CHAPTER II
THE DRAMA
IF the Mongol dynasty added little of permanent value to the already vast masses 01 poetry, of general literature, and of classical exegesis, it will ever be remembered in connection with two important departures in the literary history of the nation. Within the century covered by Mongol rule the Drama and the Novel may be said to have come into existence. Going back to pre-Confucian or legendary days, we find that from time immemorial the Chinese have danced set dances in time to music on solemn or festive occasions of sacrifice or ceremony. Thus we read in the Odes :
" Lightly, sprightly,
To the dance I go, The sun shining brightly In the court below"
The movements of the dancers were methodical, slow, and dignified. Long feathers and flutes were held in the hand and were waved to and fro as the performers moved right or left. Words to be sung were added, and then gradually the music and singing prevailed over the dance, gesture being substituted. The result was rather an operatic than a dramatic performance, and the words sung were more of the nature of songs than of musical
plays. In the Tso Ckuan, under B.C. 545, we read
�� �
