Musical Myths and Facts Volume II Part 16

Sir Robert Ker Porter witnessed at Bagdad, in the beginning of the present century, a kind of musical drama performed by men and boys, the latter being dressed like females. "This amus.e.m.e.nt," he remarks, "is the only one of a theatrical complexion known among the people. It is often called for by the female part of the inhabitants; but I am told that with the men it is now very rare, the Pasha so setting his face against it as to forbid the avowed existence of hirable dancing-boys in his capital."[91] There is a Turkish theatre at Pera in which Turkish plays, adapted from the Italian, are acted by Turkish actors, and Turkish women appear unveiled upon the stage.[92] The women in the hareem, who in their diversions are only permitted to employ slaves of their own s.e.x, occasionally make them act melodramas, the subject of which is generally a love story.

The Indians in Mexico have some characteristic dances in which scenes are pantomimically enacted referring to Montezuma and to the conquest of Mexico by the Spaniards.

In most of the entertainments, of which examples have just been given, the music must necessarily partake of a dramatic character. Generally, the tunes are not selected at pleasure, but certain tunes belong to certain representations. The dramatic effect of the music depends, however, chiefly upon its execution, which naturally changes according to the action which it accompanies. Thus, if the actors represent a sentimental or heart-rending scene, their vocal effusions will naturally be in a subdued tone, and the sympathizing musicians will touch their instruments delicately and slowly. If, on the other hand, the actors represent some exciting or heart-stirring scene, they will naturally raise their voices, and the musicians will play louder and faster as a matter of course. In fact, when their pulse beats quicker, the rhythmical flow of their music, however rude and inartistic it may be, becomes more animated unpremeditatedly. Such is the most primitive condition, or the commencement of the development of dramatic music. Let us now examine it in a somewhat more advanced stage of cultivation.

The Javanese, who among the islanders of the Indian Archipelago are renowned for their skill in the dramatic art, generally use fabulous traditions from their own history, or Hindu legends, as subjects for their performances, which are acted exclusively by men. A full band of musicians generally accompanies the drama. The instruments mostly belong to the cla.s.s called Instruments of Percussion, but several of them are constructed with plates of metal which produce a series of sweet tones, arranged according to the pentatonic scale. Some of the Javanese airs, which have been collected by Europeans, are very expressive, and it might be instructive to musical enquirers, if some really musical European visitor in Java would faithfully commit to notation the orchestral accompaniments of some of the most popular Javanese dramas.

Madame Ida Pfeiffer relates that she was treated in the house of a Rajah, at Bandong, with a kind of pantomime in three acts, the third of which represented a combat. "The music that accompanied the combat," she remarks, "was very noisy and discordant; but, on the defeat of the one party, a soft plaintive melody arose at some distance off. The whole performance was really pretty and expressive."[93] Sir Stamford Raffles, and other travellers, give similar descriptions, and have besides much to say about the clever puppet-shows of the Javanese, in which the characters of dramas are represented by puppets, or by their shadows.

The Siamese are fond of theatrical performances. According to Turpin's history of Siam, published in the year 1771, "whenever they burn the body of a minister or great man, a theatre is erected on the side of a river, where the actors appear habited according to their parts; and during three days they never quit the scene from eight in the morning till seven at night." De La Loubere, who visited Siam in the year 1687, says that the subjects of the dramas are "historical, in verse, serious, and sung by several actors who are always present, and who only sing reciprocally. One of them sings the historian's part, and the rest sing those of the personages which the history makes to speak; but they are all men that sing, and no women." About a century ago it appears to have been the custom to employ only men as actors, although there were female dancers. But, at the present day there are actresses, at any rate in the palace of the King, where Sir John Bowring saw them perform on several occasions. In one of these entertainments "the actors were all females, almost all girls. A few matrons, however, took the part of warriors, monkeys, priests; and the three manageresses, or prompteresses, were not only old and ugly, but seemed very spiteful, and on several occasions scolded and slapped the ladies who required correction. One of them had the drama written on black sheets in white letters before her, from which she prompted the singers of the recitative. The story began by the appearance of a monster monkey in a forest, which is visited by a number of ladies of rank, one of whom, after an unsuccessful struggle, the others having managed to escape, the monster monkey contrives to carry off. She is redeemed by the interference of a priest, whose temple is in the forest. Afterwards we are introduced to a sovereign Court, where all the ceremonies are observed which are practised in daily life, the dresses being those ordinarily worn, and most gorgeous they are....

