THE LITERARY TASTES AND ACCOMPLISHMENTS OF THE
EMPRESS DOWAGER
When Her Majesty the Empress Dowager was Empress of the Western Palace,
Co-Regent with the Empress of the Eastern Palace, who died in 1881,
the Empress of the Eastern Palace was known as the “Literary Empress.”
All State affairs were left to the stronger executive ability of the
Empress of the Western Palace; while she of the Eastern Palace gave
herself up to literary pursuits and led the life of a student. She was
a woman of such fine literary ability that she, herself, sometimes
examined the essays of the aspirants for the highest literary honors in
the University of Peking. She was also a writer of distinction.
During the long Co-Regency of these two remarkable women, widows of
the Emperor Hsien-Feng, one led the life of a student; the other, the
active, militant life of the ruler. For the present Empress Dowager
has been the real ruler of the great Chinese Empire for the last
forty-five years. Had the Empress of the Eastern Palace not been such
an exceptional light as a literary woman and had not Her Majesty,
Tze-Hsi, possessed so many other and more remarkable qualities, the
latter’s name might also go down to history as a “literary Empress,”
for the Empress Dowager has literary qualities of no mean kind. She
writes a graceful poem, is able to express herself in elegant Chinese,
as well as in the ruder, more forcible Manchu language. She can
write in literary style, fine idiomatic Chinese, and this is a rare
accomplishment for a woman. The written Chinese language is quite
different from that spoken by even the most cultivated. Imagery and
figure abound to such a degree, literary form is so important, that
many fine scholars are unable to write the language acceptably, except
for practical purposes. Aside from Her Majesty’s literary acquirements,
she has an enlightened taste, is a great reader of the classics, and
a fine critic. She also loves poems of heroic adventure. One of her
favorite historical characters is the Chinese Jeanne d’Arc, the warlike
Maiden, Whar-Mou-Lahn, who went forth to battle in masculine guise, had
many heroic adventures in her twelve years’ service, and, through them
all, remained a virgin pure.
The Empress Dowager has a wonderful verbal memory. Memory, so highly
esteemed by the Chinese, is most carefully cultivated, and is generally
better developed with them than with us. Her Majesty’s memory is,
however, considered exceptional, even among the Chinese. She can repeat
pages, not only of the classics, but of her favorite authors. One of
the widows of her son (the Emperor Tung-Chih), who came regularly every
week to pay her respects to Her Majesty, is a very clever woman and a
great favorite of her august mother-in-law. This lady also possesses
a remarkable memory. On her visits to the Palace I used to hear Her
Majesty and this Empress quoting from some of their favorite classics
or poems. The quotations would pass from one to another, sometimes
for a half-hour without stopping, and, at times, they would repeat in
concert some favorite phrase. I will never forget how they looked: Her
Majesty sitting at her Throne-table with her flowers or some light
occupation, her daughter-in-law standing beside her, each of their
faces lighted up with pleasure as they repeated line after line.
When the Empress Dowager went to her own apartments for her “siesta,”
her reader would come bringing volumes of her favorite authors. Some
days I could hear his voice rising and falling in regular cadence
during the whole time she was resting in her apartments. When she was
particularly interested in what had been read to her she would have the
book taken out when she went for her daily promenade and would sit and
read as she was carried along in her open chair, or was rowed along on
the barge. This did not often happen, however, for she took such keen
delight in all its manifestations, she preferred to read in Nature’s
book when out-of-doors.
She is a great lover of the theater and prefers the classic, the old
plays, to the modern Chinese drama. She had one new play staged, while
I was in the Palace, with which she seemed to be much pleased. She
studied the play for several days before it was given for the first
time, and, at the first representation, she followed every line with
intense interest. She sent her eunuchs several times to the stage
to suggest changes in the rendering of certain parts and in the
interpretation of certain lines. The Theater generally begins with
a short play, which is often a light farce. She seemed sometimes to
enjoy these very much and would laugh heartily at the good hits, which
were often original additions by the actors, allusions to some passing
event. Contrary to my preconceived idea as to the Chinese, they are
witty and appreciate humor in others. The Empress Dowager has a fine
sense of humor. She not only sees the point of a joke, but she can turn
one very cleverly herself.
She is very particular about the way Chinese is spoken, a great
stickler for purity of expression and elegance of style. There are as
many dialects in China as there are Provinces in the Great Empire;
and although the literati and gentry speak, what is called Mandarin
Chinese, some of the most highly educated of the literati from the
Provinces speak it with an accent. Her Majesty, who has a musical ear
and great discernment as to sounds, gets very impatient when listening
to Chinese spoken with an accent. It is said, other things being
not quite equal, she will give the preference, in an appointment,
to an official who speaks perfect Chinese and who has a good voice,
especially if his office brings him often into the Presence. However,
particular as she is, bad Chinese in a man of merit is not a bar to
advancement, for Li-Hung-Chang, whom she appreciated so highly, and to
whom she gave such preferment, is said to have spoken very indifferent
Chinese.
