The above remarks apply not only to churches, lecture rooms, and other public places, but also with equal force to offices and family houses. I should like to know how many persons pay even a little attention to this important subject of pure air breathing? You go to an office, whether large or small, and you find all the windows closed, although there are half-a-dozen or more persons working in the room. No wonder that managers, clerks, and other office workers often break down and require a holiday to recuperate their impaired health at the seaside, or elsewhere.

When you call at a private residence you will find the same thing, all the windows closed. It is true that there are not so many persons in the room as in an office, but if your sense of smell is keen you will notice that the air has close, stuffy exhalations, which surely cannot be sanitary. If you venture to suggest that one of the windows be opened the lady of the house will at once tell you that you will be in a draught and catch cold.

It is a matter of daily occurrence to find a number of persons dining in a room where there is no opening for the contaminated air to leak out, or for the fresh air to come in. After dinner the gentlemen adjourn to the library to enjoy the sweet perfumes of smoking for an hour or so with closed windows. What a picture would be presented if the bacteria in the air could be sketched, enlarged, and thrown on a screen, or better still shown in a cinematograph, but apparently gentlemen do not mind anything so long as they can inhale the pernicious tobacco fumes.

It is a common practice, I fear, to keep the windows of the bedroom closed, except in hot weather. I have often suggested to friends that, for the sake of their health, they should at least keep one of the windows, if not more, open during the night, but they have pooh-poohed the idea on account of that bugaboo—a draught. It is one of the mysteries of the age that people should be willing to breathe second-hand air when there is so much pure, fresh air out of doors to be had for nothing; after inhaling and exhaling the same air over and over again all through the night it is not strange that they rise in the morning languid and dull instead of being refreshed and in high spirits. No one who is deprived of a sufficiency of fresh air can long remain efficient. Health is the cornerstone of success. I hear many nowadays talking of Eugenics. Eugenics was founded ten years ago by Sir Francis Galton, who defined it thus: "The study of agencies under control that may improve or impair the racial qualities of future generations, either physically or mentally." The University of London has adopted this definition, where a chair of Eugenics has been founded. This science is undoubtedly of the first importance, but what advantage is good birth if afterward life is poisoned with foul air? A dust-laden atmosphere is a germ-laden atmosphere, therefore physicians prescribe for tubercular convalescents conditions in which the air is 90% free from dust. However, the air of the city has been scientifically proven to be as pure as the air of the country. All that is necessary to secure proper lung food is plenty of it,—houses so constructed that the air inside shall be free to go out and the air outside to come in. Air in a closed cage must be mischievous, and what are ill-ventilated rooms but vicious air cages, in which mischiefs of all sorts breed?

America professes to believe in publicity, and what is "publicity" but the open window and the open door? Practise this philosophy and it will be easy to keep on the sunny side of the street and to discourage the glooms. The joys fly in at open windows.

[1] I have never been a smoker and have always eschewed tobacco, cigarettes, etc.; though for a short while to oblige friends I occasionally accepted a cigarette, now I firmly refuse everything of the sort.

[2] Since writing the above, I have heard from an American lady that "progressive dinners" have recently been introduced by the idle and rich set of young people in New York. The modus operandi is that several dinners will, by arrangement, be given on a certain day, and the guests will go to each house alternately, eating one or two dishes only and remaining at the last house for fruit. I can hardly believe this, but my friend assures me it is a fact. It seems that eating is turned into play, and to appreciate the fun, I would like to be one of the actors.

[3] "The Living Temple", by J. H. Kellogg, pp. 282 et al. Published by Good Health Publishing Co., Battle Creek, Mich., U.S.A.



Chapter 14. Theaters

The ideal of China is sincerity but an actor is a pretender. He appears to be what he is not. Now our ancient wise men felt that pretense of any sort must have a dangerous reactionary influence on the character. If a man learns how to be a clever actor on the stage he may be a skilled deceiver in other walks of life. Moreover, no one to whom sincerity is as the gums are to the teeth, would wish to acquire the art of acting as though he were some one else. Hence actors in China have from ancient times been looked down upon. Actresses, until the last decade or so, were unknown in China, and a boy who became an actor could never afterward occupy any position of honor. He, his children and his grandchildren might be farmers, merchants or soldiers, but they could never be teachers, literary men or officials. The Chinese feeling for sincerity, amounting almost to worship, has caused the profession of an actor in China to be considered a very low one, and so until the new regime the actor was always debarred from attending any literary examination, and was also deprived of the privilege of obtaining official appointment; in fact he was considered an outcast of society. No respectable Chinese family would think of allowing their son to go on the stage. As a natural consequent the members of the Chinese stage have, as a rule, been men who were as much below the level of moral respectability as conventionalism had already adjudged them to be below the level of social respectability. Regard anyone as a mirror with a cracked face and he will soon justify your opinion of him. If the morals of Chinese actors will not bear investigation it is probably due to the social ostracism to which they have always been subjected. The same phenomenon may be seen in connection with Buddhism. As soon as Buddhism in China ceased to be a power the priests became a despised class and being despised they have often given occasion to others to despise them.

I am aware that quite a different view is held of the stage in America and Europe, and that actors and actresses are placed on an equal footing with other members of society. This does not, of course, mean that either America or Europe lays less stress on sincerity than China, but simply that we have developed in different ways. I have heard of the old "morality plays", I know that English drama, like the Egyptian, Greek, and Indian, had its origin in religion, but this alone will not explain the different attitude assumed toward actors in the West from that taken up in China.[1] I am inclined to think that the reason why actors are not despised in the West as they are in China is because the West considers first the utility of pleasure, and the East the supremacy of sincerity. Here, as is so frequently the case, apparent differences are largely differences of emphasis. The West would seem to emphasize the beauty of the desire to please where Chinese consider the effect on character or business. The expensive dinners which no one eats and which I discussed in a previous chapter are an illustration. No one in China would spend money in this fashion excepting for some definite purpose.

