Myths and Legends of China Part 12

Li Shao-chun gradually lost the confidence of the Emperor and, at his wits' end, conceived the plan of writing some phrases on a piece of silk and then causing them to be swallowed by an ox. This done, he announced that a wonderful script would be found in the animal's stomach. The ox being killed, the script was found there as predicted, but Li's unlucky star decreed that the Emperor should recognize his handwriting, and he was forthwith put to death. Nevertheless, the wors.h.i.+p of the Kitchen-G.o.d continued and increased, and exists in full vigour down to the present day.

This deity has power over the lives of the members of each family under his supervision, distributes riches and poverty at will, and makes an annual report to the Supreme Being on the conduct of the family during the year, for which purpose he is usually absent for from four to seven days. Some hold that he also makes these reports once or twice or several times each month. Various ceremonies are performed on seeing him off to Heaven and welcoming him back. One of the former, as we saw, is to regale him with honey, so that only sweet words, if any, may be spoken by him while up aloft!

Ts'an Nu

In the kingdom of Shu (modern Ssuch'uan), in the time of Kao Hsing Ti, a band of robbers kidnapped the father of Ts'an Nu. A whole year elapsed, and the father's horse still remained in the stable as he had left it. The thought of not seeing her father again caused Ts'an Nu such grief that she would take no nourishment. Her mother did what she could to console her, and further promised her in marriage to anyone who would bring back her father. But no one was found who could do this. Hearing the offer, the horse stamped with impatience, and struggled so much that at length he broke the halter by which he was tied up. He then galloped away and disappeared. Several days later, his owner returned riding the horse. From that time the horse neighed incessantly, and refused all food. This caused the mother to make known to her husband the promise she had made concerning her daughter. "An oath made to men," he replied, "does not hold good for a horse. Is a human being meant to live in marital relations with a horse?" Nevertheless, however good and abundant food they offered him, the horse would not eat. When he saw the young lady he plunged and kicked furiously. Losing his temper, the father discharged an arrow and killed him on the spot; then he skinned him and spread the skin on the ground outside the house to dry. As the young lady was pa.s.sing the spot the skin suddenly moved, rose up, enveloped her, and disappeared into s.p.a.ce. Ten days later it was found at the foot of a mulberry-tree; Ts'an Nu changed into a silkworm, was eating the mulberry-leaves, and spinning for herself a silken garment.

The parents of course were in despair. But one day, while they were overwhelmed with sad thoughts, they saw on a cloud Ts'an Nu riding the horse and attended by several dozens of servants. She descended toward her parents, and said to them: "The Supreme Being, as a reward for my martyrdom in the cause of filial piety and my love of virtue, has conferred on me the dignity of Concubine of the Nine Palaces. Be rea.s.sured as to my fate, for in Heaven I shall live for ever." Having said this she disappeared into s.p.a.ce.

In the temples her image is to be seen covered with a horse's skin. She is called Ma-t'ou Niang, 'the Lady with the Horse's Head,' and is prayed to for the prosperity of mulberry-trees and silkworms. The wors.h.i.+p continues even in modern times. The G.o.ddess is also represented as a stellar divinity, the star T'ien Ssu; as the first man who reared silkworms, in this character bearing the same name as the G.o.d of Agriculture, Pasture, and Fire; and as the wife of the Emperor Huang Ti.

The G.o.d of Happiness

The G.o.d of Happiness, Fu Shen, owes his origin to the predilection of the Emperor Wu Ti (A.D. 502-50) of the Liang dynasty for dwarfs as servants and comedians in his palace. The number levied from the Tao Chou district in Hunan became greater and greater, until it seriously prejudiced the ties of family relations. When Yang Ch'eng, _alias_ Yang Hsi-chi, was Criminal Judge of Tao Chou he represented to the Emperor that, according to law, the dwarfs were his subjects but not his slaves. Being touched by this remark, the Emperor ordered the levy to be stopped.

Overjoyed at their liberation from this hards.h.i.+p, the people of that district set up images of Yang and offered sacrifices to him. Everywhere he was venerated as the Spirit of Happiness. It was in this simple way that there came into being a G.o.d whose portraits and images abound everywhere throughout the country, and who is wors.h.i.+pped almost as universally as the G.o.d of Riches himself.

