Part 3 (2/2)

The whole system is now undergoing certain modifications, which, if wisely introduced, should serve only to strengthen the national character. The Confucian teachings, which are of the very highest order of morality, and which have moulded the Chinese people for so many centuries, helping perhaps to give them a cohesion and stability remarkable among the nations of the world, should not be lightly cast aside. A scientific training, enabling us to annihilate time and s.p.a.ce, to extend indefinitely the uses and advantages of matter in all its forms, and to mitigate the burden of suffering which is laid upon the greater portion of the human race, still requires to be effectively supplemented by a moral training, to teach man his duty towards his neighbour. From the point of view of science, the Chinese are, of course, wholly out of date, though it is only within the past hundred and fifty years that the West has so decisively outstripped the East. If we go back to the fifteenth century, we shall find that the standard of civilization, as the term is usually understood, was still much higher in China than in Europe; while Marco Polo, the famous Venetian traveller of the thirteenth century, who actually lived twenty-four years in China, and served as an official under Kublai Khan, has left it on record that the magnificence of Chinese cities, and the splendour of the Chinese court, outrivalled anything he had ever seen or heard of.

Pus.h.i.+ng farther back into antiquity, we easily reach a time when the inhabitants of the Middle Kingdom ”held learning in high esteem, while our own painted forefathers were running naked and houseless in the woods, and living on berries and raw meat.” In inventive, mechanical and engineering apt.i.tudes the Chinese have always excelled; as witness--only to mention a few--the art of printing (_see below_); their water-wheels and other clever appliances for irrigation; their wonderful bridges (not to mention the Great Wall); the ”taxicab,” or carriage fitted with a machine for recording the distance traversed, the earliest notice of which takes us back to the fourth century A.D.; the system of fingerprints for personal identification, recorded in the seventh century A.D.; the carved ivory b.a.l.l.s which contain even so many as nine or ten other b.a.l.l.s, of diminis.h.i.+ng size, one within another; a chariot carrying a figure which always pointed south, recorded as in existence at a very early date, though unfortunately the specifications which have came down to us from later dates will not work out, as in the case of the ”taxicab.” The story goes that this chariot was invented about 1100 B.C., by a wonderful hero of the day, in order to enable an amba.s.sador, who had come to the court of China from a far distant country in the south, to find his way expeditiously home. The compa.s.s proper the Chinese cannot claim; it was probably introduced into China by the Arabs at a comparatively late date, and has been confused with the south-pointing chariot of earlier ages. As to gunpowder, something of that nature appears to have been used for fireworks in the seventh century; and something of the nature of a gun is first heard of during the Mongol campaigns of the thirteenth century; but firearms were not systematically employed until the fifteenth century. Add to the above the art of casting bronze, brought to a high pitch of excellence seven or eight centuries before the Christian era, if not earlier; the production of silk, mentioned by Mencius (372-289 B.C.) as necessary for the comfort of old age; the cultivation of the tea-plant from time immemorial; also the discovery and manufacture of porcelain some sixteen centuries ago, subsequently brought to a perfection which leaves all European attempts hopelessly out-cla.s.sed.

In many instances the Chinese seem to have been so near and yet so far.

There is a distinct tradition of flying cars at a very remote date; and rough woodcuts have been handed down for many centuries, showing a car containing two pa.s.sengers, flying through the clouds and apparently propelled by wheels of a screw pattern, set at right angles to the direction in which the travellers are proceeding. But there is not a sc.r.a.p of evidence to show what was the motive power which turned the wheels. Similarly, iron s.h.i.+ps are mentioned in Chinese literature so far back as the tenth century, only, however, to be ridiculed as an impossibility; the circulation of the blood is hinted at; added to which is the marvellous antic.i.p.ation of anaesthetics as applied to surgery, to be mentioned later on, an idea which also remained barren of results for something like sixteen centuries, until Western science stepped in and secured the prize. Here it may be fairly argued that, considering the national repugnance to mutilation of the body in any form, it could hardly be expected that the Chinese would seek to facilitate a process to which they so strongly object.

In the domain of painting, we are only just beginning to awake to the fact that in this direction the Chinese have reached heights denied to all save artists of supreme power, and that their art was already on a lofty level many centuries before our own great representatives had begun to put brush to canvas. Without going so far back as the famous picture in the British Museum, by an artist of the fourth and fifth centuries A.D., the point may perhaps be emphasized by quotation from the words of a leading art-critic, referring to painters of the tenth and eleventh centuries:--”To the Sung artists and poets, mountains were a pa.s.sion, as to Wordsworth. The landscape art thus founded, and continued by the j.a.panese in the fifteenth century, must rank as the greatest school of landscape which the world has seen. It is the imaginative picturing of what is most elemental and most august in Nature--liberating visions of storm or peace among abrupt peaks, plunging torrents, trembling reed-beds--and though having a fantastic side for its weakness, can never have the reproach of pretty tameness and mere fidelity which form too often the only ideal of Western landscape.”

Great Chinese artists unite in dismissing fidelity to outline as of little importance compared with reproduction of the spirit of the object painted. To paint a tree successfully, it is necessary to produce not merely shape and colour but the vitality and ”soul” of the original.

