In Ancient China.
THE FAVOURITE OF CONFUCIUS.
The stringed instruments which are of Chinese origin are but few in
number, and they are not capable of producing any great volume of
sound. They have several forms of guitar—a “balloon guitar,” a “moon
guitar,” and an octagonal guitar. These possess four strings each,
and are fitted with frets, and are struck either by the finger nail
or by a plectrum. They have also a three stringed guitar with a long
neck, but without frets. But compared with European instruments of the
same class, they are poor and rude, both in tone and workmanship, and
scarcely seem to have advanced beyond the primitive condition as to
musical value. Similarly we notice their so-called violins, consisting
of a bowl of some kind—half a cocoanut shell, or part of a gourd, or
hollow piece of bamboo—to which a long bent neck is fitted, and with a
drum kind of top of snake-skin covering the open bowl. The bow used is
little more than a bent stick, strung as a bow is for arrow shooting.
In playing, it passes between the strings. Sometimes there are four
strings, but the most popular instrument has only two, and is almost
devoid of resonance. The wonder to us is how a people so ingenious
should have left their most popularly used instruments without
improvement in any direction. It is true that some little attempt at
decoration is made, but there is no lavishing of skill, no lifting of
the commonplace to the region of art.
[Illustration: _Chinese Violin._
_Fig. 40._]
Very different, however, is the treatment of another class of
instrument, represented by the _Ch’in_ and the _Sê_. These are
“many-stringed” and may be called oblong in shape, and many specimens
are really beautiful in ornamentation. The art worker with illimitable
patience, bestows upon them the resources of industrial skill and the
loving care of artistic designing in many coloured woods, and ivories
and lac, and metal. Perhaps because these instruments are used in
temples and palaces, and in the abodes of the great ones of the nation.
The art of playing upon them is only acquired after the devotion of
much time in learning “systems” overloaded with complicated directions,
many of them associated with allegorical meanings, inattention to which
would make the music of none effect, the “system” being as onerous as
state etiquette.
The instruments described in an earlier chapter are classed by
the Chinese—“the stone chime” as representative of Winter, and
distinctively as stone, the first of sonorous bodies; and the “bell
chime” as belonging to Autumn, and as the second of sonorous bodies,
“metal.” The stringed instruments do not come, as we should expect,
under the heading, “wood,” but are allotted to Summer, under the
heading of “silk,” because the silk strings are the sound producers,
and silk is third in rank of natural productions. So you will see by
this how very logical the Chinese are, notwithstanding the fantastic
notions with which they embroider every kind of knowledge. The strings
are made of many strands of silk, and the numbers of the strands to
be dedicated to each particular string are stated to be subjected to
written laws. Thus, the thickest string was to have 240 threads, and
represented the sovereign; the second and fourth strings each to have
206 threads; and the third and fifth, 172 threads; and the reasons
are given for such allotments according to poetical affinities and
symbolical meanings. This essential formalism in the Chinese character
has been the hindrance to artistic, as it has been to the industrial,
development in the nation; and yet, strange to say, the rigid
injunctions which verbally still rule, are in practice, outside the
circle of authority, only nominally regarded.
Instruments of the dulcimer class have wire strings,—brass or copper
drawn very fine: but they—although good specimens are to be seen, some
highly ornamented—are not considered national Chinese instruments, but
as in some sense foreign intruders. The dulcimers are more related
to Assyria, and in point of fact that land may be held to be their
original home. Yet, as we shall see, there has been some intimate
association with Assyria and Babylonia in very early times, for the
instrument, the _Ch’in_ or _Kin_, here illustrated, betrays in one
particular feature a resemblance which can hardly be supposed to have
arisen accidentally.