Another person who attained to the dignity of G.o.d of Happiness (known as Tseng-fu Hsiang-kung, 'the Young Gentleman who Increases Happiness') was Li Kuei-tsu, the minister of Emperor Wen Ti of the Wei dynasty, the son of the famous Ts'ao Ts'ao, but in modern times the honour seems to have pa.s.sed to Kuo Tzu-i. He was the saviour of the T'ang dynasty from the depredations of the Turfans in the reign of the Emperor Hsuan Tsung. He lived A.D. 697-781, was a native of Hua Chou, in Shensi, and one of the most ill.u.s.trious of Chinese generals. He is very often represented in pictures clothed in blue official robes, leading his small son Kuo Ai to Court.

The G.o.d of Wealth

As with many other Chinese G.o.ds, the proto-being of the G.o.d of Wealth, Ts'ai Shen, has been ascribed to several persons. The original and best known until later times was Chao Kung-ming. The accounts of him differ also, but the following is the most popular.

When Chiang Tzu-ya was fighting for Wu w.a.n.g of the Chou dynasty against the last of the Shang emperors, Chao Kung-ming, then a hermit on Mount o-mei, took the part of the latter. He performed many wonderful feats. He could ride a black tiger and hurl pearls which burst like bombsh.e.l.ls. But he was eventually overcome by the form of witchcraft known in Wales as _Ciurp Creadh_. Chiang Tzu-ya made a straw image of him, wrote his name on it, burned incense and wors.h.i.+pped before it for twenty days, and on the twenty-first shot arrows made of peach-wood into its eyes and heart. At that same moment Kung-ming, then in the enemy's camp, felt ill and fainted, and uttering a cry gave up the ghost.

Later on Chiang Tzu-ya persuaded Yuan-s.h.i.+h T'ien-tsun to release from the Otherworld the spirits of the heroes who had died in battle, and when Chao Kung-ming was led into his presence he praised his bravery, deplored the circ.u.mstances of his death, and canonized him as President of the Ministry of Riches and Prosperity.

The G.o.d of Riches is universally wors.h.i.+pped in China; images and portraits of him are to be seen everywhere. Talismans, trees of which the branches are strings of cash, and the fruits ingots of gold, to be obtained merely by shaking them down, a magic inexhaustible casket full of gold and silver--these and other spiritual sources of wealth are a.s.sociated with this much-adored deity. He himself is represented in the guise of a visitor accompanied by a crowd of attendants laden with all the treasures that the hearts of men, women, and children could desire.

The G.o.d of Longevity

The G.o.d of Longevity, Shou Hsing, was first a stellar deity, later on represented in human form. It was a constellation formed of the two star-groups Chio and K'ang, the first two on the list of twenty-eight constellations. Hence, say the Chinese writers, because of this precedence, it was called the Star of Longevity. When it appears the nation enjoys peace, when it disappears there will be war. Ch'in s.h.i.+h Huang-ti, the First Emperor, was the first to offer sacrifices to this star, the Old Man of the South Pole, at She Po, in 246 B.C. Since then the wors.h.i.+p has been continued pretty regularly until modern times.

But desire for something more concrete, or at least more personal, than a star led to the G.o.d's being represented as an old man. Connected with this is a long legend which turns on the point that after the father of Chao Yen had been told by the celebrated physiognomist Kuan Lo that his son would not live beyond the age of nineteen, the transposition from _s.h.i.+h-chiu_, nineteen, to _chiu-s.h.i.+h_, ninety, was made by one of two gamblers, who turned out to be the Spirit of the North Pole, who fixes the time of decease, as the Spirit of the South Pole does that of birth.

The deity is a domestic G.o.d, of happy mien, with a very high forehead, usually spoken of as Shou Hsing Lao T'ou Tzu, 'Longevity Star Old-pate,' and is represented as riding a stag, with a flying bat above his head. He holds in his hand a large peach, and attached to his long staff are a gourd and a scroll. The stag and the bat both indicate _fu_, happiness. The peach, gourd, and scroll are symbols of longevity.

The Door-G.o.ds

An old legend relates that in the earliest times there grew on Mount Tu Shuo, in the Eastern Sea, a peach-tree of fabulous size whose branches covered an area of several thousand square _li_. The lowest branches, which inclined toward the north-east, formed the Door of the Devils (_kuei_), through which millions of them pa.s.sed in and out. Two spirits, named Shen Shu (or Shu Yu) and Yu Lu, had been instructed to guard this pa.s.sage. Those who had done wrong to mankind were immediately bound by them and given over to be devoured by tigers. When Huang Ti heard of this he had the portraits of the two spirits painted on peach-wood tablets and hung above the doors to keep off evil spirits. This led to the suspension of the small figures or plaques on the doors of the people generally. Gradually they were supplanted by paintings on paper pasted on the doors, showing the two spirits armed with bows, arrows, spears, etc., Shen Shu on the left, Yu Lu on the right.

