America Through the Spectacles of an Oriental Diplomat [69]
greater care exists for guarding one's self against his tricks.
Actresses are no less respected and honored in the West, whereas in China there are positively no respectable women on the stage. Yet in the West it is a common occurrence to hear of marriages of actresses to bankers, merchants, and millionaires. Even ballet-girls have become duchesses by marriage. The stage is considered a noble profession. Often, when a girl has a good voice, nothing will satisfy her but a stage career. A situation such as this is very difficult for a Chinese to analyze. The average Chinese woman lacks the imagination, the self-abandon, the courage which must be necessary before a girl can think of herself as standing alone in a bright light before a large audience waiting to see her dance or hear her sing. Chinese actresses were quite unknown until very recently, and the few that may be now found on the Chinese stage were nearly all of questionable character before they entered the theater. In the northern part of China some good Chinese women may be found in circuses, but these belong to the working class and take up the circus life with their husbands and brothers for a livelihood.
The actresses of the West are different. They are drawn to the stage for the sake of art; and it must be their splendid daring as much as their beauty which induces wealthy men, and even some of the nobility, to marry these women. Man loves courage and respects all who are brave enough to fight for their own. In a world where self-love (not selfishness) is highly esteemed, manhood, or the power of self-assertion, whether in man or woman, naturally becomes a fascinating virtue. No one likes to be colleague to a coward. The millionaires and others who have married actresses -- and as actresses make plenty of money they are not likely to be willing to marry poor men -- meet many women in society as beautiful as the women they see on the stage, but society women lack the supreme courage and daring of the stage girl. Thus, very often the pretty, though less educated, ballet-girl, wins the man whom her more refined and less self-assertive sister -- the ordinary society girl -- is sorry to lose.
The suffragettes are too intent just now on getting "Votes for Women" to listen to proposals of marriage, but when they succeed in obtaining universal suffrage I should think they would have little difficulty in obtaining brave husbands, for the suffragettes have courage. These women, however, are serious, and I do not think that men in the West, judging from what I have seen, like very serious wives. So perhaps after all the ballet-girl and actresses will have more chances in the marriage (I had almost written money) market than the suffragettes.
I may be mistaken in my theories. I have never had the opportunity of discussing the matter with a millionaire or an actress, nor have I talked about the stage with any of the ladies who make it their home, but unless it is their superb independence and their ability to throw off care and to act their part which attract men who are looking for wives, I cannot account for so many actresses marrying so well.
What, however, we may ask, is the object of the theater? Is it not amusement? But when a serious play ending tragically is put on the boards is that amusement? The feelings of the audience after witnessing such a play must be far from pleasant, and sometimes even moody; yet tragedies are popular, and many will pay a high price to see a well-known actor commit most objectionable imitation-crimes on the stage. A few weeks before this chapter was written a number of men of different nationalities were punished for being present at a cockfight in Shanghai. Mexican and Spanish bullfights would not be permitted in the United States, and yet it is a question whether the birds or the animals who take part in these fights really suffer very much. They are in a state of ferocious exaltation, and are more concerned about killing their opponents than about their own hurts. Soldiers have been seriously wounded without
Actresses are no less respected and honored in the West, whereas in China there are positively no respectable women on the stage. Yet in the West it is a common occurrence to hear of marriages of actresses to bankers, merchants, and millionaires. Even ballet-girls have become duchesses by marriage. The stage is considered a noble profession. Often, when a girl has a good voice, nothing will satisfy her but a stage career. A situation such as this is very difficult for a Chinese to analyze. The average Chinese woman lacks the imagination, the self-abandon, the courage which must be necessary before a girl can think of herself as standing alone in a bright light before a large audience waiting to see her dance or hear her sing. Chinese actresses were quite unknown until very recently, and the few that may be now found on the Chinese stage were nearly all of questionable character before they entered the theater. In the northern part of China some good Chinese women may be found in circuses, but these belong to the working class and take up the circus life with their husbands and brothers for a livelihood.
The actresses of the West are different. They are drawn to the stage for the sake of art; and it must be their splendid daring as much as their beauty which induces wealthy men, and even some of the nobility, to marry these women. Man loves courage and respects all who are brave enough to fight for their own. In a world where self-love (not selfishness) is highly esteemed, manhood, or the power of self-assertion, whether in man or woman, naturally becomes a fascinating virtue. No one likes to be colleague to a coward. The millionaires and others who have married actresses -- and as actresses make plenty of money they are not likely to be willing to marry poor men -- meet many women in society as beautiful as the women they see on the stage, but society women lack the supreme courage and daring of the stage girl. Thus, very often the pretty, though less educated, ballet-girl, wins the man whom her more refined and less self-assertive sister -- the ordinary society girl -- is sorry to lose.
The suffragettes are too intent just now on getting "Votes for Women" to listen to proposals of marriage, but when they succeed in obtaining universal suffrage I should think they would have little difficulty in obtaining brave husbands, for the suffragettes have courage. These women, however, are serious, and I do not think that men in the West, judging from what I have seen, like very serious wives. So perhaps after all the ballet-girl and actresses will have more chances in the marriage (I had almost written money) market than the suffragettes.
I may be mistaken in my theories. I have never had the opportunity of discussing the matter with a millionaire or an actress, nor have I talked about the stage with any of the ladies who make it their home, but unless it is their superb independence and their ability to throw off care and to act their part which attract men who are looking for wives, I cannot account for so many actresses marrying so well.
What, however, we may ask, is the object of the theater? Is it not amusement? But when a serious play ending tragically is put on the boards is that amusement? The feelings of the audience after witnessing such a play must be far from pleasant, and sometimes even moody; yet tragedies are popular, and many will pay a high price to see a well-known actor commit most objectionable imitation-crimes on the stage. A few weeks before this chapter was written a number of men of different nationalities were punished for being present at a cockfight in Shanghai. Mexican and Spanish bullfights would not be permitted in the United States, and yet it is a question whether the birds or the animals who take part in these fights really suffer very much. They are in a state of ferocious exaltation, and are more concerned about killing their opponents than about their own hurts. Soldiers have been seriously wounded without