There is a battle, and rewards to the victors, and a crowning of a king's son in recompense for his valour, and offerings to Buddha, and a great feast, etc."[94] The princ.i.p.al performers act, but do not speak.

The tale is told in recitative by a body of singers, accompanied by various instruments. The band a.s.sisting generally consists of about twenty members who play on wind instruments of the oboe kind, gongs, large castanets above a foot in length, and several sonorous instruments of percussion constructed with slabs of wood, or plates of metal, somewhat similar to those of the Javanese before mentioned.

The Cochin-Chinese are remarkably fond of dramatic entertainments, which are generally of an operatic character commemorating historical events.

An English gentleman who witnessed the performance of some of these plays remarks of the actors: "Their singing is good, when the ear has become accustomed to it; and the modulation of voice of the females is really captivating."[95] Sir George Staunton was evidently surprised to find that a kind of historical opera, which he heard in the town of Turon (called by the natives Hansan) contained recitatives, airs, and choruses, which were, he says, "as regular as upon the Italian stage."

He adds: "Some of the female performers were by no means despicable singers. They all observed time accurately, not only with their voices, but every joint of their hands and feet was obedient to the regular movement of the instruments."[96] The band consisted of stringed instruments, wind instruments, and instruments of percussion. Sir John Barrow describes the theatre at Turon as "a shed of bamboo." He relates: "In the farther division of the building a party of comedians was engaged in the midst of an historical drama when we entered; but, on our being seated they broke off, and, coming forward, made before us an obeisance of nine genuflexions and prostrations, after which they returned to their labours, keeping up an incessant noise and bustle during our stay. The heat of the day, the thermometer in the shade standing at 81 deg. in the open air, and at least 10 deg. higher in the building, the crowds that thronged to see the strangers, the horrible crash of the gongs, kettle-drums, trumpets, and squalling flutes, were so stunning and oppressive that nothing but the novelty of the scene could possibly have detained us for a moment. The most entertaining, as well as the least noisy part of the theatrical exhibition, was a sort of Interlude, performed by three young women for the amus.e.m.e.nt, it would seem, of the princ.i.p.al actress, who sat as a spectator in the dress and character of some ancient Queen, whilst an old eunuch, very whimsically dressed, played his antic tricks like a scaramouch or buffoon in a Harlequin entertainment. The dialogue in this part differed entirely from the querulous and nearly monotonous recitation of the Chinese, being light and comic, and occasionally interrupted by cheerful airs which generally concluded with a chorus. These airs, rude and unpolished as they were, appeared to be regular compositions, and were sung in exactly measured time. One in particular attracted our attention, whose slow melancholy movement breathed the kind of plaintiveness so peculiar to the native airs of the Scotch, to which indeed it bore a close resemblance."

Probably the air was founded on the pentatonic scale, which is common in the music of the Chinese and Javanese, and of which traces are to be found in the Scotch popular tunes.

