, the head is shaken and
the words "Ya-bah" (^ f|) are spoken, meaning "I have reached a
decision!" or "It seems as if this is the only course for me to pursue!"
Meaning: To reach a decision, e.g. to determine to sacrifice one's life.
11. THE SHADING SLEEVE (|
Raise and fold the right sleeve as in (8b), but rest the raised sleeve
directly on the head with the right arm gracefully poised in a curve
just above the head as if to shelter it from scorching sun or heavy rain
(Illus.42).
Meaning: The sleeve serves as a shade.
12. THE RUNNING SLEEVES ($r % Illus - 37 )
Throw the sleeves upward and let them hang slanting on the outer
side of the wrists. Then immediately stretch out both arms level with
the shoulders. The actor is not permitted to run straight forward, but
rather sidewise, so in running to the right front, he first turns a little
towards the left, though his torso and face should be kept towards the
right. The right hand is raised a little higher than the head as if leading
towards the front. Then, with small, mincing steps, he runs gracefully
in curves and finally exits. If the destination is in the opposite direc-
tion, the actor performs the same movement but in the opposite
direction.
13. THE WEEPING SLEEVE (ft %).
Hold the upper corner of the left sleeve with the right hand (bare),
and raise to the eyes, just near enough to seem that the actor is wiping
away his tears with the sleeve.
Meaning: The sleeve serves as a handkerchief.
88
SECRETS OF THE CHINESE DRAMA
Illus. 38. The Responding Sleeve (by Mei Lan-fang)
DRAMATIC ACTIONS SLEEVE MOVEMENTS . . 89
14. THE RESPONDING SLEEVE (
Placing the right hand below the chest and a little to the front, by
a quick circular wrist motion fold the sleeve so as to let it rest slanting
from the wrist (Illus. 38). At the same time, the actor bends a little
forward and says to the inferior, who is bowing before him, "Please get
up," or "No more salutation."
Meaning: To show familiarity. When both hands are employed, it
signifies utmost intimacy between the person greeted and
the person greeting.
15. THE INTRODUCTION SLEEVE (5$ $$ j$| ^ %).
This movement is usually made at the beginning of the play when
the actor portrays a powerful general, a person of great prestige, etc.,
and is about to proclaim some solemn orders. With many of his fol-
lowers standing on either side, the actor advances to the centre front
of the stage and stands facing about 30 degrees to the right. He holds
up his left hand, with the folded sleeve resting on it, directly in front
of his face. The right hand (bare) holds the lower corner of the left
"R Sleeve." In this posture, the actor sings the "tien-chiang-ch'un"
(ift & HO tune. 1 Sometimes the left sleeve is raised before the actor
steps out of the "Shang-ch'ang-men," the entrance curtain. After the
delivery of the "tien-chiang-ch'un" the actor announces the name of
the character 1 he is to play, while holding the sleeve as before, except
lower down and before the chest.
Sometimes, instead of directly announcing his name, the actor
performs a "la shan p'an" (see p. 116, Item 4) and then, raising the
sleeve to the chest, introduces the character.
Meaning: To introduce the character to the audience. (The original
meaning is that not until the sleeve is put down does the
actor take up the role of the character in the play. In other
words, before then he is the actor himself.)
i "Tien," "Chiang* and "Ch'un," the first three words in the song, were chosen
as the title of that tune, because it was customary in Chinese drama to name a
tune from the first three words. This tune is usually sung by those who imper-
sonate high officials. It is similar to a prologue in nature.
90
SECRETS OF THE CHINESE DRAMA
Illus. 39. The Attention Sleeve (by Ch'e*ng Yen-ts'iu)
DRAMATIC ACTIONS SLEEVE MOVEMENTS . . 91
16. THE RESTING SLEEVES (>fg $j).
Unless the actor plays the role of a ghost, or wishes to show that
he is in a very awkward position, such, as his conspiracy being discover-
ed or his plan being utterly frustrated, he is forbidden to drop the
hands to the sides of the body because this would be displeasing to the
eye. Therefore, if one hand, for instance the right, is down a little to
the left, the other should be placed on the right arm a little below the
elbow (Illus. 72).
17. THE ATTENTION SLEEVE (f^ft).
Raise the right hand to the side of the head and by a circular wrist
movement fold the right sleeve upward and outward. Let it fall back,
hanging naturally from the wrist, and at the same time say "Behold!"
(Illus. 11, 39).
Meaning: (a) To look ahead.
(6) To tell the person addressed to look ahead,
(c) To give a signal call (see "Chiao-pan," p. 79) to the
orchestra.
18. THE FOLDING SLEEVE (#f ffi).
First throw the sleeve upward so as to cause part of the "R Sleeve"
to fold upon the wrist and rest on the back of the hand with the sleeve
hanging down naturally (Illus. 58).
19. THE SNATCHED SLEEVE (%[ ft).
Swing the right sleeve inward and then outward. By a quick
movement catch the sleeve in the right hand and hold the arm in a
curve on the right side of the body, level with the chest (Illus. 40).
This is usually performed by the military type characters, never by
the "tan," but in the play "Loyalty Finds a Way," where the beautiful
lady feigns insanity to avoid a second marriage, it is permitted in order
to prove to the Emperor that she is insane.
20. THE HANGING SLEEVES (3
When an actor plays the role of a ghost or the role of one in great
distress, he extends his arms straight down, letting the sleeves hang a
little to the front and about six inches from the body (Illus. 40).
92
SECRETS OF THE CHINESE DRAMA
Illus. 40- "Mang" : (Left to right) 1 "Fun-lien" (by Liu Lien-yung) ;
The Hanging Sleeves. 2 "Shen" (by Wang Shau-t'ing).
3 "Tan" (by Mei Lan-fang) ; The Snatched Sleeve
PLAY : Loyalty Finds a Way
DRAMATIC ACTIONS SLEEVE MOVEMENTS . . 93
k*A'&'tJ&*jj^'^' 4tti ;' **>. w .' ' 'j! r; i? ,'.&f ' ,
Illus. 41. The Dusting Sleeve (by the Author)
SECRETS OF THE CHINESE DRAMA
Him. 4& The Shading Sleeve (by the Author)
DRAMATIC ACTIONS SLEEVE MOVEMENTS . 95
Hlus. 43. The Upheld Sleeve; "Tieh-tzii" (by Yu Shu-yen, China's leading
"Lao-shen"); The Open Hand; "Ch'ou" (by Wang Ch'ang-lin)
SECRETS OF THE CHINESE DRAMA
Illus. 44, (Left to right) 1 Long "K'an-chien" (the Maid by Chu Kuei-fang).
2 The Lady (by Mei Lan-fang). 3 The Open Hands; "Fun-lien"
(by Liu Lien-yung)
PLAY : Loyalty finds a Way
CHAPTER
TWO
^fyuma ^f vlovewienls
Next in importance to the sleeve movement is the hand movement,
for in plays where the female impersonator takes the roles of "hua-tan"
and "kuei-men-tan" or in dances where an article or articles, e.g. a
plume or two swords, are held, the sleeves only reach to the , wrist.
1. THE OPEN HAND (5g
In stage language the "open" hand means that the palm is held
outward with the finger-tips up. In case of a "tan" the arm should
be held gracefully. Each character type, however, has its peculiar
way of "opening" hands. For example:
(a) "Ch'in" (the painted-face characters): Extend the fingers
with strength keeping them all apart so that the tips of the
fingers form a semi-circle (Illus. 44),
(b) "Lao-shen" (the aged male characters) : Extend the four
fingers with the thumb bent forward at right angles to them
(Illus. 90).
(c) "Hsiao-shen" (the young male characters) : Extend and hold
together the first three fingers, with the thumb bent close to
the palm and the little finger, slightly forward and apart from
the others.
97
98
SECRETS OF THE CHINESE DRAMA
Tllus. 45. The Helpless Hands (by Mei Lan-fang and Wang Shau-t'ing)
PLAY: The Valiant Fisherman and His Daughter
DRAMATIC ACTIONS HAND MOVEMENTS . . 99
(d) "Tan" (the female characters) : Put the thumb on the last
joint of the middle finger which is held a little forward and
leave the other three fingers naturally extended.
The Open Hand
2. THE HELPLESS HANDS (jg
First lift both hands prone and by a quick circular wrist movement
turn palms up, leaving the hands hanging limp from the wrists. Simul-
taneously, shake the head (Illus. 45).
Meaning: (a) To show helplessness.
(6) To show that something is lacking.
3. THE HINDERING HAND ($| ^).
Open the right hand as in (1), palm towards the left, in a defen-
sive position and turn the head to the right. If the left hand is used,
it should go through the same movements but in opposite direction. If
both hands are raised at the same time, they should be held from one
to one-and-a-half feet apart, with both palms in the same direction and
the face turned away (Illus. 51).
Meaning: To hinder or to disapprove.
4, THE FIGHTING FIST (
Bend the four fingers, and press the thumb tightly against the
middle joint of the middle finger, with the index finger curved above
100
SECRETS OF THE CHINESE DRAMA
IJIus, 46. The Contemplative or the Project Hand (by Mei Lan-fang)
DRAMATIC ACTIONS HAND MOVEMENTS
101
the thumb. The tip of the little finger should touch the third finger,
because a tight fist does not look artistic. This movement is seldom
performed by "tan," but in the play "The Meeting at the Fallen Bridge"
(see p. 215), the maid does often raise her fists against her supposed
master in revenge for his desertion of the- White Snake Lady, her
mistress.
Meaning: To protest or to fight with fists.
5. THE YIELDING HANDS ($ ^).
Lift the right hand as high as the face, palm outward in a defensive
position, with the left hand resting, palm up, before the waist. Then
move the right hand down in front while the left moves up. When the
hands have completed the circle, the back of the right hand descends
sharply into the left palm. Simultaneously, the right foot is slightly
stamped to indicate the proper emotion.
Meaning: (a) To express disappointment.
(6) To express regret.
(c) To show that the person is compelled to reach a deci-
sion.
6. THE CONTEMPLATIVE HAND OR THE PROJECT HAND (& ff).
(a) Raise the left hand (bare) to the head; and place the middle
finger on the temple, with eyes downcast and head drooping a little
forward. Place the right hand at the back or with bare hand grasp
the lower part of the left sleeve, folded on the forearm (Illus. 46).
(fc) Place the right hand "open" on the chest. Move it in circles,
with only the middle finger and the palm touching. At the same time,
move the head in circles in harmony with the hand movements.
(c) Put the palms together before the chest. Slip the left hand
down, and bend the four fingers of the right hand over those of the
left, when the latter rests on the right palm. Repeat the above with
right* hand leading, and with head drooping slightly.
(d) Shake the head and clap the hands once. Lift the right hand
to the head. Alternately tap the first two finger tips against the
temple. Walk back and forth restlessly, looking downward and with
the left hand moving in circles on the back of the left hip.
102
SECRETS OF THE CHINESE DRAMA
Illus. 47. The Fencing Hand (by Mei Lan-fang)
PLAY : The Filial Daughter, Lien Chin-fena
DRAMATIC ACTIONS HAND MOVEMENTS
103
7. THE FENCING HAND
This is the only time when a "tan" extends
the first two fingers, instead of only the index
finger. The thumb touches the third finger tip
and the little finger is curved naturally (Illus.
47, 71):
8. THE ASIDE HAND (ff {fe -f ).
Raise the hand sufficiently high to hide the
face from the other characters on the stage and
then express the emotion or secret to the audience
(see the "aside" sleeve).
The Fencing Hand
9. THE SWIMMING HANDS (ffi fa
Extend the hands forward and then push the arms outward and
backward as if swimming.
10. THE GESTURES OF POINTING ($f ^;).
There are many kinds of gestures to show direction. When an
object is to be located, it is not permissible to point directly at it, but
it is necessary to first move the pointing hand gracefully in curves or
circles, before pointing. Generally for objects at a distance the point-
ing hand moves in larger rounds or curves than for objects near at
hand. A "tan" should keep the following rules:
The tip of the thumb should lightly touch the
middle finger tip with the index finger extended, and
the other fingers curved naturally like orchid leaves.
From this position of the hand the expression "Or-
chid-fingers" is derived.
The Harmony of Bodily Movements. If the
right hand does the pointing, the eyes follow its
movements and the whole body assumes a grace-
ful, poised position with the right foot a little to
the back, and the left hand akimbo or in front of
The Pointing Hand the lower chest. Every action must be done strictly
104
SECRETS OF THE CHINESE DRAMA
Jllus. 48. (Left to right) l"Fun-lien" (by Liu Lien-yung); 2 "Tan" Pointin
Above (by Mei Lan-fang) ; 3 The Maid (by Chu Kuei-fang)
PLAY: Loyalty Finds a Way
DRAMATIC ACTIONS HAND MOVEMENTS . . 105
according to the musical tempo. If the left hand points, the action is
the same, but in the opposite direction. Usually, when an object at
a distance is to be indicated, the body leans a little forward; if at a
height, a little backward; if at a point diagonally left or right, a little
towards that particular direction.
1. To point straight in front (ffj
(a) On a high level. The pointing hand starts slightly below
the face, moves inward, makes a circle, and points toward
the object with a prone hand (Illus. 48).
(b) On a low level. The hand starts as in (a), but points
below in front of the feet instead of above.
2. To point to the right front (; jg).
(a) On a high level. The right hand starts three to four in-
ches before the left shoulder, moves left and downward
in a curve, and then up, pointing to the right with a prone
hand.
(6) On a low level. The right hand starts from high above
the head, moves downward and to the left in a curve and
then points outward and downward towards the right with
a prone hand.
3. To point to the left front ( $g).
(a) On a high level. The right hand starts at the same place
as in (2a) but instead of moving to the left and downward,
it moves upward in a left-to-right circle, and finally points
to the left with palm at right angles to the floor (Illus. 49).
(6) On a low level. The hand starts as in (2&), but moves
downward to the right in a curve, and points to the left
with a supine hand.
4. To point to the back (^ $&)
There are three methods of performing this movement. The eyes,
after following the hand movements, should immediately turn to the
person with whom the performer is speaking.
(a) After a circular wrist movement, the supine right hand
points backward over the right shoulder.
106
SECRETS OF THE CHINESE DRAMA
Illus. 49. Pointing to the Left Front (by Mei Lan-fang) ; "Lao-sheV
(by Wang Shau-t'ing)
PLAY : The Suspicious Slipper
DRAMATIC ACTIONS HAND MOVEMENTS . . 107
(6) The right hand starts level with the left shoulder, or a
little below the face, moves upward and outward in a
circle and points through the left arm (akimbo) with a
supine hand.
(c) The right hand starts before the left shoulder and moves
upward and outward in a circle. On coming to the left
shoulder again, the hand, now relaxed, should, by a grace-
ful wrist movement, turn the palm toward the left and
point backward over the left shoulder.
5. "Fan Chih" (JH $?) i-e. to point above or below with the hand
above the head.
The right hand (prone) starts a little before the face and moves
downward and toward the left in a circular movement. Gradually the
arm is lifted until it is poised above the head in a curve with a supine
hand pointing up (the head is now inclined toward the right front by
the bending of the body in that direction). The left hand should be
akimbo, and the right foot a little behind the left.
In pointing below, the upper part of the body should lean toward
the left. Therefore, in both of the postures, the upheld arm is always
at right angles to the head.
6. To point with both hands ( jg -^ jg ) .
When both hands are employed to point at the same time, the
"leading" hand is about one foot from the "following" hand, in a
slanting line to the body, with the foot on the opposite side a little to
the rear. If the right hand is leading, the left foot steps back simul-
taneously as the hand points to the definite object or direction. The
eyes should follow the movement of the hands and the body should be
held in harmony with them.
Sometimes, however, the hands may point alternately, and in that
case, they move in the direction to.be indicated, in successive advancing
circles.
7. To point in hate or- in anger (%
The actor follows the directions as in (la), but points directly at
the person hated, and accompanies the act with the proper facial ex-
pression.
108
SECRETS OF THE CHINESE DRAMA
Illus. 50. Pointing to Oneself (by Mei Lan-fang)
PLAY : A Nun Seeks Love
DRAMATIC ACTIONS HAND MOVEMENTS . . 109
8. To point at a group of objects (
Start with right hand, palm upward, a little below the left shoulder,
move it toward the right in a horizontal line to about two feet from the
starting point. Actors playing roles other than "tan" point with a prone
hand.
The gestures described above refer only to the location of other
persons or things. The following explain those gestures which locate
the parts of one's own body:
9. To point to oneself (g
(a) Place the hands (bare) "open" (see p. 99), palms upward,
against the chest, with the fingers of one hand above those
of the other. At the same time nod the head once as if in
acknowledgment.
(6) Raise the right hand (bare) "open/* and place the extended
middle finger on the chest, palm toward the body (Illus.
50) and nod.
(c) If the actor wears long sleeves, the right hand should be
similarly placed before the chest, with the sleeve pre-
viously folded by an upward and outward turn at the
wrist.
10. To point to the head
Start with the right hand a little in front of the left shoulder and
move it outward and downward in a curve. Then gradually lift the
arm and when the elbow is about level with the shoulder on the right
side, point to the head with a supine hand.
11. To point to the face or any part of the face (JgffisJtD Jfc).
There are three different ways of doing this:
(a) For the right side, point with the right hand, palm out-
ward, about three inches distance from, and on the level
with the part of the face to be indicated. For the left
side, use the left hand.
(6) Same as in (a) as to the position of the hand with regard
to the face, except that the hand is held "open," palm
inward, without using the index finger for pointing.
[10
SECRETS OF THE CHINESE DRAMA
Illus, 51. The Hindering Hand ("Tan" by Mei Lan-fang) ; "Wu-ch'in"
(by Liu Lien-yung) ; The Maids on the sides (by Yao Yii-fu
and Chu Kuei-fang)
DRAMATIC ACTIONS HAND MOVEMENTS . . Ill
(c) Reach forth the right hand to the left side (or the left hand
to the right) about level with the left shoulder, palm out-
ward, and point with the index finger backward toward
the face.
12. To point to the arm (or the hand Jg g jR| gfc ^).
Raise the arm (or the hand) to be indicated in a curve before the
chest, palm outward, hand "open." Then similarly hold up the other
hand, also palm outward, with the index finger pointing to the arm
(or the hand).
13. To point to the waist (Jg fig).
All characters other than "tan" never point to the waist but indicate
it by putting the hands on it, because it is considered vulgar to point to
the waist. Only a "tan" may put her hand across and point to the other
side of the waist; for instance, a "tan" may extend the right hand across
the front and point to the left side of the waist.
14. To point to the leg (or the foot $jj JJg fc J).
Place the right foot behind and a little to the left of the other foot.
Extend the right hand across the front, and point a little backward to
the right leg (or the right foot) with a supine hand, held at the left
side of the waist. Turn the head to the left, with eyes following the
movements of the hand. The left hand may be held either akimbo or
in a curve before the chest.
15. To point to the chest or the abdomen (jg jfe gg, Jig).
It is strictly forbidden to directly point to the chest or the abdomen,
for such movement is very unpleasing to the eye. An actor, however,
may lightly touch these parts, if the indication is necessary.
Besides the above mentioned ways of pointing, there are still others,
such as to point with the object held in the hand and to point with an
empty hand to the object held in the other hand.
16. To point with an object, such as a fan, a horse-whip (see p. 24,
Item 4), a duster (see Footnote, "A Nun Seeks Love"), a
pen, a sword or a sabre ($p % f$ Jjf ).
The object is usually held with the thumb and the first two fingers,
leaving the other fingers naturally curved or artistically extended (Illus.
112
SECRETS OF THE CHINESE DRAM^
Illus. 52. Pointing to the Object Held in the Other Hand ("Tan" by Mei Lan-fang) ;
"Lao-shen" (by Wang Shau-t'ing)
PLAY: The Suspicious Slipper
DRAMATIC ACTIONS HAND MOVEMENTS . . 113
50, 51, 52). The other parts of the body should also be kept in harmony
with the hand movements, as above described. The following are the
three ways of pointing with the object:
(a) Hold the handle of the object and point with its head.
(6) Hold the handle of the object (palm downward) with the
third and fourth fingers in such a position that the object's
head hangs down and the index finger points the direction.
(c) Hold the handle, letting the object rest on the arm and
point with the index finger of the same hand.
17. To point with an empty hand to the object held in the other
hand
(a) The object is held level with the shoulder.
Raise the pointing hand upward and to the right in a curve. When
a circle is completed, point with palm outward (Illus. 52). Or, raise
the pointing hand a little before the shoulder, move it outward and
downward in a small circle and point to the object with a supine hand.
(6) The object is poised on the fingers of one hand in front of
and above the shoulder.
The pointing hand starts a little in front of the chest and about
level with the shoulder, and moves in a right-to-left circle (if the right
hand is pointing) or vice versa if the left hand is pointing. The arm
is gradually lifted a little above the head, and toward the front in a
curve, the hand pointing to the object with the palm outward.
18. To point with an open fan (& jjg J| ft).
Besides the above mentioned ways of pointing with an object, a
"tan," and only a "tan," has two other methods of indicating direction
by the use of an open fan. For example, in pointing to the right:
(a) Hold the open fan in a horizontal position in the right
hand a little below the right shoulder with the outside
corner of the fan pointing to the right. The left hand
should slightly touch the inner edge of the fan.
(b) Hold the fan in the left hand as in (a), and rest the right
hand on it. Then after going through the necessary cir-
cular movements, the right hand points to the right.
114 ... SECRETS OF THE CHINESE DRAMA
19. To point to a city gate (Jg J& pg).
This is a special movement, performed only for this purpose. There
are usually three characters in the name of a city and these are placed
over the gate (see p. 25, Item 13).
The hand must point three times. Each time the actor points, he
reads a character. If he reads the name twice, he must point six times.
CHAPTER
THREE A/trm ^?y lavements
As some of the arm movements have been described in Chapters
I and II, the following descriptions will only cover those in which the
hands move similarly to those already described but in which the
position of the arms is different.
1. THE EMBRACING ARMS (j& J}& JJf )
Fold the forearms across the chest, letting the palms rest on the
upper arms. Sometimes, slightly shake the head.
Meaning: (a) To show despair.
(6) To express chilliness or illness.
2. THE RESTING ARMS (fg JJfr flf ).
Only those characters playing the r61e of a ghost are permitted to
let their arms hang at their sides. Even those who play servants and
stand in waiting at the sides of the stage should slightly bend one arm
and place the hand on the hanging arm a little below the elbow (see
"resting" sleeves, p. 91). A person, however, feeling very awkward
may let his hands hang down stiffly, but they must not rest against the
body (Illus. 40).
3. "YuiN SHOU," A DANCING POSTURE (Jg ^).
This is one of the postures from the T'ang dance. It is usually
connected with and followed by a "La Shan P'an" (see p. 116).
115
116 . . SECRETS OF THE CHINESE DRAMA
Start with the left hand (palm up) below the right (palm down).
Move the left hand inward and to the right, and the right hand outward
and to the left in horizontal circles. Sometimes this is performed
together with a rotation of the body.
4. "LA SHAN P'AN," ANOTHER DANCING POSTURE ($ Jj f}).
This and the preceding posture have been transmitted directly from
the dance without alteration. They are performed by the acrobatic
characters whenever they start to do some act or to finish some fancy
movement before their exit.
Turn the body from the waist up a little to the right. Raise the left
arm in a curve with "open" hand before the chest. Raise the right arm
with the hand also "open" and hold before the left shoulder about three
inches from the left hand, both palms outward. Extend the left arm
to the left with the hand in "fist" (see p. 99, Item 4) and lastly extend
the right hand to the right, with eyes following. Poise both arms level
with the shoulders.
CHAPTER
FOUR
The foot movement is no less important than that of the hand,
because it is also developed from the ancient dance. Every single step,
either in stage walking or running, must be performed in accord with
the music. There are different rules for the gait of the various character
types. Moreover, an actor has to observe different rules of acting when
different costumes are worn, even in the same play.
The table on the following page illustrates these rules.
There are as many kinds of foot movements as there are of sleeve
movements, but only the mare important ones often performed by the
"tan" are described here:
1. THE STAGE WALKING ( ]E ^.)-
The female characters should walk in shorter steps than the male.
The quicker the pace, the shorter the step. In the shortest step, the
toe of the leading foot is only three to four inches ahead of the rear foot.
In a long step, the sole of the leading foot should be placed one to two
inches before the toe of the rear one. The feet should be kept close
together, the utmost distance apart not exceeding two inches. In brief,
while advancing, the feet should move so that the toes are almost even.
2. THE STAGE RUNNING (Kg ^).
The body above the waist should be kept very steady. Faster
running demands shorter steps, in order that the appearance of speed
117
118
SECRETS OF THE CHINESE DRAMA
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DRAMATIC ACTIONS FOOT MOVEMENTS ... 119
may be given while in reality the degree of advancement is very low.
Sometimes a "tan" may run with a "shading" sleeve instead of "run-
ning" sleeves. It is not permissible to let the skirt fly out, for it looks
less graceful and elegant.
Throughout the world actions on the stage are not supposed to be
exactly the same as those in daily life, but in Chinese plays the difference
is more striking than in the plays of any other country. The conven-
tional gait must be in keeping with each particular character in the play.
Therefore, we have the short, graceful, mincing steps of "tan," the round
or square strides of "shn," etc. The only thing that is common to all
characters is that all actors must keep perfect step in harmony with the
music.
3. THE STAGGERING STEPS (3c
To represent an intoxicated person or one who is weak from illness,
the actor steps with the right foot to the side (or front or back), letting
the weight of his body fall on it. Then, almost immediately, he steps
again and throws his whole weight on the left foot. Simultaneously the
neck and the arms are relaxed. Repeat as many times as necessary.
4. THE SLIPPING STEP ($f $?).
To represent a wet and muddy street, the actor, usually in running,
performs "the slip" by extending one foot forward and bending the
other, with the body falling backward and resting on the bent leg.
5. THE UP-STAIRS AND DOWN-STAIRS STEPS (Jb If ^ T It ^)-
(a) Bend the body slightly forward; lift the front of the skirt a
little; raise the thigh in stepping, as if the person were ascending real
stairs. Each step should be about four to five inches in length.
(fc) Bend as in (a) ; lift the side of the skirt a little; raise the right
thigh, but less than in (a). Bend the left knee when the right foot steps
down, as if descending real stairs.
6. THE KNEE-STEPS (Jfc iff
This is mostly done by actors playing female roles.
(a) Raise both sleeves as in "upheld" sleeves; walk either forward
or sidewise on the knees.
120 ... SECRETS OF THE CHINESE DRAMA
(b) Raise one sleeve, and with the other hand resting on another
person, walk on the knees.
7. THE STANDING POSTURE ($ ^).
(a) Stand on one foot with the other nearly behind it, or with the
toe of the other foot barely touching the floor.
(fc) Stand with the toe of one foot close beside the middle of the
other and with the knees pressed together, so as to facilitate the swaying
of the body.