We Chinese like to flatter, and to openly praise to their faces those whom we admire. Most Westerners, would, I think, please rather than admire; most men and women in America and Europe enjoy applause more than instruction. This recognition of the delicate pleasure of being able to please some one else naturally attracts quite a different type to the Western stage from the material usually found in Chinese dramatic companies, and in a society where everyone acknowledges the beauty of pleasing another, the position of the actor naturally becomes both envied and desirable. When therefore a man or woman succeeds on the European or American stage he or she is looked up to and welcomed in fashionable society, e.g., Henry Irving had the entree to the highest society, and his portrait was always found among the notables. Newspapers published long notices of his stage performances, and when he died he received as great honors as England could give. During his lifetime he enjoyed the royal favor of Queen Victoria, who conferred a knighthood upon him. After his death his biography was published and read by thousands. All this is quite contrary to the spirit of the Chinese who, no matter how clever a man may be as an actor, can never forget that he is a pretender and that the cleverer he is the greater care exists for guarding one's self against his tricks.

Actresses are no less respected and honored in the West, whereas in China there are positively no respectable women on the stage. Yet in the West it is a common occurrence to hear of marriages of actresses to bankers, merchants, and millionaires. Even ballet-girls have become duchesses by marriage. The stage is considered a noble profession. Often, when a girl has a good voice, nothing will satisfy her but a stage career. A situation such as this is very difficult for a Chinese to analyze. The average Chinese woman lacks the imagination, the self-abandon, the courage which must be necessary before a girl can think of herself as standing alone in a bright light before a large audience waiting to see her dance or hear her sing. Chinese actresses were quite unknown until very recently, and the few that may be now found on the Chinese stage were nearly all of questionable character before they entered the theater. In the northern part of China some good Chinese women may be found in circuses, but these belong to the working class and take up the circus life with their husbands and brothers for a livelihood.

The actresses of the West are different. They are drawn to the stage for the sake of art; and it must be their splendid daring as much as their beauty which induces wealthy men, and even some of the nobility, to marry these women. Man loves courage and respects all who are brave enough to fight for their own. In a world where self-love (not selfishness) is highly esteemed, manhood, or the power of self-assertion, whether in man or woman, naturally becomes a fascinating virtue. No one likes to be colleague to a coward. The millionaires and others who have married actresses—and as actresses make plenty of money they are not likely to be willing to marry poor men—meet many women in society as beautiful as the women they see on the stage, but society women lack the supreme courage and daring of the stage girl. Thus, very often the pretty, though less educated, ballet-girl, wins the man whom her more refined and less self-assertive sister—the ordinary society girl—is sorry to lose.

The suffragettes are too intent just now on getting "Votes for Women" to listen to proposals of marriage, but when they succeed in obtaining universal suffrage I should think they would have little difficulty in obtaining brave husbands, for the suffragettes have courage. These women, however, are serious, and I do not think that men in the West, judging from what I have seen, like very serious wives. So perhaps after all the ballet-girl and actresses will have more chances in the marriage (I had almost written money) market than the suffragettes.

I may be mistaken in my theories. I have never had the opportunity of discussing the matter with a millionaire or an actress, nor have I talked about the stage with any of the ladies who make it their home, but unless it is their superb independence and their ability to throw off care and to act their part which attract men who are looking for wives, I cannot account for so many actresses marrying so well.

What, however, we may ask, is the object of the theater? Is it not amusement? But when a serious play ending tragically is put on the boards is that amusement? The feelings of the audience after witnessing such a play must be far from pleasant, and sometimes even moody; yet tragedies are popular, and many will pay a high price to see a well-known actor commit most objectionable imitation-crimes on the stage. A few weeks before this chapter was written a number of men of different nationalities were punished for being present at a cockfight in Shanghai. Mexican and Spanish bullfights would not be permitted in the United States, and yet it is a question whether the birds or the animals who take part in these fights really suffer very much. They are in a state of ferocious exaltation, and are more concerned about killing their opponents than about their own hurts. Soldiers have been seriously wounded without knowing anything about it until the excitement of the battle had died away. Why then forbid cockfighting or bull-baiting? They would be popular amusements if allowed. It is certain that animals that are driven long distances along dirty roads, cattle, sheep, and fowl that are cooped up for many weary hours in railway trucks, simply that they may reach a distant market and be slaughtered to gratify perverted human appetites, really suffer more than the cock or bull who may be killed or wounded in a fight with others of his own kind. What about the sufferings of pugilists who take part in the prize-fights, in which so many thousands in the United States delight? It cannot be pity, therefore, for the birds or beasts, which makes the authorities forbid cockfighting and bull-baiting. It must be that although these are exhibitions of courage and skill, the exhibition is degrading to the spectators and to those who urge the creatures to fight. But what is the difference, so far as the spectator is concerned, between watching a combat between animals or birds and following a vivid dramatization of cruelty on the stage? In the latter case the mental sufferings which are portrayed are frequently more harrowing than the details of any bull- or cockfight. Such representation, therefore, unless a very clear moral lesson or warning is emblazoned throughout the play, must have the effect of making actors, actresses and spectators less sympathetic with suffering. Familiarity breeds insensibility. What I have said of melodrama applies also, though in a lesser degree, to books, and should be a warning to parents to exercise proper supervision of their children's reading.

