Appearances: Being Notes of Travel. Dickinson Goldsworthy Lowes
connections that the traveller should be compelled to spend some days in Singapore. We evaded this necessity by taking a trip to Sumatra, but even so a day and a night remained to be disposed of. We devoted the morning to a bathe and a lunch at the Sea View Hotel, and the afternoon to the Botanical Gardens, where the most attractive flowers are the children and the most interesting gardeners their Chinese nurses. There remained the evening, and we asked about amusements. There was a bioscope, of course; there is always a bioscope; we had found one even in the tiny town of Medan, in Sumatra. There was also an opera company, performing the "Pink Girl." We seemed to know all about her without going to see her. Was there nothing else? Yes; a Malay theatre. That sounded attractive. So we took the tram through the Chinese quarter, among the "Ah Sins" and "Hup Chows," where every one was either a tailor or a washerman, and got down at a row of red lights. This was the Alexandra Hall, and a bill informed us that the performers were the Straits Opera Company. This dismayed us a little. Still, we paid our dollars, and entered a dingy, dirty room, with a few Malays occupying the back benches and a small group of Chinese women and children in either balcony. We took our seats with half a dozen coloured aristocrats in the front rows, and looked about us. We were the only Europeans. But, to console us in our isolation, on either side of the proscenium was painted a couple of Italians in the act of embracing as one only embraces in opera. We glanced at our programme and saw that the play was the "Moon Princess," and that Afrid, a genie, figured in the cast. It was then, at least, Oriental, though it could hardly be Malay, and our spirits rose. But the orchestra quickly damped them; there was a piano, a violin, a 'cello, a clarionet, and a cornet, and from beginning to end of the performance they were never in tune with themselves or with the singers. And the music? It was sometimes Italian, sometimes Spanish, never, as far as I could detect, Oriental, and always thoroughly and frankly bad.
No matter! The curtain rose and displayed a garden. The Prince entered. He was dressed in mediæval Italian costume (a style of dress, be it said once for all, which was adopted by the whole company). With gestures of ecstatic astonishment he applied his nose to the paper roses. Then he advanced and appeared to sing, for his mouth moved; but the orchestra drowned any notes he may have emitted. The song finished, he lay down upon a couch and slept. Whereupon there entered an ugly little girl, in a short white frock and black stockings and ribbons, with an expression of fixed gloom upon her face, and began to move her feet and arms in a parody of Oriental dancing. We thought at first that she was the Moon Princess, and felt a pang of disappointment. But she turned out to be the Spirit of Dreams; and presently she ushered in the real Princess, with whom, on the spot, the Prince, unlike ourselves, became violently enamoured. She vanished, and he woke to find her a vision. Despair of the Prince; despair of the King; despair of the Queen, not unmixed with rage, to judge from her voice and gestures. Consultation of an astrologer. Flight of the Prince in search of his beloved. Universal bewilderment and incompetence, such as may be witnessed any day in the East when anything happens at all out of the ordinary way. At this point enter the comic relief, in the form of woodcutters. I am inclined to suppose, from the delight of the audience, that there was something genuine here. But whatever it was we were unable to follow it. Eventually the woodcutters met Afrid, whether by chance or design I could not discover. At any rate, their reception was rough. To borrow the words of the synopsis, "a big fight arose and they were thrown to space"; but not till they had been pulled by the hair and ears, throttled and pummelled, to the general satisfaction, for something like half an hour.
The next scenes were equally vigorous. The synopsis describes them thus: "Several young princes went to Genie Janar, the father of the Moon Princess, to demand her in marriage. Afrid, a genie, met the princes, and, after having a row, they were all thrown away." The row was peculiar. Afrid took them on one by one. The combatants walked round one another, back to back, making feints in the air. Then the Prince got a blow in, which Afrid pretended to feel. But suddenly, with a hoarse laugh, he rushed again upon the foe, seized him by the throat or the arm, and (I cannot improve on the phrase) "threw him away." After all four princes were thus disposed of I left, being assured of a happy ending by the account of the concluding scene: "The Prince then took the Moon Princess to his father's kingdom, where he was married to her amidst great rejoicings."