8. THE STAMPING (igf
In regret or despair, the stamping is done similarly to that in
everyday life, except that it is always accompanied by the "yielding
hands." Every character should stamp on the "pan" Ofc), i.e. the stroke
of the "time beater" (see p. 32, Item 7), the player of which serves
as the orchestral director. The military character type brings down
the foot very forcibly, while a "tan" always stamps delicately.
9. THE JUMPING STEPS (jj
Step forward on the right foot and, as it touches the floor, spring
forward on the left foot, simultaneously raising the right to the front,
toe downward. Repeat as many times as necessary.
Sometimes, alternate jumping steps ( H &$ > ) are performed by
going through the following motions :
Step forward on the right foot with arms in curves before the chest,
the left arm leading, and jump with the left, as in the above described
"jumping." Then as the right foot rests on the floor, the left steps
forward, with the right arm leading. Jump forward on the right foot,
with the left raised to the front. Repeat, with the right foot again
leading.
Meaning: Originally it meant to hurry. Now it is no longer limited
to its old meaning, but is often performed as a fancy move-
ment.
10. THE SIDEWISE STEPS, No. I (J ^).
Hold the body erect with legs close together; step right foot sidewise,
about two to three inches. Follow quickly with the left; and again
DRAMATIC ACTIONS FOOT MOVEMENTS ... 121
advance on the right foot. Both feet should be kept so close to the floor
that they seem not to leave it.
Meaning: Originally it meant "unable to advance, yet compelled to
progress." It is one of the movements made by the White
Snake Lady in the play "The Golden Mountain Monastery."
(see p. 213).
11. THE SIDEWISE STEPS, No, II (|
In this movement, it is forbidden to move the whole foot forward,
Start with toes together and the feet forming an angle of sixty degrees.
If going to the right, the actor should move the right toe and the left
sole to the right at the same time. As soon as they rest on the floor
move the right sole and the left toe very quickly. Repeat as long as
required.
Meaning: Same as No. I: This movement is often performed because
of the beauty of the motion.
12 THE MINCING STEPS (SI ^?).
Keep the feet close together, and advance in quick, short steps, not
more than two inches in length. This is usually performed by the
sprightly, coquettish "hua-tan" type.
Meaning: Anxious to advance, yet for some reason or other it seems
impossible to hasten.
Sometimes, this action may be performed in retreat. In this case,
it is called the "mincing-retreat" step ( $J g| ^),
Meaning: The character is on horseback and the horse getting stubborn
refuses to advance.
13. THE GHOST STEPS (*& =% ).
With the body very erect and stiff and with arms and hands
hanging, walk smoothly in very short steps so as not to rustle the
costume. To represent taking a distant trip, the ghost character whirls
around three times, for it is believed that when ghosts travel, they ride
on whirlwinds.
Meaning: To represent a ghost on a journey.
122 . . . SECRETS OF THE CHINESE DRAMA
14. THE CROSS STEP (-f- *&
Place the left foot at right angles to and about twelve inches in
front of the right foot. Simultaneously raise the hands, the left to the
back, the right to the front, and higher. Then advance with the right
foot and left hand leading. This movement may be seen in the play
"The Golden Mountain Monastery."
Meaning; It is a dancing posture.
15. THE SIDEWISE CROSS STEP (3* H ^)-
It is usually done with partners facing each other. In going to the
left side, cross the right foot over the left. Then move the left into
place. Repeat the movement.
It may also be done by first raising the right leg high, and then
kicking out to the left before putting the foot down. Advance to the
left by repeating the same movement.
Meaning: To show excitement. The character is so excited that his
actions are uncontrollable.
16. THE GET- ABOARD STEP (Bf
Raise the left foot high and spring forward with a long step. Before
the left foot reaches the floor, raise the right foot a little to the rear.
When the left foot rests on the floor, the right foot is placed against
the left leg without touching the floor. This is usually followed by quick
running:
Meaning: To go aboard a boat or ship hurriedly.
CHAPTER x^
c?L>e
FIVE o<3 eg ^l/ 1/ lovemenls
There are many kinds of leg movements which an apprentice
must begin learning while very young, for otherwise he will be unable
to master the balancing of the body gracefully. As leg and foot move-
ments are inseparable, a number of the leg movements as auxiliarly to
foot movements were described in the last chapter* In the present
chapter only those movements in which the foot does not touch the
floor are described.
1. THE STANDING POSTURE (JUJBi).
The most important rule in Chinese drama is that actors when
standing always have one or both knees slightly flexed.
Meaning: (a) To show readiness to move gracefully.
(6) To avoid stiffness, especially for the "tan."
2. THE FLEXED KNEE (* JS|).
Stand erect on the right foot, lift the left thigh to a horizontal
position, and hold the lower leg so as to form an obtuse angle. This
movement is usually performed by the military character type.
Meaning: To show alertness.
3. THE LIFTED LEG (Jg Jg).
Lift the thigh as high as possible, but keep the toe extended down-
ward.
Meaning: To show readiness to kick.
123
124
SECRETS OF THE CHINESE DRAMA
Illus. 53. Turning on Horseback (by Mei Lan-fang)
126 .
SECRETS OF THE CHINESE DRAMA
Illus. 54. The Exit Posture; Leading a "Horse" (by Mei Lan-fang)
CHAPTER /^a x-yj
SJX ^-J/J/aisl ^/ V lavements
Every movement of the waist when dancing must be exceedingly
pliant and graceful. We can see how imperiously flexibility of the
waist is required by the frequent use of the term "willowy waist*' in
describing a lady's form.
As the waist nearly always moves in harmony with the limbs and
as its movements have also been mentioned in the preceding chapters,
the following two movements in which only the waist moves will
be described. Both of them demand an early start in learning and
unceasing practice ever afterwards, for an actor can never succeed
otherwise.
1. A Low BEND (
Stand facing the audience, bend backward with a very flexible
waist so as to make the body look like an elegant arch.
2. A KITE'S TURN ( A 9
Bend backward and to the right (or left) with the arms akimbo.
Turn with the body, thus bent, from right to left or vice versa. This
movement demands strong legs and a graceful waist. It is best por-
trayed in "The Intoxicated Beauty, Yang Kuei-fei". The actor bends
back to the right low enough to grasp the wine cup on the servant's tray
with his teeth, turns his body, thus bent, to the left as if he were drinking
the wine from the cup and then drops the cup on the tray held by the
servant on the left.
127
SECRETS OF TUB CHINESE DRAMJ
CHAPTER
SEVEN (^Tkeasanl leather
ovevnenls
Originally the pheasant feathers on the headdress, the longest of
which was seven or eight feet in length, indicated that the wearer was
a robber chieftain, a barbarian general, or a general fighting against the
imperial house. Later, on account of the beauty of the feathers, the
Chinese generals began to wear them too. Actors playing the role of
young or female generals usually wear them because of their pleasing
appearance. Moreover, later actors have invented so many methods of
dancing with the feathers that a special class of motions has been gradu-
ally developed.
While in the other movements the "tan" acts differently from the
other character types, in these, all actors perform the same, except that
a "ch'in" (the painted-face character) holds the feathers higher than
either a "lao-shen" (the aged male character) or a "hsiao-shen" (the
young male character), and a "tan" poises them a little above the
shoulders.
1. WINDING THE FEATHERS (H fflft).
Drop the head forward and turn it in a circular movement with a
relaxed neck so that the feathers move in large circles. The prettiest
way of performing this movement is to make the circuit of the feathers
perfectly round.
Meaning: To show anger or determination.
129
130
SECRETS OF THE CHINESE DRAM
Illus. 56. "K'ai-k'ao" and "K'ao-ch'i"; Dancing with the Pheasant
Feathers (by Mei Lan-fang)
PHEASANT FEATHER MOVEMENTS ... 131
2. NODDING WITH THE FEATHERS
Bend forward with the head hung so low that the feather tips touch
the floor. Then raise the head. It seems a very simple movement,
but the actor must have both tips raised or touching the floor at the
same time.
Meaning: To show surprise, contemplation or recollection.
3. PLAYING WITH THE FEATHERS (
Bend forward at the waist, drop the head a little to the side front,
so that one feather goes forward touching the floor and the other goes
backward. Lift the head and again drop forward, reversing the order.
It is very hard to do this movement satisfactorily.
4. HOLDING THE FEATHER, No. I (
The feather is held between the index and the middle fingers so that
when the hand turns, it follows in curves. The test of the actor's skill
lies in the roundness of the curves. The feather is never held otherwise,
lest it be injured by pressure of the fingers.
Raise the right hand to the feather; let it slip through the fingers
until they are about a foot from the tip. Then by a circular wrist
motion, move the hand inward in a horizontal circle, poising it, palm
toward the right, feather tip up, on the right and a little higher than
the head. The left hand usually holds something. If not, it should be
akimbo. The eyes, after following the hand should look up (Illus. 55) .
Meaning: To look far ahead.
5. HOLDING THE FEATHER, No. II
Follow the same directions as in (4), birt use both hands.
Turn the body toward the right and laugh aloud, then toward the
left and laugh, and again toward the right and laugh.
Meaning: To show mirth with pride, e.g. a victorious general usually
performs this movement before exit.
6. HOLDING THE FEATHER BETWEEN THE TEETH
This is usually performed when the actor has an object, e.g. a spear
or a sword, in one hand. Use the empty hand say, the right to place
132 .
SECRETS OF THE CHINESE DRAM;
Jllus. 57. 'Dancing with the Pheasant Feathers (by Mei Lan-fang)
PHEASANT FEATHER MOVEMENTS . . . 133
the feather between the teeth at a point from about six inches to one foot
from the tip. Then pass the object to the right hand and hold the
feather in the left as in (4) .
Sometimes both feathers are held between the teeth, but this move-
ment is usually performed when the hands are empty and long sleeves
are worn.
Meaning: To show strong determination.
7. DANCING WITH FEATHERS (J
There are many ways of performing this movement, but only four
have been selected. They are usually performed by "tan" while walk-
ing or running in fancy steps (see "sidewise" steps) to show light-
heartedness and joy; "hsiao-shen" (the young male character) does it
too, only not so often as "tan."
(a) Hold the feathers as in (5). Start with both hands in front
of the chest/ Move the left hand inward, and the right outward, in
consecutive circles. It is not permissible to move both hands inward or
outward at the same time.
(&) Hold the feathers as in (5). Raise the right hand, palm out,
to the right front, a little higher than the head, and place the left hand,
palm down, either to the left side level with and one foot from the
waist, or, with the forearm in a horizontal position, at the front of
the chest (Hlus. 56). Sometimes, the actor may poise like this:
With the face and torso inclined to the right, extend the left foot
across the right in front and either rest it there or raise it, toe down.
(c) Hold the feathers and move the hands as in "Yuin Shou" (see
p. 115), while turning the body in a right-to-left circle or vice versa.
(d) Start with the feathers held at the front of the chest. Move
the right hand inward and downward and almost immediately move
the left hand similarly. When they have completed their circles, poise
the right hand, palm out, level with the shoulder and the left, palm
slanting toward the right front, level with or a little higher than the
head. Eyes follow the movements of the hands (Illus. 57).
Meaning: To show lightness and gaiety.
134
SECRETS OF THE CHINESE DR
Illus. 58. The Dead Body; (left) The Upheld Sleeve; (right) The
Folding Sleeve (by Mei Lan-fang)
AMA CHAPTER
EIGHT
chons
I. To LOOK FOR SOME PERSON OR OBJECT AT A DISTANCE ($j. pg)
OR WANG MEN
(a) Ahead. Stand facing the "Hsia-ch'ang-men" (the exit cur-
tain) , with a right (never left) "attention" sleeve.
(b) Behind. Stand facing the "Shang-ch'ang-men" (the entrance
curtain), with a left (never right) "attention" sleeve.
(c) Direction uncertain. The actor walks to the left side of the
stage, performs (6), and turns facing the audience with "helpless"
hands, showing that the person or object it not there. He then walks
to the right and performs (a). These movements may be done in the
reverse order.
II. THE DEAD BODY 0| j^) OR CHIANG SHIH
To play fainting, the actor should fall back into a chair, body very
stiff (Illus. 58).
III. To PREPARE THE PEN 1 FOR WRITING (jjf H) OR TAN ME
The right hand picks up the pen; then with thumb and middle
finger of the left hand remove any loosened hair from the brush, and
flick it.
1 A Chinese pen has nothing in common with a foreign pen. It is made of a
bamboo holder and a brush of feathers or wool, or the hair of deer, wolf or a special
kind of rait. During the Ch'ing Dynasty (A,D. 1644-1911), sable fur pens were used
by the Imperial families. Sometimes it is necessary to point the brush before
writing by flicking off the loosened hair from the brush so as to make the writing
smooth. In Chinese plays, however, the actor does the flicking simply to give the
orchestral director warning that he is ready to sing.
135
136
SECRETS OF THE CHINESE DRAMA
IV. CROSSING A THRESHOLD (gf pg ;jg) OR K'UA MEN CHIEN
The actor lifts his right foot high as if he were stepping over the
sill. On putting his weight on the right foot, the left is lifted backward
before stepping over. Then he has either entered or left the house.
(The threshold in the old-fashioned Chinese house is usually high,
ranging from eight to twenty inches.)
V. THE SEDAN-CHAIR RIDE (^ fg) OR CH'ENG CHIAO
A "chang-tzu" (the big, embroidered curtain), held up on two poles
by an actor stands for a bridal chair (or an ordinary sedan chair).
The "rider" walks inside this curtain.
When nien, usually of the official class, play riding in chairs, there
are often four to eight servants standing on the sides of the stage. The
leading servant first walks forward, stands facing the master, raises
his right or- left hand (depending upon their standing positions), and
moves it sidewise in a big curve as if he were raising the curtain of
the chair. At the same time the rider stoops a little forward and steps
backward two or three feet, does the pantomime of sitting down, before
he advances, as if he were entering the chair and then riding forward
in it.
On reaching the destination, the servant goes through the same
pantomime of pushing aside the curtain to let the rider out, while the
latter again stoops, and then steps forward as if he were getting out
of the chair.
VI. How TO OPEN AND CLOSE A DOOR (OR A WINDOW)
KAI Pi MEN CH'UANG
fg ) OR
1. To open a locked door from outside. Use the
thumb and index finger of the left hand, palm outward,
as if holding the lock, open it with the right hand as if
putting in the key. Then remove the lock; put hands
together, palm outward, and push them forward and
apart with body gradually inclining f orwarcj as if push-
ing "the doors apart.
For unlocked doors, omit the lock-removing move-
meats.
SOME SYMBOLIC ACTIONS . . . . 137
2. To open from inside, (a) The main double door: Hold the
left palm outward, and the thumb and the first two fingers of the right
hand as if they were grasping the bolt (horizontal fastening) . Move the
"bolt" to the right. With hands together in front, draw them inward as
if pulling open the doors. Walk toward the left with hands raised, palms
outward, as if pushing back the heavy left door. Repeat the movement
for the right door.
(6) The ordinary double door: Start as in (2a) only after re-
moving the "bolt," push the "doors" back at the same time. Since
they are not heavy portals, it is unnecessary to use both hands. If a
single door is to be represented, push it back with the right hand.
3. To close from outside. Cross the threshold as in (IV) ; turn
back; step with right foot over the "doorsill" and draw the left "door"
with the right hand, while stepping back. Similarly close the right
"door" with the left hand. Pull the "doors" into place and "lock."
Doors of smaller size may be shut at the same time.
4. To close from inside. Follow the same directions as in (2a)
and (26) only instead of pushing, pull the doors into place, and instead
of removing the "bolts," bolt them. In short, reverse the actions in
(2a) and (26).
Windows are opened or closed as in (26) and (4) but with hands
raised, as window fastenings are supposed to be rather high.
The poor are represented as living in caves, the entrance of which
is very low, hence there is a special method for entering and leaving
such an abode:
5. Coming out Stoop down, remove the "bolt" and open the
door with the right hand, palm outward, and with the left hand helping
or in front of the chest. Fold the right sleeve, step out with stooped
body. Stand erect and perform a "turning" sleeve.
6. Entering. Fold the right sleeve as in the "folding" sleeve, stoop
very low with back toward the audience; step into the cave; turn facing
the audience, push leftward the right hand, "open," palm outward,
as if closing the door. Raise the left hand, also "open" and palm out-
ward, level with the chin as if leaning on the door frame. With the
right hand perform the pantomime of holding the "bolt" and moving
it to the left as if bolting the door. Then stand up.
138 .
SECRETS OF THE CHINESE DRAM
Illus. 59. The "Heart-protecting Glass"; Mounting an Imaginary Horse
(by Mei Lan-fang)
PLAY: Mu-lan, the Disguised Warrior Maiden
SOME SYMBOLIC ACTIONS .... 139
These movements are portrayed in "The Suspicious Slipper" (see
story). In that play, the male character, to show that he has grown
unaccustomed to entering such wretched lodgings, does the pantomime
of bumping his forehead on the "beam" above the "door."
VII. To MOUNT AN IMAGINARY HORSE ( jb $|) OR SHANG MA
1. Raise the right hand "open" as if to stroke the "horse."
2. Close the left hand as if to hold the "reins."
3. Pass the third finger of the right hand into the loop of the whip
(see p. 24, Item 4) handle. Then the hand clasps the handle.
4. As the whip is drawn back, the left foot is lifted to the "stirrup"
(Illus. 59).
5. As the whip descends on the back, the right foot is thrown
across the "saddle."
6. As the rider is seated, the left hand tightens the "reins."
7. The rider now faces the audience with an uplifted whip, ready
to set out on the journey (Illus. 61).
VIII. To DISMOUNT AN IMAGINARY HORSE (**p j^) OR HSIA MA
1. Move the right arm and hand with whip up ,and toward the
right in a big circle and then hold the whip horizontally in front with
the left hand touching the tip of the whip. Simultaneously, look at
the audience as if saying, "I have reached my destination."
2. By a circular wrist movement turn the whip downward and to
the right. When the circle is completed, slip the little finger out of
the loop, and pass the whip to the left hand. Simultaneously, lift the
right foot as if the rider were dismounting.
3. While the left hand does the pantomime of gathering the "reins"
and receiving the whip, the left foot steps as if getting out of the "stirrup."
4. The whip is replaced in the right hand "to be led away" by the
rider's servant. Sometimes, the whip is thrown on the side of the
stage meaning that the horse is let loose to graze.
140
SECRETS OF THE CHINESE
Illus. 60. Reining up a "Horse"
PLAY: The Rainbow Pass
SOME SYMBOLIC ACTIONS
141
IX. To REIN UP AN IMAGINARY HORSE
OR LE CHIANG
The rider on horseback moves the whip backward and downward
in a curve. When a circle is completed, he holds the whip in front of
him with a prone hand (Illus. 21, 60).
X. To LEAD AN IMAGINARY HORSE (# jfj) OR CH'IEN MA
To lead a "horse" the actor holds the whip vertically by the handle,
with its tip either up or down (Illus. 54).
When the "horse" is handed over to the rider, the whip is held
horizontally, with the handle toward the latter. The right hand is
extended to the side, and level with the shoulder. The actor in doing
this should stand in front of and with his back towards the rider.
XL How TO TAKH A SEAT ( ft ^ JJ
Nui WAI CH'ANG Ts'o FA
OR
The table at the centre of the stage serves as the demarcation line
between "Wai Ch'ang Ts'o We"
CD A
OB
A table
B chair
S starting point
BO
<$ { seat on the outer stage)
and "Nui Ch'ang Ts'o We" (ft t| ^
fit seat on the inner stage) . There
are definite rules for the actor to
follow when he is to take the Wai
Ch'ang or Nui Ch'ang seat.
1. To take a Wai Ch'ang seat
First make the declamation at the
front centre of the stage, turn left;
walk in the direction of the arrow,
forming the letter "S." On reaching
the chair, turn right face and sit.
2. To take a Nui Ch'ang seat
Turn right face after declamation
and walk in the direction of the
arrow, forming the shape of a re-
verse "S." On reaching the table
and the chair, turn left face and sit.
142
SECRETS OF THE CHINESE DRAMA
Illus. 61. Starting on Horseback (by Mei Lan-fang)
PLAY : The Rainbow Pass
SOME SYMBOLIC ACTIONS
143
XII. How A HOST SEATS His GUEST ( jg p^ ) OR WA MEN
As it is rather difficult to describe the movements in mere words,
the following figures may enable the reader to get a clearer idea.
1. When the host and the guest enter through different doors:
SQ
BO
S Shang-ch'ang-men.
H Hsia-ch'ang-men.
A Seat of Honour.
B Seat of Host.
H' -Host.
G Guest.
C First Greeting Place.
D Second Greeting Place.
The guest comes on the stage through S, while the host enters
through H. They are to greet each other at C. Then they walk in the
direction of the arrows until they come to D where they again exchange
greetings, the host asking the guest to take A and the guest modestly
refusing. Finally they proceed and take their seats.
2. When the host and the guest enter through the same door:
Ho
OA
S Shang-ch'ang-men.
H Hsia-ch'ang-men.
A Seat of Honour.
B Seat of Host.
H'-Host.
G Guest.
Through S the host leads the guest to the front centre of the stage,
crosses the threshold and turns left toward S, while the guest goes right.
They greet each other and proceed as in (1).
XIIL To SHOW A PERSON UNDER ARREST (f& $f) OR PEI P'u
A character wearing a long string or silk band on r the neck, with
ends hanging down in the front, shows that he is under arrest.
144
SECRETS OF THE CHINESE DRAMA
XIV. To SHOW A VIEW THROUGH A PRISON WINDOW (^ f|f ft |g ) OR
Yu CH'UANG WAI WANG
To show peeping through the window in the entrance gate of the
prison, the character, playing jailor, stands at the back of a chair, and
stoops to peep out through the space between the slats.
XV. ADMISSION INTO A PRISON (sg 2) OR TSIN LAO
The jailor who stands at the back of the chair, tilts the chair side-
wise (meaning the prison door is opened) and then steps a little to
the side so as to let the prisoner (or his friend or relative) enter.
XVI. A SIEGE (ft B) OR PEI K'UN
1. A Besieged City. Players run in big curves across the stage in
opposite directions, i.e. those who come on the stage through the "Shang-
ch'ang-men" (or entrance curtain) go out through the "Hsia-ch'ang-
men" (or exit curtain) and vice versa. A city wall (see p. 25, Item 13)
is represented at the back centre of the stage.
2. A Besieged Family or Group of Men. Actors run as in (1) only
instead of a city wall, the besieged group stands in the centre facing
the back of the stage.
XVII. WEAVING (ffi ^) OR CHIH Pu
Chairs for a weaving scene
XVIII.
To represent weaving, the actor
sits on one chair and faces another
chair with its back towards the
audience. One end of a long strip
of silk hangs over it while the other
end is tucked under its cushion. The
actor holds a shuttle and passes it
under and out from the stretched
silk as if he were weaving cloth.
To GET ABOARD A BOAT ( j. jty) OR SHANG CH'UAN
The actor jumps forward and while resting on the floor his body
sways gracefully back and forth, in harmony with the up and down
SOME SYMBOLIC ACTIONS . . . . 145
movements in the knees, as if to balance himself on the unsteady boat.
Then he picks up the oar, placed on one side of the stage.
If two or more actors are in the boat, the leading one after getting
aboard holds out his oar horizontally towards the other, as if to provide
him with a support.
If an actor comes on stage through "Hsia-ch'ang-mgn" (the exit
curtain) with an oar in his hand, it usually means that he is already
on the boat and is welcoming some passengers. In this case, he holds
out the oar, like the leading actor above-mentioned, towards those who
enter through the "Shang-ch'ang-men" (the entrance curtain).
XIX. To ANCHOR A BOAT (#j fe) OK PK CH'UAN
The actor after gracefully running in circles with an oar in his
hand as if he were rowing, first places the oar on the floor and jumps
two or three steps forward as if getting ashore. Then he turns about
face, stoops down, and does the pantomime of drawing the boat nearer
to the shore and fastening the rope to the pier.
These pantomimes concerning the imaginary boat are best por-
trayed in "Fighting Against the Chins" (Jj ^ |), "The Intriguers
Intrigued" (|g A ff)> "Tfie Valiant Fisherman and His Daughter**
(*T * *). "The Patriotic Beauty, Hsi Shih" (9 j|), etc.
XX. MAKING SHOE THREAD (< $| jgO OR HE HSIEH SIEN
The soles of old-fashioned shoes were made of layers of cloth quilt-
ed together, a kind of very strong and specially made thread being used
for this quilting. To portray thread-making a "hua-tan" goes through
all of the movements of twisting and rolling the imaginary thread.
First, she draws out a very long "thread," places the middle of it over an
imaginary hook and with one end of it between her teeth and the other
between her palms, she rolls it briskly (Illus. 62) so as to twist it tight
in one direction. Exchanging the ends she similarly rolls the. other
end, and putting the ends together, removes the now twisted thread
from the "hook" and holding one end, lets loose the other. Here the
work is completed and she is ready to begin stitching the sole. This act
is portrayed by the actor, playing the maid, Ch'un-lan, in "The Comedy
146
SECRETS OF THE CHINESE DRAMA
IIlus, 62. Making Shoe Thread (by Sun Hui-shen)
SOME SYMBOLIC ACTIONS . . . 147
of Errors" (see synopsis) when she was ordered to make a pair of
shoes for Bien Chi, who, of course, could not wear a lady's small shoes.
XXL To LET DOWN OR ROLL UP A CURTAIN ($c $| 3t M ) OR
FANG LIEN OR CHUAN LIEN
1. The actor portrays the pantomime of untying the fastening
knots of the imaginary rope with which the imaginary curtain is hung
and of slowly unrolling the curtain by the following movements : Raise
the hands high to the front, looking upward; use the first three fingers
of both hands to untie the imaginary knots; then put palms up as if to
hold the "rolled curtain"; gradually lower the hands until the imaginary
curtain hangs straight to the floor.
2. The actor stoops down to pick up the lower edge of the imagin-
ary curtain, rolls it up until it is high above his head and then fastens
it there.
XXII. DROWNING IN A WELL ($; -ft) OR T'ou TSING
A chair put on one side of the stage may stand for a well. The
actor mounts the chair jumps down on the other side and runs quickly
off stage.
XXIII. CLIMBING OVER A WALL OR A HILL (fi jR tt flft) OR
YlIEH Ts'lANG OR YUEH LlN
A table with a chair at the side is put on the stage (never in centre)
to represent a hill or the wall of a building. The actor first throws
one end of a rope across the table (received and held by the property-
man) and then as if clinging to the rope he mounts the chair and table
respectively.
XXIV. STAGE ARMIES (1g ft) OR CHUN Tui
Each attendant carrying a large rectangular banner signifies one or
two thousand men. These attendants usually enter in fours or in mul-
tiples of four.
XXV. GHOSTS ( & ) OR KITEI
Actors wearing black or red veils or paper tassels represent ghosts.
XXVL A PATIENT (^ A) OR PlNG J ' EN
When an actor wears a long strip of yellow silk or cloth around
his forehead, with its ends hanging down his back, he is considered ill.