Far be it from me to disparage the work of the playwright; the plot is often well laid and the actors, especially the prima-donna, execute their parts admirably. I am considering the matter, at the moment, from the view-point of a play-goer. What benefit does he receive from witnessing a tragedy? In his home and his office has he not enough to engage his serious attention, and to frequently worry his mind? Is it worth his while to dress and spend an evening watching a performance which, however skilfully played, will make him no happier than before? It is a characteristic of those who are fond of sensational plays that they do not mind watching the tragical ending of a hero or a heroine, and all for the sake of amusement. Young people and children are not likely to get good impressions from this sort of thing. It has even been said that murders have been committed by youngsters who had been taken by their parents to see a realistic melodrama. It is dangerous to allow young people of tender age to see such plays. The juvenile mind is not ripe enough to form correct judgments. Some time ago I read in one of the American papers that a boy had killed his father with a knife, on seeing him ill-treat his mother when in a state of intoxication. It appeared that the lad had witnessed a dramatic tragedy in a theater, and in killing his father considered he was doing a heroic act. He could, by the same rule, have been inspired to a noble act of self-sacrifice.

After all, the main question is, does a sensational play exercise a beneficial or a pernicious influence over the audience? If the reader will consider the matter impartially he should not have any difficulty in coming to a right conclusion.

Theatrical performances should afford amusement and excite mirth, as well as give instruction. People who visit theaters desire to be entertained and to pass the time pleasantly. Anything which excites mirth and laughter is always welcomed by an audience. But a serious piece from which humor has been excluded, is calculated, even when played with sympathetic feeling and skill, to create a sense of gravity among the spectators, which, to say the least, can hardly be restful to jaded nerves. Yet when composing his plays the playwright should never lose sight of the moral. Of course he has to pay attention to the arrangement of the different parts of the plot and the characters represented, but while it is important that each act and every scene should be harmoniously and properly set, and that the characters should be adapted to the piece as a whole, it is none the less important that a moral should be enforced by it. The practical lesson to be learned from the play should never be lost sight of. In Chinese plays the moral is always prominent. The villain is punished, virtue is rewarded, while the majority of the plays are historical. All healthy-minded people will desire to see a play end with virtue rewarded, and vice vanquished. Those who want it otherwise are unnatural and possess short views of life. Either in this life or in some other, each receives according to his deserts, and this lesson should always be taught by the play. Yet from all the clever dramas which have been written and acted on the Western stage from time to time what a very small percentage of moral lessons can be drawn, while too many of them have unfortunately been of an objectionable nature. Nearly everyone reads novels, especially the younger folk; to many of these a visit to a theater is like reading a novel, excepting that the performance makes everything more realistic. A piece with a good moral cannot therefore fail to make an excellent impression on the audience while at the same time affording them amusement.

I am somewhat surprised that the churches, ethical societies and reform associations in America do not more clearly appreciate the valuable aid they might receive from the stage. I have been told that some churches pay their singers more than their preachers, which shows that they have some idea of the value of good art. Why not go a step further and preach through a play? This does not mean that there should be no fun but that the moral should be well thrust home. I have heard of preachers who make jokes while preaching, so that it should not be so very difficult to act interesting sermons which would elevate, even if they did not amuse. People who went to church to see a theater would not expect the same entertainment as those who go to the theater simply for a laugh.

In China we do not expend as much energy as Americans and Europeans in trying to make other people good. We try to be good ourselves and believe that our good example, like a pure fragrance, will influence others to be likewise. We think practice is as good as precept, and, if I may say so without being supposed to be critical of a race different from my own, the thought has sometimes suggested itself to me that Americans are so intent on doing good to others, and on making others good, that they accomplish less than they would if their actions and intentions were less direct and obvious. I cannot here explain all I mean, but if my readers will study what Li Yu and Chuang Tsz have to say about "Spontaneity" and "Not Interfering", I think they will understand my thought. The theater, as I have already said, was in several countries religious in its origin; why not use it to elevate people indirectly? The ultimate effect, because more natural, might be better and truer than more direct persuasion. Pulpit appeals, I am given to understand, are sometimes very personal.

Since writing the above I have seen a newspaper notice of a dramatic performance in the Ethical Church, Queen's Road, Bayswater, London. The Ethical Church believes "in everything that makes life sweet and human" and the management state that they believe—"the best trend of dramatic opinion to-day points not only to the transformation of theaters into centers of social enlightenment and moral elevation, but also to the transformation of the churches into centers for the imaginative presentation, by means of all the arts combined, of the deeper truths and meanings of life." Personally, I do not know anything about this society, but surely there is nothing out of harmony with Christianity in these professions, and I am glad to find here an alliance between the two greatest factors in the development of Western thought and culture—the church and the theater. The newspaper article to which I have referred was describing the "old morality play, Everyman" which had been performed in the church. The visitor who was somewhat critical, and apparently unused to seeing the theater in a church, wrote of the performance thus: "Both the music and the dressing of the play were perfect, and from the moment that Death entered clad in blue stuff with immense blue wings upon his shoulders, and the trump in his hand, and stopped Everyman, a gorgeous figure in crimson robes and jewelled turban, with the question, 'Who goes so gaily by?' the play was performed with an impressiveness that never faltered.

"The heaviest burden, of course, falls on Everyman, and the artist who played this part seemed to me, though I am no dramatic critic, to have caught the atmosphere and the spirit of the play. His performance, indeed, was very wonderful from the moment when he offers Death a thousand boons if only the dread summons may be delayed, to that final tense scene, when, stripped of his outer robe, he says his closing prayers, hesitates for a moment to turn back, though the dread angel is there by his side, and then follows the beckoning hand of Good Deeds, a figure splendidly robed in flowing draperies of crimson and with a wonderfully expressive mobile face.

