The large Square in front of the Imperial gateway, outside the Precincts, was filled with huge, tent-like, yellow satin umbrellas, with deep curtains around the edge. These umbrellas are used for all great festivities in China, and are generally of red. Those for the Emperor’s Birthday were, of course, of the Imperial yellow, and were richly embroidered with emblematic designs. Presents for the Emperor were arriving daily from all parts of the Great Empire, and though everything was directed by splendid system the commotion was nevertheless great.
Finally, there was the first gala performance at the Theater. Her Majesty occupied her loge nearly all day, overlooking every detail, sending now and then to the stage one of her eunuchs to transmit her Imperial commands as to the speaking of certain lines or the using of certain postures. On the day of this gala performance she invited all the Ladies of the Palace to lunch, for the first time since I had been there, in the court of the Theater. Her Majesty lunched in the Imperial loge, and then ordered our repast to be served in the court, where tables were laid and served with all the pomp and ceremony that characterized the meals at the Palace. Even this alfresco entertainment was ceremonious.
Most of the large courts of the Summer Palace have roofs of matting erected over them, to keep out the sun. These mat-roofs make, of the flower-filled courts, delightfully cool, outdoor parlors. The mat-sheds at the Palace are almost works of art. Tall poles, reaching from twenty to thirty feet above the roofs surrounding the courts to be protected from the sun, are painted in festive designs, and they support transversal beams, also gaily painted. Over these roof-beams are stretched strips of the beautiful matting which the Chinese excel in making. Matting-curtains drop from the roof of the sheds to a level with the Palace roofs. These side-curtains, as well as huge sections of the matting-roof, are movable, and may be opened and raised by means of cords and pulleys attached to the supporting pillars. The whole structure, supporting pillars and transversal beams, is tied together with ropes the same color of the beams, and not a nail is used. The mat-sheds are put up in June and taken down in September.
New ladies were arriving at the Palace every day for a week before the Birthday—members of the Imperial Family from a distance, and the wives and daughters of Manchu nobles who were of sufficient rank to present their congratulations in person. The young Empress never failed to introduce me to these ladies. A foreigner in the Chinese Court is a much more extraordinary circumstance than a Chinese at a European Court would be, and this was, in most instances, the first meeting of these Princesses with any foreigner; but they were uniformly courteous and even cordial, never evincing the slightest curiosity as to my dress or my habits. I doubted whether a Chinese at a European Court, or at our White House, would have been treated with the same consideration by all, even to the servants. The children, of whom there were several at Court at this time, were as well-bred as their elders in their treatment of the “foreign lady.”
After our first lunch in the court of the Theater, when the theatrical performance of the day was finished and the actors had left, I approached the stage of the Theater and began examining, with interest, its construction and appointments. The Palace Theater is raised about twelve feet from the ground, and its main floor is on a level with the Imperial loge. The building consists of three stories and a cellar. The latter is used for the few pieces of scenery of the scenic plays, and is where the simple devices used for moving it are manipulated. Like the Greek theater, the stage is open on three sides; and the actors come out and speak their parts, their entrance being to the left and the exit to the right of the stage.
Her Majesty was within her loge while I was examining the construction of the Theater; but she evidently noticed my movements, for the eunuchs soon threw open the great plate doors and she descended the steps of the Imperial loge and came across the court to where I was standing. She asked me if I would not like to go on the stage and look over the building and examine things thoroughly. She added, “You probably may never have such a chance to see a good Chinese theater again.” She, herself, went up the steps leading from the court to the stage, and told me to follow her.
The stage is about twenty-five feet square, is roofed over, and projects into the court, its three sides being open. The fourth side has doors and curtains for the entrance and exit of the actors. There are no actresses in China. The men perform the parts of women, and represent them with such success that I was much surprised when I learned there were no actresses. At the back of the stage sit the musicians, who accompany all the theatrical performances in China.
Her Majesty, herself, led the way across the stage and we went behind the scenes. Here, I examined closely a number of “Floats” that were to be used, in the procession in honor of the Emperor, on the day of the Birthday. These floats had all been designed by the Empress Dowager. After we had looked at these, she suggested that I had better see the upper floors. These latter are not in general use in Chinese theaters. The theaters, even at the other Palaces, have but one stage. The steps which lead to the second stage, and