148 . . . SECRETS OF THE CHINESE DRAMA
XXVII. ENTRANCE AND EXIT (Jfc 4g "p %&)
OR SHANG CH'ANG HSIA CH'ANG
On entering the stage the actor must first give the prologue or some
line of poetry, or the "tien-chiang-ch'un" tunes (see p. 89), and on exit
he must deliver more poetic passages or sing the last sentence in his
song.
1. To enter and later to exit through Shang-ch'ang-men (the
entrance curtain) represents that the character returns to the
place from whence he has come.
2. To enter and later to exit through Hsia-ch'ang-men (the exit
curtain) means that the character has been summoned by
another character on the stage.
3. Characters entering from both curtains show that they come
from different directions and happen to meet each other.
4. Characters who exit through both curtains portray that they
are going in all directions.
PART III
Or^/
OJT CI^x Lcty^s
CHAPTER
ONE & he (Classification
As there has never been any strict rule for the classification of
Chinese plays, one may freely classify them according to one's own taste.
I venture to classify as follows:
Tragical Anti-war
Comical Seasonal or Festival
Tragi-comical Spectacular
Historical Superstitious or Mythical
Satirical Legendary
Sociological Personal
Romantic Parallel or Analogous
Ethical
The Personal Plays are either old plays which have been recon-
structed by individual actors or are entirely new plays, written by the
present-day literary men and directed or presented by themselves or
other artists.
The Parallel or Analogous type are those in which the main plot
is almost the same, except:
(a) The leading character is changed, e.g. from female star to male
or vice versa.
(b) The method of performing is different, e.g. in one play singing
predominates while in the other acrobatic stunts are prominent.
(c) Only some 'minor points in the story are different.
151
152 ... SECRETS OF THE CHINESE DRAMA
A LIST OF PLAYS ILLUSTRATING EACH CLASS:
Tragical
(a) The Final Parting between the King, P*a Wang, and His
Favourite (j| 3E
(6) The Pass of Chao No. II (R
(c) How the Pass of Boo Was Held (Q
(d) Hsiieh Yien, the Faithful Concubine
(e) Killing the Tiger General OH
(/) The Dream of a Soldier's Wife
(g) Tai Yu at the Burial Mound of Flowers ( 3E
(A) Offering at the Pagoda (& j).
Comical
(a) A Comedy of Errors (# ffl A tt).
(6) A Tale of Three Dwarfs <H* W 6P 34E
(c) A Nun Seeks Love (JB /L).
W) The Naughty Maid (# ffi *).
(a) The Royal Monument Pavilion
(ft) Snow in June (: ft g).
(c) The Tale of the Lute (g g ffi).
(d) Loyalty Finds a Way (^ ^).
(g) The Lady with a Red-marked Hand (|fc fjg fc).
(/) Justice Takes a Holiday but Returns
(gr) The Romance of Chiang Ts'iu-lien
(a) The Final Parting between the King, P'a Wang, and His
Favourite (ft 3E OT K).
(6) Killing the Tiger General (M ft)-
(c) Yang Yen-hui Visits His Mother (H g|5
(d) The Patriotic Beauty, Hsi Shih (g Jfc).
(e) Fighting Against the Chins (JS;
(/) The Gallant Peace-maker (^
(gO The Strategy of an Unguarded City (^ it ff).
(A) The Intriguers Intrigued (H A If)-
THE CLASSIFICATION OF PLAYS ... 153
Satirical
(a) The Valiant Fisherman and His Daughter (ft
(6) A Family of Four Virtues ( Jfc # ffiS $ 6P HJfc ft
(c) Excessive Taxation Is More Ferocious than the Tiger (Jfc
(a) A Family of Four Virtues ( jfe # fjf g fip H
(6) The Romance of Chiang Ts'iu-lien (# ffc gjj).
(c) The Royal Monument Pavilion (ffij {$ $).
(d) The Suspicious Slipper (jfr JftJ ff ).
(e) The Significant Sash (^ f| ).
(/) Loyalty Finds a Way (ffs ft ft).
(gr) A Wife's Sacrifice (*%)
(A) Justice Takes a Holiday but Returns (JJK J^ IB).
(0 The Lady with a Red-marked Hand ($e #< IB)-
(a) The Rainbow Pass (&
(6) A Comedy of Errors Cffc ffl A $&)
(c) The Romance of Chiang Ts'iu-lien (3^ |fc fid).
(d) A Nun Seeks Love ($1 ^L).
(e) The Cowherd and the Spinning Maiden (55 JSf Bfi)-
(/) A Tale of Three Dwarfs (.- r .^ ^ M fill 3Lfc )-
(a) Mu-lan, the Disguised Warrior Maiden (?|c ftH f 3
(fc) The Patriotic Beauty, Hsi Shih (B jg).
(c) Faithfulness, Fidelity, Purity and Righteousness
BPKSi).
(d) Snow in June (^ ft ^).
(e) The Lady with a Red-marked Hand (& Jg IE)-
(/) A Family of Four Virtues (jfe ^ fj} ^
(g) An Iron-faced Judge (^| H ^).
(h) Hsiieh-yen, the Faithful Concubine (^ #l] ^)
(0 How the Pass of Boo Was Held (ift ft m).
(j) The Reward of Kindness ( tf ^ ^ T- IP fe li?^ ) .
(&) Killing the Tiger General (M ^)-
(/) The Royal Monument Pavilion ($p
154 ... SECRETS OF THE CHINESE DRAMA
(m) The Dream of a Soldier's Wife
(n) Fighting Against the Chins (ifr
(a) How the Pass of Boo Was Held
(fc) The Dream of a Soldier's Wife
(c) The Gallant Peace-maker (|g pg
Seasonal or Festival
For the festival of the Seventh Day of the Seventh Moon.
(a) The Cowherd and The Spinning Maiden (^ ft? g)
For birthday celebrations.
(6) Ma-ku Offering Birthday Greetings (Jft jft J$; ff).
For wedding celebrations.
(c) The Reward of Kindness (iff ^ ft T- &U flfe
Spectacular
(a) The Patriotic Beauty, Hsi Shih (]g
(6) Ma-ku Offering Birthday Greetings (j^ $4* JR #)
(c) The Final Parting between the King, P'a Wang, and His
Favourite (ff 3E#J*I5).
(d) The Golden Mountain Monastery (^ |Jj ^f).
(e) Tai Yii at the Burial Mound of Flowers (U BE If 4).
(/) The Dream of a Soldier's Wife
(</) The Dream Betrothal (^
Superstitious or Mythical
(a) The Legend of the White Snake Lady (ft ft if).
(&) The Cowherd and the Spinning Maiden (5^ fSf Sfi)-
(c) A Tale of Three Dwarfs (H * M 6p : ffi *])
(d) Ma-ku Offering Birthday (ireetings (Jft Jfr JR ff).
(^) Spring Romance (ft ft ^).
(a) The Empress 5 Wrath (R jft).
(6) History Repeats (jt W).
(^) Love Wins Where Discipline Fails
(d) A Comedy of Errors (# ffl A
THE CLASSIFICATION OF PLAYS . . . 155
(e) Yang Yen-hui Visits His Mother (|zg fl|$ yg J).
(/) A Tale of the Lute (g g ft;).
(0) Tai Yii at the Burial Mound of Flowers ( Ijf 3E
(A) The Suspicious Slipper ($} ^ gf).
(0 An Iron-faced Judge ( $jj ^ ^ ).
(j) Hsiieh-yen, the Faithful Concubine (| $}
(*) A Family of Four Virtues ( fijf fip Hjft ^)-
(/) The Red-maned Steed (ft ft SB ft>).
personal plays of Met Lan-fang
(a) The Final Parting between the King, P'a Wang, and His
Favourite (0 3E #] )-
(6) Fighting Against the Chins (ft & &).
(c) Loyalty Finds a Way (< # g).
(rf) Tai Yii at the Burial Mound of Flowers (JJ 3: ^ ^).
(^) The Patriotic Beauty, Hsi Shih (g Jft).
(/) Mu-lan, the Disguised Warrior Maiden (T}C fjg $ iff).
(gr) A Family of Four Virtues ( Jfc j ff ^ gp = jg ^ _p) .
(/z) Ma-ku Offering Birthday Greetings (Jjft Ji" |K S)-
(0 The Romance of Chiang Ts'iu-lien (# ^ Be).
T/ie personal plays of Ch'eng Yen-ts'iu (;g >g| $0 :
(;) Liu Yin-ch'un (%#)
(A-) Snow in June (7^; ^ ).
(/) The Dream of a Soldier's Wife (# H 9-
(m) The Lady with a Red-marked Hand (Jfc Jg ilii)-
(n) Excessive Taxation Is More Ferocious than the Tiger (% \I] ^).
The personal plays of Sun Hui-shen (^ |g ^fe) :
(o) The Significant Sash (^ jfc flf).
(p) A Comedy of Errors (} ffi AM)-
r/ie personal plays of Ma Lien-Hang (JP| i^ ^) :
(q) Tsu-sha Tsing ($$?# i.e. The Great Trial at the Famen
Monastery fe pg -^).
(r) I-feng-hsueh ( ^ If z.e. Hsiieh-yen, the Faithful Concubine
*3f#(i
(5) Judgment
156 . . . SECRETS OF THE CHINESE DRAMA
Parallel or Analogous
r History Repeats ( j& % ?nf).
(a ' \Love Wins Where Discipline Fails (ffi R Iff
rThe Pass of Chao No. I (-$ Bg pp.
(t>) { No. II (g EJ
r The Suspicious Slipper (gj jsf
(cj I The Meeting at Wu Ghia Pu
The following plays belong to the K'un-ch'u school (fit
Justice Takes a Holiday but Returns
A Tale of the Lute (g g ffi).
The Golden Mountain Monastery (^
The Meeting at the Fallen Rridge ($?
A Nun Seeks Love (Jg.
Killing the Tiger General
The Naughty Maid (# ^
The Dream Retrothal (Jg g[ jjg
The Dream Gomes True (
158
SECRETS OF THE CHINESE DRAMA
Illus. 63. The Mistress (by Lee Shih-fang, a boy student of the Peiping Dramatic
School) and the Maid (by Mao Shih-lai, another boy student)
PLAY: .4 Comedy of Errors
A COMEDY OF ERRORS
or HVA TIEN PA TSO
(# ffl A ft)
Liu, a very rich man, had a beautiful daughter, named Yueh-ying,
who preferred to choose her own husband. (In those days, such choice
was made by parents only!) Liu sent Ch'un-lan, the maid, to accompany
her to a flower show where she might carry out her purpose (Illus. 63).
They happened to pass a shed in which a young scholar, Bien Chi, was
trying to make some money by writing poems or prose for people so
that he could pay his way to the capital to take the imperial examina-
tions. Yueh-ying, falling in love at first sight, sent Ch'un-lan with her
fan to say that her mistress wanted him to write a poem on her fan.
The clever maid at the same time told him their mission, and asked him
to wait for her master's invitation.
When the servant returned with the invited guest, Liu was sur-
prised to find a rough, monster-faced fellow, calling himself Chow Tung,
one of Bien's customers. He said that Bien had been compelled by his
friend to go to a birthday celebration, so it must have been the will of
Heaven that he was to be the groom. Liu offered Chow three hundred
silver taels (a tael^Sh. $1.40), and begged him to leave, but the latter
said that he would return within three days to marry his daughter.
The next morning Yueh-ying secretly sent Ch'un-lan to see Bien
asking him to come disguised as a flower-girl. No sooner had Bien
159
160 . . . SECRETS OF THE CHINESE DRAMA
reached Liu's house than Chow arrived to snatch the unwilling bride.
As Bien was hiding in Yiieh-ying's bedroom disguised, Chow, in error,
roughly put him into the bridal chair. Thinking his daughter had
been taken, Liu went to the magistrate to prosecute Chow. Chow
therefore, was arrested before he could even enjoy a talk with the
supposed maiden.
Consequently, Yu-lan, the only remaining member of the Chow
family, was to take care of Bien. She was greatly surprised to discover
a young man. Like Yiieh-ying, she fell in love at first sight and gave
him two hundred silver taels for his fare to the capital. Having been
taken for Bien Chi she was carried to Liu's home, where everything had
been made ready for the wedding, because Liu had learned of Bien's
substitution and had been expecting him to be brought back in girl's
attire. Yu-lan was immediately dressed in the bridegroom's gown and
married to the millionaire's daughter. In the bridal chamber, the
maidens explained to each other, and each swore to treat the other as
sister and marry Bien at the same time.
When Chow got out of prison, he again came to Liu for Yiieh-ying.
It happened that a brave monk, Lee Guei, was spending the night with
Liu. He volunteered to wear a woman's dress and ride in the chair to
Chow's home, where he gave the rascal a hard beating and notified him
that because of his evil act his own sister had been lost, and that if he
kept on molesting Liu, his own life would be taken.
On the other hand Bien had won the honour of a member of literati
and returned to Liu for Yiieh-ying's hand. He was only too glad to find
two beautiful brides and a concubine the maid, Ch'uii-lan waiting
for him instead of one would-be wife.
Gramophone Record available:
Tan by Chu Chen-ts'iu (#: jgX #t ) Beka
THE COST OF SAVING
THE MASTER'S SON
or PA NI TV
(A H ffl)
Tu, the flattering minister of the King of Tsin, was hostile to the
Prime Minister, Chao. He framed some charges which led the King to
be suspicious of his faithful minister. Then Tu falsely accused the
latter of treason for having attempted to murder the King. Conse-
quently Chao's whole family except Lady Chuang, the King's half-sister,
who had married one of Chao's sons, was executed. Before long a son
was born to the unfortunate widow.
Hearing of the birth of the Chao baby, T'u insisted that the law
must be enforced, so he went into the palace to search for the infant.
The lady, however, was too clever to let her precious baby be thus
ruthlessly killed. The child had been put under the care of Ch'eng Ing,
one of the faithful followers of her husband, whose wife happened to
give birth to a son about the same time and was able to nurse both
babies.
Failing in the search, T'u offered liberal rewards to anyone who
would deliver the baby within ten days. He threatened further that he
would kill all the babies in the kingdom of the same age as the Chao
child, if the Chao baby was not found.
Therefore, Ch'eng Ing had to consult with Kung-sun, another
faithful follower, and as a result of the consultation, they decided on
the following plan:
161
162 . . . SECRETS OF THE CHINESE DRAMA
Ch'eng was to sacrifice his only son while Kung-sun at the cost of
his life was to pretend to conceal the Chao baby on the Shou-yang
Mountain. Then Ch'eng was to report Kung-sun's perfidy. T'u sent
men and found the baby. In order to test the friendship between Ch'eng
Ing and Kung-sun, T'u ordered the former to thrash the latter. They
both played the tragic game so well that everything came out just as
they had planned. Kung-sun and Ch'eng's child were executed.
Refusing to accept the reward off ered him, Ch'eng requested instead
that he and "his son** be allowed to stay in T'u's mansion, for they, he
asserted, might be assassinated by some follower of Chao because he
had given information concerning the baby's hiding place.
The stupid minister not only sheltered them under his own roof, but
adopted the baby and educated him with utmost care. When the
fortunate child became a powerful young man, he, following Ch'eng's
instructions, killed T*u and his family in revenge.
Gramophone Records available:
Lao-sMn by Tan Hsiao-pei (pi /h * ) Pathe
Tan Foo-ing (U EC 3fc)
Yu Shu-yen (& & ) Odeon
Tan Foo-ing ( H K 3 )
TTan Foo-ing
and Ch'in , Tan Hsiao-pei
Utin Shau-shan ( & /b ill) Beka
THE COWHERD AND THE
SPINNING MAIDEN
or TIEN HE P'El
BE)
This is a popular play all over China for the festival of the Seventh
Day of the Seventh Moon. The story is as follows:
The dexterous Heavenly Spinning Maiden spun and wove so
wonderfully day by day that the beautiful things she made became
unrivalled in the heavens. The Emperor of Heaven was greatly pleased
and decided to reward her with a husband. The choice fell upon the
Cowherd, who, though a mortal, had formerly been a fairy in the
heavens before he was exiled to the earth because of some misbehaviour.
As a mortal, he was the younger son so his share of the inherited
property was in the hands of his elder brother. The latter's wife had
decided to murder him so as to avoid the eventual division of the
property.
The elder brother's business trip to a far province offered the sister-
in-law an opportunity for action. She first gave the Cowherd some
poisoned noodles, which he threw away after the warning of his fairy
cow. A dog nearby happened to eat the food and died almost instantly.
The young man took the attempted murder as an excuse for demanding
the division of the property. The bad woman refused to give him
anything, so the Cowherd suggested that if the cow were willing to stay,
it should be her property, otherwise, it would be his. As the woman
could not make the cow obey her, she let it leave with the Cowherd.
163
164
SECRETS OF THE CHINESE DBA
Illus. 64. The Spinning Maiden (by Mei Lan-fang)
PLAY: The Cowherd and the Spinning Maiden
SYNOPSES OF PLAYS . . . . . 165
The fairy cow gave its master everything he wished until one day
he wished for a wife. "You have to follow me to the pond where the
fairy maidens bathe/' said the cow, "and choose a wife for yourself by
snatching the dress of the maiden of your choice.** Fate had sent the
Spinning Maiden (Illus. 64) there. She was so embarrassed when she
could not find her dress, that she consented to marry the Cowherd. Over-
joyed, the newlyweds forgot all about their duties. This raised the wrath
of the Emperor of Heaven who recalled the Spinning Maiden to the
heavens to resume her work. The Cowherd hurried after her, but just
as he was about to overtake her, the Mother Goddess threw her sash
between them. Immediately the sash changed into a broad stream,
popularly known as the Milky Way.' They wept so broken-heartedly
that the Mother Goddess reluctantly granted them a yearly holiday, on
the seventh day of the seventh moon, so that they might enjoy a happy
rendezvous. The stream, however, was so wide that they were still
unable to meet each other. Fortunately, their true love touched the
tender hearts of the magpies, who, without being asked, volunteered
to build a bridge for them and thus made possible the lovers* meeting
on that memorable night.
Gramophone Record available:
Hsiao-shen by Chiang Miao-hsiang (| to f* ) Victor
166
SECRETS OF THE CHINESE DRA1VU
Illus. 65. "Tan" (by Ch'eng Yen-ts'iu) and "Hsiao-shen" (by Yu Chen-fei)
PLAY : The Dream of a Soldier's Wife
DATE: THE DREAM OF A SOLDIER'S WIFE
110-90 B.C. or CfruN r RUE
c# w
The four families, Chao, Chan, Lee and Wong, lived in the same
peaceful little village. News came to these peace-lovers that their
Emperor, Han Wu-ti, had carried on so many military expeditions
against the neighbouring states that conscription was to be enforced all
over the country. Soon the order came to the young men of the said
families, so Chao had to leave his aged mother and Chan was compelled
to put his little son under the sole care of his invalid wife. Since men who
went on such expeditions very seldom returned, it seemed that Lee
and Wong were bidding their broken-hearted wives eternal farewell.
The play opens with heartrending scenes of parting (Illus. 65) and
ends with the climax, the dream scene. Wong and Chao were killed on
the battlefield, Chan disappeared, and Lee alone fled home incognito.
Wong's bride, Tsing-wan, being left alone on the third day after her
wedding, was very much frightened to hear of Chao's death and Chan's
disappearance. She did not get any news about her husband so she
went to the three neighbours to find whether they had heard of or knew
the whereabouts of her husband. Fortunately she failed to get the
real truth, so she patiently waited and anxiously inquired whenever she
had a chance.
167
168 . . . SECRETS OF THE CHINESE DRAMA
One spring afternoon, while walking in her garden she felt so sleepy
that she sat down and leaning against a rock soon fell asleep. She
dreamed that her husband returned!
Beginning here, the dream scene takes the form of an operetta.
The aesthetic talent of the playwright is best portrayed in this last
scene by beautiful songs and dances. The bride begins :
"Why should love-birds be thus separated?
Without you I spend the long days like one in a stupor
Or, like one from whom health has departed.
I have been waiting, waiting for your return;
I sit alone beside the hearth until dawn.
At the time of your departure all flowers were blooming,,
But now, the willow is for the second time green.
I look for your letter whenever I hear a noise at the door;
I tremble whenever I hear any news from the front.
Fame and wealth have led man astray,
But to me I
Coarse food and clothing with your company is better than golden
seals (official seal) !"
Gramophone Record available:
Tan by Ch'eng Yen-ts'iu ( fll ft) Victor
DATE: THE EMPRESS' WRATH
A.D. 976 or MA TIEN
NOTE: The origin of this story is doubtful, for it is not recorded
in any of the reputable histories. This play was put aside for years,
and not given until about ten years ago when Ch'eng Yen-/$'i
(Q ffi, ft ) came into prominence, winning the honour of being second
only to Met Lan-fang. The song of the Empress' wrath was so well
rendered by him that it has become one of the most popular pieces
of the "erh-huang" type.
Ch'ao K'uang-yin, the first Emperor of the Sung Dynasty (A.D. 960-
1277) died leaving a widow and two sons. The throne which should
have passed to his son was usurped by the Emperor's brother. Fearing
that the young prince, his nephew, might some day become the idol of
the people, the wicked uncle so persecuted him that he committed
suicide.
The bereaved Empress mother (Illus. 29) was so angry that she
openly challenged the usurper to explain why he was not satisfied with
the usurpation, but had further indulged himself in killing her son.
Gramophone Records, available:
Tan by Ch'eng Yen-ts'iu (ft ft) Victor
Pathe
Sin Yen-ts'iu ( K ft)
Lao-shen Yen Chu-peng (W JN) Beka
Victor
Kuan Ta-yuan ( Jt TC )
, _ fCh'eng Yen-ts'iu ( ft , #c )
and lan "JRuan Ta-yuan (Jt * TC) Pathe
169
170
SECRETS OF THE CHINESE DRA
Illus. 66. The Beggar's Costume (by Ch'eng Yen-ts'iu)
PLAY: Excessive Taxation Is More Ferocious than the Tiger
EXCESSIVE TAXATION IS MORE
FEROCIOUS THAN THE TIGER
or HUANG SHAN LU1
(3c Ui SO
Kao Liang-min and his son, Tsong, made their living by gathering
medicinal herbs from the mountains. When taxation became still more
excessive, they had to go further into the mountains to get more herbs,
though they had been warned not to go on account of the tigers.
Once Tseng's wife, Chang Hui-tsu, waited the whole night for her
husband and father-in-law, but neither returned. The next morning
when she sent her son out to inquire about them, news came that they
had been killed by a tiger, for their blood-stained clothes were found
near the footprints of the wild beast. Kao's wife, Hui-tsu's mother-in-
law, died almost immediately, so she was left alone with her little boy.
At first she tried to raise money by weaving to meet the collectors*
extortions, but the better citizens the Kaos proved, the oftener the
extortioner came, inventing more forms of taxation to get for himself a
fat commission, and for his master, the magistrate, quicker promotion.
Until this time the widow had paid whatever was asked, but when she
was again ordered to pay another new tax, she answered, "I have paid
you all that I have in hand. Both my father-in-law and husband were
driven to the tigers by your endless taxation and my mother-in-law
died of grief. I do not even have the money to bury her. Please be
merciful !" "Don't complain of these deaths, for the loss is on our side,"
171
172 ... SECRETS OF THE CHINESE DRAMA
said the extortioners. "From now on, you need to pay only two-fifths
of the head tax you have usually paid. Since you are so wretched, we
shall come back after we collect the tax next door."
Afterwards the boy was taken away and sent to labour in the army.
The poor woman was so grief -stricken that in delirium she thought
she saw her husband running ahead. She followed him until she came
to a mountain where she met her neighbour who stopped her with the
warning that there were tigers ahead. "I am no longer afraid of the
tigers/' she exclaimed, "in fact they are most welcome, for now I can
die as my husband did. The tax-collectors are much more savage than
the tigers." While they were talking, the extortioners were seen coming
towards them. The widow, now almost insane, drew out her dagger
and attempted to kill them, but she put away the weapon when it was
explained to her that they were only doing what they had been told to
do (Illus. 66).
Grief and partial insanity eventually caused her to commit suicide
and the play ends satirically like this:
A tiger enters, smells the collectors and passes, leaving them unhurt.
One of them says, "Most likely we no longer smell like human beings
so the beast does not even touch us !"
Gramophone Record available:
Tan by Ch'eng Yen-ts'iu ( J& #, #) Great Wall
DATE: FAITHFULNESS, FIDELITY, PURITY,
ABOUT A.D. 1550 AND RIGHTEOUSNESS
or SZU TSIN SHIH
In order to obtain the whole of their inherited property Yao and
his wife, Dien-shih, became co-perpetrators in the murder of their
brother, Yao Tin-mei. They told Yang, the brother of Yang Soo-tsen,
the widow of the deceased, that she should marry again, because she
was too young and pretty to remain a widow. The mean brother then
sold her a merchant, named Yang Ch'un, who happened to pass the
city on his way home to a distant province after collecting his bills.
Yang Ch'un, however, failed to make Yang Soo-tsen his bride. On
her telling him of her grief and intention to prosecute the murderers, he
not only released her, but adopted her as his sister and promised to help
her in the prosecution.
On the way, they met Mao, a fortune-teller in fact the disguised
Inspector-General sent by the Emperor to investigate the conduct of
the governors of the various provinces. He volunteered to write the
petition for them. They travelled on; some kidnappers flndiiig out that
they were strangers took them as an easy prey. The widow was rescued
by Wan-shih, the wife of Sung, a competent lawyer. Wan-shih took
her to her husband and requested him to accompany her to the
magistrate.
173
174 ... SECRETS OF THE CHINESE DRAMA
At first, though Koo, the magistrate, hated and despised lawyers
especially the well-known Sung (for then, lawyers were considered the
instigators to litigation, and litigation was the poorest method of settling
a dispute) he dutifully ordered the arrest of Yao, Dien-shih and Yang.
When his friend, Dien Lung the brother of Dien-shih sent him three
hundred taels (a tael=Sh. $1.40) requesting him to dismiss the prose-
cution, he put Soo-tsen into prison, and gave Sung forty lashes for
false accusation.
Fortunately, prior to the above court session, Dien Lung's messen-
gers, sent to bribe Koo, happened to spend the night at Sung's hotel.
Overhearing their mission, Sung stole Dien Lung's letter at midnight
and obtained a copy of its contents. Now, being thus unjustly punished,
Sung started to investigate the whereabouts of the magistrate's superiors.
He met Yang Ch'un working at the same task. They soon became
friends and agreed to co-operate. Since Yang Ch'un was younger and
stronger to bear hardship, it was decided that the latter should present
the petition of prosecution, because to discourage litigation the new
Inspector-General had proclaimed that whoever dared to file a prosecu-
tion to him on the public road, should first suffer forty heavy lashes.
