The Complete Guide to Bird

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Copyright © 2019 by Jeffrey Rich.
All rights reserved.
All photographs by the author unless otherwise noted.

Published by:
Amherst Media, Inc.
PO BOX 538
Buffalo, NY 14213
www.AmherstMedia.com

Publisher: Craig Alesse

Senior Editor/Production Manager: Michelle Perkins
Editors: Barbara A. Lynch-Johnt, Beth Alesse
Acquisitions Editor: Harvey Goldstein
Associate Publisher: Katie Kiss
Editorial Assistance from: Carey A. Miller, Roy Bakos, Jen Sexton-Riley, Rebecca Rudell
Business Manager: Sarah Loder
Marketing Associate: Tonya Flickinger

ISBN-13: 978-1-68203-359-3
Library of Congress Control Number: 2018939204
10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any
means, electronic, mechanical, photocopied, recorded or otherwise, without prior written
consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the author’s
experience and opinions. The author and publisher will not be held liable for the use or
misuse of the information in this book.

www.facebook.com/AmherstMediaInc
www.youtube.com/AmherstMedia
www.twitter.com/AmherstMedia
AUTHOR A BOOK WITH AMHERST MEDIA!
Are you an accomplished photographer with devoted fans?
Consider authoring a book with us and share your quality
images and wisdom with your fans. It’s a great way to build
your business and brand through a high-quality, full-color
printed book sold worldwide. Our experienced team makes it
easy and rewarding for each book sold—no cost to you. E-mail
[email protected] today!
CONTENTS

Introduction: Why Birds?

1. The Tools of the Trade

2. Basic Techniques

3. Lighting

4. Composition

5. Beyond the Basics

6. Finding Birds

7. Ethics

8. Attracting Cooperative Subjects

9. Computer Time Is a Must

10. Hot Spots

11. What to Do with Your Photos

About the Author

Jeffrey Rich graduated from Humboldt State University with a

B.S. in Life Science Biology and a B.S. in Wildlife Biology, with
an ornithology emphasis. He earned a master’s degree in
Science Education from the University of Texas and holds a
California teaching credential in Life Science. He is currently
a science and photography teacher at Stellar Charter School
in Redding, California.

Jeff’s photos and articles have been published in major

magazines, including Ranger Rick, Birder’s World, Audubon,
National Wildlife, WildBird, Sunset, Ducks Unlimited, Outdoor
Photographer, and hundreds of others. He has written a
bimonthly column for Northwest Travel Magazine called
“Watchable Wildlife,” which accompanied one of his photos.
He is also the author of Bald Eagles in the Wild (Amherst
Media, 2018) and Baby Birds (Rio Nuevo, 2005).
Jeff has been leading photo tours and teaching
workshops since 1991. These tours blend his background as
a naturalist, teacher, and nature photographer to combine
adventure with outstanding photo opportunities.
 You can visit Jeff’s website at www.jeffrichphoto.com and
contact him at [email protected].
INTRODUCTION: WHY BIRDS?
B
irds are beautiful, fascinating, and action packed. Bird
photography can be done anywhere, from the edge of
Antarctica to the remote depths of Borneo, from the big city
to your own backyard. The fact that birds can be
photographed anytime, anywhere, is one of the main
attractions for me. There are many reasons to photograph birds,
from simply identifying them to creating gorgeous artwork.
Capturing the behaviors and actions of wildlife is one of the most
challenging aspects of nature photography. Honing your skills to
capture a beautiful image of birds in action is what this book is all
about. When you master this level of bird photography, capturing all
of the other, more static pictures will be much easier.

Barn Swallow taking flight. Wouldn’t it be amazing to be able to fly?

The Majesty of Nature

An added benefit of bird photography is time spent in nature,
surrounded by the majesty of it all. This is the main reason I
photograph nature. I enjoy the peace and harmony of being in the
wild. I love wildlife of all types, and birds are my favorite.
Immersing oneself in the natural world can be healing, and I
believe it is necessary for one’s well-being. More people should learn
the value of being outdoors. It is vital for the human race to stay
connected to the natural world. There is nothing like the peace and
tranquility I experience while sitting in my floating blind, looking
through the viewfinder, and focusing on nothing but making a great
photo. I am “in the zone” when I am able to find something to share
and show the world how beautiful Mother Nature is. It enhances my
life. I believe it is necessary for my happiness and health. I am living
a National Geographic special when I’m in the field. There is great
privilege in sharing what I’ve learned and captured in-camera of the
lives of my subjects. With this privilege comes the responsibility of
putting the subjects’ well-being ahead of any photographic situation.
Respecting Mother Nature is critical to one’s success as a nature
photographer. Do everything you can to limit disturbance of the birds
and other natural resources while in nature.

Here I am in the flowers, loving life. I lay down in a small impression where there were no
flowers. No flowers were harmed in the process.

The thrill, excitement, and enjoyment of capturing a great image

is the reward. Deciding what to do with your images afterward is a
personal decision. For some photographers, the photography, being
outdoors, and being focused on the beauty of nature is enough
reward; others may want to see their images in print in National
Geographic; some may want to write this book. Whatever your
goals, working toward this high level of birding is a fulfilling
adventure.
Wildlife is just one piece of nature photography, and birds are
just one specialty within the scope of wildlife photography. A lot of
overlap occurs in all forms of nature photography, and how you use
any technique is limited only by your creativity. Technology has
changed in my thirty years of photographing birds, but our feathered
friends and the light that streams through a lens remain the same. I
will share all I’ve learned over the years in this comprehensive guide.
With the techniques in this book, you will learn to focus on capturing
the best-possible image in-camera.
Birding is one of the fastest-growing endeavors in the outdoors,
and photographing birds is one of the highest skill levels within the
birding world. I hope this book will help all of those bird enthusiasts
who are interested in making better bird pictures.

About This Book

This book is for anyone who wants to make professional-quality
images of birds. In these pages, there are plenty of tips for
photographers, from beginners to pros.
My goal in writing this book is to help you capture the best-
possible image in-camera. Although creating exquisite photographs
at the capture stage is the goal, it is true that many digital images
can be enhanced with postproduction work. Tips for achieving that
goal will be shared as well.
Here is a Least Bittern catching breakfast. This bird is rarely seen, so capturing it with food
was gratifying—especially since I’ve seen only one in my lifetime.

