The Hawaiian gazette. [volume] (Honolulu [Oahu, Hawaii]) 1865-1918, 1869-04-07
China and Japan al the Uni
versal Exposition Of 1867.

China and Japan AT the Uni.
versal Exposition Of 1867.
1t is also to be regretted that the
porcelain wares exposed belonged, exclu.
sively, to class Of superior and expensive
articles, and that no specimen could be
discovered of China goods of cheaper
kind, and. above all, of that species OF
white tiles which have the reputation OF
being harder and more indestructible than
any other in the world, and which, with a
few wooden pillars, are the only materials
employed by the Chinese of the lower
classes in the construction of their two
STORED houses. The more elegant habita-
tons Of the high functioDaries, with their
roofs covered with yellow-varnished tiles,
with groups of fantastic animals made Of
painted china adjoining the facade and
corners, and their cornices Of multifarious
colors, would not have been out Of place
in the grounds around the Palace of the
Exposition, as a model of exotic archi-
lecture. The articles of furniture, tables,
chairs, arm-chairs, chests of drawers, (al-
though made for the use of Europeans),
the common fabrics for garments, and the
household and kitchen utensils of daily
use, would have certainly impaired more
interest to the Chinese Exhibition We
must, therefore, be satisfied to examine it
as it is.
In the Park Of the Champ de Mars,
Chinese theatre was erected, remarkable
for its light construction, its gracefully
curved roof, and its external galleries, but
the jugglery and feats of dexterity that
were performed there, however much they
may be appreciated in China, are far from
constituting the main part of the national
dramatic art. The Mandarin Tin-tchuen,
whom we have mentioned before. did not
60 to any theatre during his stay in Paris,
except to the Equestrian Circus but the
sight Of the daring hOrsewomen bounding
and leaping through paper-covered hoops,
and gracefully alighting on their galloping
horses, inspired him with an enthusiasm
which he was unable to disguise. 1t is the
only point in which his vanity as China
man and Mandarin has condescended to
acknowledge European superiority. He
speaks of the Hippodrome with the most
fattering praise, without once abiding to
the existence Of any other place of public
entertainment, and the Chinese, if they
abide by his account only, must firmly be-
lieve that the countrymen of Corneille and
Moliere do not take pleasure in anything
which is not of an acrobatic character.
The Chinese, however, ought not to be
the victims of any such misconception.
Their dramatic literature is very well
stocked and rich. 1t has not been re-
newed, it is true, for the Chinese mind has
come to dead stop, and no longer invents,
and most of the dramas that are now
played are borrowed from the ancient fund,
but this is large and varied, and can supply
all their present wants; such as dramas,
comedies, buffooneries, &c, numerous CON-
pilations of which have been made, and
are daily sold. The Chinese Drama is
noted for its complete disregard of unity
of time, place and action, and does not |
often respect the unity of representation.
A play sometimes lasts for several days.
There are not, in the Chinese cities, any
public building serving the purposes of a |
theatre, nor any stationary troops of actors;
but peregrinating comedians wander about
the country, stopping where they please,
sometimes obtaining the use of pagoda
for their performances, or framing one, by
means of mats and bamboos, in a few
hours, in the shape of circus. As in the
theatres of ancient Rome, the people sit
in the open air, and despite the sun or
rain, the Chinaman does not move when
in presence of the actors, to whom he
devotes his entire attention. Let these
speak the idiom of distant province; let
the final action of the play be postponed
TO distant time, the audience will wait
and follow the plot with the
same undisturbed interest. The actors
wear as brilliant and gorgeous garments as
,he impresdrio can afford to give them,
cut the decorations of the stage, if there
ire any at all, are miserably poor. There
S no ballet dancing, nor are there any
women on the stage young boys play
heir parts. Are public morals better
yuarded for thati We will not venture
o say but Notwithstanding this complete
Ibsence Of all pomp and magni6cence,
public curiosity is never satisfied, and does