How great was his surprise to find the great Inspector-General was
none other than the fortune-teller. He pardoned Yang Ch'un the forty
lashes and ordered an immediate arrest of all the culprits, including
Dien Lung and the magistrate. The copy of Dien Lung's letter was
sufficient evidence to convict both the writer and the receiver; however,
Dien Lung, who had written the letter under the coercion of his mother,
was exempted from punishment, but forever disqualified from holding
any public office; Yao, Dien-shih and Koo were executed; Yang, the
wicked brother, was sent into exile; Yang Soo-tsen was acquitted; and
Sung and Yang Ch'un were duly rewarded.
Gramophone Records available:
Tan by Wang You-chun ( 3E *fr Ji ) Odeon
Shen Ma Lien-liang ( jf $1 ft ) Pathe
,, , Odeon
A FAMILY OF FOUR VIRTUES
or SAN NYIANG CHIAO
Sieh Kuang, leaving a wife, two concubines, and I-ku, a son by the
first concubine, at home, went to the capital to take the imperial ex-
aminations. The second concubine, Wang Ch'un-nge, was formerly
his servant, so her position was much inferior to that of any other
member of the family.
Before reaching the capital, Sieh Kuang was recommended as a
medical doctor by a friend to the Emperor, who had fallen sick while
leading an army to suppress some border tribes. Sieh Kuang became
so very famous in medicine that once while he was away on a visit to
the capital, his pupil, in order to attract patients, assumed his master's
professional name. Shortly afterwards news of the death of this pupil
reached the Sieh family and Sieh Kuang was believed to be dead. Old
Sieh Pao, the faithful servant, was sent to bring home his master's
corpse. Before his return, the wife and I-ku*s mother re-married and
took away all Sieh Kuang's property. Wang Ch'un-nge swore fidelity
to her husband and adopted the deserted son. She spun, she wove In
short, she worked hard day and night with Sieh Pao to support and
educate the boy (Illus. 67).
Early one afternoon, while weaving (see p. 144, Item XVII)
as usual, she was surprised to find I-ku already back from school. The
boy not only failed to recite his lessons, but when about to be punished,
175
176 .
SECRETS OF THE CHINESE DRAM.
Illus. 67, "Wa-wa-shen" (by Lee Yiian-ch'un)
PLAY: A Family of Four Virtues
SYNOPSES OF PLAYS
177
sneered "Please do not beat the son of another woman." She was so
brokenhearted that she cut out the unfinished cloth and said she would
not make any further effort. Fortunately Sieh Pao intervened and
soon made I-ku understand how and why he was adopted by Ch'un-ng.
The boy begged the mother's pardon and declared' that henceforth he
would be an industrious student.
Not long afterwards, Ch'un-nge became ill and could not work
for days, so I-ku went to his own mother to borrow some money. He
returned home empty-handed. Deeply moved he began to study even
harder. At sixteen, he passed the imperial examinations and carried
home honours to be conferred on his foster mother. When he reached
home he found to his great surprise his long-lost father, who was also
loaded with honours intended for his wife. The decision was that
nobody but Ch'un-nge was entitled to both the titles and that Sieh
Pao was to be chief steward of the Sieh Mansions.
From the loyalty of Sieh Kuang, the fidelity of Ch'un-nge, the filial
piety of I-ku, and the faithfulness of Sieh Pao this play derives its title,
"The Family of Four Virtues." The climax is portrayed in the weaving
scene, which lasts about forty-five minutes, and most of the parts are
sung as in the western opera.
Gramophone Records available:
Tan by Mei Lan-fang
Ch'eng Yen-ts'iu
Shang Hsiao-yuin
Lao-shen Ma Lien-Hang
Wang Yu Ch'un
Chang Kuei-fun
( *fc Bi ^ ) .............. Victor
( fl sft ) ..............
( ft >h m) .............. Beka
( m m &) .............. Odeon
Great China
Tan and Lao-shen
f Shang Hsiao-yuin
[ Wang Shau-lou
( 5E
Great Wall
178
SECRETS OF THE CHINESE DBA
Illus. 68. Holding the Pheasant Feather (by Mei Lan-fang)
PLAY: Fighting against the Chins
DATE: FIGHTING AGAINST THE CHINS
A - D - 1134 or FANG CHIN PING
< tt * * )
During the Sung Dynasty (A.D. 960-1277) the northern borders of
China were often invaded by the barbarous tribe, Chin. This tribe
became so powerful during the reigns of Huai-tsung and Chin-tsung
that they even succeeded in capturing the capital and taking the two
emperors as their prisoners. They would have proceeded further south,
had they not been driven back by the volunteer generals, Yok Fei and
Han Sze-tsong.
The play opens with the Chins' attempt to recapture the northern
provinces of China and General Han's preparation to confront the
invaders. Liang Hong-yii, Han's wife, proposed first to unite all the
neighbouring armies and then advance northward together instead of
merely preparing to meet the invasion. A notice was sent to the allied
leaders asking them to come together for consultation', but they de-
clined to march forward fearing that they might be defeated by the
force of the invaders. Lady Liang pleaded with them in the following
words :
"If we choose to wait here, we shall be immediately attacked and
if we lose this stronghold and are compelled to retreat further south,
we shall lose the whole country north of the River (the Yangtse).
Though I am supposed to belong to (the weaker sex, my whole family
and I prefer fighting even at a big cost to staying here waiting to be
179
180 . . . SECRETS OF THE CHINESE DRAMA
attacked and destroyed piecemeal. A broken jade is worth more than
an entire tile. Let us choose to be the broken jade, if necessary."
They were stirred by her courage and finally agreed to attack the
invacters, electing her their commander-in-chief. She immediately sent
Chu Kuei to feign surrender to the Chin leader and to offer him a map
with false directions. At the head of this big expedition, the lady so
competently planned the strategy of her troops that the Chins were
turned back and led into Wang-tien-t'ang, a blind alley.
On learning that Chu Kuei had succeeded in leading the barbarians
into the trap, Liang Hong-yu seated herself at the top of Chin Shan, the
Golden mountain, in order to give directions with the signal
flag. Furthermore, to encourage her soldiers, she herself beat the war
drums (Illus. 68) and later took part in the battle. Never before had
the Chins met so brave a foe, and never before had the allies fought
with such determination. The performance ends with a glorious victory
for the immortal heroine's troops.
Gramophone Record available:
Tan by Mei Lan-fang ( 1& W ^ ) Victor
DATE: THE FINAL PARTING BETWEEN THE
202 B.C. KING, PA WANG, AND HIS FA VOURITE
or P'A WANG PIEH CHI
3E m )
When the lascivious tyrant Erh-Shih of the Chin Dynasty (221-206
B.C.) ceased to be a competent ruler, all the oppressed took up arms,
and heroes, as soon as they had gained some followers, proclaimed
themselves kings. From among them Sh'an Yii, the King of Ch'u, and
Liu P'ang, the King of Han, emerged as rivals for supremacy. The
former was a valiant fighter, straightforward and quick-tempered, but
very conceited. It was he who made the remark that if one does not
return to his native land after having become prosperous, it is analogous
to walking in the dark in one's best attire. His title, P'a Wang, has
become a synonym in the Chinese language for a peerless fighter. On
the other hand, Liu P'ang, destined to be the founder of the Han Dynasty
(202 B.C. A.D. 220) was very resourceful and crafty.
P'a Wang would have nipped Liu P'ang in the bud had he listened
to the advice of his wise counsellor Fan. This opportunity once lost
was lost forever. Liu P'ang fled, but after preparing for five years,
was again ready to fight at the head of a strong army with the most noted
strategist, Han Hsien, as commander-in-chief. P'a Wang was advised
to remain quiet and wait until the, enemy, coming from afar and burden-
ed with the transportation of supplies, should arrive half exhausted.
For some time he listened to his advisors and refused to come out in
open battle, but one day Lee Tso-ch'eh, one of Han Hsien's generals,
181
182
SECRETS OF THE CHINESE DRAMA
Illus. 69. A Posture in the Sword Dance (by Mei Lan-fang).
Meaning of the Posture: Waiting for or prepared to meet an attack.
"Wu-ch'in" (by Kin Shau-shan)
PLAY: The Final Parting between the King and His Favourite
SYNOPSES OF PLAYS . . . . . 183
simulated surrender to P'a Wang just when reports came that Han
Hsien had posted defamatory placards all over the place against him.
The play commences here.
Lee made the enraged P'a Wang believe that the time had come for
him to lead his army forward to crush his enemy. In spite of the
dissuasions of his wise counsellors, even of Lady Yii, P'a Wang ordered
his army to advance. Not until he was only forty li (about thirteen
miles) from Chiu-li Mountain where Han Hsien had set his fatal trap
for P'a Wang, did the latter "discover his grave mistake. It was already
too late, Lee had absconded. The armies of Han Hsien came out of
their ambush and besieged their enemy in overwhelming numbers. P'a
Wang would have been killed in the battle, had he not been rescued by
his enemy general, Wei Pao, whose family he had once saved.
The survivors were now forced to retreat to Kan-hsia, where Lady
Yii tried her best to console her crestfallen king and finally persuaded
him to lie down and rest awhile in the camp. She too was filled with
sorrow and could not go to sleep. She walked out alone under the
moonlight and happened to overhear her soldiers talking about her
lord's fate being sealed, and planning to flee back to their native land.
Moreover, like the Chinese saying "To snow add frost/' she heard songs
of her native land sung in her enemy's camp. Frightened, she hastened
back to tell her lord. Again they were both deceived by Han Hsien,
who had hired men to sing the songs so as to make P'a Wang believe
that the majority of his men had surrendered, and to raise the home-
sick feeling among the remnant.
Pretending to be cheerful, Lady Yii still endeavoured to strengthen
her lord's spirit. With coquettish smiles, she offered him wine and
suggested that she dance before him to make him forget his sorrow for
the moment (Illus. 69, 71).
However, the approaching war drums soon convinced P'a Wang
that he must part with his beloved favourite and march out to confront
his enemy. Yet he lingered, because he felt he could not leave her
without having first made accommodation for her. Finally he reluctantly
told her to go to Liu P'ang as he had heard that the latter loved beauti-
ful women. "Leave me, my lord, and charge with your men. Please do
not delay your great mission because of a woman," implored the bold
Lady. "A loyal minister never serves two sovereigns and a faithful
184 ... SECRETS OF THE CHINESE DRAMA
woman refuses to marry a second husband. Lend me your sword, so
that I may not stand in your way!'* So saying, she snatched her
husband's weapon and killed herself.
P'a Wang, once more scourged, went to the battlefield with a new
spirit, but being overwhelmingly outnumbered, he barely escaped with
his life. He missed his way and was led by a disguised enemy to the
bank of the River Wu where he was reminded of his recent crossing at
the head of an immense army. Now left alone with only his faithful
steed, the humbled P'a Wang felt too embarrassed to return to his
native land and therefore committed suicide.
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Tan and Hsiao-shen . . .. { J^"^^ ( , Vtctor
Ch'in Kin Shau-shan ( ^ ' Hi ) Beka
Lao-shen Wang Feng-chun ( BE m^B ) Great China
Ch'ou Hsiao Ch'ang-hua ( ffi & ^) Pathe
DATE: THE GALLANT PEACE-MAKER
A.D. 192-194 o/- YUAN MEN SHEH CHI
(tft R *T tt)
Liu Pei, destined to be the King of Shu, was just beginning to get
a foothold among the warlords in the small city of Hsiao-p'ei, when
Yuan Shu, a well-established and prosperous warlord accepted his
counsellor's advice to conquer his neighbour states one by one. The
first state to be devoured was to be that of Liu Pei, so Yuan sent General
Chi to lead an expedition against him and at the same time ordered
precious gifts to be presented to Lu Pu, another very able warlord, in
order to get his promise not to help Liu.
Hearing of the great expedition, Liu Pei immediately sent messen-
gers to Lu Pu, requesting his help, with the explanation that Yuan would
wage war on him, too, if he succeeded in conquering Hsiao-
p'ei. Both letters reached Lu about the same time, so he sent
invitations to both Yuan and Liu asking them to come to a
feast with him.
When Chi arrived and saw Liu Pei, he started to with-
draw, but was forced to stay by his host. After the feast, Lu
Pu referred to the bad outcome of war-loving men's activities,
such as P'a Wang's intrigues (see "The Final Parting between
the King and His Favourite"), Han Hsien's, etc. and asked his
guests to preserve peace, He then hoisted a "chi" (a lance-
like weapon, having a rhomboid-shaped knife at the end and
185
186 ... SECRETS OF THE CHINESE DRAMA
a curved knife on one of its sides) at a distance of several hundred
feet outside his front gate. He said that if he succeeded in shooting
through the target, there must be .10 war. If either of them opposed
his peace proposal, he would fight on the side of the one who agreed.
Liu Pei was only too glad to agree, while Chi, partly in fear of Lu
Pu and partly in the belief that the latter could not succeed, also, though
reluctantly, gave his consent.
An arrow was shot and behold, it hit the target ! General Chi had
to retreat and Lu Pu won the honour of being a gallarit peace-maker!
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Hsiao-shen by Mei Lan-fang (* j ^ in jest)i Odeon
1 Sometimes, actors play roles other than their professional ones, to amuse
the audience.
DATE: THE GREAT TRIAL AT THE
A.D. 1506-1510 FA-MEN MONASTERY
or FA MEN SZU
( & n * )
Sun Yii-chiao, the vivacious daughter of a rooster-seller, was
embroidering at the front door of her house when a wealthy young man,
named Foo Beng, passed by. The latter was struck by her beauty so
he purposely put a jade bracelet in front of her door. She admired the
bracelet but she loved the youth more. The incident was noted by
a professional match-maker, Liu-shih, who, after Foo's departure,
offered herself as their go-between. Yii-chiao was only too glad to have
Liu-shih's services and immediately gave her an embroidered shoe to be
delivered to Foo as a token of her consent. Liu-shih's son, Piau, a
butcher, stole the shoe and was demanding hush money from Foo, when
he was detected by a constable, Liu Kung-tao.
Because of his failure in the extortion, the butcher decided to harm
Foo. One night he broke into the girl's house and overhearing voices
he mistook the persons to be Foo and Yii-chiao. He killed both of them
and cut off their heads* which he threw into the courtyard of the con-
stable to get revenge for his friendship with Foo. The constable's hired
boy discovered the heads. In great fright, Liu concealed them in the
well in his backyard. Fearing the boy might tell the truth, he killed
him and also concealed the corpse in the well. Then he shrewdly
187
188 . . . SECRETS OF THE CHINESE DRAMA
sued the boy's father, Sung, a poor unfortunate literary man, for dama-
ges, asserting that the boy had stolen his money and run away. The
incompetent judge, Chao Lien, fined Sung ten taels (a tael=Sh. $1.40).
Since the latter could not pay the fine, his daughter, Sung Ch'iao-chiao,
was kept in custody. It happened that she met Sun Yii-chiao in the
prison and from her discovered that Yii-chiao's lover, Foo, was her
fiance and that they had been unjustly convicted of homicide. The
deceased were Yii-chiao's uncle and aunt, who had been asked to spend
the night with Yii-chiao, because the latter's mother could not return
home that day. The morning after the homicide the court inspector
came to the girl's house and saw the bracelet on Yii-chiao's arm. He
compelled her to disclose the giver's name, for he insisted that a
rooster-seller's daughter could not afford to own or buy such a bracelet.
Consequently, Foo was also arrested. The judge believed the evidence
that Foo and Yii-chiao had killed the victims to facilitate their perpetra-
tion of carnal intercourse, and imposed a death sentence.
Partly to clear the facts about her brother and partly to rescue her
fiance, Sung Ch'iao-chiao volunteered to petition the superiors of the
judge for a new trial, Foo paid the ten taels for her and she was
released. Learning that the Empress-Dowager and her adopted son,
Liu Chin, the Chief Eunuch, were to visit the Fa-men Monastery to
worship, Sung Ch'iao-chiao waited near-by for days. On their arrival
she shouted aloud pleading for mercy. "Execute her," said the Chief
Eunuch, "Why doesn't she go to the magistrate for justice?" "No,"
remarked the Empress-Dowager, "how can we kill a person while we
are worshipping the gods?"
Therefore, her petition was listened to, and a new trial was granted
with the Chief Eunuch as the Justice of the Imperial Court. Judge Chao
Lien was ordered to arrest all of the real culprits within three days.
From the plaintiff's affidavit, Chao found that the go-between Liu-
shih was involved, so her arrest was ordered. From her, he discovered
that her son had stolen the shoe and kept on trying to extort money
from Foo until Liu Kung-tao's intervention. The butcher's knife proved
the owner's crime and the finding of the heads disclosed Liu kung-tao's
guilt. Instead of one, the poor judge had to deal with two homicide
cases. On the other hand, Sung Ch'iao-chiao was rewarded with ten
silver taels for wrongful detention, and Sun Yii-chao and Foo B6ng
SYNOPSES OF PLAYS
189
were acquitted. The play ends with the wedding of the three, for then
bigamy was allowed in China.
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C Tan Foo-ing
" ........ " \ Ger Kuei-sien
.................... Yen Chu-peng
.................... Wang Shau-lou
f Kin Shau-shan
{ Ma Foo . lok
THe Shou-ch'en
............ \ Ju Foo-hui
Ch'in ...................... He Shou-ch'en
^i_, ^ /-u
Ch'in and Ch ou
3t) ........ Pathe
ill) ....... Beka
(:
m
fUi)
Odeon
Great China
US Jft)
m s)
^ X)
HISTORY REPEATS
or LOO-HWA HE
(M te JS.J)
The play opens with the announcement of the coming of General
Sieh Tin-shan into the presence of his wife, Fan Lee-hwa, who is a
general of even greater prowess.
General Sieh tells his wife that he has heard that she intends to
execute their adopted son, because, contrary to military law, the latter
had married one of the daughters of an enemy at Loo-Hwa He, where
he had been sent to lead the battle.
The mother general at first is deaf to the entreaties of her husband,
arguing that she is determined to carry out the order and maintain her
reputation for discipline.
When the husband reminds her that they had been married under
similar circumstances she repents and forgives her son on the condition
that in the future his military exploits shall redeem his error.
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190
HOW THE PASS OF P'U WAS HELD
or CHAN P'U KWAN
A big battle was fought and Wang Pa, defeated on account of lack
of men and supplies, was forced to retreat to hold the Pass of P'u. For
months he had been besieged by overwhelmingly superior forces. Both
men and supplies decreased day by day until one night the hungry
survivors became mutinous. Wang was compelled to find out some way
to satisfy his men or the city would be destroyed.
He had an idea, though it was a heart-breaking one ! He planned to
kill his beloved concubine, Hsu Yen-tseng, so that he might give her
body to feed his soldiers. He had to withhold his sword for the virtuous
lady was found praying in the back garden. He overheard her praying
for the arrival of reinforcements so that her people's trouble might be
averted, for the peace of her husband and for the birth of a son to her
mistress, Wang's wife. She was too good to be so savagely murdered!
Liu Tsong, Wang's faithful servant, learned of his master's plan
and volunteered to die in her stead, but, because of Liu's low status,
Wang deemed his death insufficient to move his men, so he begged him
to kill the concubine for him. Liu loitered but finally went inside where
he found Yen-tseng reading by candle-light. She was so excited and wor-
ried that she had not been able to go to sleep. She was astonished to see
Liu come at such a late hour, and became very much puzzled when Liu
told her that his master wanted to borrow some food from her. Since
191
192 ... SECRETS OF THE CHINESE DRAMA
she had given her husband everything she possessed, she could not
understand his request. Not until she espied the sword Liu held behind
him, did she realize that she was to give him her own body. She
boldly accepted the sword and killed herself. Then Liu also killed
himself to assist his master in the completion of his plan.
The result was that the whole army was deeply touched. They
stood with their leader as one man and eventually succeeded in holding
the Pass until reinforcements came to their aid.
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Lao-shen Yen Chu-p'eng ( W Sf $ )
HS1JEH-YEN, THE FAITHFUL
CONCUBINE
or SEEN T 9 OU T'ZU TANG
<* M
During the decline of the Ming Dynasty (A.D. 1368-1644) the
Emperor reigned but did not govern, for the real ruler had long been the
powerful, unscrupulous Prime Minister, Yen Sung. Whenever he set
his mind on getting an object, he would obtain it regardless of the means
employed. He forgave no one who dared to disobey him.
When he heard that Me Huai-ku owned a jade cup, named "I-fSng-
hsiieh," a priceless curio, he sent him word that he wanted to borrow
it. A skilful jeweller offered to copy it and Me was only too glad to
listen to his advice and to send the imitation to Yen. The cup was so
artfully made that the covetous Prime Minister was very pleased to
receive it.
T'ang Ch'in, however, one of Yen's followers, whom Me once
rescued, knew the peculiar features of the cup. He disclosed Me's
deception to his present master, not because of devotion to him, but on
account of his desire to win Hsuen-yen, the beautiful concubine of his
benefactor. Me was thrown into prison on a false charge of murder.
Yen ordered the judge to impose a death sentence on the innocent
man.
Me Chfeng, whose appearance bore a close resemblance to that of
his unfortunate master, Me Huai-ku, offered to be executed in his place.
The judge, being a friend of Me and knowing his innocence, agreed to
the proposal and the loyal servant was decapitated.
193
194
SECRETS OF THE CHINESE D B A M
Illus. 70- Aside: 1 "Wen-chW (by Hsiao Ch'ang-hua); 2 "Tan**
(by Mei Lan-fang)
PLAY: Hsiieh-yen, the Faithful Concubine
SYNOPSES OF PLAYS . . . . . 195
The Prime Minister's appointment of T'ang Ch'in to test the
identity of the owner of the decapitated head (the head is represented
by a round bundle wrapped in red cloth) gave the latter the chance to
satisfy his desire. Lu Pin, the judge, realized that unless the concubine
consented to marry T'ang, Me's life was still in danger, so the clever
judge suggested the situation to her by showing her the word "assas-
sinate," which he wrote on his fan, and by intimating to her that she
feign to marry T'ang. Then he purposely left the latter alone with the
concubine (Illus. 70), who beguilingly said, "Since the first time I met
you on the West Lake, Fve loved you, but we have been robbed of the
chance even to meet each other! Fortunately I am a widow now!"
T'ang identified the head as being that of Me. Therefore, the con-
cubine consented to marry him immediately. On the wedding night
the groom could not resist the repeated offerings of wine by the bride so
that he became helplessly intoxicated. Then the loyal but avenging
woman drew his sword (Illus. 36) and drove it through the breast of
the ungrateful monster.
Fearing that she might be questioned or might in some way reveal
the truth that Judge Lu Pin was in a way involved in this murder, she
committed suicide.
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196
SECRETS OF THE CHINESE DRAMA
Illus. 71. A Posture in the Sword Dance: 1 "Wu-ch'in" (by Kin Shau-shan*.
2 "Tan"; The Fencing Hand (by Mei Lan-fang)
PLAY: The Final Parting between the King and His Favourite
DATE: THE INTRIGUERS INTRIGUED
ABOUT A.D. 210 or MAI JEN CHI
(36 A tf)
or KAN LU SZU
(* S?
During the period of the Three Kingdoms (A.D. 190-280) there lived
in the Kingdom of Wu the princess, Sun Shang-hsiang, the youngest
sister of the King, Sun Ch'iian. She was not only beautiful, but also
well educated both in literature and military tactics. Her mother was
so proud of her that she set up severe qualifications for those who
ventured to sue for her hand.
Sun Ch'iian and his admiral, Chou Yii, intrigued to capture Liu
Pei, the ruler of the Kingdom of Shu. Pretending that the King Sun
Ch'iian was to give Liu Pei his sister's hand, Chou Yii invited Liu Pei to
come across the boundary river to get married. Knowing that it was an
insincere proposal, Chu-ke Liang, Liu Pei's strategist, decided to play
a trick on the intriguers. He therefore advised Liu Pei to accept the
invitation with only one general, Chao Yuin, accompanying him. Of
course, he gave both of them instructions how to meet the various
situations on their arrival at Wu.
As soon as Liu Pei and Chao Yuin crossed the river, they went to
see the Honourable Chiao Hsiian, the father-in-law of Chou Yii, to solicit
his assistance. The latter, having received many costly gifts from Liu
Pei, gave him, in return, a kind of drug to dye his gray beard so as
to make him look like a young man. The next day, the Honourable
Chiao Hstian went to see the old mother and told her of her son's
197
198 . . . SECRETS OF THE CHINESE DRAMA
intrigue. Moreover, he praised Liu Pei so highly that she was finally
persuaded to summon him to Kan Lu Szu (a monastery) to be examined
whether or not he was qualified to be the husband of the fair princess.
The result was that he was chosen and the wedding took place almost
immediately.
The bride was so lovely that the groom even forgot to go home.
The faithful general, Chao Yuin, following Chu-ke Liang's instructions,
delivered a false message to his master that the army of the Kingdom
of Wei had been mobilized and was about to attack Chingshow (one of
the most important cities of Shu) . He also warned him that his further
stay in Wu would surely result in the loss of that city. Hesitatingly he
told the Princess of his country's trouble. To his great surprise, the
dutiful bride consented to follow him home. When she went to bid
her mother farewell, the thoughtful old Lady, fearing that her son (the
King) might hinder their departure, gave her the "Shang Fang" sword
(the possessor of which was considered the representative of the Sove-
reign) to protect them.
On the way, Sun Ch'iian's men did try to arrest Liu Pei and Chao
Yuin, but the sword of the Princess "escorted" them to the bank of the
river in safety, where Chang Fei, Liu Pei's brother by adoption, sent by
Chu-ke Liang, was more than ready to welcome them home.
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Lao-tan Lee Too-ku'ei ( 3* ^ ^ ) Beka
AN IRON-FACED JUDGE
or TSE MI AN
*)
Chen, a poor scholar, had a beautiful and diligent wife, named
Shian-lien, and two sons. The woman worked day and night to make
money, not only to relieve Chen of his family burden but to finance his
trip to the capital for the imperial examinations. She proved to be a
success as a business woman, but she was not so fortunate as a wife, for
Chen, after having passed all the examinations was only too glad to
marry the Emperor's sister. Royal luxuries made him forget his hard-
working benefactress, Shian-lien.
In the meantime the anxious family waited and waited, until one
day word of Chen's marriage into the royal family reached the home
town. Overhearing the news, Shian-lien decided to work her way to
the capital so that her two children might be properly benefited by
their father's present position, even if her husband had decided to
abandon her.
For months the three struggled on until at last they found them-
selves before Chen's stately palace. At first they were not recognized
and were driven out. Later, the helpless woman and children were
placed in the back garden by one of Chen's servants, who took pity on
them. Chen, to prevent further disturbance, sent one Han-chi to mur-
der them. Fortunately a kind-hearted maid heard of the plan and
secretly slipped to the garden to warn Shian-lien to escape. Suspecting
199
200 ... SECRETS OF THE CHINESE DRAMA
that the unknown maid was sent by her husband to get them out of
his way, the latter refused to leave. Not until the maid killed herself
before her to avoid her master's punishment for disclosing the plot, did
Shian-Jien and the children start to escape. They were soon overtaken,
however, by Han-chi at a deserted temple.