I am always on the lookout for beautiful images, even a scenic. But when a bird shows up,
even better.
1. TOOLS OF THE TRADE
Quality gear will help you create top-notch images. Mallard wing-flapping.
Cameras
Consider your goals regarding the images you will create before you
choose a camera. Do you want to post your bird photos online,
publish them in magazines, share them with friends and family, use
them to teach the world, or . . .? The camera is only a tool that
determines the quality of the image. You can capture wonderful bird
images with an automatic camera or a smartphone. Other factors to
consider when choosing a camera are the price you can afford and
the accessories that the camera can utilize.
If you are a birder or a photographer who simply wants to
capture identification shots of birds, a spotting scope with a camera
attached might be best for your needs. (We’ll revisit this topic in
chapter 5.) Many spotting scopes today have adapters that cameras
can mount to. Even a PhD (push here, dummy!) camera (i.e., a fully
automatic, one-button camera) can be coupled with a scope for
good ID shots.
For professional-quality bird imagery, I recommend a high-end
DSLR. These cameras produce high-quality image files with great
resolution. These features allow you to crop your files for enhanced
compositions without much loss in quality. Be ready to re-mortgage
your house—a top-of-the-line DSLR costs over $5000! The main two
brands used by professional bird photographers are Nikon and
Canon, but by no means are you limited to cameras from these
manufacturers. There are many choices, and there is a camera for
every need. My camera bag is full of Nikon gear, and my bodies are
the newest professional DSLRs. Mirorless cameras are making an
impression, too.
Technology is always changing. As of this writing, I recommend
that those serious about producing artful bird photographs opt for a
DSLR with continuous capture (motor-drive capabilities), a high-
quality sensor with great quality at high ISOs (1600 and higher), and
a fast-focusing motor for getting the action stopped and sharp.
Selecting a camera that is the same brand a close friend uses would
be beneficial also, as you can learn together and share equipment.
My “paintbrush.” I took my first nature photos in 6th grade.

Birders searching for high-altitude rarities in Ecuador.

I shoot in RAW format. Doing so gives me a bit more control but

requires more time in postproduction. I can save my optimized RAW
files in JPEG or TIFF format if needed. You can shoot in JPEG, but
the files are smaller, contain less information, and have a narrower
tonal range. On the plus side, JPEGs may require less work in after-
capture.
Once you have chosen the camera you want to use, read the
manual carefully, start practicing, and practice some more. Get to
know your camera. The more comfortable you become with it, the
better your photos will be. Let your camera become an extension of
your hand so you can think about composition and technique, not
which knob to turn, when the action starts.

Lenses
Lenses are the most important part of your toolkit. Long lenses are
heavy, but they are necessary for photographing birds. Go with as
long a lens as you can comfortably carry, manipulate, and afford. If
you aren’t sure what works for you, take a trip to your local camera
store and try out some long lenses. Can you put the lens on your
tripod with ease, or is it too heavy? Can you comfortably carry it
over your shoulder, or is it too cumbersome? Bigger is often better,
but don’t get a lens that is too big for you to use comfortably. If you
do, you won’t use it. Most professionals work with a 500mm or
600mm lens. I prefer the 500mm only because it is much lighter and
easier for me to manage, carry, and use. My chiropractor is happier,
too. The high-quality 400mm will work, but I wouldn’t go any
smaller than 400mm. Paying the price for the highest-quality lens in
the beginning is better than buying an off-brand lens and being
unhappy with the quality.

What’s in Jeff’s Camera Bag?

Nikon D5 Nikon D4
Nikon 500mm AFS f/4
Nikon 80–200mm AFS f/2.8
Nikon AF-S DX Zoom-Nikkor 12–24mm f/4G IF-ED
Nikon 200mm micro
Bogen/Manfrotto tripod with Arca-Swiss ballhead and quick-
release plates by Really Right Stuff
Groofwin mount with Arca-Swiss ballhead
Nikon SB 5000 speedlight
Quantum battery 1+ for flash
 SanDisk CompactFlash cards (16GB–256GB) MacBook Pro
15-inch laptop
Portable hard drives, with as much memory as possible

A 200–400mm lens comes in handy for photographing large birds

in action and in flight. It will allow for more space around the
subject. Some photographers on location will have their long lens on
a tripod and the 200–400mm around their neck for quick-grab and
in-flight shots. If you use a blind or are photographing tolerant
subjects that allow a closer approach, a 300mm or 400mm lens can
work. These lenses are usually more affordable.
When I started out thirty years ago, I had a 400mm f/5.6 Nikon
lens. It was all I could afford, but it was lightweight, high-quality,
and easy to handle. With a shorter focal length, I was forced to work
from a blind, wait for my subject to become active, approach slowly,
and grab the shot. Looking back, I think this helped me hone my
skills as a bird behavior and action photographer.

My Nikon D4 with a 500mm lens and a speedlight attached to a battery pack.

Photographer in action with a long lens.

Bird photographers working with handheld cameras along the boardwalk at Wakodahatchee
Wetlands, Florida.

Shorter focal length lenses give you the chance to shoot pictures
that show the animal in its habitat and surroundings—what I call a
wildlife scenic. One of my favorite bird lenses is my wide-angle zoom
lens. If I can get close enough and the scenery is wonderful, there is
nothing better than a wide-angle bird scenic.
On the other hand, there are perks to using a lens longer than
400mm. A long focal length gives you more working distance from
the bird, which helps relax your subject. Wildlife and people have a
fight-or-flight distance. If you get too close, the subject will
disappear.
A photograph that shows a beautiful setting and includes an
animal can be an award-winner. I use a 12–24mm Nikon zoom for
my wide-angle work. Having the zoom capability allows me to crop
to perfection. I frequently shoot wildlife scenics with my other
lenses, too. When I find a beautiful setting, I try to figure out how to
get a bird in the shot.
When you acquire more lenses, continue practicing. Shoot a
flower pot with all your lenses and see how the image changes.
Photograph your pet and other moving subjects. Put a bird feeder
out, make photographs, and get to know your equipment. Take the
time to practice. You will be rewarded.

One of the highlights in my life is traveling with my kids. This Laysan Albatross on Midway
Island was very relaxed, as are all of the birds there. Alan used an 80–200mm lens and was
too close to focus.
The backdrop in Homer, Alaska, is spectacular. I wanted to make scenic images with the
Bald Eagles of the area.

