Chinese drama -- History and criticism; Theater -- China
Of course, this is as the matter appears to the Occidental from the
outside. But for the Chinese, who has grown up in a deep veneration of
Confucius, filial piety is the most laudable institution in existence.
Confucius laid it down as a principle that in the relations of ruler and
subject, husband and wife, father and son, elder brother and younger
brother, there must be rule on one side and submission on the other.
Moreover, the “Book of Filial Piety” condemns sharply “selfish attachment
to wife and children”; in other words, if the claims of father and
wife clash, the son must neglect his wife to serve his father. These
things are among the bases of Chinese society on which it has outlived
the Egyptian, Babylonian, Persian, Roman and other civilizations; it
is small wonder therefore that they seem good to the Chinese. The
other extreme perhaps is found in Anglo-Saxon countries where a son,
on becoming of age, goes where he likes and does what he likes without
feeling any responsibility toward his parents. To quote Doctor Smith
once more, “To the Chinese such customs must appear like the behaviour
of a well-grown calf or colt to the cow and the mare, suitable enough
for animals, but by no means conformable to _li_ (ethical standards)
as applied to human beings. An attentive consideration of the matter
from a Chinese standpoint will show that there is abundant room in our
own social practice for improvement, and that most of us really live in
glass houses, and would do well not to throw stones recklessly.” To both
the Westerner and the Chinese the practice of the other seems inferior,
and neither can express an impartial opinion as to which is the better
system. But the Westerner who wishes to understand the Chinese point of
view can gain an insight into many things from reading “The Story of a
Lute.”
[Illustration]
CHAPTER FOUR
THE DRAMA UNDER THE MANCHUS AND THE REPUBLIC—1644 TO THE PRESENT DAY
In 1644 the last of the Ming emperors committed suicide when a rebel army
entered his capital. But the rebel did not become the next emperor; the
throne went to a Manchu leader who, in characteristically Chinese manner,
had been called in by the Ming ruler to help put down the rebellion. The
Manchus soon established themselves as firm rulers of the land and forced
all Chinese to adopt the queue. China became under their rule a strong
and united empire; in fact, many writers believe that the reigns of K’ang
Hsi (1662-1723) and of Ch’ien Lung (1736-1795) were the most glorious
in all Chinese history. Both of these rulers were great warriors and
administrators, as well as patrons of literature and the arts. The drama,
too, flourished; a recently published catalogue of Chinese dramas records
eight hundred and fifteen plays of some literary merit from the Ch’ing
Dynasty.
Public-domain text, read in full here on John Shaqi.
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