Whether it be, that Her Majesty’s musical and exquisitely modulated
voice, so fresh and silvery, so youthful, adds to the charm of her
Chinese, when she speaks it, it sounds like beautiful rhythmic poetry.
She speaks it so graphically, with such expression and graceful
gestures, that it charms one even who does not understand the language.
One day when she was out for a walk, one of the directors of the
gardeners was brought up to explain something to her, some change in
the laying out of new flower beds. She listened a few moments, but
I saw her frown and begin to look impatient. After a few more words
from the poor man, who was evidently overcome by timidity and probably
speaking worse Chinese than usual, Her Majesty turned to the Chief
Eunuch and said, “Let him tell you and you can translate to me; I can’t
stand any more of that language,” and she walked away, still frowning.
Another day, I heard the Empress Dowager tell one of the Ladies at
Court (her daughter-in-law), who was also a great purist in the matter
of language, about her own Chinese having been misunderstood by one
of the eunuchs. There are many Chinese words almost exactly alike in
sound, which are only differentiated by the inflection or tone. Thus
there must be great accuracy of enunciation, and there must also be
great accuracy of ear. Her Majesty had given an order to one of the
eunuchs. The stupid fellow had misunderstood the inflection and had
done the exact opposite. She was so amused and astonished, when she
found that _her_ tone had been misunderstood, that she did not reprove
him for his stupidity.
One day, she corrected one of the Princesses for the pronunciation of
a word, and she said (in an aside) it was not strange this Princess
did not speak better, for her father’s Chinese was “execrable,” thus
showing that even Princes do not always speak the language correctly.
One of the most precious gifts the Empress Dowager makes, and which is
sacredly treasured by its recipients, is a scroll with a single great
character written upon it by Her Majesty’s own hand. This is considered
one of the most difficult feats of a Chinese writer. These characters
are sometimes four feet long. One day we were invited to go into the
Throne-room to see Her Majesty make some of these characters. When
I went into the Great Hall, Her Majesty and the Ladies were already
there. She was stirring a great bowl of India ink, for she is very
particular as to its consistency and fluidity. When the ink suited
her, she took from a eunuch standing near, who held a number, a huge
short-handled brush, which she could hardly clasp in her small hand.
She tried two or three, before she found one that pleased her, and,
turning to me, said, “You see I also have my choice in brushes.” I
asked Lady Yu-Keng to tell her that I thought her large brushes were
more suitable for my hands and that my smaller ones would have been
more appropriate for her. She laughingly replied she preferred the
Chinese brush, and that her hands, small as they were, were able to
wield it very satisfactorily, which was no vain boast.
When all was ready, and the huge scroll spread out before her on a
table, she dipped her brush into the bowl of ink, held by the eunuch,
and began the first stroke of one of these famous characters, in which
she is said to equal the most proficient writers in China. I was amazed
to see the firmness of her wrist and the beautiful clearness of her
stroke, which deviated not a hair’s breadth from the line she wished
to follow. She made six great characters on six of the scrolls. These
characters meant “Peace,” “Prosperity,” “Longevity,” etc. When she had
finished these, she said she feared her hand had no longer the firmness
necessary for doing another.
While she was writing, the young Empress, the Princesses, and the
eunuchs stood around, watching her with intense interest. They seemed
to take great pride in her firmness of touch and her accuracy of line.
The Chinese written character must be made in a certain way. It must
begin at a given part. The strokes must follow a given direction. The
transversal strokes must be placed with mathematical precision. Nothing
is left to the caprice or individuality of the writer. Any one, knowing
the Chinese written characters, can tell you whether these complicated
hieroglyphs were begun at the proper place or made in the proper way.
They may look perfectly correct to the uninitiated observer who has a
most accurate eye, and still not be so considered by the connoisseur.
[Illustration: THE EMPRESS DOWAGER WRITING A “GREAT CHARACTER”]
The firmness of Her Majesty’s touch is also very apparent in her
painting, for she is very artistic, and paints flowers in a charming
way; in fact, she is remarkably clever with her fingers. She does not
embroider now, as she formerly did, nor does she paint so much, for she
says her eyes are not so good as they were, though she does not and has
never worn glasses. There are a great number of artificial flowers
made in the Palace, as no Manchu lady’s coiffure is considered complete
without flowers. Her Majesty is very particular about the way these
flowers are made, and when they were brought to her for inspection,
with a deft touch she would give a defective flower the required form.
She often makes new designs for the flowers, having them woven into
quaint figures, or having a number of small blooms made into a
representation of some large flower. She sometimes had her diadem made
of the snowy blooms of the fragrant jasmine, set with leaves and other
small flowers, representing jewels, and she would wear this instead of
her real jewels.
She is a great believer in one of the rules that Confucius lays down
for the attainment of “Illustrious Virtue”; she “cultivates her
person.” She is always immaculately neat. She designs her own dresses,
and has her jewels set according to her own directions. She is very
artistic in the arrangement of her flowers and jewels, and sees that
they harmonize with her toilet. She has excellent taste in the choice
of colors, and I never saw her with an unbecoming color on, except the
Imperial yellow. This was not becoming, but she was obliged to wear it
on all official occasions. She used to modify it, as much as possible,
by the trimmings, and would sometimes have it so heavily embroidered
that the original color was hardly visible.
