The Civilization of China | Page 5

more or less uniform standard. But the fact is that the colloquial is broken up into at least eight dialects, each so strongly marked as to constitute eight languages as different to the ear, one from another, as English, Dutch and German, or French, Spanish, Italian and Portuguese. A Shanghai man, for instance, is unintelligible to a Cantonese, and so on. All officials are obliged, and all of the better educated merchants and others endeavour, if only for business purposes, to learn something of the dialect spoken at the court of Peking; and this is what is popularly known as "Mandarin." The written language remains the same for the whole empire; which merely means that ideas set down on paper after a uniform system are spoken with different sounds, just as the Arabic numerals are written uniformly in England, France and Germany, but are pronounced in a totally different manner.
The only difficulty of the spoken language, of no matter what dialect, lies in the "tones," which simply means the different intonations which may be given to one and the same sound, thus producing so many entirely different meanings. But for these tones, the colloquial of China would be absurdly easy, inasmuch as there is no such thing as grammar, in the sense of gender, number, case, mood, tense, or any of the variations we understand by that term. Many amusing examples are current of blunders committed by faulty speakers, such as that of the student who told his servant to bring him a goose, when what he really wanted was some salt, both goose and salt having the same sound, /yen/, but quite different intonations. The following specimen has the advantage of being true. A British official reported to the Foreign Office that the people of Tientsin were in the habit of shouting after foreigners, "Mao-tsu, mao-tsu" (pronounced /mowdza/, /ow/ as in /how/), from which he gathered that they were much struck by the head- gear of the barbarian. Now, it is a fact that /mao-tsu/, uttered with a certain intonation, means a hat; but with another intonation, it means "hairy one," and the latter, referring to the big beards of foreigners, was the meaning intended to be conveyed. This epithet is still to be heard, and is often preceded by the adjective "red."
The written characters, known to have been in use for the past three thousand years, were originally rude pictures, as of men, birds, horses, dogs, houses, the numerals (one, two, three, four), etc., etc., and it is still possible to trace in the modified modern forms of these characters more or less striking resemblances to the objects intended. The next step was to put two or more characters together, to express by their combination an abstract idea, as, for instance, a /hand/ holding a /rod/ = father; but of course this simple process did not carry the Chinese very far, and they soon managed to hit on a joint picture and phonetic system, which enabled them to multiply characters indefinitely, new compounds being formed for use as required. It is thus that new characters can still be produced, if necessary, to express novel objects or ideas. The usual plan, however, is to combine existing terms in such a way as to suggest what is wanted. For instance, in preference to inventing a separate character for the piece of ordnance known as a "mortar," the Chinese, with an eye to its peculiar pose, gave it the appropriate name of a "frog gun."
Again, just as the natives and the dialects of the various parts of China differ one from another, although fundamentally the same people and the same language, so do the manners and customs differ to such an extent that habits of life and ceremonial regulations which prevail in one part of the empire do not necessarily prevail in another. Yet once more it will be found that the differences which appear irreconcilable at first, do not affect what is essential, but apply rather to matters of detail. Many travellers and others have described as customs of the Chinese customs which, as presented, refer to a part of China only, and not to the whole. For instance, the ornamental ceremonies connected with marriage vary in different provinces; but there is a certain ceremony, equivalent in one sense to signing the register, which is almost essential to every marriage contract. Bride and bridegroom must kneel down and call God to witness; they also pledge each other in wine from two cups joined together by a red string. Red is the colour for joy, as white is the colour for mourning. Chinese note-paper is always ruled with red lines or stamped with a red picture. One Chinese official who gave a dinner-party in foreign style, even went so far as