"At the conclusion of the play Dr. Stanton Colt addressed a few words to the enthusiastic audience, 'Forsake thy pride, for it will profit thee nothing,' he quoted, 'If we could but remember this more carefully and also the fact that nothing save our good deeds shall ever go with us into that other World, surely it would help us to a holier and better life. Earthly things have their place and should have a due regard paid to them, but we must not forget the jewel of our souls.'"

I have, of course, heard of the "Passion Play" at Oberammergau in Germany where the life of Jesus Christ is periodically represented on the stage, but I say nothing about this, for, so far as I know, it is not performed in America, and I have not seen it; but I may note in passing that in China theaters are generally associated with the gods in the temples, and that the moral the play is meant to teach is always well driven home into the minds of the audience. We have not, however, ventured to introduce any of our sages to theater audiences.

The theater in China is a much simpler affair than in America. The residents in a locality unite and erect a large stage of bamboo and matting, the bamboo poles are tied with strips of rattan, and all the material of the stage, excepting the rattan, can be used over again when it is taken down. Most of the audience stand in front of the stage and in the open air, the theater generally being in front of the temple; and the play, which often occupies three or four days, is often performed in honor of the god's birthday. There is no curtain, and there are no stage accessories. The audience is thus enabled to concentrate its whole attention on the acting. Female parts are played by men, and everything is beautifully simple. There is no attempt to produce such elaborate effects as I have seen in the West, and of course nothing at all resembling the pantomime, which frequently requires mechanical arts. A newspaper paragraph caught my eye while thinking of this subject. I reproduce it.

"The Century Theater in New York City has special apparatus for producing wind effects, thunder and lightning simultaneously. The wind machine consists of a drum with slats which are rotated over an apron of corded silk, which produces the whistling sound of wind; the lightning is produced by powdered magnesium electrically ignited; thunder is simulated by rolling a thousand pounds of stone, junk and chain down a chute ending in an iron plate, followed by half-a-dozen cannon balls and supplemented by the deafening notes of a thunder drum."

Although, however, Chinese play-goers do not demand the expensive outfits and stage sceneries of the West, I must note here that not even on the American stage have I seen such gorgeous costumes, or robes of so rich a hue and displaying such glittering gold ornaments and graceful feathers, as I have seen on the simple Chinese stage I have just described. Western fashions are having a tendency in our ports and larger cities to modify some things that I have stated about Chinese theatrical performances, but the point I wish especially to impress on my readers is that theatrical performances in China, while amusing and interesting, are seldom melodramatic, and as I look back on my experiences in the United States, I cannot but think that the good people there are making a mistake in not utilizing the human natural love for excitement and the drama as a subsidiary moral investment. And, of course, all I have said of theaters applies with equal force to moving-picture shows.



Chapter 15. Opera and Musical Entertainments

Opera is a form of entertainment which, though very popular in America and England, does not appeal to me. I know that those who are fond of music love to attend it, and that the boxes in an opera house are generally engaged by the fashionable set for the whole season beforehand. I have seen members of the "four hundred" in their boxes in a New York opera house; they have been distinguished by their magnificent toilettes and brilliant jewelry; but I have been thinking of the Chinese drama, which, like the old Greek play, is also based on music, and Chinese music with its soft and plaintive airs is a very different thing from the music of grand opera. Chinese music could not be represented on Western instruments, the intervals between the notes being different. Chinese singing is generally "recitative" accompanied by long notes, broken, or sudden chords from the orchestra. It differs widely from Western music, but its effects are wonderful. One of our writers has thus described music he once heard: "Softly, as the murmur of whispered words; now loud and soft together, like the patter of pearls and pearlets dropping upon a marble dish. Or liquid, like the warbling of the mango-bird in the bush; trickling like the streamlet on its downward course. And then like the torrent, stilled by the grip of frost, so for a moment was the music lulled, in a passion too deep for words." That this famous description of the effects of music which I have borrowed from Mr. Dyer Ball's "Things Chinese" is not exaggerated, anyone who knows China may confirm by personal observation of the keen enjoyment an unlearned, common day laborer will find in playing a single lute all by himself for hours beneath the moon on a warm summer evening, with no one listening but the trees and the flitting insects; but it requires a practised ear to appreciate singing and a good voice. On one occasion I went to an opera house in London to hear the world-renowned Madame Patti. The place was so crowded, and the atmosphere so close, that I felt very uncomfortable and I am ashamed to acknowledge that I had to leave before she had finished. If I had been educated to appreciate that sort of music no doubt I would have comprehended her singing better, and, however uncomfortable, I should no doubt have remained to the end of the entertainment.

While writing this chapter it happened that the following news from New York was published in the local papers in Shanghai. It should be interesting to my readers, especially to those who are lovers of music.

"'Yellow music' will be the next novelty to startle and lure this blase town; amusement forecasters already see in the offing a Fall invasion of the mysterious Chinese airs which are now having such a vogue in London under the general term of 'yellow music'.

"The time was when Americans and occidentals in general laughed at Chinese music, but this was due to their own ignorance of its full import and to the fact that they heard only the dirges of a Chinese funeral procession or the brassy noises that feature a celestial festival. They did not have opportunity to be enthralled by the throaty, vibrant melodies—at once so lovingly seductive and harshly compelling—by which Chinese poets and lovers have revealed their thoughts and won their quest for centuries. The stirring tom-tom, if not the ragtime which sets the occidental capering to-day, was common to the Chinese three or four hundred years ago. They heard it from the wild Tartars and Mongols—heard it and rejected it, because it was primitive, untamed, and not to be compared with their own carefully controlled melodies. Mr. Emerson Whithorne, the famous British composer, who is an authority on oriental music, made this statement to the London music lovers last week:

"'The popularity of Chinese music is still in its childhood. From now on it will grow rapidly. Chinese music has no literature, as we understand that term, but none can say that it has not most captivating melodies. To the artistic temperament, in particular, it appeals enormously, and well-known artists—musicians, painters, and so on—say that it affects them in quite an extraordinary way.'"

