Beijing (China) -- Description and travel; Beijing (China) -- History -- Siege, 1900
The small private apartments behind this gloomy chamber extend
like subterranean passages into still deeper shadows; ebony is the
prevailing wood; everything is intentionally sombre, even the mournful
mummified bouquets under their glass cases. There is a soft-toned piano
which the young Emperor was learning to play, in spite of his long,
brittle nails; a harmonium, and a big music-box that gives Chinese airs
with a tone that seems to come from beneath the waters of a lake.
Beyond this comes what was doubtless his most cherished retreat,--it is
narrow and low like the cabin of a ship, and exhales the fine odor of
tea and dried rose-leaves.
There, in front of a small airhole covered with rice paper, through
which filters a little sombre light, lies a mattress, covered with
imperial golden-yellow silk, which seems to retain the imprint of a
body habitually extended upon it. A few books, a few private papers,
are scattered about. Fastened to the wall are two or three unimportant
pictures, not even framed, representing colorless roses, and written in
Chinese characters underneath are the last orders of the physician for
this chronic invalid.
What was the real character of this dreamer, who shall ever say? What
distorted views of life had been bequeathed to him of the things of
this world and of the world beyond? What do all these gruesome symbols
signify to him? The emperors, the demigods, from whom he descends, made
old Asia tremble; tributary sovereigns came from great distances to
prostrate themselves, filling this place with banners and processions
more magnificent than our imaginations can picture; within these same
walls, so silent to-day, how and under what passing phantasmagoric
aspects did he retain the stamp of the wonderful past?
And what confusion must have entered his unfathomable little brain
when the unprecedented act was accomplished, and events occurred which
he never in his wildest fears could have anticipated! His palace,
with its triple walls, violated to its most secret recesses; he, the
Son of Heaven, torn from the dwelling where twenty generations of his
ancestors had lived inaccessible; obliged to flee, and in his flight to
permit himself to be seen, to act in the light of day like other men,
perhaps even to implore and to wait!
* * * * *
Just as we are leaving the abandoned room our orderlies, who purposely
remained behind, laughingly throw themselves on the bed with the
nocturnal blue curtains, and I hear one of them remark gaily in an
aside and with a Gascon accent: "Now, old fellow, we can say that we
have lain on the bed of the Emperor of China."
IV
MONDAY, October 22.
Public-domain text, read in full here on John Shaqi.
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