This Black Oystercatcher nested in a very scenic spot, and I shot it remotely with the
camera on the ground while I was back in my car. The bird relaxed quickly with just my
camera there.
Eared Grebe family photographed with my 1.4X teleconverter on my 500mm lens, making it
a 700mm. Can you see any loss in sharpness?

The Canon 2X teleconverter. Photo courtesy of Canon.

The Nikon 1.4X teleconverter (TC-14E III). Photo courtesy of Nikon.

Teleconverters
Many birds are small, and it seems photographers always want to
get closer. A teleconverter is a lightweight and affordable way to
achieve a higher magnification.
When shopping for a teleconverter, look for one made by the
manufacturer of the lens and camera you have. The top camera
companies offer remarkable sharpness at a price that is very
affordable (about $500) compared to the super telephoto lenses. My
$8000 500mm Nikon lens becomes an $8500 700mm lens with the
1.4X converter. You can see how this helps you get “closer” to your
subject, with more magnification at an affordable price. The Nikon
600mm lens is $9500, but with a 1.4X teleconverter, it would
become a $10,000 840mm lens.

I used my PK-13 extension tube to get even closer to these Barn Swallow fledglings.

Nikon PK-13 extension tube. Photo courtesy of Nikon.

The goal is to photograph with the prime lens and no

teleconverter attached, for best quality, sharpness, and autofocus
tracking. I’d rather shoot without a teleconverter and crop in
Lightroom to “get closer.” This gives me more sharpness in my final
images.
Extension Tubes
Extension tubes (also called extension rings) fit between your lens
and camera body. These attachments, hollow rings without glass,
are commonly used in macro photography. They allow your lens to
focus closer than its normal minimum focusing distance so you can
get nearer to your subject and make it appear larger in the frame.
(The lens’s minimum focusing distance is as close as you can get to
your subject and still achieve focus.) Extension tubes come in handy
when photographing small birds, especially hummers.
When using extension tubes, you lose the ability to focus at
infinity. There will also be a loss of light (the amount depends on the
size of the tube). I use the Nikon PK13 ring, which results in the loss
of a whole stop of light.
Extension tubes are affordable (about $50) and are compatible
with the camera’s TTL exposure system, but they don’t autofocus to
my standards. Nikon doesn’t make an autofocus tube, so when using
the extension tube, I use manual focus. It’s not worth buying an off-
brand tube that autofocuses, in my opinion.

Flash
Bird photography often requires adding your own light, and a good
flash is a must. A lot can be done with one flash on-camera.
Get a flash with TTL capabilities and use it to add fill flash when
the sun is your main light source. Using fill flash will lighten shadow
areas and add a catchlight in the bird’s eye. That sparkle in the
subject’s eye is important to give life and pop to your image. Adding
a flash extender (Fresnel lens) to the front of your flash will narrow
the beam of light and send it out farther, which is often where the
bird is. Also, shooting rapid fire (i.e., in continuous mode) is
extremely important in action and wildlife photography, and the flash
extender helps speed up the recycle time of the flash. I use the
Better Beamer by Visual Echoes. Be sure to get the model that is
designed for your specific flash.
Late-morning photo, without fill, of Double-Crested Cormorant.

Shot made with fill flash (TTL-3).

The late-morning image made with flash fill is passable, but I went back in the evening and
got some nice light. When the subject is cooperative and you have the time, shoot in good
light; it is usually the best option.
This photographer got low for a good perspective. When you want to stand up and shoot,
look for a tripod that can be made tall enough to allow you to shoot without stooping over.

The downside to using on-camera flash is the potential for red

eye. The solution is to get the flash off camera; you can place it on a
bracket or have an assistant hold it. When you use this technique,
you will need a cord that attaches your flash to the camera’s
hotshoe, as well as a bracket. The more you use your flash, the
more you will see the value of using it.

Tripods, Mounts, and Heads

A sturdy tripod is a must to hold up heavy cameras and telephoto
lenses. The tripod head is just as important for holding and moving
the lens–camera combo. There are many different tripods and heads
to choose from. Get one that can stand tall enough for your height
without having to extend the center post. When you raise the center
post you are basically making your tripod a monopod, which is less
stable. Stability is of utmost importance for quality imagery—
particularly sharpness.
I actually remove the center post so I can splay the legs out and
lie on the ground. I lose the ability to raise the center post though,
which is okay with me. I like to carry my tripod over my shoulder
with my big lens attached, so I’m ready to shoot as soon as I put it
down. I add padding around the top of the legs to help my shoulder
stay comfy. This padding also provides a barrier between the metal
and my hands during cold-temperature shooting.
There are many styles and brands available, so check out some
to see how they work. The basic differences are how the legs extend
and what they are made of. Some you have to twist to loosen and
tighten the legs. Others have latches that flip up to loosen and flip
down to tighten.
Some tripods are made of lightweight, high-quality material like
carbon fiber; others are more affordable and made of aluminum. It
all comes down to your budget and what works best for your style of
shooting.
For bird photography, the tripod head is just as important as the
tripod legs. The head is designed to make your lens movement more
fluid and stable. Many wildlife photographers, including bird
photographers, love the Wimberley brand Gimbal head. Others like a
ballhead. The standard head that comes with a tripod is the three-
control pan-and-tilt head. When buying your tripod, get it without a
head and purchase the head separately. If you want to shoot more
video, consider a video head. It will allow for easier, more fluid
movements.
The Wimberley (Gimbal) is larger, more bulky, and heavier than a
ballhead. Once it is set up with your heavy camera/lens, you can let
go of it without worry that it will move or fall. It also pans and tilts
smoothly. The ballheads are smaller, lightweight, and need to be
tightened down when you let go. They are easy to maneuver but
have only one control knob. A good ballhead costs about as much as
the Wimberley. Whichever you choose, it’s important to practice with
it to become efficient.
I like the Arca-Swiss ballhead because it’s what I’m used to. It is
lightweight, compact, and has only one knob to control the
movement of the camera/lens setup. I set the tightness adjustment
on the ball so that if I let go of the camera, it will stay motionless in
position, and when I move the camera it will move and track the
bird. I spend a bit of time tightening and loosening it, and when I
crank it down tight to photograph a non-moving bird, there can be
some drift-down. If you do a lot of this kind of shooting, the more
bulky Wimberley might be more useful.
Quick-release plates are the last piece of the puzzle. Two popular
manufacturers are Kirk and Really Right Stuff. Using these plates can
help to speed up the process of getting ready to shoot pictures. Both
Gimbals and ballheads come with quick-release plates, which make
attaching the lens to the tripod easy and fast. For the quick release
to work on the tripod head, you will need male plates that attach to
your lenses and cameras, so that is an extra expense.
Each lens and body has a unique custom plate; my 500mm lens
has one, my D4 body has a different one. I leave the plate on the
lenses and cameras. When I grab the camera, I just slide it onto the
tripod head, tighten the screw knob, and I’m good to go.