In later times, however, these Door-G.o.ds were supplanted in popular favour by two ministers of the Emperor T'ai Tsung of the T'ang dynasty, by name Ch'in Shu-pao and Hu Ching-te. T'ai Tsung had fallen sick, and imagined that he heard demons rampaging in his bedroom. The ministers of State, on inquiring as to the nature of the malady, were informed by the physician that his Majesty's pulse was feverish, that he seemed nervous and saw visions, and that his life was in danger.

The ministers were in great fear. The Empress summoned other physicians to a consultation, and after the sick Emperor had informed them that, though all was quiet during the daytime, he was sure he saw and heard demons during the night, Ch'in Shu-pao and Hu Ching-te stated that they would sit up all night and watch outside his door.

Accordingly they posted themselves, fully armed, outside the palace gate all night, and the Emperor slept in peace. Next day the Emperor thanked them heartily, and from that time his sickness diminished. The two ministers, however, continued their vigils until the Emperor informed them that he would no longer impose upon their readiness to sacrifice themselves. He ordered them to paint their portraits in full martial array and paste these on the palace doors to see if that would not have the same effect. For some nights all was peace; then the same commotion was heard at the back gates of the palace. The minister Wei Cheng offered to stand guard at the back gates in the same way that his colleagues had done at the front gates. The result was that in a few days the Emperor's health was entirely restored.

Thus it is that Wei Cheng is often a.s.sociated with the other two Door-G.o.ds, sometimes with them, sometimes in place of them. Pictures of these _men shen_, elaborately coloured, and renewed at the New Year, are to be seen on almost every door in China.

Chinese Polytheism

That the names of the G.o.ds of China are legion will be readily conceded when it is said that, besides those already described, those still to be mentioned, and many others to whom s.p.a.ce will not permit us to refer, there are also G.o.ds, G.o.ddesses, patrons, etc., of wind, rain, snow, frost, rivers, tides, caves, trees, flowers, theatres, horses, oxen, cows, sheep, goats, dogs, pigs, scorpions, locusts, gold, tea, salt, compa.s.s, archery, bridges, lamps, gems, wells, carpenters, masons, barbers, tailors, jugglers, nets, wine, bean-curd, jade, paper-clothing, eye, ear, nose, tongue, teeth, heart, liver, throat, hands, feet, skin, architecture, rain-clothes, monkeys, lice, Punch and Judy, fire-crackers, cruelty, revenge, manure, fornication, shadows, corners, gamblers, oculists, smallpox, liver complaint, stomach-ache, measles, luck, womb, midwives, hasteners of child-birth, brigands, butchers, furnishers, centipedes, frogs, stones, beds, candle-merchants, fishermen, millers, wig-merchants, incense-merchants, spectacle-makers, cobblers, harness-makers, seedsmen, innkeepers, basket-makers, chemists, painters, perfumers, jewellers, brush-makers, dyers, fortune-tellers, strolling singers, brothels, varnishers, combs, etc., etc. There is a G.o.d of the light of the eye as well as of the eye itself, of smallpox-marks as well as of smallpox, of 'benign' measles as well as of measles. After reading a full list of the G.o.ds of China, those who insist that the religion of China was or is a monotheism may be disposed to revise their belief.

CHAPTER V

Myths of the Stars

Astrological Superst.i.tions

According to Chinese ideas, the sun, moon, and planets influence sublunary events, especially the life and death of human beings, and changes in their colour menace approaching calamities. Alterations in the appearance of the sun announce misfortunes to the State or its head, as revolts, famines, or the death of the emperor; when the moon waxes red, or turns pale, men should be in awe of the unlucky times thus fore-omened.

The sun is symbolized by the figure of a raven in a circle, and the moon by a hare on its hind-legs pounding rice in a mortar, or by a three-legged toad. The last refers to the legend of Ch'ang o, detailed later. The moon is a special object of wors.h.i.+p in autumn, and moon-cakes dedicated to it are sold at this season. All the stars are ranged into constellations, and an emperor is installed over them, who resides at the North Pole; five monarchs also live in the five stars in Leo, where is a palace called Wu Ti Tso, or 'Throne of the Five Emperors.' In this celestial government there are also an heir-apparent, empresses, sons and daughters, and tribunals, and the constellations receive the names of men, animals, and other terrestrial objects. The Great Bear, or Dipper, is wors.h.i.+pped as the residence of the Fates, where the duration of life and other events relating to mankind are measured and meted out. Fears are excited by unusual phenomena among the heavenly bodies.