The _Ch’in_, or scholar’s lute, is so called because it was the chief
favourite of their great law giver, Confucius. In his time it was of
great antiquity, and is frequently named in the classical works and
in the annals of the first rulers of China. It was invented by Fu Hsi
(2852, B.C.), and its name implies “restriction” or “prohibition,”
because “its influence checks the evil passions, rectifies the heart
and guides the actions of the body.” The dimensions, number of strings,
the form, and whatever is connected with the instrument, had their
principles in nature. Thus the _Ch’in_ measured 3·66 ft., or 366/10 of
an inch, because the year contained a maximum of 366 days.
The number of the strings was five, to agree with the five elements.
The upper part was round to represent the firmament. The bottom was
flat to represent the ground. The thirteen studs stood for the twelve
moons, and the intercalary moon; and so on.
In view of its design, it certainly, simple as it is, is a most perfect
instrument, and its simplicity is its beauty. The upper surface, from
end to end, is not round, but presents a hollow curve, being rounded
only across. But as no bridges are employed in playing the instrument,
this curve is finely laid, so that wherever the strings are pressed,
they nowhere else touch, and are free to vibrate to the pluck of the
finger. At the wide end, at the extreme length of the strings, there is
a fixed bridge, generally for all the strings, which is of solid form,
arched; behind it the strings pass through to the back, where they
are attached to the drilled wood stems, from which long scarlet silk
tassels depend. The strings do not conform to their primary limit; some
wise philosopher increased their number to seven.
The instrument which I possess has seven strings, and I have had it
many years, as also had its former possessor; and the nacre studs are
arranged, not in the formal relation here depicted, but at distances
corresponding to the half of the string, to two thirds, to three
fourths, to four fifths, and so on. Any division of the string can,
however, be made at the pleasure of the performer, these studs serving
only as guides; for the strings are tuned at will, and kept taut only
by tying on two large pegs fixed in the back. The back, half an inch in
thickness, seems to be of camphor wood, and it still sends forth its
fragrance inherited from generations long ago.
[Illustration: _The Ch’in or Kin_
_Fig. 41._]
Now comes a curious detail in the fitness of the instrument to its
design, which I have not seen noted at all. The upper surface
consists of thin wood, black japanned, and under this a layer of
cork. It was a scholar’s lute, for meditative hours, for no other
hearers,—the playing upon it being almost in the nature of religious
exercise—secluded from the world, alone. This was Confucius’s idea of
its purpose, and it is the recorded tradition that he was so enraptured
with its tones that he could neither eat nor drink; lovesick with
melody, he lived for weeks shut up in his room listening to the music
that had a voice for him alone, and spoke only under his own fingers.
I do not wonder that this was the favourite companion of Confucius,
especially when I reflect that with this reverend teacher, as with
Buddha, the mood of meditation was invited and sought for, as the
highest exaltation of human being. When I have chanced to while away
an hour questioning this instrument, I must confess to the fascination
that it has, how it grows upon one in an atmosphere of silence,—
It is so quiet there; a world apart
Where none intrudes. Serenely we enclose
A sanctuary, where in silence and repose
The gentle flow of sound soothes the tired heart.
There is a certain weirdness in the low tones that seems to tell of
depths beyond possibility of present experience; exciting a quiet
longing, heard with a listening ear for something beyond, which has
been left incomplete; full of mysterious breathing like the soft
“susurrus” of the wind dreamily stirring the leaves of the forest. If
I say it seems to suggest to me that I should like to hear a movement
from one of Beethoven’s symphonies or a Schubert’s played upon a
“consort” of these simple instruments, do not laugh—I really mean
it; for the sounds, faint as they are, gather about them an infinite
suggestiveness of the unattainable, which is the behest of the highest
music to evoke in our nature. We talk of “unheard music,” and the
cynic smiles; but we well know what we mean, and I say that this music
of the sacred _Ch’in_ is the nearest approach to,—indeed, takes us to
the very borderland of—the unheard.
The _Sê_ is a larger instrument, is in fact the largest stringed
instrument in use among the Chinese, and had originally fifty strings.