Window Mounts
Window mounts are useful when you use your vehicle as a blind.
There are many options on the market. For big glass, sturdiness is
important. I use the Groofwin mount from Leonard Lee Rue. It can
be used on the window, ground, and roof (hence the name). It is
versatile, stable, and needs a ballhead mounted on it. There are
many other window mounts, so do some research to find what will
work best for you.
My first mount was a 4×4-inch piece of foam that was the length
of my truck window. I would slice 2 inches into the foam and then
place the slit over my car door’s window, with the window rolled
most of the way down. The camera and lens would rest on top of
the foam. It was an inexpensive option, but I couldn’t let go of the
camera, or it would fall off. Mounts that tighten onto the window
itself don’t seem sturdy enough for a big lens, so I prefer one that
attaches to the door.
Another random document with
no related content on Scribd:
up outside the Forbidden City on a large empty space adjoining the
Coal Hill. It was crowded with figures of attendant eunuchs and
handmaidens, and contained furniture and viands for the use of the
illustrious dead in the lower regions. A throne was placed in the
bows, and around it were kneeling effigies of attendant officials all
wearing their Robes of State as if the shade of Tzŭ Hsi were holding
an audience.
On the morning of the All Souls’ festival the Regent, in the name of
the Emperor, performed sacrifice before the barge, which was then
set alight and burnt, in order that the Old Buddha might enjoy the
use of it at the “yellow springs.” A day or two before her funeral,
hundreds of paper effigies of attendants, cavalry, camels and other
pack animals, were similarly burnt so that her spirit might enjoy all
the pomp to which she had been accustomed in life.
The following account of her funeral is reproduced from The Times
of 27th November, 1909:—