Chinese music from an occidental standpoint has been unjustly described as "clashing cymbals, twanging guitars, harsh flageolets, and shrill flutes, ear-splitting and headache-producing to the foreigner." Such general condemnation shows deplorable ignorance.[2] The writer had apparently never attended an official service in honor of Confucius, held biennially during the whole of the Ching dynasty at 3 A.M. The "stone chimes", consisting of sonorous stones varying in tone and hanging in frames, which were played on those solemn occasions, have a haunting melody such as can be heard nowhere else. China, I believe, is the only country that has produced music from stones. It is naturally gratifying to me to hear that Chinese airs are now having a vogue in London, and that they will soon be heard in New York. It will take some little time for Westerners to learn to listen intelligently to our melodies which, being always in unison, in one key and in one movement, are apt at first to sound as wearisome and monotonous as Madame Patti's complicated notes did to me, but when they understand them they will have found a new delight in life.

Although we Chinese do not divide our plays into comedies and tragedies there is frequently a good deal of humor on the Chinese stage; yet we have nothing in China corresponding to the popular musical comedy of the West. A musical comedy is really a series of vaudeville performances strung together by the feeblest of plots. The essence seems to be catchy songs, pretty dances, and comic dialogue. The plot is apparently immaterial, its only excuse for existence being to give a certain order of sequence to the aforesaid songs, dances, and dialogues. That, indeed, is the only object for the playwright's introducing any plot at all, hence he does not much care whether it is logical or even within the bounds of probability. The play-goers, I think, care even less. They go to hear the songs, see the dances, laugh at the dialogues, and indulge in frivolous frivolities; what do they want with a plot, much less a moral? Chinese vaudeville takes the form of clever tumbling tricks which I think are much preferable to the sensuous, curious, and self-revealing dances one sees in the West.

Although musical comedy, or, more properly speaking, musical farce, is becoming more and more popular in both Europe and America it is also becoming proportionately more farcical; although in many theaters it is staged as often as the more serious drama, in some having exclusive dominion; and although theater managers find that these plays draw bigger crowds and fill their houses better than any other, in the large cities running for over a year, I cannot help regarding this feature of theatrical life as so much theatrical chaos. It lacks culture, and is sometimes both bizarre and neurotic. I do not object to patter, smart give and take, in which the comical angles of life are exposed, if it is brilliant; neither have I anything to say against light comedy in which the ridiculous side of things is portrayed. This sort of entertainment may help men who have spent a busy day, crowded with anxious moments, and weighted with serious responsibilities, but exhibitions which make men on their way home talk not of art, or of music, or of wit, but of "the little girl who wore a little black net" are distinctly to be condemned. Even the class who think it waste of time to think, and who go to the theater only to "laugh awfully", are not helped by this sort of entertainment. Such songs as the following, which I have culled from the 'Play Pictorial', a monthly published in London, must in time pall the taste of even the shallow-minded.

"Can't you spare a glance? Have we got a chance? You've got a knowing pair of eyes; When it's 2 to 1 It isn't much fun," This is what she soon replies:

"Oh, won't you buy a race-card, And take a tip from me? If you want to find a winner, It's easy as can be When the Cupid stakes are starting, Your heads are all awhirl, And my tip to-day Is a bit each way On the race-card girl."

Yet this, apparently, is the sort of thing which appeals to the modern American who wants amusement of the lightest kind, amusement which appeals to the eye and ear with the lightest possible tax on his already over-burdened brain. He certainly cannot complain that his wishes have not been faithfully fulfilled. It may be due to my ignorance of English, but the song I have just quoted seems to me silly, and I do not think any "ragtime music" could make it worth singing. Of course many songs and plays in the music halls are such as afford innocent mirth, but it has to be confessed that there are other things of a different type which it is not wise for respectable families to take the young to see. I would not like to say all I think of this feature of Western civilization, but I may quote an Englishman without giving offense. Writing in the 'Metropolitan Magazine', Louis Sherwin says: "There is not a doubt that the so-called 'high-brow dancer' has had a lot to do with the bare-legged epidemic that rages upon the comic-opera stage to-day. Nothing could be further removed from musical comedy than the art of such women as Isadora Duncan and Maude Allen. To inform Miss Duncan that she has been the means of making nudity popular in musical farce would beyond question incur the lady's very reasonable wrath. But it is none the less true. When the bare-legged classic dancer made her appearance in opera houses, and on concert platforms with symphony orchestras, it was the cue for every chorus girl with an ambition to undress in public. First of all we had a plague of Salomes. Then the musical comedy producers, following their usual custom of religiously avoiding anything original, began to send the pony ballets and soubrettes on the stages without their hosiery and with their knees clad in nothing but a coat of whitewash (sometimes they even forgot to put on the whitewash, and then the sight was horrible). The human form divine, with few exceptions, is a devilish spectacle unless it is properly made up. Some twenty years from now managers will discover what audiences found out months ago, that a chorus girl's bare leg is infinitely less beautiful than the same leg when duly disguised by petticoats and things."

[1] In his discussion of actors, Wu Tingfang does not seem to be aware that the idealization of actors in the West is comparatively recent, and that historically, and even now in some parts of society, actors and the acting profession have been looked down upon in the West for many of the same reasons he gives for the same phenomenon in China.—A. R. L., 1996.