The pitiful group knelt before Han, pleading for mercy and ex-
plaining to him their relation to his master. Han was touched and
set them free, but he paid the penalty for disobeying his master's orders
by killing himself with the sabre which Chen had given him to murder
his wife and children.
Shian-lien, thus oppressed, was forced to seek justice from P'ao,
nicknamed the Iron-faced Judge, who dared to execute justice, even
against the Emperor's nearest relatives or favourites.
In order to prevent any obstacle to the arrest of Chen, as the latter
was living in the Princes' palace, P'ao dispatched his man, Wang, to
pretend to be the murderer of Han-chi, Chen's servant. Wang succeed-
ed in enticing Chen to come to P'ao for prosecution. Then the pro-
secutor instead of the prosecuted was immediately put to trial. Chen
insisted that he did not know the woman (Shian-lien) and her children,
even when the latter showed him the sabre bearing his name and fitting
exactly the case hanging on the belt of Han-chi. Moreover, Chen defied
P'ao and maintained that the Emperor alone should decide the case.
The Iron-faced Judge answered coldly, "Since the evidence is sufficient,
you are no longer a member of the royal family, but a convicted
criminal in the eyes of the law. Your very noble position shall not
extenuate, but aggravate your punishment."
The Princess and the Empress Dowager both came to the rescue
but P'ao declared, "Law is law; the judicial decision shall not be inter-
fered with by outside influence. As the Emperor has given me three
methods of execution for the three classes of society, the nobles, the
middle class and the low class, this man shall not be an exception!"
Therefore, Chen was eventually beheaded.
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JUDGMENT
or If EH SEEN P'AN HUNG
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P'an Hung, the father of the Emperor's favourite, so hated the
righteous general Yang Chi-yeh and his sons that he sent them to the
most dangerous posts with a small number of men and very poor equip-
ment. Naturally they were easily wiped out by the overwhelming
enemy. Yang Yen-chao, the sixth son, was the only one who returned
to prosecute P'an for murder. The judge, bribed by the favourite, did
not admit the proper evidence against the perpetrator, which act aroused
the wrath of the Emperor's uncle, who killed the judge with his
All-powerful Club, a reprimanding weapon inherited from the founder
Emperor. In due time, he proceeded to compel the Emperor to agree
to summon Judge Kou-Tsen, noted for being an upright man, to try
the case. The favourite also tried to bribe the second judge, who cle-
verly accepted the liberal gift and sent it to the royal uncle without
opening it.
Since it was the custom that no matter how relevant the evidence
was to the facts, a confession from the criminal was required and since
the shrewd prisoner refused to speak, Judge Kou Tsen could not proceed
satisfactorily.
One stormy night, P'an was awakened by Ox-head and Horse-face
(believed to be the attendants of the King of Death and so named be-
cause of their peculiar physical features. It was their duty to arrest
201
202 . . . SECRETS OF THE CHINESE DRAMA
the souls of wicked men to be tried in the ghost court where nothing
could be concealed). They took him only half-awake out into the
storm with such hasty steps that old P'an was made to believe that
they were supernatural. They dragged him on and on until they came
to a queer structure somewhat like a state court building. The fright-
ened and exhausted prisoner was then thrown before the solemn Judge
of the Dead, who conducted the trial so well that a willing confession
was written and signed. No opportunity was left for the Emperor to
be partial to his favourite's father. He could do nothing but regret-
Cully sign the mandate of P'an's execution.
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JUSTICE TAKES A HOLIDAY
BUT RETURNS
or FAN MA CHI
GK m
Lee Kuei-chih, the wife of the magistrate of the city of Pao was
alone one night in her home. At a late hour she was disturbed in her
inner apartment by hearing the pitiful groans of an old man. (The
transporting of the groans by the wind-gods is portrayed on stage by
two actors, standing on chairs, furling and unfurling flags so as to show
that the sound is caught in the flag and sent over the walls into the
inner apartments.) She soon discovered that the groans came from a
tortured prisoner, who was unable to meet the jailor's extortion. She
sent for him, and great was her surprise when she found that he was
her father, Lee Chi, who had been thrown into prison through the
intrigue of her step-mother and the latter's paramour.
Some years before, when Lee Chi was away selling horses, the step-
mother had driven out Kuei-chih and her younger brother, Pao-t'ung.
On Lee Chi's return the step-mother had told him that both of the
children had died of. illness. Distrusting his wife, Lee Chi compelled
the maid-servant to tell the truth about what had happened and she, in
great fear of her mistress, committed suicide. Lee Chi was prosecuted
for rape and for eventually causing the death of the girl.
In the meantime the children had wandered into the forest and,
seeing a tiger, lost each other in their effort to escape. Kuei-chih was
fortunately adopted by a rich man, and was later married to Chao
Ch'ung, the magistrate.
203
204 . . . SECRETS OF THE CHINESE DRAMA
On hearing from her father the story of his unfair trial, Kuei-chih
immediately asked her husband for help. He persuaded her to disguise
herself as his attendant and to go with him to petition the new viceroy
for a second trial. It happened that the latter was her brother, Pao-
t'ung, who, having failed in his search for his sister, had worked his
way up to the capital, passed the imperial examinations and, being very
clever, had been promoted to a viceroyship.
All the wicked were duly punished and a very happy reunion ends
the play.
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TanandShen .....
^ Chiang M^^ng <*) .............. Victor
JKoo Ch'uen-cha ( ft ft sft )
\Chu Ch'uen-min (^^^T) .............. Btka
DATE: KILLING THE TIGER GENERAL
A.D. 1644 or rZV HU
(JM *)
When Emperor Ch'ung-cheng, the last sovereign of the Ming Dynas-
ty (A.D. 1368-1644), hanged himself on Mei Shan (literally, coal hill),
in the centre of the capital, Peking, when the city fell into the hands of
Lee, the rebel leader, one of his maids, Fei Cheng-ngS, swore vengeance
upon the rebels for the death of her royal Master. She therefore
impersonated the princess in order to attract the attention of the rebel
leader.
As a reward to his favourite warrior, known as the dauntless
"Tiger" general, Lee gave him the disguised princess instead of making
her his own bride. Though Sheng-nge felt somewhat disappointed at
the lost opportunity, she consoled herself with the thought of being
given the chance to kill the "Tiger.**
She put on her best apparel, prepared good wine and on the arrival
of the groom, entertained him in such a splendid manner that the "Tiger"
was immediately infatuated. He was greatly pleased to hear her praises
and was helpless under her charm (Illus. 72). Wine, poured by her
dainty hands, was too sweet to be rejected, so cup after cup was drunk
until the victim was helplessly intoxicated. She dismissed the maid-
servants saying that henceforth she alone would serve him. Then she
asked the general to let her take off his armour and put away his sword
as he had a seriously-wounded arm. Besides, she said, it would seem
205
206
SECRETS OF THE CHINESE DRAMA
lllus. 72. 1 The Resting Sleeves (the Maids on the sides by Yao Yii-fu and
Cliu Kuei-fang) ; 2 The Repulsing Sleeve ("Tan** by Mei Lan-fang) ;
3 "Wu-ch'in" (by Liu Lien-yung)
PLAY: Killing the Tiger General
SYNOPSES OF PL AYS . . . . . 207
very improper and unlucky for the groom to wear man-killing weapons
on his wedding night.
Finally, with the "Tiger* 5 put to bed like a pet lamb, she blew out
the candles (see p. 25, Item 14) and waited until he was sound asleep
(Illus. 73). Then she drew forth her dagger and plunged it quickly into
his bosom. Fiercely they struggled in the dark, until she recollected
the place where she had put the "Tiger's" sword, and with it she now
stabbed its owner. When she made her identity known to the ignor-
ant maidservants, who accused her of cold blooded murder, she felt so
disappointed that she committed suicide, grieving that she did not
have the opportunity to kill the rebel leader.
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208
SECRETS OF THE CHINESE DRAMA
Illus. 73. "Chang-tzu"; "Wu-ch'in" (by Liu Lien-yung);
"Tan" (by Mei Lan-fang) ; "Teng Tso"
PLAY: Killing the Tiger General
THE LADY WITH A
RED-MARKED HAND
or CHU HEN CHI
On account of his uncle's age and delicate health, Chu Ch'un-teng
went to the army in his place, leaving his aged mother to the care of
his beautiful and faithful wife, Chao Chin-t'ang. The uncle's wife,
Sung-shih, intending to rob Ch'un-teng of his property and to enable
her nephew, Sung Ch'eng, to marry Chao Chin-fang, sent Sung Ch'eng
to murder Ch'un-teng on his way to join the army. Fortunately, a
hunter appeared on the scene and saved Ch'un-teng's life.
Sung then spread the news that Ch'un-teng had been killed on
the battlefield. Grief hastened the death of the old, sickly uncle and
the entire family property fell into Sung-shih's hands. She tried to
compel Chin-t'ang to agree to marry her nephew. On her refusal she
persecuted her and her mother-in-law and made them do all kinds of
hard tasks. To relieve the old mother, Chin-t'ang always did double
work. They were forced to grind flour during the daytime, and even on
snowy or stormy nights were made to stay outdoors to watch over the
sheep. Still Sung-shih was dissatisfied, so she drove them from home.
It was a time of famine, and the two wretched women had to beg for a
living. They wandered from place to place until one day they hap-
pened to pass their ancestral tombs where they saw a grand pavilion
had been put up. Memorial services for the dead were to be conducted
there. They were surprised!
209
210 . . . SECRETS OF THE CHINESE DRAMA
Free meals were being distributed to the poor, but they were
already too late to obtain any food that time. They had to wait for the
next meal. Being desperately hungry, Chao Ghin-t'ang knelf before
the servants begging for some food, even some remnants for her mother-
in-law only. One man, touched by her filial piety, gave her some rice
left over by his master, the Earl, who was none other than Chu Ch'un-
teng, now a great war hero, and had come back to share his honours
with his mother and wife. Being told by Sung-shih that they were
dead, the Earl was so disappointed that he decided to give up his official
career, stay in his pavilion and give alms to the poor in memory of his
beloved ones.
Chin-t'ang handed the remnant of rice to the mother, who being
over-excited at the daughter's good heart, dropped the bowl and broke
it. The servant's scolding was overheard by the Earl, who immediately
sent for the beggars to find out whether the servant had maltreated them.
The mother was afraid to see such a great man, so Chin-t'ang went in
alone. The red mark on the lady's hand proved to the Earl that she
was none other than his missing wife and he was told that the old beg-
gar outside was his dear mother, for whom he had mourned so deeply.
Afraid of the consequences of what she had done, Sung-shih jumped
into a well (see p. 147, Item XXII) nearby.
The play ends with the happy re-union.
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A LATE DAWN
or CH1U KENG TIEN
Ming, a scholar, left his brother's home for the capital to take the
imperial examinations. On his return, he learned that his brother had
died suddenly. His widowed sister-in-law was not only light-hearted
but tried repeatedly to flirt with him. This aroused his suspicion and
he decided to investigate the real cause of his brother's death. The
widow was quite willing to give up Hou, her present paramour for
Ming, but the latter's refusal compelled her to plan his death to avoid
being discovered in her crime with, Hou. Hou murdered his wife, hid
her head, put the corpse before Ming's door and concealed the widow
at his home. Then he prosecuted Ming for rape of his brother's widow
and murder on the victim's resistance.
The incompetent judge threw Ming into prison, and by unbearable
tortures made him sign an untrue confession. His faithful servant, Ma-I,
went to the magistrate to testify to his master's innocence. The judge
tested him, saying, "If you want to save your master, find the missing
head and bring it to me." The simple-minded servant tried to "borrow"
his only daughter's head to save his master, but he could hardly raise his
knife against the innocent maiden. She, however, upon learning of
her father's aim, killed herself. The head was taken to the magistrate
who at once discerned that the head was too fresh to be the missing
one. The broken-hearted father was forced to tell the truth. The
211
212 ... SECRETS OF THE CHINESE DRAMA
merciless judge convicted Ming of murder, regardless of the evidence
Ma offered.
Ma then went to the capital to try to effect a new trial, but not
until he was bold enough to suffer the ordeal of throwing himself upon
a board of sharp nails did the Prime Minister grant a new trial. A
swift messenger was sent to postpone the execution of the death sent-
ence. It happened that the critical night was extraordinarily long. The
sentinels went nine rounds instead of the usual five. As the convicted
man was not to be executed until dawn, the messenger was able to reach
his destination in time.
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THE LEGEND OF THE
WHITE SNAKE LADY
or PE SHEN CH'UAN
(6 *e
NOTE: Parts /-// are sung to the southern melody,
accompanied by the flute, but Parts 1H-1V are usually given in "P'l-
huang" music, with the accompaniment of the "hu-ch'in" (Chinese
violin).
PART I. THE GOLDEN MOUNTAIN MONASTERY
or KIN SHAN SZU (& ill 30
A White Snake, by years of consecration, had been transformed into
a semi-fairy in the form of a beautiful lady. She was ordered by the
Emperor of Heaven to descend to earth to serve Hsu Sien, a poor
scholar in Hangchow, in compensation for his rescuing her from a
beggar's hand. The kind youth had bought the little White Snake and
compassionately set it free.
On her way down she met a Blue Snake, also a semi-fairy lady, but
inferior in rank and virtue. They became friends and decided to go
to earth together. Through the help of the Blue Snake, she succeed-
ed in marrying her saviour. She and the Blue Snake, who now posed
as her maidservant, made the husband prosperous and they lived hap-
pily until one day a monk, named Fa-hai, told Hsu Sien that his wife
and maid were not mortals but transformed snakes and that he would
be poisoned by them if he continued to live with them. He was greatly
frightened and so he hid himself in the temple of Fa-hai, the Golden
Mountain Monastery.
The White Snake Lady finally grew impatient waiting for her
husband, so she went to the monastery to find hiin (Illus. 74). The
213
214
SECRETS OF THE CHINESE DBAM;
Illus. 74. Miss Hsiieh Yen-ch'in in the Role of the White Snake Lady
PLAY: The Legend of the White Snake Lady
SYNOPSES OF PLAYS . . . . . 215
monk refused even to let her see him. She argued and pleaded, but
in vain. In desperation she sought help from her adopted .brother, the
Spirit of Black Fish, who subsequently brought on a -terrible tempest
and flooded the whole district, threatening the monk that if he refused
to yield, he would sweep away the whole monastery. Fa-hai threw his
fairy gown at the rising flood and made it subside at once, but
not before the villages were deluged and many lives were lost. There-
fore, the Snake Lady was sentenced to everlasting imprisonment under
the Lui-fung Pagoda on the West Lake in Hangchow. (Much to the
joy of her sympathizers, this pagoda crumbled down a few years ago,
thereby liberating the White Snake Lady.)
Another version of the play, however, says that when the merciless
monk threw the fatal "Spirit-captivating Urn" at the Lady, she was
rescued by the Star of Literature, who came to protect her unborn child,
destined to be the head of the literati of that day.
PART II. THE MEETING AT THE FALLEN BRIDGE
or TUAN CH'AO (if ff)
Disappointed by the incident at the Golden Mountain Monastery,
the White Snake Lady started to go back to Hangchow with the Blue
Snake maid. Approaching the city, she felt so tired and sick that she
had to stop by the roadside, where she saw a man run suddenly as if
to avoid them. It was the heartless husband ! They struggled on after
him and finally overtook him at the Fallen Bridge on the West Lake.
The maid was so angry that she started to kill him, but the Lady
stood between them begging her to give him one more chance to explain.
He of course put all the blame on the monk and knelt before the Lady
as if in, repentance, saying that he was grieved to have seen her suffer
and that he had run away because of embarrassment.
Though the maid did not believe one single \rord and advised
the mistress to leave him forever, yet the devoted wife loved her hus-
band and said that she would follow him to his sister's home nearby.
The play ends here with a temporary reconciliation, for soon after
the baby came, Hsu Sien threw the fatal urn at his wife, which action
immediately transformed her into a snake again.
216 . . . SECRETS OF THE CHINESE DRAMA
PART III. THE ARREST OF THE WHITE SNAKE LADY
or HO PO
Not long after the White Snake Lady arrived at the home of her
husband's sister, she gave birth to a son. During the month of con-
finement, she could not use her magic power to foresee future events
and was unable to guess what her husband was planning. She was,
however, a very strong and capable mother, and prepared for her son's
needs ten years in advance.
When the child was one month old the heartless husband threw
the "Spirit-captivating Urn" at her. She was again transformed into
a white snake. Almost immediately the cruel monk, Fa-hai, came to
take her away and imprisoned her in the Lui-fung Pagoda. Hsu Sien,
repenting of having so maltreated his wife, begged the monk to have
mercy on her and the motherless baby, but it was too late. In great
remorse Hsu Sien became a monk and devoted himself to the gods for
the redemption of his soul.
PART IV. OFFERING AT THE PAGODA or TSI T'A (
At the time when the poor mother began her sentence of ever-
lasting imprisonment under the Lui-fung Pagoda, her son, Shih-lin, was
only one month old. He was reared by his paternal aunt.
In boyhood, he was often insulted by his schoolmates who said
that his mother was a snake, and that he therefore was only partly
human. He kept on asking his aunt about his parents until he was
promised that he would be told the whole truth when he had won the
honour of being the head of the literati.
The boy studied hard and at sixteen actually fulfilled his aunt's
condition. After learning that his mother was imprisoned in the
pagoda, he immediately secured a special mandate from the Emperor
ordering the local officials to prepare an elaborate offering to be sent
to the White Snake Lady at the pagoda and allowing the son, Shih-lin,
to attend the ceremony.
The play portrays the pathetic meeting of the Lady and her son.
The actor who takes the female role must have a voice not only good
SYNOPSES OF PLAYS . . . . . 217
but strong, for the song of the Lady's life should be sung to the strenuous
**f an-erh-huang" tune for about thirty minutes, without pause. In recent
years this play has been very rarely performed on the Chinese stage,
because the majority of actors prefer not to undertake this task.
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218
SECRETS OF THE CHINESE DRAMA
Illus. 75. The Unfounded Suspicion ("Tan," by Mei Lan-fang; "Lao-shen,"
by Wang Shau-t'ing)
PLAY: The Suspicious Slipper
LIU YING-CH'UN
or THE SUSPICIOUS SLIPPER
(w m *>
or FEN HE WAN
NOTE: "Liu Ying-ch'un," performed only by Ch'eng Yen-ts'iu
(n.& #c), is the whole story, whereas "The Suspicious Slipper"
depicts merely the latter part of the lady's life.
After a night of heavy snow, Liu Ying-ch'un, the pretty daughter
of a rich aristocratic family, climbed the high tower (p. 27, Item 20)
in her father's garden to enjoy the beautiful view of the silvery world.
She saw a manly youth shivering while working in the cold. Taking
pity on him, she threw down a coat and went in without letting him
know the identity of the donor. The young man, Sieh'-Ii, who was one
of her father's workmen, had to thank heaven for the providential gift.
The stern, conservative father was surprised to see the splendid
coat, so he asked the young man where it came from. Dissatisfied with
the answer, the old man began to suspect his daughter's chastity. His
wrath grew so great that he ordered the maiden to be put to death.
The kind mother secretly let her escape through the back door and
ordered her old nurse to accompany her. At a deserted temple outside
the city, they happened to meet the handsome Sieh-li. The nurse, know-
ing at first sight that the youth was not an ordinary working man and
would someday be great if he were given a chance, became their match-
maker. They were married. Unable to rent a house they had to live
in a "y ao >" i.e. a sort of cave dug out of the hillside.
Sieh-li, failing to find a good position at home, was forced to try
his fortune in the army. The play ("The Suspicious Slipper* 9 ) opens
when the faithful wife has waited patiently for eighteen years together
219
220 ... SECRETS OF THE CHINESE DRAMA
with her seventeen-year-old boy, Sieh Tin-shan, born seven months
after her husband's departure. Every morning she sends her son to
Fen He Wan to fish and hunt.
Sieh-li, having succeeded in his Eastern Expedition, has become
the generalissimo and has started on his way back to share his glory
with his wife. At Fen He Wan he meets his son. He is so interested
in the skill of the unknown youth that he cannot help stopping to look
at him. Suddenly he sees a tiger at some distance behind' the boy and
intending to save the latter aims his arrow at the beast. By some ill
fate, the boy is shot.
Very distressed, he rides on until he comes before his old cave,
where he sees a woman sitting outside as if she were waiting for some-
body. Neither recognizes the other (Illus. 34, 49), but when Sieh-li
finds that she is his wife, he decides to test her loyalty by posing as
his friend who has bought her to be his wife. She stands the test well
and they are happily re-united, until Sieh-li finds a man's slipper under
her bed. He is so angry that he immediately draws his sword to kill
her (Illus. 75). She is not vexed nor frightened at all, but amused at
her husband's unfounded suspicion (Illus. 52). She plays with him
saying that the owner of the slipper is much more handsome and
thoughtful than he. She would have starved had he not helped her.
Finally she makes known the identity of the boy and goes on praising
her son as being the only youth in the vicinity who has such wonderful
military skill. The father is horrified and tells her of the tragic accident
at Fen H Wan. The play ends with a grief-stricken search for the
boy's body.
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> Loo Hsiao-pao (31 >h 9[) Great China
Tan and Shen /Ch'eng Yen-ts'iu
' \Wang Shau-lou (3 & ft) Beka
LOVE WINS WHERE DISCIPLINE FAILS
or YUAN MEN TSAI TZU
While Yang Yen-chao was trying to conquer Mu, a bandit chief in
Shantung province, because he was desperately in need of the "Chiang-
lung" wood, grown on Mu's lands, he was j embarrassingly defeated by
Mu's daughter, Kuei-ing. He had to camp where he was and wait for
an opportunity to steal the wood.
One night while Yang Tsung-pao, his only son, was on sentry
duty, two elderly generals induced him to steal into Mu Kuei-ing's camp
and challenge her, for they thought that the young general might be
able to win. His efforts failed and he was caught and held in captivity.
Kuei-ing, falling in love with him, offered him the choice of marrying
her or of being put to death. He chose death, but later when he thought
of being his father's only son and of Kuei-ing's promise to furnish him
with the desired precious wood, he agreed to the marriage. A hasty
wedding took place.
The next day the young general returned to his father, and found
him in great wrath. He had sentenced his son to death for having
married the bandit's daughter. In spite of the petitions of all the sub-
ordinate generals, the Emperor's brother and even his own mother,
Yang Yen-chao insisted on the execution.
Finally the bride, Kuei-ing (Illus. 21), came herself. She threat-
ened to fight against Yang Yen-chao in person, if he carried out the
221
222
SECRETS OF THE CHINESE DRAMA
execution, and at the same time she offered to furnish the "Chiang-
lung" 1 wood, if her husband were released. Partly in fear of the tigress
and partly because of the urgent need for the valuable wood, the old
general reluctantly yielded to the bargain. The play ends with the
bride's remark to her father-in-law, "Even though you do not love him,
I do!"
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iThe literal meaning of "Chiang-lung" (ff K) is "to conquer the dragon."
This wood was used in fighting against the strategic troop arrangement of the
enemy, called "tien-men-tsen" (36 PI BO, a fatal trap for those who did not know
how to get out
LOYALTY FINDS A WAY
or YU CHOU FENG
About 200 B.C. during the reign of Er-Shih, there was a vicious
premier, Chao Kao, who had a very good and charming daughter. Though
she never agreed with her father's way of living, she obediently married
K'uang Fu, the man of her father's choice and the son of a faithful,
upright minister, K'uang Hung, the bitter enemy of the premier. The
marriage was forced upon the K'uang family by the premier, through
a mandate by the Emperor, in order that the daughter might be used
as a spy. She performed her duties as a wife and a daughter-in-law
so faithfully that her father was greatly disappointed.
Chao Kao, therefore, sent a man to steal K'uang Hung's "Yu Chou
Feng" (literally, the sword of the universe), a priceless gift from the
Emperor. Then he directed him to pretend to assassinate the Emperor
with the sword but to leave it and make his escape so as to throw
suspicion upon K'uang Hung as the real assassin. The plan was a
success and old K'uang Hung was imprisoned and the son had to flee
for his life. In order to delay pursuit, a faithful servant whose appear-
ance was similar to K'uang Fu volunteered to kill himself, thus making
the Emperor believe that the young man was dead. The wretched
daughter, now left homeless, had to return to her father's house as
a widow. One night the Emperor came to visit the premier in dis-
guise and saw the lovely lady. At once he ordered the father to send
her to the palace next morning to be his favourite. Chao Kao was
223
224
SECRETS OF THE CHINESE DRAMA
Illus. 76. An Aside. Left to right: The Maid (by Chu Kuei-fang) ; The Lady
(by Mei Lan-f ang) ; The Emperor (by Wang Shau-t'ing) ;
The Father (by Liu Lien-yung)
PLAY: Loyalty Finds a Way
SYNOPSES OF PLAYS . . . . . 225
only too willing to be thus elevated to the position of being the
Emperor's father-in-law. (Note; The father of the Emperor's con-
cubine might be called father-law of the sovereign.)
The daughter pleaded in vain against the decision, and quarrelled
with her father. She reminded him that according to custom she
should obey her parents as to her first marriage, but that the right of
choosing a second husband belonged to none other than herself and
that since she had done her duty in marrying the man of his choice,
she had a perfect Bright to refuse to obey him the second time. Still
Chao Kao insisted that she should obey the Emperor, if not him, and
that disobedience would mean death. The loyal wife chose death!
Her maid, however, who was dumb, showed her that a pretense of
insanity might save her from being taken by the lustful ruler. She
followed the maid's suggestion: tore her dress, threw away her shoes,
let her hair down, bruised herself, pulled her father's beard (see Illus.
44), addressed and caressed him as if he were her husband, and finally
declared 1 that she had been summoned by the gods to ascend to Heaven
(see Illus. 48).
Very embarrassed and distressed, Chao Kao reported to the Em-
peror that his daughter had suddenly become insane. It was not so
easy ta make the lascivious tyrant give her up; she must prove that
she was really insane. She was therefore summoned to the palace
to be examined by the Emperor (Illus. 76) . In wild strains of insanity,
she appeared before the Emperor, calling him brother emperor at one
time and base tyrant at another, and addressing Chao Kao, her father, as
her darling son (Illus. 40) . The dissimulation was so well portrayed that
finally the Emperor was convinced and the loyal beauty was sent home.
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226
SECRETS OF THE CHINESE DRAMA
Jllus. 77. A Posture in the Tray and Winepot Dance (by Mei Lan-fang)
PLAY: Ma-ku Offering Birthday Greetings
MA-KU OFFERING BIRTHDAY
GREETINGS
or MA-KU HSIEN SHOU
Oft ft ft *)
NOTE : Ma-ku has been popularly taken to represent the goddess
who offers long life to every woman on her birthday. Usually, her
picture is hung in the main celebration halL At birthday parties,
this play is always an appropriate item on the programme.