Comment perhaps is superfluous. But as I went home in my rickshaw my mind went back to those evenings in India when I had seen Indian boys perform to Indian music dances and plays in honour of Krishna, and to the Bengal village where the assembled inhabitants had sung us hymns composed by their native saint. And I remembered that everywhere, in Egypt, in India, in Java, in Sumatra, in Japan, the gramophone harmonium is displacing the native instruments; and that the bioscope – that great instrument of education – is familiarising the peasants of the East with all that is most vulgar and most shoddy in the humour and sentiment of the West.
The Westernising of the East must come, no doubt, and ought to come. But in the process what by-products of waste, or worse! Once, surely, there must have been a genuine "Malay theatre." This is what Europe has made of it.
PART II
CHINA
I
FIRST IMPRESSIONS OF CHINA
Some recent travellers have expressed disappointment or even disgust with what they saw or learned or guessed of China. My own first impression is quite contrary. The climate, it is true, for the moment, inclines one to gloomy views. An icy wind, a black sky, a cold drizzle. March in England could hardly do worse. But in Canton one almost forgets all that. Imagine a maze of narrow streets, more confused and confusing than Venice; high houses (except in the old city); and hanging parallel to these, in long, vertical lines, flags and wooden signs inscribed with huge Chinese characters, gold on black, gold on red, red or blue on white, a blaze of colour; and under it, pouring in a ceaseless stream, yellow faces, black heads, blue jackets and trousers, all on foot or borne on chairs, not a cart or carriage, rarely a pony, nobody crowding, nobody hustling or jostling, an even flow of cheerful humanity, inexhaustible, imperturbable, convincing one at first sight of the truth of all one has heard of the order, independence, and vigour of this extraordinary people. The shops are high and spacious, level with the street, not, as in India, raised on little platforms; and commonly, within, they are cut across by a kind of arch elaborately carved and blazing with gold. Every trade may be seen plying – jade-cutters, cloth-rollers, weavers, ring-makers, rice-pounders, a thousand others. Whole animals, roasted, hang before the butchers' shops, ducks, pigs – even we saw a skinned tiger! The interest is inexhaustible; and one is lucky if one does not return with a light purse and a heavy burden of forged curios. Even the American tourist, so painfully in evidence at the hotel, is lost, drowned in this native sea. He passes in his chair; but, like oneself, he is only a drop in the ocean. Canton is China, as Benares is India. And that conjunction of ideas set me thinking. To come from India to China is like waking from a dream. Often in India I felt that I was in an enchanted land. Melancholy, monotony, austerity; a sense as of perennial frost, spite of the light and heat; a lost region peopled with visionary forms; a purgatory of souls doing penance till the hour of deliverance shall strike; a limbo, lovely but phantasmal, unearthly, over-earthly – that is the kind of impression India left on my mind. I reach China, awake, and rub my eyes. This, of course, is the real world. This is every-day. Good temper, industry, intelligence. Nothing abnormal or overstrained. The natural man, working, marrying, begetting and rearing children, growing middle-aged, growing old, dying – and that is all. Here it is broad daylight; but in India, moon or stars, or a subtler gleam from some higher heaven. Recall, for example, Benares – the fantastic buildings rising and falling like a sea, the stairs running up to infinity, the sacred river, the sages meditating on its banks, the sacrificial ablutions, the squealing temple-pipes, and, in the midst of this, columns of smoke, as the body returns to the elements and the soul to God. This way of disposing of the dead, when the first shock is over, lingers in the mind as something eminently religious. Death and dissolution take place in the midst of life, for death is no more a mystery than life. In the open air, in the press of men, the soul takes flight. She is no stranger, for everything is soul – houses, trees, men, the elements into which the body is resolved. Death is not annihilation, it is change of form; and through all changes of form the essence persists.
But now turn back to Canton. We pass the shops of the coffin-makers. We linger. But "No stop," says our guide; "better coffins soon." "Soon" is what the guide-books