[2] Wu Tingfang is quite correct to deplore this statement as a description of Chinese music. However, in all fairness, it is an accurate description of how a Western ear first hears CERTAIN types of Chinese music. After successive hearings this impression will fly away, but until then CERTAIN types are reminiscent of two alley-cats fighting in a garbage can. This is not meant as a degrading comment, any more so than Wu Tingfang's comments on opera. Some music is an acquired taste, and after acquirement, its beauty becomes not only recognizable but inescapable. Certain other types of Chinese music can easily be appreciated on the first hearing.—A. R. L., 1996.



Chapter 16. Conjuring and Circuses

After what I have said as to the position of the actor in China my readers will not be surprised at my saying that the performance of a conjuror should not be encouraged. What pleasure can there be in being tricked? It may be a great display of dexterity to turn water into wine, to seem to cut off a person's head, to appear to swallow swords, to escape from locked handcuffs, and to perform the various cabinet tricks, but cleverness does not alter the fact that after all it is only deception cunningly contrived and performed in such a way as to evade discovery. It appears right to many because it is called "legerdemain" and "conjuring" but in reality it is exactly the same thing as that by which the successful card-sharper strips his victims, viz., such quickness of hand that the eye is deceived. Should we encourage such artful devices? History tells many stories as to the way in which people have been kept in superstitious bondage by illusions and magic, and if it be now held to be right to deceive for fun how can it be held to have been wrong to deceive for religion? Those who made the people believe through practising deception doubtless believed the trick to be less harmful than unbelief. I contend, therefore, that people who go to see conjuring performances derive no good from them, but that, on the contrary, they are apt to be impressed with the idea that to practise deception is to show praiseworthy skill. It is strange how many people pay money to others to deceive them. More than ever before, people to-day actually enjoy being cheated. If the tricks were clumsily devised and easily detected there would be no attraction, but the cleverer and more puzzling the trick the more eagerly people flock to see it.

Christian preachers and moralists could do well to take up this matter and discourage people from frequenting the exhibitions of tricksters. There are doubtless many laws in nature yet undiscovered, and a few persons undoubtedly possess abnormal powers. This makes the cultivation of the love of trickery the more dangerous. It prevents the truth from being perceived. It enables charlatans to find dupes, and causes the real magician to be applauded as a legerdemainist. This is what the New Testament tells us happened in the case of Jesus Christ. His miracles failed to convince because the people had for a long time loved those who could deceive them cleverly.[1] The people said to him, "Thou hast a devil," and others warned them after his death saying, "That deceiver said while he was yet alive 'After three days I will rise again.'" When people are taught not only to marvel at the marvelous but to be indifferent to its falsehoods they lose the power of discrimination, and are apt to take the true for the false, the real for the unreal.

For an evening's healthy enjoyment I believe a circus is as good a place as can be found anywhere. The air there is not close and vitiated as in a theater; you can spend two or three hours comfortably without inhaling noxious atmospheres. It is interesting to note that the circus is perhaps the only form of ancient entertainment which has retained something of its pristine simplicity. To-day, as in the old Roman circuses, tiers of seats run round the course, which in the larger circuses is still in the form of an ellipse, with its vertical axis, where the horses and performers enter, cut away. But the modern world has nothing in this connection to compare with the Circus Maximus of Rome, which, according to Pliny, held a quarter of a million spectators. It is singular, however, that while the old Roman circuses were held in permanent buildings, modern circuses are mostly travelling exhibitions in temporary erections. In some respects the entertainment offered has degenerated with the change, for we have to-day nothing in the circus to correspond to the thrilling chariot races in which the old Romans delighted. I wonder that in these days of restless search for novelties some one does not re-introduce the Roman chariot race under the old conditions, and with a reproduction of the old surroundings. It would be as interesting and as exciting as, and certainly less dangerous than, polo played in automobiles, which I understand is one of the latest fads in the West. A modern horse-race, with its skill, daring and picturesqueness, is the only modern entertainment comparable to the gorgeous races of the Romans.

The exhibition of skillful feats of horsemanship and acrobatic displays by juvenile actors, rope-dancing, high vaulting and other daring gymnastic feats seen in any of our present-day circuses are interesting, but not new. The Romans had many clever tight-rope walkers, and I do not think they used the long pole loaded at the ends to enable them to maintain their equilibrium, as do some later performers. Japanese tumblers are very popular and some of their tricks clever, but I think the Western public would find Chinese acrobats a pleasant diversion. With practice, it would seem as if when taken in hand during its supple years there is nothing that cannot be done with the human body. Sometimes it almost appears as if it were boneless, so well are people able by practice to make use of their limbs to accomplish feats which astonish ordinary persons whose limbs are less pliable.

The trapeze gives opportunity for the display of very clever exhibition, of strength and agility; at first sight the gymnast would appear to be flying from one cross-bar to the other, and when watching such flights I have asked myself: "If a person can do that, why cannot he fly?" Perhaps human beings will some day be seen flying about in the air like birds. It only requires an extension of the trapeze "stunt". Travelling in the air by means of airships or aeroplanes is tame sport in comparison with bird-like flights, whether with or without artificial wings.

There are many advantages in being able to travel in the air. One is a clear and pure atmosphere such as cannot be obtained in a railway car, or in a cabin on board a ship; another is the opportunity afforded of looking down on this earth, seeing it as in a panorama, with the people looking like ants. Such an experience must broaden the mental outlook of the privileged spectator, and enable him to guess how fragmentary and perverted must be our restricted view of things in general. There is, however, danger of using such opportunities for selfish and mischievous purposes. A wicked man might throw a bomb or do some other wicked nonsense just as some one else, who really sees things as they are and not as they seem to be, might employ his superior knowledge to benefit himself and injure his fellows; but the mention of the trapeze and its bird-like performers has diverted me from my theme.