The play opens with all the fairies busily preparing for the cele-
bration of the third of March, the birthday of the leading goddess,
Mother Wang. One of them named Ma-ku starts out to pick the pre-
cious, rare flowers and herbs to be distilled into the Everlasting Wine
which she plans to offer 1 as her birthday present.
The actor dances in both the flower-gathering and the birthday
celebration scenes. In the latter, the sleeve dance (Illus. 37) and the
tray and winepot dance (Illus. 77) give the most spectacular and
aesthetic effects.
Gramophone Record available:
Tan by Mei Lan-fang (* M ) Victor
227
228
SECRETS OF THE CHINESE DRAMA
Hlus. 78. Mei Lan-fang in the Role of Mu-lan
PLAY: Mu-lan, the Disguised Warrior Maiden
MU-LAN, THE DISGUISED
WARRIOR MAIDEN
or MU-LAN TS'UNG CHUN
NT ffi )
NOTE: The source of this play is an old, well-known poem
entitled "Mu-/an." The play consists of two parts, and is usually
given on two successive nights.
PART I.
China was invaded by a northern tribe, named Tu Chiieh, and the
Emperor ordered conscription to be enforced all over the country. Hua
Wu, a veteran, had two elder daughters and a little son. He was old
and just convalescing from a long and serious illness. The whole
family especially the second daughter, Mu-lan worried over his join-
ing the army. For months she had been unable to weave as her time
was spent in caring for her father. The play opens with Mu-lan resum-
ing her weaving after her father's convalescence.
She was so deep in thought considering the problem of how to
relieve her father that she sighed and absent-mindedly left her weav-
ing (see p. 144, Item XVII). Mu-wei, her elder sister, surprised at her
queer behaviour, teased her for being love-lorn, Mu-lan then disclosed
the cause of her worry, saying, "Sister, not every girl sighs for want of
love. Now, you too, sigh when you think of father's predicament Are
you eager to find a lover?"
One morning when a messenger came to summon Hua Wu (Illus.
5), Mu-lan, having dressed herself in her father's armour and helmet
and carrying his spear (Illus. 59), was ready to set out in his place.
In spite of her family's objection, Mu-lan won the argument by telling
them of her past preparations and by showing them her ability to use
the spear.
229
230 . . . SECRETS OF THE CHINESE DRAMA
PART II.
For twelve years her comrades failed to discover that she was a
woman. Once in a hot battle, she saved the life of the Commander-
in-chief and won promotion. Later she accomplished so many deeds
of valour that she was finally made a major-general.
One night, while on watch, she noticed some excited birds flying
overhead. She realized at once that the enemy must be marching
secretly toward her camp. She immediately reported to the Com-
rnander-in-chief and proposed to send a group of men to steal forth to
a strategic point and lie in ambush so that when the hostile army
passed, their return could be blocked. Her plan was followed and
when the T'u Chiieh tribesmen came, they had to face Mu-lan's men
on all four sides. There was no way for them to retreat or to advance,
and they were entirely routed.
As a conquering hero, Mu-lan rejected all the Emperor's rewards
except a steed to carry her home immediately. Approaching her native
village, she spied an old man sitting on a rock near the entrance, as if
he were waiting for someone. She rode up closer and lo, he was her
dear father ! For years he had come to this place to wait for the return
of his filial child. She was welcomed immediately. Her people could
hardly recognize the disguised soldier as the former Mu-lan. The
little brother had become a grown man. Big feasts were spread and
everybody was proud of her. She returned to her own bedchamber
and once more put on her maiden attire.
Honours and presents from the Emperor were bestowed upon this
wonderful general whom the messengers, to their surprise, found to
be just a young maiden. She distributed the presents among her for-
mer soldier comrades and expressed her desire to lead a simple, rural
life with her parents.
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99 Chiang Miao-hsiang (| & *)
99 99 99 Pathe
A NUN 1 SEEKS LOVE
or SZU FAN
(S/L)
NOTE: This is a romantic, one-act play of the K'un-ch'n type,
and is given by the "tan" alone. The actor dances and sings to the
accompaniment of the flute.
A beautiful young maiden, on account of poor health, had been
sent in childhood to a convent by her superstitious parents, who had
believed that she could enjoy long life only by being offered to the
gods (Illus. 79). As usual, romantic ideas crept into the mind of this
girl. She could not endure solitude but greatly desired to have a mate.
She saw that even the gods were laughing at her for thus wasting her
precious youth.
"Who will be willing to marry an old woman?" she questioned
herself. "What will become of me when I am old and stooping?"
So, finally, she threw away the sacred book and the cymbals with
which she sang; tore apart her nun's robe and fled down the mountain
to find some young lover, with whom to settle down. She longed to
own a cosy little home and, maybe, some day have fine children.
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1 The nun always holds a horse-hair duster (Illus. 14), which is a highly-
esteemed object to represent persons of refinement. In Chinese drama only those
who play the servant class, such as the lower eunuchs or maid-servants, use
it in dusting. The others, that is, those who play gods, goddesses, spirits,
nuns, monks, etc. hold it to represent their exalted position.
231
232
SECRETS OF THE CHINESE DRAMA
Illus. 79. The Nun at Worship (by Mei Lan-fang)
PLAY: A Nun Seeks Love
THE PASS OF CHAO NO. I
or "CIVIL" CHAO KWAN
(3fc Hg if)
The King of Ch'u was so lascivious that he drove out his son and
proceeded to take his wife as one of his concubines. His upright
minister, Wu Sheh, strongly advised that at least the king should let
the daughter-in-law alone. The king's flatterer, Fei, suggested to the
king that he throw the "unscrupulous minister'* into prison for insulting
his sovereign, but fearing Wu's two tiger sons serving as generals on
the frontier might seek revenge, forged a king's mandate (see p. 23,
Item 3) ordering Wu to write a letter to summon the young men to the
capital. A friend discovered the intrigue and secretly informed the
brothers.
Wu Shang the elder, told Wu Yuin (more popularly known as Wu
Tzu-sii) that since it was their father's letter, they must obey, but the
younger replied, **I doubt if it is father's genuine intention to summon
us into this trap, so I will stay behind and plan revenge if anything
should happen to you or father."
When news came that his father and brother were actually mur-
dered and that Fei had ordered his picture to be hung at every city gate
of the kingdom, offering liberal rewards to any who would arrest him,
Wu Yuin decided to flee to the Kingdom of Wu, whose king was the
bitter enemy of the King of Ch'u.
First of all he must get through the Pass of Chao. He hid
himself in his friend's home and next morning it was discovered that he
looked like a different man! Excitement and worry had in one night
233
234 . . SECRETS OF THE CHINESE DRAMA
made his hair and beard entirely white! A bright idea came to the
friend. He immediately sent for a man, named Wong-fu Ne, who
looked somewhat like Wu Yuin.
The next morning Wong-fu was found trying to slip through the
Pass of Chao and was mistaken by the gatekeepers for Wu. He argued
in such a way that the gatekeepers became more and more positive that
he was the "fugitive. In the midst of this turmoil the white-haired
Wu slipped through the Pass just as the friend was starting on his
way to prove that the arrested man was not Wu Yuin but Wong-fu,
one of his close friends.
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THE PASS OF CHAO NO. II
or "MILITARY" CHAO KWAN
The King of Ch'u was lascivious to such a degree that he drove
away his own son and was about to make his beautiful daughter-in-law
one of his concubines, when General Wu Yuin forced his way into
the palace and rescued the lady and her son, the baby prince. They fled
from the capital together. Seeing the- king's men in hot pursuit, they
had to take refuge temporarily in a big monastery. Realizing that
General Wu was already worn out and crestfallen and that apparently
it would be impossible for him to rescue both the child and herself, the
mother put the prince in the general's care and jumped into a nearby
well (see p. 147, Item XXII) , thus hoping to lessen the burden of General
Wu. Though the noble general unfortunately failed to rescue the lady,
he succeeded in getting through the Pass of Chao, to a country where
he and the baby prince might enjoy peace and liberty.
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235
236
SECRETS OF THE CHINESE DRAMA
Illus. 80. A Posture in the Flute and Plume Dance (by Chu Kuei-fang
and Mei Lan-fang)
PLAY : The Patriotic Beauty, Hsi Shih
DATE: THE PATRIOTIC BEAUTY
494-473 B.C. or HSI SHIH
(m it)
NOTE: "Hsi" means "west" It is said that there were two
villages, all of whose residents were surnamed Shih. Hsi Shih, one
of the four most famous beauties of ancient China, lived in the
western Shih village , hence her name.
After the decisive battle between the ever war-waging kingdoms
of Wu and Yueh, Kou-tsien, the king of the latter kingdom was taken
prisoner by Fu-ch'a, the king of the former. Liberal bribes and the
captive's wit succeeded in making the foolish conqueror grant the re-
lease of the prisoner. Upon returning to his own kingdom Kou-tsien
slept on a straw bed and tasted bitter gall every morning so as to remind
himself of the shame that he had experienced during his captivity.
Fan Lee, his Prime Minister, set out to find the most beautiful
maiden in the kingdom and finally he found Hsi Shih, a matchless
beauty, who because of poverty was forced to earn a humble living
by bleaching yarn. She was, however, rich in intelligence and
patriotism and consented to co-operate with Fan Lee and sacrifice
herself for her king and country.
She was presented to Fu-ch'a with a number of ladies-in-waiting
and before long she succeeded in fascinating the conqueror of her coun-
try. The great king's attention, paid formerly to affairs of state, was now
transferred to the graceful dances (Illus. 80) of this charming favourite.
Splendid palaces were put up just to please her. The best known
structure erected for her was the "Echoing Corridor" (*g )H Jgp), which
was so built that when Hsi Shih walked or danced along it, the king
could enjoy the pleasing echoes of her mincing steps. (Today any
tourist who visits Lin-yen Hill, about five miles west of the city of
237
238
SECRETS OF THE CHINESE DRAMA
Illus. 81. The Fan Dance (by Mei Lan-fang)
PLAY: The Patriotic Beauty, Hsi Shih
SYNOPSES OF PLAYS 239
Soochow, Kiangsu Province, can find the old site of the platform where
the king and Hsi Shih used to sit on summer nights, and also the pool
whose water served as a mirror for the lady when she arranged her
pretty, dark hair.)
Gradually, through neglect, the kingdom of Wu grew weaker and
weaker, whereas the kingdom of Yueh never allowed the people rest,
but kept them always busy strengthening their military forces, develop-
ing resources to maintain a large standing army and working in every
way to make the country more progressive.
Discovering that the kingdom of Wu was declining, the vassal king
of Tsi refused to send tribute. Upon Hsi Shih's persuasion, the
pleasure-loving king led an expensive punitive expedition against Tsi,
and while both men and money were being spent on that unworthy
cause, Kou-tsien, now well-equipped, led his armies forward and with
the help of the patriotic beauty, entered the capital easily* The home-
less Fu-ch'a felt so humiliated and desperate that he committed suicide,
and Hsi Shih was welcomed home with pomp and splendour.
The play ends as the Prime Minister, Fan Lee, and the long admired
Hsi Shih, his bride, retire from public life. In this last scene, the two
actors, each holding an oar, dance around, posturing in harmony with
the movements of the imaginary little boat (see pp. 144-145, Items
XVIII-XIX).
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240
SECRETS OF THE CHINESE DRAMA
Illus. 82. The Spear Dance (by Mei Lan-fang)
PI,AY: The Rainbow Pass
DATE: THE RAINBOW PASS
A.D. 560-580 . or HUNG NI KWAN
(tt IE M)
NOTE : In Part I> the leading actor plays the widow, the charac-
ter being a "fao-ma-tan," but in Part II he takes the role of "hua-tan"
Toward the close of the sixth century China was overrun by a
number of war-lords, among whom was the valiant general, Lee Mi;
In the midst of his conquests, he was fiercely confronted by another
courageous warrior, Sin Wn-li. Lee sent Wang Pe-tang, an expert
archer, to take Rainbow Pass, the impregnable stronghold of Sin. The
latter was superior to Wang as a fighter but was not so clever a
strategist; eventually he was tricked and killed by the fatal arrow of the
bowman.
Sin's brave and charming widow, Tung-fang, swore vengeance
upon her husband's murderer. Therefore, she ordered her man to go
to the battlefield with her in mourning (Illus. 6il, 82). She declared
that she would place Wang's head before Sin's coffin as an offering.
Her avenging spirit, however, did not last long. The moment she
saw the handsome enemy, she was deeply infatuated (Illus. 83). Feign-
ing defeat she led the young archer into the trap she had set, and made
him her prisoner. (Part I ends here.)
Part II opens with the victorious return of the heroine. To all of
Sin's followers it seemed that the fate of the bowman was definitely
sealed. So thought the widow's smart maid (Illus. 84). Not until
the loyal maid had urged her mistress for a long time to fulfil her
oath, did Tung-fang reveal her intention of marrying the prisoner.
241
242
SECRETS OF THE CHINESE DRAMA
Illus. 83. The Spear Dance. "Tan" (by Mei Lan-fang) ; "Shen"
(by Chu Kuei-fang)
PLAY: The Rainbow Pass
SYNOPSES OF PLAYS . . . . . 243
At first, the ingenious maid tried to persuade her mistress to abide
by her oath, but upon realizing that Tung-fang's mad passion was
genuine, she consented to be her match-maker. The young man chose
death to marriage, unless Tung-fang would submit to his conditions :
(1) She must place a banner of surrender on the city wall;
(2) She must welcome all of his colleagues into her land;
(3) The actual wedding must not take place until three days after
the wedding celebration.
The widow was only too willing to consent, and she herself freed
Wang from chains. The play ends with a hasty wedding.
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Chang NgS-yuin (3 & ^) Victor
Hsu Pih-yuin (& ^ ft) Beka
244
SECRETS OF THE CHINESE DRAMA
IIIus. 84. A Scene in "The Rainbow Pass" (Left to right) 1 The Maid
(by Ch'eng Yen-ts'iu) ; 2 The Widow (by Shang Hsiao-yuin);
3 The Hero (by Mei Lan-fang, playing that role in jest)
THE RED-MANED STEED
or HUNG TSONG LIEH MA
NOTE: TTizs story is the source of the recent very popular play,
"Lady Precious Stream." It consists of eleven parts, each part often
being given as a separate performance. If the entire story is pre-
sented on one night, it will take about seven-and-a-half hours (from
6 p.jjj. i:SO a.m.). The best actors do not appear until late on the
programme, and this results in the reserved seats in the theatre being
seldom occupied during the first seven parts.
PART I. HOW WANG PAO-CH'UAN CHOSE HER HUSBAND
or TS'AI LOU P'EI (gg # R)
Wang Yuin, the Prime Minister, had three daughters, among whom
Pao-ch'uan, the youngest, was the loveliest and best educated. Her
parents were so proud of her that they arranged to let her choose her
own husband. They had a tower (see p. 27, Item 20) erected and
decorated with flowers. On the appointed day the lady was to stand
inside and throw down the beautiful five-coloured embroidered ball, a
special gift from the Emperor for the occasion, to the youth of her
choice. The day before the betrothal she was walking in her garden,
where she found a beggar fast asleep. His clear-cut features struck
her as giving promise that he would become a great man some day.
After further investigation, she discovered that he, Sieh P'ing-kuei, was
a genius in military tactics and was now poor only because he had no
opportunity to work. She told him of the incident that would take
place the next day and asked him to come to try his fortune, and gave
him some gold with which to buy clothes.
The next morning there was much excitement before the tower;
nobles, officials and scholars gathered there hoping to receive the ball
The choice fell on the beggar, and Sieh was claimed as the fiance of the
lovely maiden.
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245
246 . . . SECRETS OF THE CHINESE DR\MA
PART II. THE WAGER or SAN CHI CHANG (H**)
The Prime Minister refused to consent to the marriage, because
Sieh belonged to the lowest caste. The daughter, however, insisted
that fate might not be averted by man's will, not even her father's.
For the first -time father and daughter quarrelled. In spite of the
mother's advice, the girl accepted her father's challenge to leave
home at once, penniless, and never to return until fate had made her
a rich lady of high rank. They clapped each other's hands three times
to confirm the agreement. Then she took off the gorgeous robe and
jewelry, sorrowfully bade goodbye to her mother and followed Sieh
to his home which was a cave on the side of a hill.
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PART III. SIEH, THE HERO, JOINS THE ARMY
or T'OU CHUN PIEH YAO (Jfc ^ #j )
The grateful husband now felt it more urgent than ever to find a
position so that he could support his wife, but failed again and again.
One day he succeeded in conquering some dreadful monster, which
was, in fact, a fierce wild horse, which was so unapproachable and
whose mane was so long and red that it looked like some strange beast
with a red fur coat. On account of its great strength many men whom
it had kicked died instantly. Placards were posted and liberal
rewards were offered to successful volunteers. Sieh tamed the horse
and named it "The Red-maned Steed." This deed of valour started
his great career Jby giving him the opportunity to enter the army.
Before leaving he sadly asked his bride to give up the wager and return
home, because his future was very uncertain. In tears the lady replied,
"I would rather starve than return to my father. I shall wait for your
return and for the day when I can show my father who you are."
Deeply touched, Sieh assured her of his determination to make her
dream come true and reluctantly left for the enlisting headquarters
where he discovered that he had been put under the command of Soo
and Wei, the husbands of his wife's elder sisters, who had been in-
structed by the Prime Minister to murder Sieh. Fortunately Soo refused
SYNOPSES OF PLAYS . . . . . 247
to obey the order, but on the contrary tried his best to help the young
man, while Wei, aiming to win Pao-ch'uan for his second wife, exerted
himself to carry out the father's wish,
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PART IV. PAO-CH'UAN REFUSES TO STOOP
or T'AN HAN YAO ( ^ )
News came back that Sieh was dead and word was sent to the lady
by her father asking her to give up the wager, return home, marry a
man of her own rank, and lead an easy, happy life. Pao-ch'uan gave
no answer and remained in poverty. Indeed, she would have starved
had her mother not secretly continued to support her.
When the kind mother first went to visit her daughter, she insisted
on her return, for the cave seemed uninhabitable, and when Pao-ch'uan
refused to leave, the mother threatened that she too would live in the
cave to keep her company. The frightened daughter cleverly feigned
to promise to follow her home. As soon as the mother and her servants
stepped out, she bolted the door and knelt inside, 1 begging the mother
to pardon her disobedience. She declared that she was determined to
abide by the agreement, so the old lady, disappointed but admiring her
child's self sacrifice, had to return home alone.
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PART V. SIEH'S SECOND MARRIAGE
or SI LIANG CH'AO TS'IN ( ffi $r Jg $)
Though Wei had again and again sent Sieh to fight at very dan-
gerous points, every time the latter, with the help of the wonderful steed,
1 The actor kneels behind a chair to represent that "she" is inside the imaginary
door. In this play the pantomime of bolting and unbolting the door is just the
same as that in "The Suspicious Slipper."
248 . . . SECRETS OF THE CHINESE DRAMA
returned victor. Finally, Wei invited him to a big feast in celebration
of his chivalrous achievements and induced him to drink so much that
he became intoxicated. Then the rascal bound him on his steed and
with the war drums sounding drove him forward towards the enemy.
He was taken captive and later would have been executed had he not
been rescued by the Princess Ta Ts'a, the only daughter of the King of
Si Liang, whose heart he had unconsciously won by his valiant deeds
on the battlefield. She treated him so well that he finally surrendered
to her successive offers of marriage. Thus he became the son and heir
to the throne of Si Liang.
PART VI. THE BROKEN-HEARTED MESSAGE
or HUNG YEN CH'UAN SHU (ft flf ff ft)
Spring after spring the lady, Pao-ch'uan, watched for the return
of the early birds. She did not believe the news that Wei had brought
back, for she knew that the latter wanted 'her hand, yet after the lapse
of eighteen springs, she did begin to doubt that her husband would ever
return. She was so broken-hearted and lonely that she began to talk
with the birds, asking if any of them would carry a letter to Sieh
in Si Liang. Strangely enough one bird nodded its head as if consenting
to render her the service. (This is portrayed by an actor standing on a
chair and holding a silk bird which nods to the lady.) Then she tore
off a strip from her dress, bit her finger and writing the letter in blood,
begged Sieh to come back to her ere she die of a broken heart. She
tied the message to the bird's leg (the lady hands the strip to the actor
who holds the bird) and it flew away.
PART VII. SIEH RETURNS HOME or KAN SAN KWAN (jg
In his new home Sieh had not dared to reveal his true life history
to the old king or his daughter. When he succeeded to the throne, he
knew that as a foreign king he was forbidden to enter the territory of
his own country.
One morning just after the regular state session, he saw a bird
nodding as if addressing him and looking at it more closely he noticed
SYNOPSES OF PL AYS . . . . , 249
the strip of cloth. Reading the message on it. he was so ashamed that
he immediately sent for the Princess now the Queen. He made her
drunk and secretly left for his homeland on his faithful "Red-maned
Steed." He passed through the three strategic posts in disguise with
his own mandate arrow as his "passport" (see p. 23, Item 2). When
he reached the border, he was overtaken by the Princess to whomi he
was now compelled to tell the truth. His story won her sympathy and
she not only let him go on but gave him a trained dove to send back
to her in case of danger.
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PART VIII. THE MEETING AT WU CHIA PU
orWUCHIAPU
NOTE : This part is one of the most popular plays on the Chinese
stage. The dialogue and songs are very much the same as those in
"The Suspicious Slipper."
A neighbour brought word to Pao-ch'uan that a messenger from
her husband was waiting for her at Wu Ghia Pu. She hurried there
only to find a soldier (Illus. 85), who claimed to be her second husband,
the man to whom Sieh had sold her. She refused to admit the legality of
such a contract and after quarrelling with him she ran back home. The
disguised soldier was none other than Sieh himself. Seeing that his
wife stood well the test of fidelity, he quickly identified himself and
knelt before her, begging forgiveness. Since this was the most humiliat-
ing way of begging pardon, the lady willingly let the eighteen years of
suffering be offset by this mere bending of the husband's precious knees !
(An old Chinese proverb says: "There is gold under man's knees; he
cannot bend them before a woman").
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................ \Wang Shau-lou ( 3E tt) .............. Odeon
250
SECRETS OF THE CHINESE DRAM^
Illus. 85. The Aside Sleeve (by the Author and her schoolmate)
PLAY: The Meeting at Wu Chia Pa
SYNOPSES OF PL AYS . . . . . 251
PART IX. CLEARING OF ACCOUNTS or SUAN LIANG ( Jf)
The lady was now ready to return to her father, but she waited till
his birthday came. Alone and in ragged clothes, she went to give her
father birthday greetings. The Prime Minister and Wei thought she
had changed her mind and was returning home to live, but the first
thing she did after the ceremony was to demand from Wei the legal
monthly allowance due her husband during the past eighteen years.
They began to quarrel and Sieh was summoned to testify to Wei's per-
fidy. Finally they all decided to put the case before the Emperor.
PART X. NEMESIS BEGINS HER WORK
or YIN K'UNG SHAN (ft Oj)
Just as the Prime Minister, Wei and Sieh reached the palace, the
bell began to toll the death of the old Emperor, so Sieh had to postpone
the settlement until a later date. The Prime Minister quickly attempted
to usurp the throne with Wei as his chief colleague in the conspiracy.
Sieh immediately sent back the dove to the Princess who marched her
troops to the capital before the rebellious army could be prepared to
resist her. A sweeping victory ended the rebel's career, made Sieh
the Emperor and the conspirators his prisoners.
PART XL THE FINAL SCORE or HUI LUNG KE (a fl gj)
The new Emperor himself sat in judgment on the rebels. He
ordered that the treacherous Prime Minister be the first to be
executed for treason. Just then Pao-ch'uan now the Empress challeng-
ed the Emperor saying that if her father's life was not spared she would
die with him. Though the Emperor felt the request was too great, yet
he consented to the acquittal. The old man was allowed to come back to
the audience hall to express his gratitude to the Emperor and Empress.
Here the "tan" (the Empress) sings one of the most exquisite
songs in the whole play. She relates how her belief in fate was
justified and that though her husband was exceedingly poor at the
time of her betrothal, yet the beggar had won his title and she the
wager.
252 . . . SECRETS OF THE CHINESE DRAMA
Then she urged the Emperor to bring Wei to trial. She severely
reprimanded him before his decapitation and ordered that his head
be hoisted on a spike. After the trial, the Princess Ta Ts'& was in-
troduced to the Empress by the embarrassed husband. The ladies
soon became good friends and sisters. They agreed to summon the
Empress* mother to come to the palace to live and the old man was
left alone in the Pension House. A happy ending closes this much
loved drama.
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shen Yen Chii-p'eng (W ^ JS& ) Odeon
Shen and Tan /
Sin Yen-ts'iu (f m ft. ) Patht
THE REWARD OF KINDNESS
or CHU SHA CHIH
(f? * 7- en
Han, a rich old widower, whose wife and only son were lost during
the invasion by the northern barbarians twelve years before, was now
ready to buy himself a concubine so that he might not be without an
heir.
On removing the "bridal headcover," 1 Han found that the
bride looked broken-hearted and sad. When questioned, the poor
woman told him that she had sold herself in order to pay the medical
expenses of her husband who was seriously ill. The kind man im-
mediately set her free, sent her back to her husband and gave the couple
one hundred taels of silver (1 tael=Sh. $1.40).
The gift and the return of his wife cured the patient and on the
very next day the overjoyed couple came to thank Han. They soon
learned that the rich man's one desire was to have a child. Therefore,
they not only advised Han to adopt a son, but after having conducted
some business abroad and made some profit, brought back a smart,
handsome boy and presented him to their benefactor.
Not long after the adoption, a red mark on the boy's left foot was
discovered exactly like that on the left foot of his long-lost son. Han
concluded that his generosity had brought back his own offspring.
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Liu Shu-tu ( ft ft) Victor
1 According to the old Chinese custom, every bride wears an almost square
piece of red silk, so as to hide her face. In the case of rich brides, it is beautifully
embroidered,
253
THE ROMANCE OF
CHIANG TS'lU-LIEN
or CH'UN TS'IU P'EI
Sd)
Because Chiang Shao was often away from home on business,
Chiang Ts'iti-lien, his daughter by a former marriage, was left at the
mercy of her step-mother. One day the latter ordered Ts'iu-lien to
go to the woods to gather fuel, but as it was not considered proper for
maidens of well-to-do families to do manual labour, Ts'iu-lien preferred
to stay at home and study. She was severely whipped for disobedience,
so her old nurse persuaded her to get the fuel.
On the way they met a handsome young scholar by the name of
Lee Ch'un-fa, who, seeing that they did not belong to the labouring
class, inquired what they were doing. The nurse, suspecting he was
trying to flirt with her mistress, reprimanded him. To prove his inno-
cence the scholar put some silver on the ground, asked them to buy fuel
with it, and then went away without telling them his name.
Ts'iu-lien was so grateful that she sent the the nurse to call him
back. During the conversation the maiden blushingly asked him
whether he had been married or not. He felt greatly embarrassed and
left immediately.