"The voices of the women are shrill and warbling, but some of their cadences were not without melody. The instruments at each pause gave a few short flourishes, till the music gradually increased in loudness by the swelling and deafening gong. Knowing nothing of the language, we were of course as ignorant of the subject as the majority of an English audience is of an Italian opera."[97]

A curious mode of paying the actors, which prevails in Cochin-China, may be mentioned here. An Englishman who was present at a theatrical performance in the town of Kangwarting, relates that the Quong, or governor of the province, bore the expense of the entertainment. The musical drama was performed in a large shed before a great concourse of spectators. "The Quong was there squatted on a raised platform in front of the actors with a small drum before him, supported in a diagonal position, on which he would strike a tap every time any part of the performance pleased him; which also was a signal for his purse-bearer to throw a small string of about twenty cash to the actors. To my taste, this spoiled the effect of the piece; for, every time the cash fell among them there would be a silence, and the next moment a scramble for the money; and it fell so frequently as almost to keep time with the discordant music of the orchestra. The actors were engaged by the day, and in this manner received their payment, the amount of which entirely depended upon the approbation of the Quong and the number of times he encored them by tapping his drum. I could see that many of them paid far more attention to the drum than they did to their performance; though I suppose, the amount thrown to them is equally divided. Sometimes the string on which the cash was tied, unluckily broke, and the money flew in all directions; by which some of the bystanders profited, not being honourable enough to hand it up to the poor actors."[98]

The Burmese have dramas performed by men, and also comedies represented by means of marionettes, or puppets. In the latter entertainments the figures are cleverly managed by persons situated beneath a stage which is hidden by a coa.r.s.e curtain. The dialogues between these figures are much relished by the common spectators. At any rate, as they are apt to elicit uproarious mirth, they may be supposed to be often irresistibly comic. The real dramatic performances of the Burmese are acted by professional players, generally in the open air. The princ.i.p.al characters of the piece usually consist of a prince, a princess, a humble lover, a slave, and a buffoon. The female characters are represented by boys dressed in female attire. The dresses are handsome and gorgeous. However, the best theatrical performances take place in a building. On these occasions, there are two musical bands, one being placed on each side of the scene. The princ.i.p.al musical instruments of such an orchestra are of the percussion kind, containing a series of sonorous slabs of wood, or plates of metal, and somewhat resembling the Javanese instruments, but being attuned according to a diatonic order of intervals, instead of the pentatonic order. Also a curious contrivance, consisting of a set of drums suspended in a frame, each drum having a fixed tone, is used on these occasions. Moreover, the Burmese orchestra generally contains several wind instruments of the oboe and trumpet kind, as well as cymbals, large castanets of split bamboo, and other instruments of percussion, which serve to heighten the rhythmical effect of the music. The story of the drama is usually taken from ancient Burmese history. Captain Henry Yule, who has given a more detailed account of the Burmese plays than any previous traveller, remarks that when he was at Amarapoora he procured copies of some of the plays which he saw acted, from which it was evident to him that, while the general plan of the drama, comprising the more dignified and solemn part of the dialogue, was written down at considerable length, the humorous portions were left to the extempore wit of the actors. The following scenes are from a drama commemorating an episode from the life of Oodeinna, King of Kauthambi, a country in India. This drama, which was obtained by Captain Henry Yule, is a translation from the Pali, and the whole is in Burmese verse of four syllables.

(The scene opens in the Capital of Kauthambi. The king is seated on his throne, with his courtiers around him.)

_King._--(_Addresses them_) "Great n.o.bles and chiefs!"

_n.o.bles._--"Phra, (Lord)!"

_King._--"Are my subjects happy and prosperous?"

_n.o.bles._--"Since Your Majesty's happy reign began, religion has shone forth with splendour; the seasons have been propitious; the earth has been bountiful; the rich and the poor, men and women, have enjoyed peace and prosperity, and the happy years have been to them as water to the lotus."

(_Scene closes._)

_Himalaya Mountains.--Enter a Nat._[99]

_Nat._--"Now I am a Nat! When, and in what body was I before? Ah!

looking with a Nat's eyes and understanding, I perceive I was a hermit in these wilds. My companion, Alakappa, is still here. I will seek my friend."

(_Approaches a cave._)

_Hermit._--"Who art thou that comest suddenly to my cell in the garb and appearance of a Nat, with the nine jewels in thy crown?"

_Nat._--"O holy Hermit, of a good lineage, who ever livest in the forest, tell me all thou desirest, so that nought may remain unsaid!"