I suppose that a reference to the circus would be incomplete which overlooked the clowns, those poor survivals of a professional class of jesters who played what appears to have been a necessary part in society in ruder days, when amusements were less refined and less numerous. The Chinese have never felt the need of professional foolers, and I cannot say that I admire the circus clown, but the intelligence which careful training develops in the horse, the dog, etc., interests me a good deal. An instance of this came under my own observation during a recent visit to Shanghai of "Fillis' Circus". Mr. Fillis had a mare which for many years had acted the part of the horse of a highway robber. The robber, flying from his enemies, urges the animal beyond its strength, and the scene culminated with the dying horse being carried from the arena to the great grief of its master. When this entertainment was given in Shanghai this horse—"Black Bess"—fell sick. A tonic was administered in the shape of the lively tune which the band always played as she was about to enter the arena and play her part as the highwayman's mare. The animal made pitiable attempts to rise, and her inability to do so apparently suggested to the intelligent creature the dying scene she had so often played. She lay down and relaxed, prepared to die in reality. The attendants, ignorant of the manner in which the horse had let herself go, tried to lift her, but in her relaxed condition her bowels split—Black Bess had acted her part for the last time.

[1] This is a rather unorthodox view, but nonetheless interesting, especially as it pertains to his following statements.—A. R. L., 1996.



Chapter 17. Sports

Perhaps in nothing do the Chinese differ from their Western friends in the matter of amusements more than in regard to sports. The Chinese would never think of assembling in thousands just to see a game played. We are not modernized enough to care to spend half a day watching others play. When we are tired of work we like to do our own playing. Our national game is the shuttlecock, which we toss from one to another over our shoulders, hitting the shuttlecock with the flat soles of the shoes we are wearing. Sometimes we hit with one part of the foot, sometimes with another, according to the rules of the game. This, like kite-flying, is a great amusement among men and boys.

We have nothing corresponding to tennis and other Western ball games, nor, indeed, any game in which the opposite sexes join. Archery was a health-giving exercise of which modern ideas of war robbed us. The same baneful influence has caused the old-fashioned healthful gymnastic exercises with heavy weights to be discarded. I have seen young men on board ocean-going steamers throwing heavy bags of sand to one another as a pastime. This, though excellent practice, hardly equals our ancient athletic feats with the bow or the heavy weight. Western sports have been introduced into some mission and other schools in China, but I much doubt if they will ever be really popular among my people. They are too violent, and, from the oriental standpoint, lacking in dignity. Yet, when Chinese residing abroad do take up Western athletic sports they prove themselves the equals of all competitors, as witness their success in the Manila Olympiad, and the name the baseball players from the Hawaiian Islands Chinese University made for themselves when they visited America. Nevertheless, were the average Chinese told that many people buy the daily paper in the West simply to see the result of some game, and that a sporting journalism flourishes there, i.e., papers devoted entirely to sport, they would regard the statement as itself a pleasant sport. Personally, I think we might learn much from the West in regard to sports. They certainly increase the physical and mental faculties, and for this reason, if for no other, deserve to be warmly supported. China suffers because her youths have never been trained to team-work. We should be a more united people if as boys and young men we learned to take part in games which took the form of a contest, in which, while each contestant does his best for his own side, the winning or losing of the game is not considered so important as the pleasure of the exercise. I think a great deal of the manliness which I have admired in the West must be attributed to the natural love of healthy sport for sport's sake. Games honestly and fairly played inculcate the virtues of honor, candidness, and chivalry, of which America has produced many worthy specimens. When one side is defeated the winner does not exult over his defeated opponents but attributes his victory to an accident; I have seen the defeated crew in a boat race applauding their winning opponents. It is a noble example for the defeated contestants to give credit to and to applaud the winner, an example which I hope will be followed by my countrymen.

As an ardent believer in the natural, healthy and compassionate life I was interested to find in the Encyclopaedia Britannica how frequently vegetarians have been winners in athletic sports.[1] They won the Berlin to Dresden walking match, a distance of 125 miles, the Carwardine Cup (100 miles) and Dibble Shield (6 hours) cycling races (1901-02), the amateur championship of England in tennis (four successive years up to 1902) and racquets (1902), the cycling championship of India (three years), half-mile running championship of Scotland (1896), world's amateur cycle records for all times from four hours to thirteen hours (1902), 100 miles championship Yorkshire Road Club (1899, 1901), tennis gold medal (five times). I have not access to later statistics on this subject but I know that it is the reverse of truth to say, as Professor Gautier, of the Sarbonne, a Catholic foundation in Paris, recently said, that vegetarians "suffer from lack of energy and weakened will power." The above facts disprove it, and as against Prof. Gautier, I quote Dr. J. H. Kellogg, the eminent physician and Superintendent of Battle Creek Sanitarium in Michigan, U.S.A., who has been a strict vegetarian for many years and who, though over sixty years of age, is as strong and vigorous as a man of forty; he told me that he worked sixteen hours daily without the least fatigue. Mrs. Annie Besant, President of the Theosophical Society, is another example. I am credibly informed that she has been a vegetarian for at least thirty-five years and that it is doubtful if any flesh-eater who is sixty-five can equal her in energy. Whatever else vegetarians may lack they are not lacking in powers of endurance.

It is needless for me to say that hunting, or, as it is called, "sport", is entirely opposed to my idea of the fitness of things. I do not see why it should not be as interesting to shoot at "clay pigeons" as to kill living birds; and why moving targets are not as suitable a recreation as running animals. "The pleasures of the chase" are no doubt fascinating, but when one remembers that these so-called pleasures are memories we have brought with us from the time when we were savages and hunted for the sake of food, no one can be proud of still possessing such tastes. To say that hunters to-day only kill to eat would be denied indignantly by every true sportsman. That the quarry is sometimes eaten afterward is but an incident in the game; the splendid outdoor exercise which the hunt provides can easily be found in other ways without inflicting the fear, distress, and pain which the hunted animals endure. It is a sad commentary on the stage at which humanity still is that even royalty, to whom we look for virtuous examples, seldom misses an opportunity to hunt. When a man has a strong hobby he is unable to see its evil side even though in other respects he may be humane and kind-hearted. Thus the sorry spectacle is presented of highly civilized and humane people displaying their courage by hunting and attacking wild animals, not only in their own native country but in foreign lands as well. Such personages are, I regret to have to add, not unknown in the United States.