“The 9th of November at 5 a.m. was the hour of good omen

originally chosen by the Astrologers for the departure of the
remains of Her late Majesty the Empress Dowager from their
temporary resting place in the Forbidden City to the
mausoleum prepared for her at the Eastern Hills. To meet the
convenience of the foreign representatives, the hour was
subsequently changed to 7 a.m.
“The arrangements for the procession and the part taken
therein by the Diplomatic Body, were generally similar to
those of the funeral of His Majesty Kuang-Hsü, but the
mounted troops were more numerous and better turned out,
the police were noticeably smarter and well-dressed, and the
pageant as a whole was in many respects more imposing. But
for those who, in May last, witnessed the late Emperor’s
funeral, the scene lacked one element of its brilliantly
picturesque effect, namely, the bright sunshine which on that
occasion threw every detail and distinctive note of the cortège
into clear relief against the grey background of the Palace
walls. The day was cold, with lowering clouds, and the long
delay which preceded the appearance of the catafalque at the
point where the Diplomatic Body was stationed had an
inevitably depressing effect on the spectators.
“The catafalque was borne by eighty-four bearers, the
largest number which can carry this unwieldy burden through
the City gates; but beyond the walls the coffin was transferred
to a larger bier borne by one hundred and twenty men. In
front walked the Prince Regent, the bodyguard of Manchu
Princes and the members of the Grand Council, attended by
the Secretariat staff. Behind rode first a smart body of troops,
followed by a large number of camels whose Mongol
attendants carried tent-poles and other articles for use in the
erection of the ‘matshed palaces,’ wherein the coffin rests at
night at the different stages of the four days’ journey to the
tombs. Behind the Mongols were borne in procession the
gaudy honorific umbrellas presented to the Old Buddha on
the occasion of her return from exile at Hsi-an fu in 1901: all
these were burnt on the 16th instant when the body was
finally entombed. Following the waving umbrellas came a
body of Lama dignitaries, and after them a contingent from
the Imperial Equipage Department bearing Manchu sacrificial
vessels, Buddhist symbols and embroidered banners.
Conspicuous in the cortège were three splendid chariots with
trappings and curtains of Imperial yellow silk, emblazoned
with dragons and phœnixes, and two palanquins similar to
those used by the Empress Dowager on her journeys in
State; these also were burned at the mausoleum. Noticeable
figures in the procession were the six chief eunuchs, including
the notorious Li Lien-ying and the short handsome attendant
who usually accompanied the Empress’s sedan chair. The
spectacle, as a whole, was most impressive; no such pomp
and circumstance, say the Chinese, has marked the
obsequies of any Empress of China since the funeral of the
Empress Wu (circa a.d. 700) of whom the annals record that
hundreds of attendants were buried alive in her mausoleum.
 “The police arrangements attracted general attention by
their remarkable efficiency, which many Chinese attribute to
the present Empress Dowager’s constant fear of
assassination. Every closed door along the route of the
procession was closely guarded by soldiers and special
precautions taken against bomb-throwing. The street guards
were numerous and alert, and the arrangements generally
were characterised by discipline and decorum. There was
little confusion in the cortège, and none of the unseemly
shouting usual on such occasions.
“Ninety miles away, in a silent spot surrounded by virgin
pine forest and backed by protecting hills, are the Eastern
Tombs, towards which, for four days, the great catafalque
made its way along the yellow-sanded road. There stands the
mausoleum, originally built by the faithful Jung Lu for his
Imperial Mistress at a cost which stands in the government
records at eight millions of taels. It is close to the ‘Ting Ling,’
the burial-place of her husband, the Emperor Hsien-Feng. To
the west of it stands the tomb of her colleague and co-Regent
(the Empress Tzŭ An), and on the east that of the first
Consort of Hsien-Feng, who died before his accession to the
Throne, and was subsequently canonised as Empress.
Throughout her lifetime, and particularly of late years,
Yehonala took great interest and pride in her last resting-
place, visiting it at intervals and exacting the most scrupulous
attention from those entrusted with its building and
adornment. On one occasion, in 1897, when practically
completed, she had it rebuilt because the teak pillars were not
sufficiently massive. After the death of Jung Lu, Prince Ch’ing
became responsible for the custody of the tomb and its
precious contents—the sacrificial vessels of carved jade, the
massive vases and incense burners of gold and silver, which
adorn the mortuary chamber; the richly-jewelled couch to
receive the coffin, and the carved figures of serving maids
and eunuchs who stand for ever in attendance. After the last
ceremony at the tomb, when the Princes, Chamberlains and
high officials had taken their final farewell of the illustrious
dead, while the present Empress Dowager, with her
attendants and the surviving consorts of the Emperors Hsien-
Feng and T’ung-Chih, offered the last rites in the mortuary
chamber, the massive stone door of the tomb was let down
and the resting-place of Tzŭ Hsi closed for ever.
“The cost of the late Emperor’s funeral has been officially
recorded, with the nice accuracy which characterises Chinese
finance, at 459,940 taels, 2 mace, 3 candareens and 6 li. As
the cost of a funeral in China closely reflects the dignity of the
deceased and the “face” of his or her immediate survivors,
these figures become particularly interesting when compared
with the cost of the Empress Dowager’s funeral, which is
placed at one and a-quarter to one and a-half million taels.
Rumour credited the Regent with an attempt to cut down this
expenditure, which attempt he abandoned at the last moment
in the face of the displeasure of the powerful Yehonala Clan.
That the Old Buddha’s magnificent funeral was appreciated
by the populace of Peking is certain, for to them she was for
fifty years a sympathetic personality and a great ruler.
“The conveyance of Her Majesty’s ancestral tablet from the
tombs of the Eastern Hills to its resting-place in the Temple of
Ancestors in the Forbidden City was a ceremony in the
highest degree impressive and indicative of the vitality of
those feelings which make ancestor-worship the most
important factor in the life of the Chinese. The tablet, a simple
strip of carved and lacquered wood, bearing the name of the
deceased in Manchu and Chinese characters, had been
officially present at the burial. With the closing of the great
door of the tomb the spirit of the departed ruler is supposed to
be translated to the tablet, and to the latter is therefore given
honour equal to that which was accorded to the sovereign
during her lifetime. Borne aloft in a gorgeous chariot draped
with Imperial yellow silk and attended by a large mounted
escort, Tzŭ Hsi’s tablet journeyed slowly and solemnly, in
three days’ stages, from the Eastern Hills to Peking. At each
stage it rested for the night in a specially constructed pavilion,
being ‘invited’ by the Master of the Ceremonies, on his knees
and with all solemnity, to be pleased to leave its chariot and
rest. For the passage of this habitation of the spirit of the
mighty dead the Imperial road had been specially prepared
and swept by an army of men; it had become a via sacra on
which no profane feet might come or go. As the procession
bearing the sacred tablet drew near to the gates of the capital,
the Prince Regent and all the high officers of the Court knelt
reverently to receive it. All traffic was stopped; every sound
stilled in the streets, where the people knelt to do homage to
the memory of the Old Buddha. Slowly and solemnly the
chariot was borne through the main gate of the Forbidden City
to the Temple of the Dynasty’s ancestors, the most sacred
spot in the Empire, where it was ‘invited’ to take its appointed
place among the nine Ancestors and their thirty-five Imperial
Consorts. Before this could be done, however, it was
necessary that the tablets of Tzŭ Hsi’s son, T’ung-Chih, and
of her daughter-in-law, should first be removed from that
august assembly, because due ceremony required that the
arriving tablet should perform obeisance to those of its
ancestors, and it would not be fitting for the tablet of a parent
to perform this ceremony in the presence of that of a son or
daughter-in-law. The act of obeisance was performed by
deputy, in the person of the Regent acting for the child
Emperor, and consisted of nine kowtows before each tablet in
the Temple, or about 400 prostrations in all. When these had
been completed, with due regard to the order of seniority of
the deceased, the tablets of the Emperor T’ung-Chih and his
wife were formally ‘invited’ to return to the Temple, where
obeisance was made on their behalf to the shade of Tzŭ Hsi
which had been placed in the shrine beside that of her former
colleague and co-Regent, the Empress Tzŭ An. Thus ended
the last ceremonial act of the life and death of this remarkable
woman; but her spirit still watches over the Forbidden City
and the affairs of her people, who firmly believe that it will in
due time guide the nation to a happy issue out of all their
afflictions. As time goes on, the weaknesses of her character
 and the errors of her career are forgotten, and her greatness
only remembered. And no better epitaph could be written for
this great Manchu than that of her own valedictory Decree
which, rising above all the pettiness and humiliations of her
reign, looking death and change steadfastly in the face, raises
her in our eyes (to quote a writer in the Spectator)[130] ‘to that
vague ideal state of human governance imagined by the
Greek, when the Kings should be philosophers and the
philosophers Kings.’”

Marble Bridge over the Lake in the Western Park which surrounds the
Lake Palace.

Photo, Betines, Peking.

“Ti Wang Miao” or Temple to the Memory of Virtuous Emperors of
Previous Dynasties.

Photo, Betines, Peking.

 XXVIII
CONCLUSION

“All sweeping judgments,” says Coleridge, “are unjust.”