When the two women reached home they gave the step-mother the
silver and told her frankly about the young man. The wicked step-
mother accused Ts'iu-lien of unchastity and threatened to kill her. In
terror, the maiden fled with her nurse. At midnight they met a
254
SYNOPSES OF PLAYS . . . . . 255
highwayman who not only murdered the nurse and robbed them of
all they had, but started to violate the maiden. The latter declared that
she belonged 1 to a high-bred family and that she must have a witness
before she became his wife. She looked around and chose a red flower,
growing on the cliff nearby, to be their witness. As soon as the robber
stooped down, Ts'iu-lien pushed him down into the gorge.
Usually the play ends with Ts'iu-lien's narrow escape, but the story
goes on with the step-mother's prosecution of the scholar for the seduct-
ion of Ts'iu-lien, the latter's entrance into a convent and finally the
marriage of the hero and heroine.
Only Mei Lan-fang ($ g| ;j0 has given this play in full. In recent
years he, too, has concluded the play at the climax, i.e. the escape.
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, Shang Hsiao-yuin ( ffr 'h ^) Pathe
256
SECRETS OF THE CHINESE DRAMA
Illus. 86. A Scene in "The Royal Monument Pavilion"
(by the Author and her friend)
THE ROYAL MONUMENT PAVILION
or YU PEI TING
Meng Yii-hua after seeing her Jiusband, Wang You-tao, off to the
capital to take the imperial examinations, was asked to go home to
attend her family's ancestral worship. Because her young sister-in-law
would be left alone, she refused to go, but, after continued persuasion
by the sister (Illus. 86) and her father's servant, she went home on
the understanding that she would be back before dark.
After the worship, though her parents insisted on her staying with
them, she left the room, pretending that she had to retire because of
illness. Secretly she slipped out through the backgarden. Before she
was half-way home, a terrible thunderstorm overtook her and she was
compelled to take shelter at the Royal Monument Pavilion.
Not long afterwards, a young scholar, named Liu, happened to come
to that same pavilion for shelter. Seeing the beautiful lady he started
to leave so as not to annoy her at such a late hour (the old idea being
that the sexes should not associate) . Then, thinking that after his depart-
ure some rascal might come to molest her, he stayed under the eaves of
the pavilion so that he could be her protector. This noble act was duly
recorded by the four sentinel gods in heaven (portrayed by actors
standing on chairs with pen and paper in hand), who later influenced
the Chief Examiner to choose Liu and put his essay, which had been
rejected three times previously, among the winning compositions.
257
258 ... SECRETS OF THE CHINESE DRAMA
Not until dawn did Yii-hua reach her husband's home. She frankly
told her sister-in-law of the pavilion incident. The innocent maiden
teased her, saying that it was the will of heaven that she had the chance
to meet the handsome young scholar, but Yii-hua took it very seriously,
replying that it was too delicate a matter for a woman to discuss even in
jest. Not until the sister knelt before her begging for pardon and
promising that she would never mention it again, was Yii-hua appeased.
Later the inexperienced maiden related the incident to her brother,
who, believing his wife guilty, decided to divorce her. He told Yii-hua
that her father's servant had come for her, because her parents were
seriously ill He said he was too tired to go with her, and gave her a
sealed letter a document of divorce to be taken home.
Wang felt better about the loss of his wife when it was reported
that he had passed the imperial examinations. At the Chief Examiner's
office he met the handsome Liu, who was being questioned repeatedly
by the Examiner as to what noble deed he had done to win himself
supernatural favour. After much thought Liu recollected and mentioned
the pavilion incident, but he deemed it unworthy of being called a noble
deed. Overhearing the conversation, the remorseful husband could do
nothing but beg forgiveness of his ex-wife. The play ends with a
happy re-union and the hasty wedding of Liu and Wang's sister.
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Odeon
Cheng Yen-ts'iu ( ft % ft) Beka
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Laoshen Ma Lien-Hang ( Ji 9t ft) Pathe
Yen Chu-peng (f 1 1) Victor
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THE SIGNIFICANT SASH
or HSIANG LOO TA1
(* H flf)
General T'ang Tung's wife, Lady Lin, worshipped Lok, the private
tutor of her son, because of his excellent personality and education.
Her frequent praise of him displeased the general. One day T'ang was
sent to Hangchow on some important business and that very night it
happened that Lok had a high fever. The son, being very considerate,
took his father's quilt and put it on the bed of his teacher and uninten-
tionally his mother's specially-made sash was taken with the quilt.
On his return, T'ang became very angry when he discovered the
sash on the tutor's bed. At the point of his sword he forced his
wife to go to Lok. Bewildered at her husband's unreasonable order,
she refused, but eventually the poor woman consented to knock on the
tutor's door and plead for admission, because the general declared that
he would kill both Lok and her, if she refused to obey his command.
The young man not only severely reprimanded her, but left the place
that very night. Though the wife's innocence was proved to T'ang,
there was no opportunity to explain to Lok why Lady Lin had committed
the indecent act of calling on him at midnight.
Sometime later, T'ang was ordered to subdue some pirates. To
avoid all the official receptions on the way, he travelled incognito. It
happened that he spent the ni'ght at a "He Tien" (literally, black shop)
where the shopkeeper drugged his customers and then robbed them.
When Tang discovered the shopkeeper was a robber, he killed him and
259
260 . . . SECRETS OF THE CHINESE DHAMA
intending to notify the local governor, he cut off the head (in olden
times the killer often presented the head to the magistrate when he gave
the information).
Before T'ang reached the court, one of his servants stopped him
with the message that he must hasten to his destination.
The headless corpse gave rise to the misunderstanding that T'ang
had been murdered, because T'ang's clothes and other things were found
by the body. The magistrate, who happened to be Lok, the former
tutor of T'ang's son, recollected the midnight incident and suspected
that the wife was involved. The innocent woman was arrested. Recog-
nizing the judge and feeling grief -stricken over her husband's death,
she made a false confession of the murder of her husband and was
sentenced to death. At the time set for execution T'ang hurried back,
identified himself and brought about his wife's acquittal.
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SNOW IN JUNE
or LU YUEH HSUEH
(A n )
NOTE I: Before the time of Emperor Ch'ien-lung (A.D. 1736-1796)
the ending of this play was entirely different from what it is
today. The story was as follows: Snow fell after Tou-nge"s execu-
tion in June, and for the following three years the land suffered a
terrible drought. Not until the true culprit was found and executed
did conditions return to normal. Emperor Ch'ien-lung felt dissatisfied
with such an ending, because it failed to inspire the people with the
thought that the good always prosper in the end. Therefore he
commanded the playwrights to change to the present happy ending.
NOTE II: There is yet another story concerning the change in
the ending of this play: Since the Southern "hsf-wen" (see Part I,
Chapter V) did not allow tragic endings, Tou-nge's execution \was
replaced by the acquittal and, therefore, the play enfls with the
happy reunion of the hero and the heroine.
Tsai, accompanied by Chang, the son of his woman-servant, left
his mother and wife, Tou-ng6, and started for the capital to take the
imperial examinations. Intending to take his beautiful mistress, Tou-
nge, to be his wife, Chang pushed Tsai into a river and returned home
with the news that the young master had carelessly fallen into the river
and been drowned. Grief made the aged mother very ill. In delirium
she ordered Chang's mother to prepare some mutton broth. To get rid
of the old mother, Chang poisoned the broth, but its odour was so strong
that the patient would not even taste it. The smell, however, enticed
Chang's mother, who gluttonously devoured the fatal dish and died
almost immediately. Chang tried to force Tou-nge to marry him, by
threatening to prosecute her or her mother-in-law for murder. Her
refusal resulted in the sick mother being dragged to the magisterial
court.
Tou-nge followed them there and seeing the judge torture her
mother-law unjustly to force a confession even a false one she
261
262 ... SECRETS OF THE CHINESE DRAMA
sacrificed herself by asserting to the court that she was the murderess.
Without investigating the matter to see whether her assertion coincided
with the facts, the judge set the old woman free and much to Chang's
disgust, convicted Tou-nge of murder.
It is common to find only the climax or short interesting parts of
a play given on the Chinese stage; except when performed by Ch'eng
Yen-ts'iu (H -fig $t)> who has reconstructed the whole story, this play
usually begins with the prison scene, in which the heroine sings to the
jailor the story of her life. Then follows the street scene, the climax.
(It was customary for the courts of olden times to parade those convict-
ed of serious crimes on the main streets leading to the four gates of the
city.) In this play, during the parade, the most pathetic and touching
songs are sung. Tou-nge prays Heaven to give her justice so that the
wicked may be properly dealt with. Heaven answers her prayer by
sending a heavy snowstorm snow in June! in the hottest month of
the year (according to the lunar calendar).
This phenomenon compelled the Inspector-General to stop at this
city and enabled Tou-nge's neighbours to file a petition for a new trial.
The past of the innocent prisoner was so clearly stated and proved that
it was quite easy for the Inspector-General to see that a new trial should
be granted.
Eventually Chang was executed and Tou-nge acquitted. On her
return, she was overjoyed to find her supposedly dead husband still
alive. He had passed the imperial examinations! It was too much
for her. It must be a dream ! She was assured, however, by both her
husband and mother-in-law that it was true. She was an Honoured
Lady!
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and Ch'ou Mei Lan-fang Victor
, Hsiao Ch'ang-hua ( jjtf & i$ )
,> HsuPih-yuin ( & & S) Pathe
, 9 ,, Hsiao Ch'ang-hua
Lao-tan Lee Too-ku'ei ( & m) Beka
Wo-yuin-chu-shih (B\S^) Odeon
SPRING ROMANCE
or MOU TAN T'ING
(tt ft *)
PART I. THE NAUGHTY MAID
or CH'UN HSIANG NAO HSUE
T'u Lee-nyiang, the beautiful and only daughter of a rich magistrate
and Ch'un-hsiang, her vivacious maid, were studying under Professor
Chen. The maid grew tired of studying, especially in spring, and one
morning she persisted in playing all sorts of funny tricks on the old
teacher, even after punishment. At last Chen was compelled to dismiss
the class for the day.
She tempted her mistress to steal into the back garden. 1 Eager to
see the flowers, now in full bloom, Lee-nyiang yielded to temptation.
PART II. THE DREAM BETROTHAL
or YOU YUAN CHING MENG ($ fg ^:)
T'u Lee-nyiang re-arranged her hair and put on one of her best
dresses as if she were entering a beauty contest with the flowers. After
strolling in the garden for some time, the young maiden's heart became
infatuated by the blossoms, the chattering birds and, above all, the
spring air. She rested on the steps of the artificial hill and soon fell
asleep. A handsome youth, holding a willow spray, came to woo her.
She gladly gave him her heart, but alas, he was merely a spring dream !
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.................... Yuan Loo-an (tt *) ..................
.................... Shang Hsiao-yuin (f& h g) .................. Victor
1 The old custom was tha/t young maidens were forbidden to play in the
gardens in order to prevent them being seen by outsiders.
263
264 . . . SECRETS OF THE CHINESE DRAMA
PART III. THE DREAM COMES TRUE
or HUAN HUN (a xfc)
When Lee-nyiang awoke, she was so disappointed that she died of
a broken heart. As she had requested she was buried under a plum
tree and her portrait, drawn by herself, was kept near the artificial hill.
Three years later while her father was in Yangchow, a young
scholar by the name of "Liu" (meaning willow) came into this garden
and happened to find the portrait, which he recognized as that of his
dream sweetheart of one spring afternoon. He was so pleased that
he put it on his bed. Again he dreamed of her and in this dream she
asked him to dig open her grave, for, because he had found her, she was
permitted to live again.
The next day Liu told his dream to a nun who took charge of the
grave and they dug together. Behold, the maiden came to life again!
The lovers started to Yangchow with the nun as their witness to inform
Lee-nyiang's father of the resurrection and to seek his consent to their
marriage.
The play, if all of it is given, ends with the happy marriage of the
hero and heroine.
DATE: THE STRATEGY OF AN
A.I). 228 UNGUARDED CITY
or K'UNG CHENG CHI
Daring the period of the Three Kingdoms (A.D. 190-280) General Ma
Shu (Illus. 87) of the Kingdom of Shu stupidly followed the saying,
'Tut oneself in a desperate situation fo get salvation" by camping his
men on the summit of a mountain. Of course, his shrewd enemy, Szu-
ma I heavily beseiged him. Ma commanded his men to charge forward
"to get salvation," but they failed. The result was the loss of the most
strategic city, Chieh-t'ing. This loss enabled Szii-ma to march forward
without resistance until he reached the headquarters of the Shu forces,
where the commander-in-chief, Chu-ke Liang, camped.
Behold, the city-gates were wide open and two old soldiers were
calmly sweeping near the gates! Chu-ke Liang, noted for his prudence,
was seen drinking and playing on the "ch'in" (a musical instrument
with seven strings) in the city-tower (see p. 25, Item 16) with only two
servant-boys waiting on him. The music sounded so tranquil that
Szii-ma could easily tell that the city was well protected by a hidden
army, so he addressed Chu-ke Liang, "Though you are very clever, yet
your trap does not catch me!" He then commanded his troops to
retreat forty li (13-14 miles) . Just as he was starting to set up camp,
news came that the city was actually empty and that Chu-k Liang had
craftily opened the gates as a bluff . Szii-ma immediately returned, but
it was already too late. A chance missed is lost forever! Reinforce-
ments, headed by Chao Yuin, one of Shu's five "tiger" generals, had
265
266 .
SECRETS OF THE CHINESE DRAMA
< ' ' ' '
Illus. 87. "Wu-ch'in (by He Shou-ch'en in the Role of General Ma Shu)
PLAY: The Strategy of an Unguarded City
SYNOPSES OF PLAYS
267
arrived. The city was no longer empty but well guarded! Szu-ma was
defeated and more renown was gained by the great strategist of the
Kingdom of Shu.
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268
SECRETS OF THE CHINESE DRAMA
Illus. 88. 1 "Tan" in- Fish-shaped Stocks (by Mei Lan-fang) ; 2 "Wen-ch'ou"
(by Hsiao Ch'ang-hua)
PLAY : The Extradition of Sa San
SU SAN, THE LOYAL
SING-SONG GIRL
or SU SAN
(M H)
PART I. THE EXTRADITION or SU SAN CH'I CHIEH (| H %> ffi )
Su San, a famous sing-song girl, was truly in love with one of her
patrons, Wang Kin-lung, a rich young scholar, whom she often advised
against wasting his money. Though much against the will of her
mistress, she continued to advise him. After discovering that he had
spent all his money, the mistress drove Wang out during Su San's
absence. Upon her return, she traced him and succeeded in secretly
supporting him so that he was able to go to Nanking to take the imperial
examinations. At the farewell meeting, the girl and her lover vowed
that neither would marry another.
Therefore, after his departure, Su San pretended to be ill and
refused to accept any more visitors. This act offended the mistress so
much that she secretly sold Su San as a concubine to a rich man in
Hung-t'ung Hsien. She was told that her lover had passed the examina-
tions, been made a great* official, and had now sent for her to be his
wife. She was overjoyed and started immediately for Hung-t'ung Hsien
only to find that she had been betrayed. Grief made her really ill, so
the ceremony had to be postponed. The jealous wife of the rich man,
anxious to get rid of her before she became her husband's concubine,
tried to persuade Su San to take some poisoned food which she pre-
pared. As the poor girl felt too sick to eat anything, she left the food
269
270 ... SECRETS OF THE CHINESE DRAMA
on the table. The unwelcome lover, coming to see her, happened to
eat and was poisoned. The wife immediately accused Su San of murder
and had her sent to prison. Furthermore, she bribed the magistrate
who pronounced a death sentence on Su San.
In the meanwhile, Wang, the real lover, passed the examinations
and became the head of the judges on that circuit. He was sent to the
province in which Hung-t'ung Hsien was situated to investigate the
criminal cases of that district. He was horrified to learn of the case
against Su San. He at once sent for the prisoner. Part I starts with the
arrival of the court officer at the prison to extradite Su San to Tai-yuan
Fu, the capital city of the province, for re-trial. Though the officer
assured her of a reversed judgment at the new trial, she still felt very
gloomy concerning her future.
On the journey she told the officer her past history and how she had
been cruelly tortured by the magistrate and his followers. This hard-
hearted officer took pity on her, adopted her as his goddaughter and
released her from the fish-shaped stocks (Illus. 88). He was greatly
offended, therefore, when Su San remarked that none of the court men,
from the magistrate down, were good. The clever girl immediately
continued, "You, my godfather, are the only great man in the whole
province!" Thus the officer was reconciled and permitted her to hide
her bill of petition to the Chief Judge in the stocks so as to avoid the
strict inspection of the magistrate. The journey scene lasts about forty
minutes.
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Mei
Ph'mi
Ch U ............ "\Hsiao Ch'ang-hua OB
fMei Lan-fang
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f Shang Hsiao-yuin
"\Ju Foo-hui ............
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272
SECRETS OF THE CHINESE DRAMA
Illus. 89. Starting to Bury Flowers (by Mei Lan-fang)
PLAY: Tai-yii at the Burial Mound of Flowers
TAI-YU AT THE BURIAL
MOUND OF FLOWERS
or TAI YU TS'AUN HUA
NOTE: This play, which Met Lan-fang produced in 1915, is a
selection from the immortal Chinese novel, "Hun Lou Meng" (literally,
the dream in the red chamber).
Lin Tai-yii, the beautiful and clever heiress of Lin Ju-hai, was left
an orphan at the age of fourteen, so she had no choice but to live with
her maternal grandmother, Shihi Tai-chun. Tai-yii was poetic, imagina-
tive, highly emotional, and delicate in health. The wealthy old grand-
mother put her in an elaborate garden, called Tai Kuan Yuan (a name
that has also become immortal in the literary world of China), with
many of her cousins. A house, luxuriously furnished, together with
a number of servants, was given to each of the charming maidens.
Chia Pao-yii, the much-spoiled grandson of Shih Tai-chun, was the
only boy given the privilege of residing in this garden. Being a great
admirer of the fair sex, he made the famous remark : "Boys are made
out of dirty mud, while maidens are forms crystallized from pure
water!" He not only enjoyed the company of his cousins, but was a
devoted friend of all the pretty maidservants. He and Tai-yii were
deeply in love with each other but as it was considered improper to
reveal their real affection, neither of them could learn of the other's
devotion.
The play opens here: Tai-yii awakes early one morning in late
spring, in melancholy recollection of Pao-yii's refusal to see her the
day before. In reality, Pao-yii had not refused to admit Tai-yii.
One of his maidservants had thought the person knocking at the gate
was a mischievous maid and so refused to let Tai-yii in. Absorbed in
273
274 ... SECRETS OF THE CHINESE DRAMA
jealousy and doubt, the latter, a born creature of moods, analogized
herself, lonely and neglected, as the faded, fallen petals of the late spring
flowers. In this mood of sympathy for the flowers she went out with
a broom to gather the withered blossoms. Placing them in a bag,
fastened to the tiny hoe which she bore on her shoulder (Illus. 89), she
proceeded to a secluded corner of the garden where she had a mound
built as the burial place of the withered blossoms. Here, Tai-yii, while
meditating on who would bury her body in the event of her untimely
death, mourned deeply over her own destiny as being even more sad
than that of the blossoms.
It happened that Pao-yii also went to the burial mound of flowers
and there met Tai-yti. Accusations and explanations ensued between
the lovers, and the play ends in a happy reconciliation.
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THE TALE OF THE LUTE
or P'l P'A CHI
NOTE: This is the masterpiece of the K'un-ch'u plays. Its
composition is regarded as the cause of the revival of the Southern
School in the Yuan Dynasty (A.D. 1277-1368).
Ts'ai Yung, a brilliant scholar, only two months married to Chao
Wu-nyiang, was urged by his father, much to his mother's disgust,
to take the imperial examinations. Ts'ai refused to go to the capital on
the grounds that his parents were old and that he must remain at home
to support the family. Not until his old neighbour, Chang, promised to
take good care of his family, did the filial son agree to leave for the
examinations.
Ts'ai conducted himself so well through the examinations. that he
became the head of the literati. The Prime Minister admired him
greatly and he was chosen to be his son-in-law. The young scholar refus-
ed the honour but was commanded by the Emperor to "marry into the
Prime Minister's family." 1 Unable to help himself, Ts'ai sent a mes-
senger home with some money, but the man he sent fled with the silver,
and the message never reached his parents or his wife.
In the meantime misfortune overtook the family he left behind.
Famine reduced them to starvation. Wu-nyiang sold her dowry to buy
food for her parents-in-law. She herself had to eat bran so that the
rice might last longer for the old couple.
1 It is as* customary in China for a man to marry into a girl's family as it is
for a girl to marry into her husband's family. He is entitled to inherit his father-
in-law's property as an heir.
275
276 . . . SECRETS OF THE CHINESE DRAMA
Having observed that Wu-nyiang always ate by herself and in
secret, the mother-in-law became suspicious that she was enjoying
palatable food. Therefore, she hid herself one day in order to discover
the secret. When she saw Wu-nyiang eating some dumplings, she
rushed out and without close investigation, harshly rebuked her for her
selfishness and demanded some of the dumplings. In spite of Wu-
nyiang's refusal, she snatched the bowl. On discovering the truth, she
shame-facedly devoured the bran mixture and was suffocated to death.
The father-in-law, in deep grief, died almost instantly.
By this time Wu-nyiang had become so poor that she owned nothing
that could be put on the market except her beautiful hair. While she
was offering her hair for sale, Chang learned of her condition and gave
her money to buy coffins. She felt 'too embarrassed to let Chang also
pay for the burial, and started to raise the tumulus over the graves with
her own hands. Being terribly exhausted, she fell asleep. When
Chang's men came, genii had completed the mound for her.
Left all alone, Wu-nyiang decided to go to the capital to find her
husband. She first painted portraits of her parents-in-law, and with
these on her back and disguised as a Taoist nun, she sang ethical songs
on filial piety to the accompaniment of the lute and thus earned her
way to the capital.
Meanwhile Ts'ai, hearing no news from home, had to reveal the
whole truth to his second wife, who immediately begged her father to
let her visit her husband's home. The Prime Minister refused to grant
her request, but consented to send a man to Ts'ai's home to fetch his
parents.
Wu-nyiang reached the capital just as a big Buddhist celebration
was going on. She sang and played on the lute so well that she earned
money enough to pay for a memorial service to the parents-in-law. She
hung the portraits and was just starting to worship when a high
official came and frightened her so much that she hurriedly left without
taking the pictures.
The official, Ts'ai Yung, recognized the portraits and tried hard to
find the owner, but she had gone! He could do nothing but take the
portraits home. When Wu-nyiang found out who the official was, she
went to the front of his mansion to sing. The tale of the lute was
overheard by the Prime Minister's daughter, who immediately sent for
SYNOPSES OF PLAYS . . , . . 277
her. Not until she asked Wu-nyiang whether she had ever heard of the
Ts'ai family in her native place and had expressed her sympathy for the
deserted wife, did the wretched lady disclose her identity. Soon the
two virtuous women became sisters.
The next morning Wu-nyiang was taken to Ts'ai's room where she
found her lost portraits, on which she now wrote a poem, condemning
Ts'ai as an unfilial son and a faithless husband. Ts'ai, however, was
overjoyed to find the writer, and the play ends with a happy re-union.
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A TALE OF THREE DWARFS
or WU HUA TUNG
<H # * H IP S # )
Wu Ta-lang was an ugly dwarf, but his wife, P'an Kin-lien, was
very beautiful. On account of drought in their native place, the couple
started out for Yang-ko district to visit Wu's brother. It happened
that two of the five mischievous rat-goblins were also travelling that
way. They saw the ill-matched couple and desiring to cause another
great disturbance among human beings, transformed themselves into the
forms of Wu and Kin-lien. The four met. The wife could not feel
certain which man her husband was, nor could Wu distinguish which
woman was his spouse! They asked each other's name and found
that they bore the same names ! They began to quarrel, each accusing
the other of being a hobgoblin. Finally, one of the group proposed to
go to the magistrate and ask him to decide who was who.
Unfortunately, the magistrate was also a dwarf, so the puzzle be-
came worse than ever. The case was then presented to Judge P'ao, who
could tactfully decide all complicated cases even if the litigants were
ghosts or goblins, for he could summon or dismiss them at will. He
immediately sent for Chang, the Head of the Taoist Magicians, who
owned among his priceless paraphernalia, a miraculous mirror, which,
when raised before the goblin, would reveal its original form. Having
discovered that the fake couple were two rats, Chang summoned the
Cat God to arrest them. After many acrobatic stunts, the play ends with
the capture of the goblins and the restoration of peace and public safety.
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278
THE TRIAL OF LEE CHIH
or SHEN LEE CHIH
Lee, a robber, after being arrested, decided to get revenge on his
enemy, Wang, by falsely accusing him of being his accomplice in a re-
cent robbery. When Wang came, the judge noticed that he was a scholar.
Suspecting that Lee had been bribed to drag in Wang, he put the latter
among his court attendants and ordered Lee to pick out his accomplice.
Though Lee could not remember Wang's features clearly, it having
been more than three years since Wang had insulted him, he half by
threat and half by reprimand succeeded in discovering that one of the
attendants was trembling; he pointed to him and alleged that the
white silk now on Wang's legs was a part of the spoils they had robbed,
for he recollected that Wang liked to bind his legs with white silk
bought from a particular silk store, which he had once ransacked.
Deeming the evidence sufficient to prosecute Wang, the magistrate
threw the scholar into prison. Unable to stand the torture, Wang was
forced to make an untrue confession, which led to his conviction, just as
the rascal had wished.
Not until the broken-hearted speech of Wang's grieving wife pierced
his conscience did Lee confess the whole truth and thereby effect Wang's
acquittal.
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279
280
SECRETS OF THE CHINESE DRAMA
Illus. 90. On Board" Ship. The Open Hand; "Tan" (by Mei Lan-fang);
"Lao-shen" (by Wang Shau-t'ing)
PLAY: The Valiant Fisherman and His Daughter
THE VALIANT FISHERMAN
AND HIS DAUGHTER
or TA YU SHA CHI A
<*r m m $v
Like Robin Hood, "The Men of the Green Forest" used to rob the
rich to help the poor and avenge the wrongs done to the oppressed by
the oppressors. In this group of outlaws were Siao Eng and his beauti-
ful daughter, Kuei-ing. The former thought himself too old to continue
such a wild life, so he and his daughter chose to live by fishing. They
were very unlucky for the weather was dry and fish were scarce.
Unjust taxation and cruel extortion by the tax collectors, however,
continued as before.
One afternoon when Siao Eng was entertaining two of his old
friends on his boat, the insolent tax collector came again. His ex-
orbitant demands enraged the friends so that they insulted not only
the collector but his master, the head of the Tax Bureau. A group of
hired men was immediately sent to punish the old man, who, in spite of
his age, gave them a well-deserved punishment just as if he had been
again a "Green Forester." The magistrate was angry and punished
the old man with forty lashes for not paying the tax in time and for
insulting the tax collectors.
