駕登寶津樓諸軍呈百戲

The emperor ascends Baojin Tower, and the hundred entertainments of the various armies are presented beneath it. First a dozen or so drum-players are ranged. One man shakes a pair of small drums, comes forward and delivers the opening address, most often singing “Spring’s third month” (that is, the tune Moshanxi). When the song ends, drums and flutes are raised and a man in a red kerchief wields a great banner. Next lions and leopards enter the field, sitting, rising, advancing and retreating, darting and leaping. When they are done, another man in a red kerchief takes two white flags in his hands and dances in a whirl of leaps, called “flag-beating,” and then come pole-climbing, somersaults and the like. When these end, the musicians strike up the Qinjia Nongling. More than a hundred nimble soldiers in made-up costume, flags and banners to the fore, each holding pheasant tails, Man shields and wooden swords, first form ranks, bow and dance, and change among formations such as “opening the gate” and “seizing the bridge,” and finally draw up in a crescent array. The musicians again play, now the Manpai Ling. From the formation two men step out and dance facing each other as if thrusting and striking; one makes a show of fierce attack, the other feigns falling flat. Five or seven pairs come out in turn, some with spear against shield, sword against shield and the like. Suddenly there is a sound like a thunderclap, called a “firecracker,” and the shield men withdraw.

Smoke and fire billow up, and a masked figure with loose hair, spitting “wolf-tooth” fire from his mouth in the manner of a spirit or demon, comes onto the ground. He wears a blue short-backed garment pasted with gold flowers and black trousers pasted with gold, goes barefoot and carries a great bronze gong, dancing forward and back as his body moves; this is called “embracing the gong.” He circles the field several times, or sets off fireworks on the ground. Another firecracker sounds, and the musicians strike up the tune Bai Xinyue Man. Figures appear with faces daubed in malachite blue, masked, with golden eyes, adorned with leopard skin, brocade, show-belts and the like; they are called “hard demons.” Some hold knives and axes, others pestles and cudgels, and strike stances with dipping, standing steps, as if hunting down and seizing things with eyes and ears alert. Another firecracker, and there is a masked figure with a long beard, fully wrapped in a green robe, with boots and tablet like the images of Zhong Kui, and beside him another who beckons with a small gong and matches his dancing steps; this is called the “dancing judge.” Next come two or three gaunt figures, bodies whitened with powder, golden eyes and white faces like skulls, with brocade belly-bands and show-belts, holding soft staffs; each acts the clown and prances, their movements like a staged play, and this is called “dumb zaju.” Another firecracker goes off, and fireworks gush out so that no one can see another’s face. Within the smoke are seven men, hair loose and bodies tattooed, in blue gauze short-backed garments and brocade belly-bands and show-belts. One wears a small gold-flowered cap and holds a white flag; the rest wear head-cloths and hold real knives, fighting and thrusting at one another in the posture of slashing a face and cutting out a heart; this is called the “seven saints’ blades.” A sudden firecracker, and fireworks burst out again. Where it thins, a blue curtain is drawn round, and dozens of figures are lined up, all masked and strangely dressed, like the clay figures of gods and demons in shrines; this is called the “resting tent.” Another firecracker sounds, and all roll up and withdraw.

Next a man beating a small bronze gong leads more than a hundred, some in wrapped head-cloths, some with double topknots, each in a mottled half-sleeved jacket and a belly-band with show-belt, faces smeared with yellow and white powder; they are called “mo-qiang.” Each holds a wooden pole-blade and they form ranks. The gong-beater points and shouts, and all bow and dance and make their salutations. When this ends, with shouts they change the formation several times, settle into a single-line array, and step out in pairs to fight, performing endless variations of seizing blades and thrusting. When this is done, one man throws down his blade and flings himself to the ground, landing on his back with a thud; this is called “knocked down.” Dozens of pairs do the same. When these are finished, a man dressed as a country lad comes onto the ground and recites some words. When he has finished, a person dressed as a village wife enters and meets the countryman; each carries a stick, and they strike at each other as if in a brawl. The countryman then takes the village woman on his back, staff in hand, and leaves the ground. When it is over, the rear band plays, and the troops perform a skit by the “jiaodui” (the troops’ corps), a zaju. Next the “terrace disciples” perform a zaju. At that time the disciples included Xiao Zhu’er, Ding Dusai, Xue Zida, Xue Zixiao, Yang Zongxi and Cui Shangshou, and those who came afterward are not worth counting.