“Comprendre,” says the French philosopher, “c’est tout pardonner.”
To understand the life and personality of the Empress Dowager, it is
before everything essential to divest our minds of racial prejudice
and to endeavour to appreciate something of the environment and
traditions to which she was born. In the words of the thoughtful
article in the Spectator, already quoted, “she lived and worked and
ruled in a setting which is apart from all western modes of thought
and standards of action, and the first step in the historian’s task is to
see that she is judged by her own standards and not wholly by ours.”
Judged by the rough test of public opinion and accumulating
evidence in her own country, Tzŭ Hsi’s name will go down to history
in China as that of a genius in statecraft and a born ruler, a woman
“with all the courage of a man, and more than the ordinary man’s
intelligence.”[131]
Pending that reform and liberty of the press which is still the
distant dream of “Young China,” no useful record of the life and times
of the Empress Dowager is to be expected from any Chinese writer.
Despite the mass of information which exists in the diaries and
archives of metropolitan officials and the personal reminiscences of
those who knew her well, nothing of any human interest or value has
been published on the subject in China. From the official and
orthodox point of view, a truthful biography of the Empress would be
sacrilege. It is true that in the vernacular newspapers under
European protection at the Treaty Ports, as well as in Hongkong and
Singapore, Cantonese writers have given impressions of Her
Majesty’s personality and brief accounts of her life, but these are so
hopelessly biassed and distorted by hatred of the Manchus as to be
almost worthless for historical purposes, as worthless as the dry
chronicles of the Dynastic annals. Reference has already been made
to the best known of these publications, a series of letters originally
published in a Singapore newspaper and republished under the title
of “The Chinese Crisis from within,”[132] by a writer who, under the
nom-de-plume of “Wen Ching,” concealed the identity of one of
K’ang Yu-wei’s most ardent disciples. His work is remarkable for
sustained invective and reckless inaccuracy, clearly intended to
create an atmosphere of hatred against the Manchus (for the
ultimate benefit of the Cantonese) in the minds of his countrymen,
and to dissuade the foreign Powers from allowing the Empress to
return to Peking. Drawing on a typically Babu store of “western
learning,” this writer compares the Empress to Circe, Semiramis,
Catherine de Medici, Messalina, Fulvia, and Julia Agrippina; quoting
Dante and Rossetti to enforce his arguments, and leavening his
vituperation with a modicum of verifiable facts sufficient to give to his
narrative something of vraisemblance. But his judgment is
emphatically sweeping. He ignores alike Tzŭ Hsi’s undeniable good
qualities and her extenuating circumstances, the defects of her
education and the difficulties of her position, so that his work is
almost valueless.
Equally valueless, for purposes of historical accuracy, are most of
the accounts and impressions of the Empress recorded by those
Europeans (especially the ladies of the Diplomatic Body and their
friends) who saw her personality and purposes reflected in the false
light which beats upon the Dragon Throne on ceremonial occasions,
or who came under the influence of the deliberate artifices and
charm of manner which she assumed so well. Had the etiquette of
her Court and people permitted intercourse with European diplomats
and distinguished visitors of the male sex, she would certainly have
acquired, and exercised over them also, that direct personal
influence which emanated from her extraordinary vitality and will-
power, influence such as the western world has learned to associate
with the names of the Emperor William of Germany and Mr.
Roosevelt. Restricted as she was to social relations with her own sex
amongst foreigners, she exerted herself, and never failed, to
produce on them an impression of womanly grace and gentleness of
disposition, which qualities we find accordingly praised by nearly all
who came in contact with her after the return of the Court, aye, even
by those who had undergone the horrors of the siege under the very
walls of her Palace. The glamour of her mysterious Court, the rarity
of the visions vouchsafed, the real charm of her manner, and the
apparently artless bonhomie of her bearing, all combined to create in
the minds of the European ladies who saw her an impression as
favourable as it was opposed to every dictate of common sense and
experience. In certain notable instances, the effect of this impression
reacted visibly on the course of the Peace Protocol negotiations.
From the diary of Ching Shan we obtain an estimate of Tzŭ Hsi’s
character, formed by one who had enjoyed for years continual
opportunities of studying her at close quarters—an estimate which
was, and is, confirmed by the popular verdict, the common report of
the tea-houses and market places of the capital. Despite her swiftly
changing and uncontrolled moods, her childish lack of moral sense,
her unscrupulous love of power, her fierce passions and revenges,
Tzŭ Hsi was no more the savage monster described by “Wen
Ching,” than she was the benevolent, fashion-plate Lady Bountiful of
the American magazines. She was simply a woman of unusual
courage and vitality, of strong will and unbounded ambition, a
woman and an Oriental, living out her life by such lights as she knew,
and in accordance with the traditions of her race and caste. Says
Ching Shan in the Diary: “The nature of the Empress is peace-loving:
she has seen many springs and autumns. I myself know well her
refined and gentle tastes, her love of painting, poetry and the
theatre. When in a good mood she is the most amiable and tractable
of women, but at times her rage is awful to witness.” Here we have
the woman drawn from life, without arrière pensée, by a just but
sympathetic observer, the woman who could win, and hold, the
affectionate loyalty of the greatest men of her time, not to speak of
that of her retainers and serving maids; the woman whose human
interest and sympathy in everything around her, were not withered
by age nor staled by custom; yet who, at a word, could send the
fierce leaders of the Boxers cowering from her presence. Souvent
femme varie. Tzŭ Hsi, her own mistress and virtual ruler of the
Empire at the age of twenty-four, had not had much occasion to
learn to control either her moods or her passions. Hers, from the
first, was the trick and temper of autocracy. Trained in the traditions
of a Court where human lives count for little, where power maintains
itself by pitiless and brutal methods, where treason and foul deeds
lie in waiting for the first signs of the ruler’s weakness, how should
she learn to put away from the Forbidden City the hideous
barbarities of its ways?
Let us remember her time and place. Consider the woman’s
environment and training, her marriage to a dissolute puppet, her
subsequent life in that gilded prison of the Imperial City, with its