Greatly worried when her father did not return home on time,
Kuei-ing started to look for him, and met him as he came limping
homeward. Both became very bitter at the injustice of the magistrate
(Illus. 45) and they decided to re-join the "Green Foresters." Before
281
282
SECRETS OF THE CHINESE DRAMA
resuming the life of outlaws, they determined to rid the community of
its enemies, so they crossed the river (Illus. 90) at midnight, and killed
all the oppressors, the magistrate, the head of the Tax Bureau and
their followers.
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WHAT PRICE LIFE ?
or CHO FANG TS'AO
On discovering that the Prime Minister, Toong Tso, was planning
to usurp the throne, Ts'ao Ts'au decided to get rid of him. In order
to carry out his plan he became one of Toong's followers and one day
slipped into Toong's house to assassinate him with the "Precious
Seven-star Sabre.' 9 Toong, seeing him in a mirror, asked, "What do
you want?" "To offer you this precious sabre," replied Ts'ao. After
examining the fatal weapon carefully, the Prime Minister realized that
it was a rare sabre. Therefore, Ts'ao's intrigue was not discovered.
Later, however, when Toong showed his son-in-law the sabre, the
latter declared that Ts'ao's intention was to assassinate him. Soon, this
remark was verified by Ts'ao absconding. His picture was hung at
the city-gates and a reward was offered foi? his arrest.
One day, Chen Kung, the magistrate of Chung-mou district, received
the report that Ts'ao had been arrested. When the prisoner was
brought before him, his eloquence was such that he succeeded in
convincing the magistrate that an attempt to assassinate the intending
usurper was no crime and that he must join him in appealing to the
loyal armies of the different provinces to overthrow Toong. Finally
Chen gave up his post and followed his prisoner.
On their way they met Lu, a friend of Ts'ao's father, who insisted
on their spending the night at his home. The host not only ordered
his servants to kill a pig for the feast in honour of his guests, but
went to the market himself to buy the best wine.
233
A WIFE'S SACRIFICE
or PAO LIEN TENG
Liu Yen-ch'ang, the magistrate of Luchow, had two sons, Ch'un-
hsiang by the first wife, and Ts'iu-erh by the second wife, Wang Kuei-
ing. The boys loved each other devotedly and studied in the same
school. While at school, one of their classmates named T'sin, the
spoiled son of the Prime Minister, played a mean trick on the teacher.
When the latter started to punish him, Ts'in rudely retaliated. Ch'un-
hsiang to protect the teacher hit Ts'in with the ink-block and accidently
killed him.
The boys went home and told their father about the accident, but
Ts'iu-erh with the intention of saving his brother, argued that it was
he, not Ch'un-hsiang, who had committed manslaughter. Having failed
to get the true facts the father asked his wife, Wang Kuei-ing, to help
him find out who was the real perpetrator. The boys seemed to have
agreed to give the same statements, so Kuei-ing was also thrown into
great perplexity. From their different temperament, however, Ch'un-
hsiang gross, and Ts'iu-rh refined the parents suspected that the
former was guilty. After much debate between Liu partial to the
motherless child and Kuei-ing, mother of the delicate son, it was de-
cided to send Ch'un-hsiang to a distant province and to make Ts'iu-erh
the prisoner.
Regretfully Liu took Ts'iu-erh to the Prime Minister who, although
insisting that the real culprit be found, ordered that Ts'iu-erh be beaten
to death, and that men be sent everywhere to search for Ch'un-hsiang,
285
286 . . . SECRETS OF THE CHINESE DRAMA
Upon seeing Ts'iu-erh thrown on the ground to be flogged, Liu plunged
forward to cover the boy with his own body. He was "mercifully"
thrown out and prevented from looking upon the cruel scene.
The senseless boy was believed dead and thrown outside the city
where he was found by his parents who endeavoured to save his life.
Their effort was discovered by the minister's men and all three of them
were arrested.
Usually the play stops here, leaving the audience dissatisfied and
eager to find out what became of the four miserable characters.
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Tan and Lao-shen (^ el /: an ~f? ng . ^ . t
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DATE: YANG YEN-HUI VISITS HIS MOTHER
ABOUT 1100 A.D. or SZU LANG TAN MOV
In the eleventh century during the Sung Dynasty (A.D. 960-1277)
one of the northern tribes, which the Chinese contemptuously called
the "Fans" became so aggressive that an expedition was sent by the
Sung Emperor. At the head of this expedition were Yang Chi-yeh
and his seven valiant sons, nicknamed the "Eight Tiger Generals/* In
the fatal battle at Kin Sha Tan, through betrayal by one of his own
men, the old man lost his three eldest sons on the battlefield, and his
fourth son, Yen-hui, was taken prisoner by the Fans. He was so hand-
some that he won the heart of the Fan Empress Dowager (Illus. 27)
who even condescended to marry her beautiful daughter, the Princess
of the Iron Mirror (Illus. 91) to the war captive.
For fifteen years he lived there incognito until one day he learned
of his mother and brother's expedition to the north to fight against his
adopted country. At the thought of their being so near and yet so
inaccessible, he could not help lamenting his ill fate. The play opens
here when his sentiments were being detected by the Princess, who
contin^d inquiring and guessing until she discovered what the trouble
was. Before she was told the whole truth, she was requested to swear
secrecy, which she did. Love for her husband made her so bold as to
288
SECRETS OF THE CHINESE DBA?
Illus, 91. The Mandarin Style of Dress (by Mei Lan-fang in the
role of the Princess of the Iron Mirror)
SYNOPSES OF PLAYS . . . . - 289
trick her mother and procure the Mandate Arrow (see p. 23, Item 2),
the symbol of authentic power, with which the bearer might pass the
border without obstruction. In the presence of the Empress Dowager,
she pinched her child which she held in her arms. Its painful cry
made the old lady curious. When questioned, the Princess said that
the child wanted to play with its grandmother's royal Mandate Arrow
and hence according to law, should be executed at once. Like any
indulgent grandmother, the Empress Dowager ordered the law to be
set aside and the child was given the Arrow, but with instruction that
it must be returned before daybreak.
With the Arrow, Yen-hui hurriedly crossed the border and was
captured as a spy sent by the Fans. His captor, Yang Tsung-pao, a
young lieutenant serving on sentry, was his fourteen-year-old nephew.
He was immediately taken to the father general, Yang Yen-chao. No
sooner had the latter discovered the identity of the captive, than he
shared his joy with the rest of his family by taking the brother to the
inner camp to meet his mother, sister and the supposed widow of the
long-lost general.
The happy re-union was a very short one. It was long after mid-
night when Yen-hui remembered the oath he had taken before the
Princess that he would return before dawn. In the midst of great
pleading by his family, a heart-broken parting ensued. But alas, he
returned too late! The Fans were well prepared to arrest him, because
the Empress Dowager had discovered her daughter's trick and had
ordered an immediate arrest of the disloyal son-in-law. He would
have been executed, had the Princess not played another clever trick
on the old lady. At first the mother turned a deaf ear to the favourite
daughter's pleading even when she said, "On whom shall I lean if you
kill my husband? As a good horse never submits to a second set of
harness, so a chaste woman never married twice.'* Then she recollected
how she had obtained the Arrow through the darling child, so she again
used her child to procure her husband's release. She threw the child
into her mother's arms and feigned to commit suicide by the sword. The
mother was again deceived and Yen-hui was released. Almost im-
mediately, the solemn atmosphere was changed into one of lightness
290
SECRETS OF THE CHINESE DRAMA
and gaiety by the mischievous Princess' three graceful "Ts'ing-an" 1 to
appease the still dissatisfied mother.
, r , *
and Lao-shen
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....... "\Tan Foo-ing
I Mei Lan - fan s
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Odeon
1 "Ts'ing-an" is a peculiar kind of Manchurian bow performed by the women
of that country.
G/nc/er
Cx naex
Titles of Plays in Italics
Addressing Sleeve, 85
Anhwei Troupe, 65
Armies, 147
Armour, The, 21
Arrest of the White Snake Lady,
216
Aside, 81, 194, 224
Aside Hand, 103
Aside Sleeve, 80, 81, 250
Attention Sleeve, 16, 90, 91, 135
Back Drop, 5
Banners, 24
Commander-in-chief s, 24
Commanding, 24
Personal, 24
Wagon, 24
Water, 25
Wind, 25
Bed, 27
Beggar's Costume, 22, 170
Bells, 33
Blouse, The, 21
Boat, Getting Aboard, 144
Boat, to Anchor, 145
Broken-hearted Message, The, 248
The,
293
Candle, 25
Cape, 21
Chair, The, 23, 27, 66, 83. 136, 141, 144,
147
Ch'ang-mien, 31, 34
Chan-g Nge-yuin, 67, 71
Chang-tzu, 27, 136, 208
Ch'eh-ch'i, 24
Ch'Sng Chang-keng, 65, 66
Ch'eng Chiao, 136
Ch'eng-lou, 25, 265
Ch'eng Yen-ts'iu, ix, 32, 49, 67, 90,
166, 169, 170, 219, 244
Chia-chun, 64
Chiang Shih, 135
Chiao-pan, 79, 91, 135
Chia-Tsing, 63
Ch'i-ch'uang, 22
Ch'ien-Lung, 63, 261
Ch'ien Ma, 141
Chin Pu, 144
Chih-vei-hsiao-shdn, 38, 128
Ch'in, 38, 44, 47, 97, 118, 129
Ching, 63, 65
Ch'ing Dynasty, 17, 66, 135
Chin-i, xxiv, 30, 37, 66
Chiu Lung Kou, 4, 79
Ch'ou, 38, 44, 95, 118
294 .
SECRETS OF THE CHINESE DRAMA
Ch'ou Dynasty, 60
Ch'ou-tan, 37
Chu Kuei-fang, 96, 104, 110, 206, 224,
236
Chiian Lien, 147
Ch'un, 20, 21
Ch'un-ao, 21
Chun Tui, 147
City-tower, 25, 265
City wall, 25, 144
Clearing of Accounts Begins, 251
Climbing, 147
Close Door or Window, to, 136
Comedy of Errors, The, 145, 152, 153,
154, 155, 159
Concealing Sleeve, 78, 81
Contemplative Hand, 100, 101
Cost of Saving the Master's Son, The,
54, 164
Costumes, 17, 19, 21, 22, 23
Cowherd and The Spinning Maiden,
The, 153, 154, 163, 164
'Cross Step, 122
Crossing Threshold, 136
Cymbals, 33
Dancing with Pheasant Feathers, 130,
132 133
Dead Body, The 134, 135
Decapitated Head, The, 27, 195
Dismounting Imaginary Horse, 139
Dream Betrothal, The, 156, 263
Dream Comes True, The, 156, 264
Dream of a Soldier's Wife, The, 152,
154, 166, 167
Drowning in a Well, 147
Drum, 32
Duster, 22, 26, 231
Dusting Sleeve, 83, 93
Embracing Arms, 115
Empress' Wrath, The, 53, 70, 154
Entrance, 4, 148
Erh-hu, 31
Erh-huang, 64, 65
Everyday Apparel, 19
Excessive Taxation is More Ferocious
than the Tiger, 153, 155, 170, 171
Exit, 4, 148
Exit Posture, 125, 126
Extradition, The, 268, 269
Face designs, 38, 44
Faithfulness, Fidelity, Purity and
Righteousness, 54, 153, 173
Family of Four Virtues, A, 54, 153, 155,
175, 176, 177
Fan Chih, 107
Fan Dance, xxiv, 238
Fan-erh-huang, 32, 33
Fang Lien, 147
Fencing Hand, 102, 103, 196
Fighting Against the Chins, 145, 152,
154, 155, 178, 179
Fighting Fist, 99
Filial Daughter, Lien Chin-feng, The,
xxiv, 102
Final Parting of the King, P'a Wang,
and His Favourite, xxiv, 15, 53,
152, 154, 155, 181, 182, 196
Final Score, The, 251
Flags, Military, 22
I Flexed Knee, 123
! Floral Society, 63, 65
I Flute, 32
Flute and Plume Dance, xxiv, 236
| Folding Sleeve, 91, 134, 137
Four Kin-kongs, The, 66
Fu-kuei-i, 22
Fun-lien, 38, 92, 96, 104
Fung-ch'i, 25
Gallant Peacemaker, The, 53, 152, 154,
185
Gestures of Pointing, 59, 60, 81, 103
Get-aboard Step, 122
Ghosts, 147
Ghost Steps, 121
Golden Mountain Monastery, The, 121,
122, 154, 156, 213
INDEX
295
Gong, 33
Great Trial at the Fa-men Monastery,
The, 155, 187
Greeting Sleeves, 82, 83
Guest, Seating a, 143
Guitar, 32
Hai-teu, 38
Hai-yien, 63
Han Dynasty, 60, 181
Hanging Sleeves, 91, 92
Hao-t'ung, 31
He Hsieh Sien, 145
Heart-protecting Glass, 21, 48, 138
Helpless Hands, 98, 99, 135
Heroic Maid, The, xxiv
Hill, 23, 147
Hindering Hand, 99, 110
History Repeats, 154, 156, 190
Holding Feather, 128, 131, 178
Holding Feather between Teeth, 131
Horn, 31
Horse-whip, 24
How the Pass of P'u was Held, 152, 153,
154, 191
Hoiv Wang Pao-ch'uan Chose her Hus-
band, 245
Hsi-p'i, 64, 65
Hsi Shih, see Patriotic Beauty, The
Hsi-wn, 60, 62, 261
Hsia Ch'ang, 148
Hsia-ch'ang-mgn, 4, 125, 135, 143, 144,
145, 148
Hsiao Ch'ang-hua, 194, 268
Hsiaolo, 33
Hsiao-shen, 37, 97, 118, 129, 133, 166
Hsia Ma, 139
Hsueh Yen-ch'in, 48, 67, 70, 214
Hsiieh-yen, the Faithful Concubine, 53,
152, 153, 155, 193, 194
Hu-ch'in, xxiii, 31, 32, 64, 213
Hua-tan, 21, 35, 37, 97, 121, 145, 241
Huai-ku, 32
Intoxicated Beauty, Hang Kuei-fei, The,
127
Intriguers Intrigued, The, 54, 145, 152,
197
Introduction Sleeve, 89
Iron-faced Judge, An, 153, 155, 199
Judgment, 155, 201
Jumping Steps, 120
Justice Takes a Holiday but Returns,
152, 153, 156, 203
K'ai-k'ao, 19, 21, 50, 118, 130
Kai Pi Men Ch'uang, 136
K'an-chien, 21, 96
Kang-Hsi, 63
Kao, 63, 65
K'ao-ch'i, 22, 50, 118, 130
Kicking Foot or Leg, 125
Kin Hsiao-shan, 15, 47, 182, 196
Killing the Tiger General, 83, 85, 152,
153, 156, 205, 206, 208
Kin-kong, 66, 67
Kite's Turn, 127
Knee-steps, 119
K'u-ao, 21
K'ua Mn Chien, 136
K-jei, 147
Kuei-men-tan, 36, 37, 97
Ku-ch'uang, 17
Ku-men, 34
K'un-ch'u, 32, 63, 64, 65, 156, 213, 23
La Shan P'an, 89, 116
Lady with a Red-marked Hand, The,
152, 153, 155, 209
Lantern, 24
Lao-shen, xxiv, 37, 44, 46, 66, 95, 97,
106, 112, 118, 129, 218, 280
Lao-tan, 29, 37
Late Dawn, A, 211
Laughing, 44
Le Chiang, 141
Lead a Horse, to, 126, 141
Lee Tu-ku'ei, 29
Lee Wan-ch'un,* 51, 128
Lee Yiian-ch'un, 176
296
SECRETS OF THE CHINESE DRAMA
Legend of the White Snake Lady, 154,
213, 214.
Letting down; a Curtain, 147
Lifted Leg, 123
Light, 25
Lin-ch'i, 24
Lin-tsien, 23
Literary Society, 63, 65
Liu Lien-yung, 92, 96, 104, 110, 206,
208, 224
Liu Ying-ch'ung, see Suspicious Slip-
per, The
Lo, 33
Local Plays, 64
Look for Person or Object at a Dis-
tance, to, 135
Lookimg through a Prison Window, 144
Love Wins where Discipline Fails, 154,
156, 221
Low Bend, 127
Loyalty Finds a Way, 54, 91, 92, 96,
104, 152, 153, 155, 223, 224
Liian-tan, 64
Lute, 33, 276
Making Shoe Thread, 145, 146
Ma-ku offering Birthday Greetings,
xxiv, 86, 154, 155, 226, 227
Ma Lien-liang, 46, 52, 53-58, 155
Mandarin style of Dress, The, 22, 28,
68, 288
Mandate Arrow, 23
Mang, 18, 19, 21, 92, 118
Ma-pien, 24
Meeting at the Fallen Bridge, 101, 156,
215
Meeting at Wa Chia Pu, The, 25, 156,
249, 250
Mei Lan-fang, v, vi, ix, xxiii, xxiv, 5,
14, 15, 16, 17, 18, 26, 32, 45, 59, 66,
67, 78, 80, 84, 86, 88, 92, 96, 98,
100, 102, 104, 106, 108, 110, 112,
124, 126, 130, 132, 134, 138, 140,
142, 164, 169, 178, 182, 194, 196,
206, 208, 218, 224, 226, 228, 232,
236, 238, 240, 242, 244, 268, 272,
273, 280, 288
Military Flags, 22
Mincing Steps, 121
Ming Dynasty, 38, 39, 62, 205
Ming-Huang, 4, 59
Monk's Attire, 22
Mountain, 23
Mounting Imaginary Horse, 138, 139
Movement for Emancipation of Women,
xxiii
Mu-lan, the Disguised Warrior Maiden,
54, 138, 153, 155, 228, 229
Nan-p'ang-tzu, 64, 65
Naughty Maid f The, 152, 156, 263
Nemesis Begins Her Work, 251
Nine-dragon Entrance, 4
Nodding with Feathers, 131
Northern Chi Dynasty, 38
Northern Plays, 60-62
Nui Ch'ang I, 27
Nui Ch'anig Ts'o We, 141
Nui Wai Ch'ang Ts'o Fa, 141
Nun's Attire, 22, 26
Nun Seeks Love, A, 26, 108, 111, 152,
153, 156, 231, 232
Oar, 24
Offering at the Pagoda, 152, 216
Official Robe, 19
Official Seal, 25
Open Door or Window, to, 136
Open Hand, 85, 95, 96, 97, 99, 109, 111,
116, 137, 280
Orchestra, 31-34
Signal to, 79, 91, 135
Orchid-fingers, 103
Overcoat, The, 21
Pa, 33
Painted Faces, 39-43
Pan, 32, 62, 120
P'ang-tzu, 64, 65
Pao-ch'aan Befuses to Stoop, 247
INDEX
297
Pass of Chao, No. 1, The, 54, 156, 233
No. //, The, 54, 152, 156,
235
Patient, A, 147
Patriotic Beauty, Hsi Shih, The, xxiv,
145, 152, 153, 154, 155, 236, 237,
238
Pe, 59
Pe Ch'uan, 145
P'ei, 20, 21, 118
Pei K'un, 144
Pel P'u, 143
Person Under Arrest, 143
P'i-huang, 31, 64, 65, 213
P'i-p'a, 33
Ping J'en, 147
Playing with Feathers, 131
Plays, 151
Analogous, 151, 156
Anti-war, 151, 154
Comical, 151, 152
Ethical, 151, 153
Festival, 151, 154
Historical, 151, 152
K'un-ch'u, 156
Legendary, 151, 154
Mythical, 151, 154
Parallel, 151, 156
Personal, 151, 155
Romantic, 151, 153
Satirical, 151, 153
Seasonal, 151, 154
Sociological, 151, 153
Spectacular, 151, 154
Superstitious, 151, 154
Tragical, 151, 152
Tragi-comical, 151, 152
Pointing, 104-114
Pointing Hand, 103
Precious-stone Belt, 19
Prepare the Pen, to, 135
Prison, Admission to, 144
Project Hand, 101
Properties, Stage, 23
Bed, tower, etc., 27
Chair, The, 23, 27, 66, 83, 136, 141,
144, 147
City-tower, The, 25
City Wall, 25
Commander-in-chief's Banner, 24
Commanding Banner, 24
Decapitated Head, 27
Flags Military, 22
Horse-whip, 24
Lantern, 24
Mandate Arrow, 23
Official Seal, An, 25
Personal Banner, 24
Royal Mandate, 23
Water Banners, 25
Wind Banners, 25
Pu-ch&ag, 25, 144
Rainbow Pass, The, 140, 142, 153,
240, 241, 242, 244
Red-maned Steed, The, 53, 155, 245
Reed-organ, 33
Rein up an Imaginary Horse, to, 140,
141
Repulsing Sleeve, 77, 81, 206
Resolution Sleeve, 87
Responding Sleeve, 88, 89
Resting Arms, 115
Resting Sleeves, 91, 206
Retrial, The t 271
Reward of Kindness, The, 54, 153, 154,
253
Rippling-water Sleeve, 19, 23, 77, 79
R61es,
Female, 37
Male, 37-38, 53-58, 97
Rolling up a Curtain, 147
Romance of Chiang Ts'iu-lien, The,
152, 153, 155, 254
Royal Mandate, 23
Royal Monument Pavilion, The, 54, 71,
152, 153, 256, 257
Running Sleeves, 86, 87, 119
San-hsien, 32
Seating a Guest, 143
Scenery, 14
298
SECRETS OF THE CHINESE DRAMA
Sedan-chair Ride, 136
Sending-away Sleeve, 83
Seng-i, 22
Shading Sleeve, 87, 94, 119
Shan, 23
Shan-tzii-hsiao-shen, 37, 40
Shang Ch'ang, 148
Shang-ch'ang-men, 4, 89, 135, 143, 144,
145, 148
Shang Chuan, 144
Shang Hsiao-yuin, 67, 68, 244
Shang Ma, 139
Shen, 60, 61, 92, 119
Sheng, 33
Sheng-chih, 23
Shou-chi, 27
Shuai-chi, 24
Shui-ch'i, 25
Siao, 32
Sidewise Cross Step, 122
Sidewise Steps, No. I, 120
Sidewise Steps, No. II, 121
Siege, A, 144
Sieh Returns Home, 248
Sieh, the Hero, Joins the Army, 246
Sieh's Second Marriage, 247
Significant Sash, The, 153, 155, 259
Sin, 33
Sin-tzu-ch'i, 24
Sin Yen-ts'iu, 67, 72
Skirt, The, 21
Sleeve Dance, The, xxiv, 86, 227
Sleeveless Jacket, 21
Slipping Step, 119
Smiling, 44
Snatched Sleeve, 91, 92
Snow in Jane, 32, 62, 152, 153, 155, 261
So-na, 31
Southern Plays, 60-.62
Spear Dance, The, xxiv, 240
Spring Romance, 154, 263
Stage Armies, 147
Stage Properties, see Properties
Stage Running, 117
Stage Walking, 117
Staggering Steps, 119
Stamping, 120
Standing Posture, 120, 123
Starting on Horseback, 142
Strategy of an Unguarded City, The,
25, 53, 152, 265, 266
Sun Chu-sien, 66, 67
Sun Hui-shen, 67, 69, 146
Sung Dynasty, 38, 60, 287
Su-san, The Loyal Sing-Song Girl, 269
Suspicious Slipper, The, 2, 25, 80, 85.
106, 112, 139, 153, 155, 156, 219
Swimming Hands, 103
Sword Dance, The, xxiv, 182, 196
Szu-hsi Dramatic Training School,
xxiii
Tai-yii at the Burial Mound of Flowers,
152, 154, 155, 272, 273
Taking a Seat, 141
Tale of the Lute, The, 54, 61, 62, 152,
155, 156, 275
Tale of Three Dwarfs, The, 53, 152,
153, 154, 278
Tan, ix, xxiii, xxiv, 23, 31, 37, 44, 45,
60, 61, 66, 79, 92, 97, 99, 101, 103,
104, 110, 111, 112, 113, 118, 119,
120, 123, 125, 129, 133, 166, 194,
196, 206, 208, 218, 231, 268, 280
Tan Hsin-pei, 65, 66
Tan Me, 135
Tan-p'i-ku, 32
T'ang Dynasty, 4, 17, 59
T'ang-ku, 32
Tao I, 27
Tao-kuang, 65
Tao-ma-tan, 37, 48, 240
Tea-house, 4
Tea-money, 4
Tng-lung, 24
Teng Tso, 25, 208
Ti, 32
Tieh-tzu, 16, 19, 21, 22, 95, 118
Tien-chiang-ch'un, 89
Tien-hsi, 3, 4
Time Beater, 32
Tou-p'ung, 21, 48
INDEX
299
T'ou Tsing, 147
Tower, The 27
Tray and Winepot Dance, xxiv, 226,
227
Trial of Lee Chih, The, 279
Trousers, 21
Tsa-chii, 60, 61, 62
Tsiang, 24
Ts'in, 64, 65
Tsin Lao, 144
Turning on Horseback, 124, 125
Turning Sleeve, 4, 77, 79, 85, 137
Tu Lee-yuin, 67, 73
Under Arrest, 143
Upheld Sleeve, 83, 84, 95, 134
Up-stairs and Down-stairs Steps, 119
Valiant Fisherman and His Daughter,
The f xxv, 54, 98, 145, 153, 280, 281
Van-Lib, 63
Violin, 23, 31
Wa Men, 143
Wa-wa-shen, 38, 176
Wager, The, 246
Wai Ch'ang I, 27
Wang Ch'ang-lin, 52, 95
Wang Kuei-fung, 65, 66
Wang Men, 135
Wang Shau-ting, 80, 92, 98, 106, 112,
218, 224, 280
Wang You-chun, 28
Weaving, 144
Weeping Sleeve, 87
Wai Ch'ang T'so We, 141
Wei Liang-fu, 63
Wen-ch'ou, 38, 194, 268
What Price Life'i 283
White Powdered Faces, 38
Wife's Sacrifice, A, 153, 285
Winding Feathers, 129
Wu-ch'in> 38, 110, 182, 196, 206, 208
266
Wu-ch'ou, 38, 52
Wu-lao-shen, 38, 50
Wu-shen, 38, 51, 52
Yang Kuei-fei, 4, 59
Yang Yen-hui Visits His Mother, 54, 68,
152, 155, 287
Yao Yu-fu, 110, 206
Yi-yang, 63, 65
Yielding Hands, 101, 120
Yin, 25
Yu Shu-yen, 50, 67, 95
Yuan Dynasty, 38, 60, 62
Yu Chen-fei, 166
Yu-cheng-tao-jen, 72
Yu Ch'uang Wai Wang, 144
Yueh-ch'in, 32, 64
Yueh Lin, 147
Yueh Ts'iang, 147
Yuin-Lo, 33
Yuin Shou, 115, 133
Yu San-sheng, 65
Yii-tai, 18, 19, 118
Yu-yao, 63
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