With the Empress Dowager of China

as they passed along. Several times we saw the Emperor and his suite returning from some ceremony in Peking, over the road cleared for his passage. Her Majesty, herself, would be the first to descry him, and she would say, “The Emperor comes.” Then the Empress and Ladies would all look, for it was not against the Proprieties for them to look at His Majesty at such a distance. These views of the high road from the eminences of the Summer Palace were all Her Majesty and the young Empress ever saw of the outside world and common humanity; for neither at the Winter nor Sea Palaces could they get any views from a distance, nor was there any opportunity of seeing beyond the walls. When Their Chinese Majesties go abroad⁠—and this is generally only from one Palace to another⁠—quaint, triangular flags are placed along the Imperial route, warning the people that Their Sacred Majesties are to pass, and that the road will be reserved for them between certain hours. No vehicles or pedestrians are allowed for some time before and after the Imperial passage. In the City of Peking, the inhabitants, even on the streets where the Imperial cortège is to pass, are shut into their houses and not allowed to go out of their doors during the time, and at the intersection of the transversal streets huge curtains are hung, shutting them off from the Imperial way. For these progresses of Their Majesties, the roads are covered with yellow sand.

XVIII

The Festival of the Harvest Moon⁠—Work on the Portrait

We think the Chinese so unemotional, so little given to pleasure or amusement; but there are more popular festivals in China, indulged in by all classes of people, than in any country in the world, except perhaps Japan. The people, from the highest to the lowest, enter into these celebrations with whole-souled earnestness and real enjoyment, and all the popular festivals, as well as the religious ceremonies, are celebrated in the Palace with apparently the same zest as among the people.

The Mid-Autumn Festival, popularly known as the Festival of the Harvest Moon, which is at its full at the time of the celebration, was, of course, observed with due ceremony at the Palace. For these festivals there are always representations at the Palace Theater, and one of the plays on such days is the dramatization of the Legend of the Festival. The legend of the Harvest Moon is this: One day an Emperor received the visit of a fairy. When she left she gave the Emperor an herb, saying, should he eat it, he would be endowed with Immortality. The Emperor was called out, soon after the fairy’s visit, and forgot the gift for a time, and the herb lay upon his table. During his absence from the Throne-room, a young handmaiden entered and, seeing the root on the table, with childish curiosity, tasted it, and, finding it good, ate the whole of it. When the Emperor again thought of his precious gift from the fairy, he hastened back to the Throne-room, to remove it from the table where he had left it. What was his horror to find it gone! Learning that the little handmaid was the only person who had been in the Throne-room, he called her up to find out what she had done with it. When he found she had eaten it, he ordered her killed, that he might thus again obtain the herb. Before the eunuchs could accomplish their task, the charm began to work, and she felt the wings of Immortality; and borne up by them, she flew to the skies and took refuge in the Moon, where she still lives with the pet white rabbit she had in her arms at the time she flew away from the earth. She is now an Immortal, and in the Moon she compounds the Elixir of Immortality. The rabbit, also, shares her immortality, and ever watches at the lunar threshold.

The drama, with this little maiden as heroine, was played by Her Majesty’s actors on the day of the Moon Festival, and the finale of the plays that day was one of the most beautiful spectacular tableaux I have ever seen. The Chinese obtain most artistic effects in their illuminations, and by the most simple means. The stage represented a lake covered with luminous lotus, with the full moon floating above. Throned on a gigantic lotus flower in the center of the lake sat an immense, golden Buddha, impassible and serene, ingeniously illuminated lotus flowers and luminous birds, emblems of Immortality, hovered over the lake, and the whole tableau was supposed to represent Nirvana, when the soul is absorbed into Nature and forms a part of it. It was really fairy-like.

The Ladies dined in Her Majesty’s loge, and this beautiful, illuminated tableau was scarcely finished before we were obliged to hurry away to join Their Majesties, who had already started for the gardens where the ceremony was to take place. The procession, with the Emperor and Empress Dowager and Ladies in full dress, as usual for a ceremony, was accompanied by hundreds of lantern-bearing eunuchs. It wound, in and out, through the verandahed corridors and the paths of the garden like some great glowworm, until it came to the marble terrace beneath the Temple of the Ten Thousand Buddhas, on the great terrace over the lake.

Here, in an open space bathed in the rays of the softly glowing moon, with the glory of the setting sun still in the west, in front of the great Stone Pai-lou stood a beautifully illuminated floral pai-lou and an altar decorated with the usual pyramids of fruits, floral offerings, and flagons of wine. The pai-lou to the Moon was entirely of chrysanthemums, with an inscription “To the Glory of the Chaste and Pure Celestial Orb” in white blooms, like gleaming stars, across the top.

Their Majesties first made the bows and prostrations