endless formalities, base intrigues and artificial sins. Prior to the
establishment of China’s first diplomatic relations with European
nations, the Court of Peking and its ways bore a strong resemblance
to those of Medieval Europe; nor have successive routs and
invasions since that date changed any of its cherished traditions and
methods. In the words of a recent writer on medieval history, the life
of the Peking Palace, like that of our fourteenth century, “was one of
profound learning and crass stupidity, of infantile gaiety and sudden
tragedy, of flashing fortunes and swift dooms. There is a certain
innocence about the very sinners of the thirteenth and fourteenth
centuries. Many of their problems, indeed, arose from the fact that
this same childlike candour was allied to the unworn forces of full
manhood.” Whatever crimes of cruelty and vengeance Tzŭ Hsi
committed—and they were many—be it said to her credit that she
had, as a rule, the courage of her convictions and position, and
sinned coram publico. Beneath the fierceness without which an
Oriental ruler cannot hope to remain effective, there certainly beat a
heart which could be kind, if the conditions were propitious, and a
rough sense of humour, which is a common and pleasing trait of the
Manchus.
Let us also remember that in the East to-day (as it was with us of
Europe before the growth of that humanitarianism which now shows
signs of unhealthy exaggeration) pain and death are part of the
common, every-day risks of life, risks lightly incurred by the average
Oriental in the great game of ambitions, loves and hates that is for
ever played around the Throne. Tzŭ Hsi played her royal part in the
great game, but it is not recorded of her that she ever took life from
sheer cruelty or love of killing. When she sent a man to death, it was
because he stood between her and the full and safe gratification of
her love of power. When her fierce rage was turned against the
insolence of the foreigner, she had no scruple in consigning every
European in China to the executioner; when the Emperor’s favourite
concubine disputed her Imperial authority, she had no hesitation in
ordering her to immediate death; but in every recorded instance,
except one, her methods were swift, clean, and, from the Oriental
point of view, not unmerciful. She had no liking for tortures, or the
lingering death. In all her Decrees of vengeance, we find the same
unhesitating firmness in removing human obstacles from her path,
combined with a complete absence of that unnecessary cruelty
which is so frequently associated with despotism. Her methods, in
fact, were Elizabethan rather than Florentine.
If Tzŭ Hsi developed self-reliance early in life, the fact is not to be
wondered at, for it was little help that she had to look for in her
entourage of Court officials. Amongst the effete classical scholars,
the fat-paunched Falstaffs, the opium sots, doddering fatalists and
corrupt parasites of the Imperial Clans, she seems, indeed, to have
been an anachronism, a “cast-back” to the virility and energy that
won China for her sturdy ancestors. She appeared to be the born
and inevitable ruler of the degenerate Dynasty, and if she became a
law unto herself, it was largely because there were few about her fit
to lead or to command.
Imbued with a very feminine love of luxury, addicted to pleasure,
and at one period of her life undoubtedly licentious after the manner
of her Court’s traditions, she combined these qualities with a shrewd
common sense and a marked penchant for acquiring and amassing
personal property. To use her own phrase, she endeavoured in all
things to observe the principle of the “happy mean,” and seldom
allowed her love of pleasure to obscure her vision or to hinder her
purposes in the serious businesses of life.
Like many great rulers of the imperious and militant type, she was
remarkably superstitious, a punctilious observer of the rites
prescribed for averting omens and conciliating the myriad gods and
demons of the several religions of China, a liberal supporter of
priests and soothsayers. Nevertheless, as with Elizabeth of England,
her secular instincts were au fond stronger than all her superstitions.
That sturdy common sense, which played so successfully upon the
weaknesses and the passions of her corrupt entourage, never
allowed any consideration for the powers unseen to interfere
seriously with her masterful handling of things visible, or to curb her
ruling passion for unquestioned authority.
The qualities which made up the remarkable personality of the
Empress were many and complex, but of those which chiefly
contributed to her popularity and power we would place, first, her
courage, and next, a certain simplicity and directness—both qualities
that stand out in strong relief against the timorous and tortuous
tendencies of the average Manchu. Of her courage there could be
no doubt; even amidst the chaos of the days of the Boxer terror it
never failed her, and Ching Shan is only one of many who bear
witness to her unconquerable spirit and sang froid. Amidst scenes of
desolation and destruction that might well shake the courage of the
bravest men, we see her calmly painting bamboos on silk, or giving
orders to stop the bombardment of the Legations to allow of her
excursion on the Lake. How powerful is the dramatic quality of that
scene where she attacks and dominates the truculent Boxer leaders
at her very doors; or again when, on the morning of the flight, she
alone preserves presence of mind, and gives her orders as coolly as
if starting on a picnic! At such moments all the defects of her training
and temperament are forgotten in the irresistible appeal of her nobler
qualities.
Of those qualities, and of her divine right to rule, Tzŭ Hsi herself
was fully convinced, and no less determined than His Majesty of
Germany, to insist upon proper recognition and respect for herself
and her commanding place in the scheme of the universe. Her belief
in her own supreme importance, and her superstitious habit of
thought were both strikingly displayed on the occasion when her
portrait, painted by Miss Carl for the St. Louis Exposition, was taken
from the Waiwupu on its departure to the United States. She
regarded this presentment of her august person as entitled, in all
seriousness of ceremonial, to the same reverence as herself and
gave orders for the construction of a miniature railway, to be built
through the streets of the capital for its special benefit. By this means
the “sacred countenance” was carried upright, under its canopy of
yellow silk, and Her Majesty was spared the thought of being borne
in effigy on the shoulders of coolies—a form of progress too
suggestively ill-omened to be endured. Before the portrait left the
Palace, the Emperor was summoned to prostrate himself before it,
and at its passing through the city, and along the railway line, the
people humbly knelt, as if it had been the Old Buddha of flesh and
blood. Incidents of this kind emphasise the impossibility of fairly
judging the Empress by European standards of conduct and ideas.
To get something of the proper atmosphere and perspective, we
must go back to the early days of the Tudors.
 Portrait of the Empress Dowager.