Both the sun and the moon are wors.h.i.+pped by the Government in appropriate temples on the east and west sides of Peking.

Various Star-G.o.ds

Some of the star-G.o.ds, such as the G.o.d of Literature, the G.o.ddess of the North Star, the G.o.ds of Happiness, Longevity, etc., are noticed in other parts of this work. The cycle-G.o.ds are also star-G.o.ds. There are sixty years in a cycle, and over each of these presides a special star-deity. The one wors.h.i.+pped is the one which gave light on the birthday of the wors.h.i.+pper, and therefore the latter burns candles before that particular image on each succeeding anniversary. These cycle-G.o.ds are represented by most grotesque images: "white, black, yellow, and red; ferocious G.o.ds with vindictive eyeb.a.l.l.s popping out, and gentle faces as expressive as a lump of putty; some looking like men and some like women." In one temple one of the sixty was in the form of a hog, and another in that of a goose. "Here is an image with arms protruding out of his eye-sockets, and eyes in the palms of his hands, looking downward to see the secret things within the earth. See that rabbit, Minerva-like, jumping from the divine head; again a mud-rat emerges from his occipital hiding-place, and lo! a snake comes coiling from the brain of another G.o.d--so the long line serves as models for an artist who desires to study the fantastic."

Shooting the Heavenly Dog

In the family sleeping-apartments in Chinese houses hang pictures of Chang Hsien, a white-faced, long-bearded man with a little boy by his side, and in his hand a bow and arrow, with which he is shooting the Heavenly Dog. The dog is the Dog-star, and if the 'fate' of the family is under this star there will be no son, or the child will be short-lived. Chang Hsien is the patron of child-bearing women, and was wors.h.i.+pped under the Sung dynasty by women desirous of offspring. The introduction of this name into the Chinese pantheon is due to an incident in the history of Hua-jui Fu-jen, a name given to Lady Fei, concubine of Meng Ch'ang, the last ruler of the Later Shu State, A.D. 935-964. When she was brought from Shu to grace the harem of the founder of the Sung dynasty, in A.D. 960, she is said to have preserved secretly the portrait of her former lord, the Prince of Shu, whose memory she pa.s.sionately cherished. Jealously questioned by her new consort respecting her devotion to this picture, she declared it to be the representation of Chang Hsien, the divine being wors.h.i.+pped by women desirous of offspring. Opinions differ as to the origin of the wors.h.i.+p. One account says that the Emperor Jen Tsung, of the Sung dynasty, saw in a dream a beautiful young man with white skin and black hair, carrying a bow in his hand. He said to the Emperor: "The star T'ien Kou, Heavenly Dog, in the heavens is hiding the sun and moon, and on earth devouring small children. It is only my presence which keeps him at bay."

On waking, the Emperor at once ordered the young man's portrait to be painted and exhibited, and from that time childless families would write the name Chang Hsien on tablets and wors.h.i.+p them.

Another account describes Chang Hsien as the spirit of the star Chang. In the popular representations Chang Hsien is seen in the form of a distinguished personage drawing a bow. The spirit of the star Chang is supposed to preside over the kitchen of Heaven and to arrange the banquets given by the G.o.ds.

The Sun-king

The wors.h.i.+p of the sun is part of the State religion, and the officials make their offerings to the sun-tablet. The moon also is wors.h.i.+pped. At the harvest moon, the full moon of the eighth month, the Chinese bow before the heavenly luminary, and each family burns incense as an offering. Thus "100,000 cla.s.ses all receive the blessings of the icy-wheel in the Milky Way along the heavenly street, a mirror always bright." In Chinese ill.u.s.trations we see the moon-palace of Ch'ang O, who stole the pill of immortality and flew to the moon, the fragrant tree which one of the genii tried to cut down, and a hare pestling medicine in a mortar. This refers to the following legend.

The sun and the moon are both included by the Chinese among the stars, the spirit of the former being called T'ai-yang Ti-chun, 'the Sun-king,' or Jih-kung Ch'ih-chiang, 'Ch'ih-chiang of the Solar Palace,' that of the latter T'ai-yin Huang-chun, 'the Moon-queen,'

or Yueh-fu Ch'ang O, 'Ch'ang O of the Lunar Palace.'

Ch'ih-chiang Tzu-yu lived in the reign of Hsien-yuan Huang-ti, who appointed him Director of Construction and Furnis.h.i.+ng.

When Hsien-yuan went on his visit to o-mei Shan, a mountain in Ssuch'uan, Ch'ih-chiang Tzu-yu obtained permission to accompany him. Their object was to be initiated into the doctrine of immortality.