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CHINESE

MUSIC.

of

much time

being

devoted

to

music.

Moreover,

the

authors

who then

wrote

on the

subject

of

music

do

not agree

in

their

theories, and

their

successors

have

confused the

different

systems.

During

the

present

dynasty

the

Emperors K ang Hsi

and

Ch ien

Lung

have

done

much

to

bring

music

back

to

its old

splendour,

but

their

efforts

cannot

be

said to

have

been

very

successful. A

total

change has taken place

in

the

ideas of that people

which

has

been

every-

where

represented

as

unchangeable

;

they have

changed,

and so

radically that the musical

art,

which

formerly

always

occupied

the

place of

honour,

is now

deemed

the

lowest

eaUing

a man

can

profess.

There

is

still in Peking a

Board

of Music connected

with the Board

of Rites

(just

as the

Romans

had a

college

of

flute-players), but

tlie officers

seem

Httle

anxious

to

distinguish

themselves.

Serious

music,

which

according

to

the

classics is considered a

necessary complement

of education,

is

totally

abandoned.

Very few Cliinese

are

able

to play

on

the di in, the

sheny,

or the

yiln-lo,

and

still fewer

are acquainted with the theory of

the lils.

Chinese

music

must be

divided

into two

different

kinds

:

ritual or

sacred

music,

which

is

passably

sweet, and

generally of

a

mmor

character ;

and

the theatrical

or

popular

music.

The

populace,

as every

foreigner

in

China has

experienced,

delights in the

deafening

uoise

of the

gong,

accompanied by

the

shrieking tones of the

clarionet;

and

such music requires

no

scientific

study.

Who has not

met

a

funeral

or a

wedding

procession where

four

or five

clarionet-players

blow

their souls out

with furious

accompaniment of di ums and

gongs

?

Let

it

not

be

thought

that the present

Chinese do

not

like

music. They do

everything in music

they

are

born,

they

worship,

they

marry,

and they

die in music.

Only they do not

find

it

dignified to

perform it

themselves,

not

even

as

 

amateurs.

The streets are

continually

paraded

by

bands

of

two,

three,

or four

musicians,

mostly

blind

men,

who

go from

gate

to

gate

>

iffering their

services.

Western

musi;; is not at

all

appreciated in China.

The

Chinaman

seems

to

pity

us

for being

still

so

far

back in

this particular line when

we

have showTi

our superiority in

all

other

branches

of

science.

It

may

be very patriotic

for

the

Chinese to

liave

the

best

opinion

possible

of

their

own

music,

but it wiU

not prevent

foreigners

finding

it monotonous,

noisy,

and

disaOTceable.

ON

THE LtJS.

The las

(Ifl^

g)

are a

series of

bamboo

tubes, the

longest

of which measures

9

inches,

and

which

are

supposed

to

render

the

1

2

chromatic

semitones

of

the

octave.

The

discovery

of

the lils

is

somewhat

fabulous.

Huang

Ti is reputed to

be the inventor

he

arranged

them

according

to

the

pa-kua,^

or

mysterious

symbols of Fu

Hsi.

-

Huang

Ti

sent

one

of

his

ministers.

Ling

Lun,

to

a

place

called

Tahsia

(which

has

been

identified with

Bactria,

the

mother of

cities,

from

its

unrivalled

antiquity

and splendour), situated

west

of

The

/^

iK

(pa-lcua) are

eight

diagrams

drawn

by

the

Emperor

Fu

H.si,

and

a\

hich

are used

by

the

Chinese

(who

believe that they

represent the

nKinitord

changes which take

place

in Nature

and

in

the

affairs of

the

world)

fur

purposes

of

divination. Chaos,

or primitive

existence,

is

unity:

One

divided becomes

two

:

—

.

From

these

figures,

one

whole

line and one

divided, placed

above

each

other

(

 

—

—

.

etc.),

the eight

diagrams

were

fanned.

(See

Morrison .? book,

 A

View

of

China,

etc.,

p.

118.)