Until with the last two or three centuries, nature itself was always appealed to as the one source of true inspiration; then came the artist of the studio, since which time Chinese art has languished, while j.a.panese art, learned at the feet of Chinese artists from the fourteenth century onwards, has come into prominent notice, and is now, with extraordinary versatility, attempting to a.s.similate the ideals of the West.

The following words were written by a Chinese painter of the fifth century:--

”To gaze upon the clouds of autumn, a soaring exaltation in the soul; to feel the spring breeze stirring wild exultant thoughts;--what is there in the possession of gold and gems to compare with delights like these?

And then, to unroll the portfolio and spread the silk, and to transfer to it the glories of flood and fell, the green forest, the blowing winds, the white water of the rus.h.i.+ng cascade, as with a turn of the hand a divine influence descends upon the scene. . . . These are the joys of painting.”

Just as in poetry, so in pictorial art, the artist avoids giving full expression to his theme, and leaving nothing for the spectator to supply by his own imaginative powers. ”Suggestion” is the key-note to both the above arts; and in both, ”Impressionism” has been also at the command of the gifted, centuries before the term had pa.s.sed into the English language.

Literature and art are indeed very closely a.s.sociated in China. Every literary man is supposed to be more or less a painter, or a musician of sorts; failing personal skill, it would go without saying that he was a critic, or at the lowest a lover, of one or the other art, or of both.

All Chinese men, women and children seem to love flowers; and the poetry which has gathered around the blossoms of plum and almond alone would form a not inconsiderable library of itself. Yet a European bouquet would appear to a man of culture as little short of a monstrosity; for to enjoy flowers, a Chinaman must see only a single spray at a time. The poorly paid clerk will bring with him to his office in the morning some trifling bud, which he will stick into a tiny vase of water, and place beside him on his desk. The owner of what may be a whole gallery of pictures will invite you to tea, followed by an inspection of his treasures; but on the same afternoon he will only produce perhaps a single specimen, and scout the idea that any one could call for more.

If a long landscape, it will be gradually unwound from its roller, and a portion at a time will be submitted for the enjoyment and criticism of his visitors; if a religious or historical picture, or a picture of birds or flowers, of which the whole effort must be viewed in its completeness, it will be studied in various senses, during the intervals between a chat and a cup of tea. Such concentration is absolutely essential, in the eyes of the Chinese critic, to a true interpretation of the artist's meaning, and to a just appreciation of his success.

The marvellous old stories of grapes painted by Zeuxis of ancient Greece, so naturally that birds came to peck at them; and of the curtain painted by Parrhasius which Zeuxis himself tried to pull aside; and of the horse by Apelles at which another horse neighed--all these find their counterparts in the literature of Chinese art. One painter, in quite early days, painted a perch and hung it over a river bank, when there was immediately a rush of otters to secure it. Another painted the creases on cotton clothes so exactly that the clothes looked as if they had just come from the wash. Another produced pictures of cats which would keep a place free from rats. All these efforts were capped by those of another artist, whose picture of the North Wind made people feel cold, while his picture of the South Wind made people feel hot.

Such exaggerations are not altogether without their value; they suggest that Chinese art must have reached a high level, and this has recently been shown to be nothing more than the truth, by the splendid exhibition of Chinese pictures recently on view in the British Museum.

The literary activities of the Chinese, and their output of literature, have always been on a colossal scale; and of course it is entirely due to the early invention of printing that, although a very large number of works have disappeared, still an enormous bulk has survived the ravages of war, rebellion and fire.

This art was rather developed than invented. There is no date, within a margin even of half a century either way, at which we can say that printing was invented. The germ is perhaps to be found in the engraving of seals, which have been used by the Chinese as far back as we can go with anything like historical certainty, and also of stone tablets from which rubbings were taken, the most important of these being the forty-six tablets on which five of the sacred books of Confucianism were engraved about A.D. 170, and of which portions still remain. However this may be, it was during the sixth century A.D. that the idea of taking impressions on paper from wooden blocks seems to have arisen, chiefly in connexion with religious pictures and tracts. It was not widely applied to the production of books in general until A.D. 932, when the Confucian Canon was so printed for the first time; from which point onwards the extension of the art moved with rapid strides.

It is very noticeable that the Chinese, who are extraordinarily averse to novelties, and can hardly be induced to consider any innovations, when once convinced of their real utility, waste no further time in securing to themselves all the advantages which may accrue. This was forcibly ill.u.s.trated in regard to the introduction of the telegraph, against which the Chinese had set their faces, partly because of the disturbance of geomantic influences caused by the tall telegraph poles, and partly because they sincerely doubted that the wires could achieve the results claimed. But when it was discovered that some wily Cantonese had learnt over the telegraph the names of the three highest graduates at the Peking triennial examination, weeks before the names could be known in Canton by the usual route, and had enriched himself by buying up the tickets bearing those names in the great lotteries which are always held in connexion with this event, Chinese opposition went down like a house of cards; and the only question with many of the literati was whether, at some remote date, the Chinese had not invented telegraphy themselves.

