The sun., 1916-11-26

Story OF the Guitar" a play OF moral
depth and beauty but somewhat ex-
aggerated pathos. which vas per-
formed for the first time In l404.
Modern Chinese plays still follow. In
external construction at any rate. the
model OF the dramas produced under
the Mongola. They are usually divided
into four acts. with or without a pro-
.ogue. and are accompanied throughout
by an orchestra consisting Of gonSs.
drums and cymbals, besides string and
wind instruments. The words are de.
livered in a high pitched recitative.
varied by bouts Of chanting In pas
sages where special stress is required
for the heightening Of emotion or the
utterance OF moral reflections. There
Is. as q rule, one particu ar character
who breaks at intervals into O and
fu.hls in some degree the function Of
a chorus. Few Chinese plays last
much owe an hour. the average length
being about forty-hve minutes. part OF
which may be taken up with gag" II
should be remembered, however. that
the acting version Is considerably
shorter than the printed work AS 1t
WOu.0 dpDCdT VI - oOON. = ~ ~ tutC
for q number Of plays to be performed
continuously. a clash OF cymba's an
! nounces the conclusion OF each. but
there is no other interval. This ac-
counts for the widespread notion that
Chinese plays are ~ridiculously long,
the contrary being neare to tho truth.
There u no sharp distinction such as
we are accustomed to draw between
comedies and tragedies. the latter
genus. in the strict sense OF the word.
hardy existing Mt all.
Plays are roughly classified as civil
and military. Military plays are chiefly
bas ed on episodes drawn from the in
e~xhaustib.e mine of Chinese history.
, and deal with the heroism or villainy
of empcrors, celebrated generals and
other famous historical personages. a
great deal Of fighting takes place on
the stage, accompanied by all manner
of gymnastic and acrobatic feats. Civil
plays comprise all the events Of every
day life. and range from domestic
drama and the comedy OF manners
and intrigue TO farces and o~urlesQues
of the noisest and frequently OF the
most obscene, description. Falling
somewhat outside these two main
ella asses are the quasi religious plays
dealing with exhibitions OF Taoist
magic, or the very popular variety OF
comedy in which priests. both Buddhist
and Taoist. are held up to ridicule
Chinese actors are almost exclusively
natives of Pekin. and 1t follows tha'
the language they speak Ii only IN
telligible In those parts of China where
some form Of the Mandarin dialect
prevails. In many Of the southern and
southeastern provinces the audience
have to rely largely on their quick
comprehension Of gesture and facia
expression. The historical plays. more
over. are performed In q Language
more concise and elevated In style thar
the common vernacular, and could no
he easily followed but for the fac
that every Chinese audience 10 per
fectly familiar with the outline q
least Of the stories enacted. .
A full Chinese theatrical company J
made up Of hfty-six persons. The vari
Gus roles arc classified and kept dis
tinct, each actor being expected to pla!
only one particular class OF character
The principal classes sre ~ Shens
including the parts both Of hero ant
walking gentlemen: ~ Ching. tn
hold and INSCRIPTIONS villain; q
Tan. the female parts. respectable an
otherwise; az Chou, the low coined!
man. Contrary to the usual beliei
women took part In theatrical
throughout the Aongol and Min
lyusotiee, ard Q stop was only put =