She is a great epicure, and often designs new and dainty dishes. She
has perfumes and soaps for her own use, made in the Palace. Although
there are quantities of French and German soaps and perfumes bought for
the Palace, she prefers an almond paste that she has made and often
uses the soap made in the Palace. The maids would make these under her
supervision. I have frequently seen them bring the mortar in which they
were stirring it to Her Majesty, that she might see its progress, and
she would energetically stir it herself. She is also a great lover of
perfumes, and herself combines the oils of different flowers so as to
produce most subtle and delightful perfumes. The Chinese say “colors,
odors, and perfumes are good for the soul.” The Empress Dowager’s soul
was certainly well cared for in this respect.
The Chinese are so near to nature, so simple in every way, that their
influence over animals and birds is extraordinary, and seems to us
almost magical. They are very fond of all animals, and especially so
of birds. They train and teach these latter in wonderful ways. I have
often seen a Chinese go near a singing bird’s cage and tell it to sing,
and it would pour forth its little heart in melody. Birds never seem
to have any fear of them. In the afternoons, in early spring, or on a
fine day in winter, one may see hundreds of well-dressed and dignified
men each carrying a covered bird cage, taking the birds out for the
air. When they arrive at some open space in the city, or beautiful
spot in the environs, they uncover the cages and hold them aloft, or
simply sit with them on their knees, and the bird will sing as if its
little throat would burst. They have absolutely no fear, and, though
caged, seem to have a perfect understanding with their owners and obey
their voices. They are often let out of the cages when taken out for
exercise, but they will return to them at the call of their owners; and
these birds are not hatched in cages--they are taken from the forests
and trained.
Two of the religious precepts of the Chinese--“Hurt no living thing,”
“Protect all living things”--are carried so far, they will allow an
animal to live in misery rather than put him out of it by a speedy
death. They love all animals and fear none. They say if you do not
attack an animal, however dangerous he is, he will not harm you.
The Empress Dowager seemed also to possess this almost magical power
over animals. Her dogs never paid the slightest attention but to her
voice, and would obey her slightest gesture; but, fond as she was of
them, she rarely caressed them; and she was so particular about her
hands that, when she did stroke or fondle one of her pets, she would
immediately after have a cloth wrung out of hot water brought to wipe
her fingers. I never saw a dog in her arms but once, and this was a
puppy which she took a fancy to when visiting her kennels one day, and
she brought him back to the Throne-room in her arms and played with him
for some time.
On one of our promenades in the park I saw a curious instance of her
wonderful personal magnetism and her power over animals. A bird had
escaped from its cage, and some eunuchs were making efforts to catch
it, when Her Majesty and suite came into that part of the grounds.
The eunuchs had found it impossible to entice the bird back into its
cage; nor would it come upon a long stick with a perch attached, which
they held up near the tree where it rested. The eunuchs scattered at
the approach of Her Majesty, and she inquired the cause of their being
here. The Chief Eunuch explained what they were doing, and the Empress
Dowager said, “I will call it down.” I thought this was a vain boast,
and in my heart I pitied her. She was so accustomed to have the whole
world bow to her, she fancied even a bird in the grounds would obey her
mandates, and I watched to see how she would take her defeat. She had
a long, wand-like stick, which had been cut from a sapling and freshly
stripped of its bark. She loved the faint forest odor of these freshly
cut sticks, and in the spring often had one when she went out. They
were long and slender, with a crook at the top. I used to think she
looked like the pictures of fairies when she walked with these long,
white wands. She would use them for pointing out a flower she wished
the eunuchs to gather, or for tracing designs on the gravel when she
sat down. To-day she held the wand she carried aloft and made a low,
bird-like sound with her lips, never taking her eyes off the bird. She
had the most musical of voices, and its flute-like sound seemed like
a magical magnet to the bird. He fluttered and began to descend from
bough to bough until he lighted upon the crook of her wand, when she
gently moved her other hand up nearer and nearer, until it finally
rested on her finger!
[Illustration: THE EMPRESS DOWAGER IN THE GARDENS OF THE SUMMER
PALACE--CALLING A BIRD]
I had been watching with breathless attention, and so tense and
absorbed had I become that the sudden cessation, when the bird finally
came upon her finger, caused me a throb of almost pain. No one else,
however, of her entourage seemed to think this anything extraordinary.
After a few moments she handed the bird to one of the eunuchs, and we
continued on our promenade.
I saw another instance of her magnetic power, this time with a katydid.
One of the Princesses, seeing one on a bush, tried to catch it, but in
vain. Her Majesty held out her hand toward the beautiful insect, made a
peculiar sound like their own cry, and advanced her outstretched finger
until it rested upon it. She stroked it gently for a few moments, and
then removed her fingers, and the katydid made no effort to fly until
she put it down!