Moveable types of baked clay were invented about A.D. 1043, and some centuries later they were made of wood and of copper or lead; but they have never gained the favour accorded to block-printing, by which most of the great literary works have been produced. The newspapers of modern days are all printed from moveable types, and also many translations of foreign books, prepared to meet the increasing demand for Western learning. The Chinese have always been a great reading people, systematic education culminating in compet.i.tive examinations for students going back to the second century A.D. This is perhaps a suitable place for explaining that the famous _Peking Gazette_, often said to be the oldest newspaper in the world, is not really a newspaper at all, in that it contains no news in our sense of the term. It is a record only of court movements, list of promoted officials, with a few selected memorials and edicts. It is published daily, but was not printed until the fifteenth century.

Every Chinese boy may be said to have his chance. The slightest sign of a capacity for book-learning is watched for, even among the poorest.

Besides the opportunity of free schools, a clever boy will soon find a patron; and in many cases, the funds for carrying on a curriculum, and for entering the first of the great compet.i.tions, will be subscribed in the district, on which the candidate will confer a lasting honour by his success. A promising young graduate, who has won his first degree with honours, is at once an object of importance to wealthy fathers who desire to secure him as a son-in-law, and who will see that money is not wanting to carry him triumphantly up the official ladder. Boys without any gifts of the kind required, remain to fill the humbler positions; those who advance to a certain point are drafted into trade; while hosts of others who just fall short of the highest, become tutors in private families, schoolmasters, doctors, fortune-tellers, geomancers, and booksellers' hacks.

Of high-cla.s.s Chinese literature, it is not possible to give even the faintest idea in the s.p.a.ce at disposal. It must suffice to say that all branches are adequately represented, histories, biographies, philosophy, poetry and essays on all manner of subjects, offering a wide field even to the most insatiate reader.

And here a remark may be interjected, which is very necessary for the information of those who wish to form a true estimate of the Chinese people. Throughout the Confucian Canon, a collection of ancient works on which the moral code of the Chinese is based, there is not a single word which could give offence, even to the most sensitive, on questions of delicacy and decency. That is surely saying a good deal, but it is not all; precisely the same may be affirmed of what is mentioned above as high-cla.s.s Chinese literature, which is pure enough to satisfy the most strait-laced. Chinese poetry, of which there is in existence a huge ma.s.s, will be searched in vain for suggestions of impropriety, for sly innuendo, and for the other tricks of the unclean. This extraordinary purity of language is all the more remarkable from the fact that, until recent years, the education of women has not been at all general, though many particular instances are recorded of women who have themselves achieved success in literary pursuits. It is only when we come to the novel, to the short story, or to the anecdote, which are not usually written in high-cla.s.s style, and are therefore not recognized as literature proper, that this exalted standard is no longer always maintained.

There are, indeed, a great number of novels, chiefly historical and religious, in which the aims of the writers are on a sufficiently high level to keep them clear of what is popularly known as p.o.r.nography or pig-writing; still, when all is said and done, there remains a balance of writing curiously in contrast with the great bulk of Chinese literature proper. As to the novel, the long story with a worked-out plot, this is not really a local product. It seems to have come along with the Mongols from Central Asia, when they conquered China in the thirteenth century, and established their short-lived dynasty. Some novels, in spite of their low moral tone, are exceedingly well written and clever, graphic in description, and dramatic in episode; but it is curious that no writer of the first rank has ever attached his name to a novel, and that the authors.h.i.+p of all the cleverest is a matter of entire uncertainty.

The low-cla.s.s novel is purposely pitched in a style that will be easily understood; but even so, there is a great deal of word- and phrase-skipping to be done by many illiterate readers, who are quite satisfied if they can extract the general sense as they go along.

The book-language, as cultivated by the best writers, is to be freely understood only by those who have stocked their minds well with the extensive phraseology which has been gradually created by eminent men during the past twenty-five centuries, and with historical and biographical allusions and references of all sorts and things. A word or two, suggesting some apposite allusion, will often greatly enhance the beauty of a composition for the connoisseur, but will fall flat on the ears of those to whom the quotation is unknown. Simple objects in everyday life often receive quaint names, as handed down in literature, with which it is necessary to be familiar. For instance, a ”fairy umbrella” means a mushroom; a ”gentleman of the beam” is a burglar, because a burglar was once caught sitting on one of the open beams inside a Chinese roof; a ”slender waist” is a wasp; the ”throat olive”

is the ”Adam's apple”--which, by the way, is an excellent ill.u.s.tration from the opposite point of view; ”eyebrow notes” means notes at the top of a page; ”cap words” is sometimes used for ”preface;” the ”sweeper-away of care” is wine; ”golden b.a.l.l.s” are oranges; the ”golden tray” is the moon; a ”two-haired man” is a grey-beard; the ”hundred holes” is a beehive; ”instead of the moon” is a lantern; ”instead of steps” is a horse; ”the man with the wooden skirt” is a shopman; to ”scatter sleep” means to give hush-money; and so on, almost _ad infinitum_.

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