_Hermit._--"O Nat, who by stupendous merit has reached the exalted abode! I have nothing particular to ask; but numerous elephants come around my cell and do great damage. Be pleased to forbid this for the future."

_Nat._--"O holy Hermit! I will give thee a golden harp, and by the virtue of its sounds, and thy songs accompanying, elephants will come or go as thou commandest."

From this pa.s.sage it is evident that the Burmese ascribe to music a great power, and the same is also indicated in several other remarks occurring in the drama. It is, however, unnecessary here to give the entire drama, which the reader will find in the interesting book above alluded to.[100] Suffice it to notice the following pa.s.sages from a subsequent scene.

(_The young Prince Oodeinna enters. The Hermit presents him with the golden harp and teaches him a tune and song. The Prince retires to a tree, ascends it, and plays. The wild elephants of the forest come around him, and are obedient to his voice and harp, etc._--)

Captain Yule remarks that "the comic stage-effects of the characters addressing the orchestra is very frequent," and there are several indications of the kind in the present drama. Take, for instance, the following:--

(_Scene in the solitary wilds of Himalaya_).

_Enter an immense Bird._

BIRD (speaks).--"From the beginning of the world there have been numerous sorts of birds: cranes, ducks, crows, peac.o.c.ks, and others. I am not of their sort. My power would extinguish them all. My home is amidst vast mountains and pathless forests, and ever and anon I descend from them. I will now go to the country of Kauthambi to seek for food.

So now (_to the band_), as I am about to fly, strike up a victorious melody, O leader of the orchestra!"

_The bird commences his flight, and, soaring aloft, says_:--

"This is a beautiful country, and full of golden palaces, and lovely gardens with gorgeous-coloured flowers and shrubs. Nevertheless, I must look out for something to eat. Thus, turning north and turning south, looking up and looking down, I spy outside the King's palace a piece of flesh, red, red as blood. It is mine, sure as the food in a monk's begging-dish; it cannot escape. I will stoop at it, seize it, and fly away; and now that I may easily reach the large tree in my own mountain from this country of Kauthambi, play a soft and simple air, O leader of the orchestra!"

(_The bird seizes the Queen, mistaking her red mantle for flesh, flies away with her to the mountains, and deposits her in a tree.

The bird comes as if to devour her, when the Queen claps her hands at him, which frightens the bird, and he flies away_).

This scene shows that the Burmese employ in their dramas loud and soft music, according to the events represented; and that the orchestra is conducted by a leader or music-director. The following example, from another scene, indicates the employment of the full orchestra _fortissimo_ in conformity with the action.

_Forest. A Hunter._

HUNTER.--"I and my dog will now go and kill whatever enemy appears. With my bow and my dog I care not what I encounter, elephants, deer, or what not; so come along (_to his dog_) brave Tiger. (_To the band._) Now as I go on a grand expedition, burst forth like thunder!"

A detailed description of a kind of opera which was performed at Singapore is given by Charles Wilkes;[101] but, as the actors were transient visitors to Singapore, who came from the neighbourhood of Madras, their play must have been a specimen of the popular Hindu dramas. Its t.i.tle was 'The Results of Misplaced Friendship;' the words were recited in a "monotonous recitative," accompanied by a band of instrumental performers. As regards the plot of the piece, suffice it to say that it had a moral aim, and that a Brahmin and a clown were the most amusing characters of the Dramatis Personae. The clown displayed much cleverness in mimicking a European in his dress and manners. The 'Select Specimens of the Theatre of the Hindus,' translated from the original Sanskrit, by R. H. Wilson, London, 1835, contain but few allusions to music; but these are ancient dramas, and the Hindus possess, as R. H. Wilson in his interesting Introduction points out, different kinds of theatrical entertainments. There was in former time no building appropriated to the public performance of dramas. The Kings had in their palaces a kind of music hall, called _Sangita Sala_, in which were given entertainments consisting princ.i.p.ally of music and dancing, and occasionally of dramatic representations.