When the joint tunes and dances end, the guard units and the regular attendant youths present their mounted display. First one man rides out empty-handed, called the “leading horse.” Next another wheels a banner as he rides out, called the “road-opening banner.” Next a rider carries an embroidered red ball tied to a red brocade cord and throws it to the ground; several riders chase and shoot at it, those shooting on the left being called “palm-up” shots and those on the right “palm-together” shots; the whole is called “dragging the embroidered ball.” Then willow twigs are stuck into the ground and several riders shoot at them with chan-zi arrows, by bow or crossbow; this is called “zhe liu zhi” (䄍柳枝). Then there are riders with a dozen or more small flags fixed on a wheel carried on their backs as they ride out, called “whirlwind banners.” Some stand upright on the saddle holding a banner, called “standing horse.” Some dismount, then pull themselves back up by the saddle with their hands, called “vaulting horse.” Some grip the stirrup straps and move to and fro along the crupper, called “jumping horse.” Suddenly a rider leaves the saddle, bends his right leg to hook it over the horse’s mane, with the left foot in the stirrup and the left hand holding the mane; this is called “offering the saddle,” also “abandoning the mane and sitting backward.” Or a rider grips the stirrup straps with both hands, puts his shoulders on the saddle bow and sends both legs straight up, called “handstand.” Suddenly he throws his legs to the ground, drags along beside the running horse, then leaps back up, called “dragging horse.” Or he keeps the left foot in the stirrup, takes the right foot out, leaves the saddle and lies sideways along one side of it, left hand gripping the saddle and right hand the mane, keeping his body in place with one leg stretched out as the horse runs; this is called “flying immortal at the haunch.” Next he curls his body on one side of the saddle, called “hiding in the stirrup.” Or he clamps the saddle with his right arm, feet touching the ground, and runs along with the horse, called “chasing horse.” Or he takes one foot out of the stirrup, drops his body against the crupper and swipes at the ground with his hand, called “snatching dust.” Or he lets the horse run ahead, catches up on foot and goes up by gripping the tail, called “leopard horse.” Or he lies sideways on the saddle, or twirls sharp blades, or heavy objects, great swords and paired swords, in a hundred ways.

Several old soldiers in yellow (called “yellow-court men”) lead the way, holding small embroidered dragon flags. Then come more than a hundred mounted attendants from the palace, called the “girls of the Miaofa Court,” all in their prime and outstanding, dressed like men in short head-cloths, each in a narrow robe of mixed-color brocade and gold-thread foreign damask, red-and-green diaodun leg-wear and a girdle. Every one has a jade bridle and gold bit, a jeweled stirrup and a flowered saddle cloth; the colors dazzle in the sun and a fragrant breeze strikes the onlooker. They gallop to the front of the tower and wheel round several times, to a light drumbeat (輕簾鼓聲, a phrase that is obscure), and some on horseback also display feats of daring. The palace eunuch Xu Tian leads the troop, calls them into line, and on a single drumbeat they throw themselves from their horses, each with a bow and arrows in one hand, reins taken up and held to the ground, and in the manner of men perform the bows, the dance and the mountain-cry. Then, hearing the drum again, they vault back up. As a rule, the women of the palace dressed as men follow the men’s ceremony for their salutations. They gallop and wheel again, separating and recombining their formations; then they divide into two ranks, step out two by two, ride left and right, shoot backward, and use foreign spears or grass cudgels to fight a mounted field battle. When the display of daring is over, they are led away. Music again. First a small ball-gate hung with colors is set up before the hall. More than a hundred men in flowered costume, all with their hair bound in horn-like knots and flowered caps curled back, half in red and half in blue-green brocade jackets, robes with banded hems, girdles and silk shoes, ride donkeys with carved saddles and flowered tack, divided into two teams, each with a captain, each holding a painted stick; this is called “small play.” A captain plays the ball with his stick as if it were strung to it. The moment the ball falls to the ground, the two sides vie for it and pass it to their captain. The left team wins by driving the ball through the gate into the goal; the right team presses forward, trying to keep it out. They chase one another, and the side that earns the tally thanks the emperor and withdraws. Then yellow-court men lead out another hundred or more palace attendants, dressed like the “small play” riders but adorned with pearls and kingfisher feathers, jade belts and red boots, each on a small horse; this is called “great play.” Each rider is fully practiced, galloping like a spirit, elegant and light, their bearing graceful and charming; people in the world see such things only in paintings. The performance ends.