The fact that hunting has been followed from time immemorial, that the ancient Egyptians, Assyrians, and Babylonians indulged in this pastime, does not make it any more suitable an occupation for us to-day. The good qualities of temper and patience which hunting demands are equally well developed by athletic sports. I understand that a good hunting establishment will cost as much as $10,000 (2000 Pounds) a year. Surely those who can afford so much on luxuries could find a more refined amusement in yachting and similar recreations. To sail a yacht successfully in half a gale of wind, is, I should imagine, more venturesome, more exciting, and a pastime requiring a manifestation of more of the qualities of daring, than shooting a frightened animal from the safe retreat of the saddle of a trusty horse; and not even the hunt of the wild beast can equal in true sportsmanship a contest with the wind and the waves, for it is only occasionally that a beast shows fight because he is wounded, and even then man is well protected by his gun; but whether yachting or swimming the sportsman's attitude of watchfulness is uninterrupted. I fancy it is convention and custom, rather than conviction of the superiority of the sport, that has given hunting its pre-eminence. It is on record that four thousand years ago the ancient emperors of China started periodically on hunting expeditions. They thus sought relief from the monotony of life in those days; in the days of the Stuarts, in England, royalty found pleasure in shows which were childish and even immoral. Of course in barbarous countries all savages used to hunt for food. For them hunting was an economic necessity, and it is no slander to say that the modern hunt is a relic of barbarism. It is, indeed, a matter of surprise to me that this cruel practice has not ceased, but still exists in this twentieth century. It goes without saying that hunting means killing the defenseless, inflicting misery and death on the helpless; even if it be admitted that there is some justification for killing a ferocious and dangerous animal, why should we take pleasure in hunting and killing the fox, the deer, the hare, the otter, and similar creatures? People who hunt boast of their bravery and fearlessness, and to show their intrepidity and excellent shooting they go to the wilderness and other countries to carry on their "sport". I admire their fearless courage but I am compelled to express my opinion that such actions are not consistent with those of a good-hearted humane gentleman.

Still less excuse is there for the practice of shooting. What right have we to wantonly kill these harmless and defenseless birds flying in the air? I once watched pigeon shooting at a famous watering place, the poor birds were allowed to fly from the trap-holes simply that they might be ruthlessly killed or maimed. That was wanton cruelty; to reprobate too strongly such revolting barbarity is almost impossible. I am glad to say that such cruel practices did not come under my observation during my residence in the States, and I hope that they are not American vices but are prohibited by law. No country, with the least claim to civilization, should allow such things, and our descendants will be astonished that people calling themselves civilized should have indulged in such wholesale and gratuitous atrocities. When people allow animals to be murdered—for it is nothing but murder—for the sake of sport, they ought not to be surprised that men are murdered by criminals for reasons which seem to them good and sufficient. An animal has as much right to its life as man has to his. Both may be called upon to sacrifice life for the sake of some greater good to a greater number, but by what manner of reasoning can killing for killing's sake be justified? Does the superior cunning and intellect of man warrant his taking life for fun? Then, should a race superior to humanity ever appear on the earth, man would have no just cause of complaint if he were killed off for its amusement. There formerly existed in India a "well-organized confederacy of professional assassins" called Thugs, who worshipped the goddess Kali with human lives. They murdered according to "rigidly prescribed forms" and for religious reasons. The English, when they came into power in India, naturally took vigorous measures to stamp out Thuggeeism; but from a higher point of view than our own little selves, is there after all so much difference between the ordinary sportsman and the fanatic Thuggee? If there be, the balance is rather in favor of the latter, for the Thug at least had the sanction of religion, while the hunter has nothing to excuse his cruelty beyond the lust of killing. I do not understand why the humane societies, such as "The Society for the Prevention of Cruelty to Animals", are so supine in regard to these practices. The Chinese are frequently accused of being cruel to animals, but I think that those who are living in glass houses should not throw stones.

In this connection I would remark that birds are shot not only for pleasure and for their flesh, but in some cases for their plumage, and women who wear hats adorned with birds' feathers, do, though indirectly, encourage the slaughter of the innocent. Once a Chinese was arrested by the police in Hongkong for cruelty to a rat. It appeared that the rat had committed great havoc in his household, stealing and damaging various articles of food; when at last it was caught the man nailed its feet to a board, as a warning to other rats. For this he was brought before the English Magistrate, who imposed a penalty of ten dollars. He was astonished, and pleaded that the rat deserved death, on account of the serious havoc committed in his house. The Magistrate told him that he ought to have instantly killed the rat, and not to have tortured it. The amazed offender paid his fine, but murmured that he did not see the justice of the British Court in not allowing him to punish the rat as he chose, while foreigners in China were allowed the privilege of shooting innocent birds without molestation. I must confess, people are not always consistent.

The Peace Societies should take up this matter, for hunting is an imitation of war and an apprenticeship to it. It certainly can find no justification in any of the great world religions, and not even the British, or the Germans, who idolize soldiers, would immortalize a man simply because he was a hunter. From whatever point the subject be viewed it seems undeniable that hunting is only a survival of savagery.

[1] E. B., 9th ed., vol. 33, p. 649.

THE END