Turning to Thibet, we meet with actors who are also singers, dancers, and acrobats. They perform in the streets, courtyards, and other open places of the towns, and their entertainments are enlivened by a musical band, and by the witticisms of their clowns. The actors generally wear masks.[102]

In China, dramatic performances, enacted by itinerant players, take place not unfrequently in the Joss-houses, or houses of religious ceremonies. The plays generally have reference to some remarkable event in the lives of the earliest Chinese Emperors, and almost always combine the comic with the tragic. The musical band occupies the back part of the stage behind the actors. The expenses of the entertainment are sometimes defrayed by private persons. Thus, on a certain occasion three performances were given in a town daily, for three days in succession, in honour of "The Mother of Heaven," a G.o.ddess who presides over the welfare of sailors, the defrayers of the entertainment being three merchants who had just received the returns of a lucky venture.[103]

Female characters are represented by boys and eunuchs. The plot of a Chinese drama, which was performed at Tien-sing before the English Amba.s.sador, in a temporary theatre erected opposite to his yacht, is described by Sir G. Staunton, as follows:--

"An Emperor of China and his Empress are living in supreme felicity, when on a sudden his subjects revolt. A civil war ensues, battles are fought; and, at last, the arch-rebel, who is a General of cavalry, overcomes his sovereign, kills him with his own hand, and routes the imperial army. The captive Empress then appears upon the stage in all the agonies of despair naturally resulting from the loss of her husband and her dignity, as well as the apprehension of that of her honour."

How interesting would it be to the student of National Music to possess an exact notation of the music belonging to this scene, and to ascertain in what manner the intense emotions and vehement pa.s.sions represented are expressed in the Chinese musical compositions!

"Whilst she is tearing her hair, and rending the skies with her complaints, the conqueror enters, approaches her with respect, addresses her in a gentle tone, soothes her sorrows with his compa.s.sion, talks of love and adoration, and like Richard the Third with Lady Anne, in Shakespeare, prevails in less than half-an-hour on the Chinese Princess to dry up her tears, to forget her deceased consort, and to yield to a consoling wooer. The piece concludes with a wedding and a grand procession."[104]

The j.a.panese are fond of dramatic representations, and have special buildings for their performances. Captain Golownin describes the theatre in Matsmai, the capital city of the island of Yesso, as "a large and pretty high building. At the back is the stage, which, as with us, has a raised floor. From the stage to the front wall, where the entrance is situated, two rows of seats are placed for the spectators. In the middle, where we have the pit, there is a vacant s.p.a.ce in which straw mats are laid down for the spectators. As this s.p.a.ce is much lower than the stage, those in front do not intercept the view from those behind.

There is no orchestra, either because the j.a.panese perform no music in their theatres, or because the musicians are reckoned among the actors."

The place for the orchestra was probably at the back of the stage, as in the Chinese theatre. Captain Golownin visited the building only in the day-time, and when the house was empty, the permission to see a piece performed having been refused to him by the government of the capital.

"Opposite the stage, where in our theatres are the Emperor's box and the galleries, there are only a bare wall and the door for the entrance.

There were no ornaments in the interior; the walls were not even painted. The dresses and decorations are kept in a separate building.

The subjects of their plays are chiefly memorable events in j.a.panese history; but they have also other representations which are of a comic nature, and which serve to amuse the public."[105] Moreover, the j.a.panese have annual religious festivals in which scenic representations take place, and which are very popular. The dramas usually commemorate the deeds of ancient heroes or a myth; some have for their subject a fanciful love-story; and some are especially designed to enforce a certain moral precept. According to Siebold and Fisher, many of the j.a.panese plays are very instructive and moral. They are often so constructed that not more than two actors appear on the stage during a scene. There are no actresses, the female characters being represented by boys. It is not unusual for the actors to pa.s.s through the pit on their way to the stage, in order to give the audience an opportunity to admire their appearance and costume as closely as possible.