Tradition goes that a certain professional young lady was one day
performing, and attracted the attention of the Emperor Huang Ti. The
music impressed him so sorrowfully that he forthwith ordered the number
to be reduced one half. A sensible ruler was Huang Ti. If we could
reduce our sorrows and vexations by one half on the same principle,
what a wonderful relief it would be; probably to the extent of halving
the insanity of the country. So the _Sê_ now in use has twenty-five
strings, and these are divided amongst five colours; but instead of
colouring the strings, they colour the bridges,—five blue, five red,
five yellow, five white and five black. For although the _Sê_, like
the _Ch’in_, is an instrument to be plucked, the strings are not
subjected to pressure to bring them to playing pitch; but are lifted
on to bridges, one for each string, which bridges the player places
according to judgment, to determine the various vibrating lengths under
demand. The bridges are placed in a general order, but have not a fixed
position like frets, since the tension of the string at the times of
playing can be, and is made variable; so each bridge is moved to the
point that satisfies the ear as to the particular pitch required for
each string. On removal of the bridges the strings are comparatively
slack, at all events are safely lowered in tension.
Four kinds of _Sê_ are in use, they differ only in size, and in number
of strings, the principle being the same; and it is customary that
they should give the sound of two notes at the same time, generally
octaves, so that on state occasions no doubt the effect is imposing,
as the instruments possess considerable resonance. That which seems to
be the most permanent variety has thirteen or fourteen strings only,
quite sufficient for the modern skill and modern musical requirements.
In this form it is preserved by the Japanese, with whom it is named the
_Taki-Koto_. The example in my possession I have more than once made
mention of, and recounted some of its beauties. Its breadth is 10in.,
its length 6ft. 4in., depth 1-3/4 in. The wood is nearly half an inch
thick, both the upper and the lower planks; there is no thinning of the
wood, but the upper one is made to arch over in its breadth by having
the under side of it fluted. This fluting process is marvelously well
adapted for the end in view; the thickness of the sound-board, as we
immediately recognize it, is the opposite of that which we pursue in
stringed instruments. The wood is of a beautiful mellow brown, and is
a riven plank. No plane has touched it; it remains as it was riven
from the tree, showing as it were an embossed fibre,—so clear it is,
and so purely natural. It has splendid resonance, remarked by every
hearer for lovely quality of tone. A thick silk cord is laid upon the
end-bearing bridge, and the strings set on this cord, so that the
vibration is communicated only through the moveable bridges belonging
to each string. At the ends of the cord are silk tassels of a quiet
green colour, with some strands of pale buff intermixed: all in perfect
harmony with the inlaid woods and ivories. The strings are plucked by
the aid of two little ivory plectra, shaped like a half filbert or
almond, stayed upon the fingers by a narrow band of leather: thus the
silk strings escape being affected by moisture.
The choice of thick wood intuitively by the Chinese is a lesson in
acoustics for moderns. If we try woods of thickness with a tuning fork,
the resonance obtained is often finer than any derived from thin cut
pieces of the same.
The sonorousness of these large instruments marks by contrast the
evident purpose of the designer of the _Ch’in_ and concerning the
latter there are yet some interesting particulars to mention to bring
its nature clearly before those who have not had an example under hand.
We observe in old Chinese illustrations of the instrument that, for the
time of playing, the _Ch’in_ is placed upon a table, which it overlays,
so that the tassels hang down. The instrument is not allowed to touch
the table, but is supported on two soft pad rolls, so that no resonance
may be communicated or be enhanced by contact with its surface. It
is very remarkable, this layer of cork lining the upper surface, for
I have never seen it mentioned that such was the construction. My
usual curiosity prompted me to place my hand inside, and feel what the
substance of the wood was, and by the yielding to the indentation of
the finger nails I discovered that instead of being wood the material
was cork; and a most admirable subduer it is. The consequence is that
not only is the quality of tone most delicately soft, but it is devoid
of that fringe of sound, that twang which accompanies the alliance of
vibrations of wood with string when strings are plucked.
The case of my _Ch’in_ has a painting in gold, showing ladies playing
the _Koto_. They are in the open air, seated on the ground and
evidently having a merry time. One lady is singing, another playing,
another listening, and an attendant is handing cups of tea. I cannot
tell how old this case is, but I see that the head dresses of two of
the ladies are precisely in the same fashion as the hats trimmed here
in London. Truly the world moves in circles, and old things become new.
On grand days at the Confucian festivals, six _Ch’in_ are used at the
ceremonies of the temple, three on the east side of the hall and three
on the west.
The _Ch’in_, though very easily played, is nevertheless a difficult
instrument to learn according to the Chinese requirements, long study
being necessary to master all the subtle distinctions which determine
how the strings should be sounded; whether for a particular note
a string should be plucked to the right or to the left, and which
strings are allowed to be sounded together; and quite a vocabulary of
instructions to learn, in order to be accomplished in an elegant style
after the dictation of the pedants and guardians of the laws.
The strings were in ancient times tuned
_c_——_d_——_e_———_g_——_a_———_c_——_d_
They are said to be in the present day tuned
_g_——_a_———_c_——_d_——_e_———_g_——_a_
Whatever the tension of the strings, the little inlaid nacre studs
serve to indicate the relative divisions. They guide the player but
do not restrict him; since, if a string gets slack he can judge by
ear how much difference to make in distance,—thus shortening the
sounding length in order to obtain the pitch required for conformity
to the other strings. Also a firmer pressure on the string will
raise the pitch, and the practice is resorted to by the player as an
embellishment often desirable.
The strings are of silk, and are set at very low tension, and are
merely pulled by the hand up to pitch and tied with an ordinary knot on
to two pegs at the back on the left hand, four grouped to one peg and
three to the other,—most primitive, but apparently quite satisfactory.
On the right hand the strings are knotted on to thick green silk cords,
each cord being threaded through a little drilled cylinder of wood in a
manner effectually preventing slip. Each of these little drilled stems
carries a scarlet silk tassel thirteen inches long. Consequently these
little ornamental cylinders serve as hitch pins for the strings; the
strings are first drawn, tightly bearing on these when set for playing,
yet slack as regards tuning, and in that state may be left when unused,
just as a violin needs to have its strings slackened when out of
immediate use. Then each string is brought to tune by ear, the cylinder
being pressed down to a right angle, at which it stays, clipping the
string downwards a quarter of an inch, and thus increasing the tension
to the degree that practice has determined to be required for playing.
After playing, the cylinder can be tipped back to the slack position.
Simple and ingenious, since silk strings, although waxed are, like
those of gut, affected by atmospheric changes, against which some
provision has to be made.
The tasselled end of the instrument, it should be observed, is placed
to the right hand of the player.
[Illustration: _Assyrian Harp with Plectrum._
_Fig. 42._]
Why tassels? Well, these Asiatic people have a great fondness for such
ornaments. My two Japanese flutes have heavy crimson silk tassels quite
eighteen inches long. Curiously, too, we find in very early Assyrian
representation of hand harps on monumental slabs in the British Museum,
exactly the same set of tassels—seven or eight in a series—depending
from the bar upon which the strings are tied: knotted in fact to the
tassels. And thereupon we wonder what community of intercourse was
there between the ancient Assyrians and the Chinese that this same
custom should be adhered to by both people, in times so very far back:
for Fu Hsi, the inventor, ruled 4746 years ago, and the instrument,
bespeaks a very high civilization as then existing, and a refined state
of learning and philosophy. It is worth reflecting upon; a simple fancy
such as that perpetuated for well nigh fifty centuries.
The Assyrians have passed away utterly, and the Chinese crowd the
earth, to this day reproducing the old traditional forms, the veritable
instruments decorated after inherited customs, the music limited to the
simplicity of primitive aims. No great nation was ever so barren of
monuments as the Chinese. But what monuments need they? They themselves
are the permanent archaic, and livingly represent their ancestors.
[Illustration]