Painted from life by Miss Catharine A. Carl for the St. Louis
Exposition, and now the property of the American Nation.

(Reproduced by permission of the Artist.)

 Blunt of speech herself, she was quick to detect and resent
flattery. Those who rose highest in her affection and regard were
essentially strong men, blunt outspoken officials of the type of Jung
Lu, Tseng Kuo-fan, and Tso Tsung-t’ang; for those who would win
her favour by sycophancy she had a profound contempt, which she
was at no pains to conceal, though in certain instances (e.g., Chang
Chih-tung) she overlooked the offence because of ripe scholarship
or courage. An amusing example of this trait in her character
occurred on one occasion when, after perusing the examination
papers for the selection of successful candidates for the Hanlin
Literary degrees, she expressed herself in the following trenchant
Decree:—

“A certain candidate in the Hanlin examination, named Yen

Chen, has handed in some verses, the style of which is
excellent, but their subject matter contains a number of
allusions laudatory of the present Dynasty. This person has
evidently gone out of his way to refer to the present rulers of
the Empire, and has even seen fit to display gross flattery, for
his essay contains, amongst others, a sentence to the effect
that ‘we have now upon the Throne a female embodiment of
Yao and Shun.’[133] Now, the Throne defines merit in
candidates to-day on the same principles as those which
were in force under former Dynasties, its object being to form
a correct idea of the moral standards of candidates by perusal
of their essays and lyrical compositions. But this effort of Yen
Chen is nothing more than a laudatory ode, entirely lacking in
high seriousness. This is a grave matter: the question
involved is one closely affecting character and moral training;
such conduct cannot possibly be permitted to continue. The
examiners have placed Yen Chen at the top of the list in the
First Class; he is hereby relegated to the last place in that
class. Let our examiners for the future take more care in
scrutinising the papers submitted.”
 As was only natural, Tzŭ Hsi was not above favouring her own
people, the Manchus, but one great secret of the solidity of her rule
undoubtedly lay in her broad impartiality and the nice balance which
she maintained between Chinese and Manchus in all departments of
the Government. She had realised that the brains and energy of the
country must come from the Chinese, and that if the Manchus were
to retain their power and sinecure positions, it must be with the good
will of the Chinese and the loyalty of the Mandarin class in the
provinces. From the commencement of her rule, down to the day
when she handed over her Boxer kinsmen to the executioner, she
never hesitated to inflict impartial punishment on Manchus, when
public opinion was against them. A case in point occurred in 1863, in
connection with one of her favourite generals, named Sheng Pao,
who had gained her sincere gratitude by his share in the war against
the British and French invaders in 1860, and who, by luck and the
ignorance of the Court, had been credited with having stopped the
advance of the Allies to Jehol. For these alleged services she had
awarded him special thanks and high honour. In 1863, however, he
was engaged in Shensi, fighting the Taipings, and, following a
custom not unusual amongst Chinese military commanders, had
asked leave to win over one of the rebel leaders by giving him an
important official position. Tzŭ Hsi, who had had ample opportunities
to learn something of the danger of this procedure, declined to
sanction his request, pointing out the objections thereto. Sheng Pao
ventured to suppress her Decree, and gave the rebel the position in
question. Success might have justified him, but the ex-bandit justified
Tzŭ Hsi by going back on his word. Awaiting a good opportunity, he
raised once more the standard of revolt, massacred a number of
officials, and captured several important towns. General Sheng Pao
was arrested and brought in custody to Peking; under cross-
examination he confessed, amongst other misdemeanours, that he
had permitted women to accompany the troops during this
campaign, which, by Chinese military law, is a capital offence. Other
charges against him, however, he denied, and, preserving an
insolent attitude, demanded to be confronted with his accusers. Tzŭ
Hsi issued a characteristically vigorous Decree in which she
declared that the proper punishment for his offence was
decapitation, but inasmuch as he had acquired merit by good work
against the Taipings, as well as against the British and French
invaders, she graciously granted him the privilege of committing
suicide, of which he promptly availed himself.
Tzŭ Hsi, as we have said, was extremely superstitious; nor is this
matter for wonder when we bear in mind the medieval atmosphere of
wizardous necromancy and familiar spirits which she had perforce
absorbed with her earliest education. Following the precepts of
Confucius, she preserved always a broad and tolerant attitude on all
questions of religion, but, while reluctant to discuss things
appertaining to the unknown gods, she was always prepared to
conciliate them, and to allow her actions in everyday affairs to be
guided by the words of her wise men and astrologers—“by dreams,
and by Urim and by prophets.” Thus we find her in the first year of
the Regency of her son’s minority (1861) issuing, in his name, a
Decree, which carries back the mind irresistibly to Babylon and those
days when the magicians and soothsayers were high personages in
the State.

“During the night of the 15th of the 7th Moon,” it begins,

“there occurred a flight of shooting stars in the southern
hemisphere; ten days later, a comet appeared twice in the sky
to the north-west. Heaven sends not these warnings in vain.
For the last month Peking has been visited by a grievous
epidemic, whereof the continued severity fills us with sore
dismay. The Empresses Dowager have now warned us that
these portents of Heaven are sent because of serious wrong
in our system of government, of errors unreformed and
grievances unredressed,” and the Decree ends by exhorting
all concerned “to put away frivolous things, so that Heaven,
perceiving our reverend attitude, may relent.”

In previous chapters we have shown with what punctilious

attention she consulted her astrologers in regard to the propitious
day for re-entering her capital on the Court’s return from exile, her
anxiety for scrupulous observance of their advice being manifestly
sincere. In her concern for omens and portents she seemed, like
Napoleon, to obey instincts external and superior to another and
very practical side of her nature, which, however, asserted itself
unmistakably whenever vital issues were at stake and her supreme
authority threatened. She was at all times anxious to secure the
goodwill of the ancestral spirits, whose presence she apprehended
as a living reality, but even with these, when it came to a direct issue
between her own despotic authority and their claims to
consideration, she never hesitated to relegate the mighty dead to the
background, content to appease them in due season by suitable
expressions of reverence and regret. The most notable instance of
this kind occurred when, disregarding the Dynastic laws of
succession, she deprived her son, the Emperor T’ung-Chih, of the
rites of ancestral worship, committing thus a crime which, as she well
knew, was heinous in the eyes of the Chinese people.
Her superstitious tendencies were most remarkably displayed in
the matter of the selection of the site of her tomb, and its building, an
occasion of which the Court geomancers took full advantage. When
T’ung-Chih reached his majority in 1873, his first duty was to escort
the Empresses Dowager to the Eastern Mausolea, where, with much
solemnity, two auspicious sites, encircled by hills and watered by
streams, were selected and exorcised of all evil influences. Further
ceremonies and mystic calculations were required to determine the
auspicious dates for the commencement of building operations; in
these, and the adornment of the tomb, Tzŭ Hsi continued to take the
keenest interest until the day of her death. In order to secure
scrupulous regard for its construction in accordance with the
requirements of her horoscope, and to make her sepulchre a fitting
and all-hallowed resting-place, she entrusted its chief supervision to
Jung Lu, who thus secured a permanent post highly coveted by
Manchu officials, in which huge “squeezes” were a matter of
precedent. The geomantic conditions of these burial places gave
unusual trouble, the tomb of the Empress Tzŭ An having eventually
to be shifted fifteen feet two inches northwards, and four feet seven
and a half inches westwards, before the spirits of her ancestors were
perfectly satisfied, while that of Tzŭ Hsi was removed seven feet four
inches to the north and eight inches to the eastward.
 Tzŭ Hsi feared no man. From the first moment of her power,
secure in the sense of divine right and firmly believing in her “star,”
she savoured her authority like a rich wine. The pleasure she derived
from delivering homilies to the highest officials in the Empire may be
read between the lines of her Decrees. Already in 1862, that is to
say, before she was twenty-seven years of age, we find her solemnly
admonishing the Grand Council on their duties, urging them to adopt
stricter standards of conduct, and to put a check on their corrupt
tendencies. “They are, of course, not debarred from seeking advice
from persons below them in society, but let them be careful to avoid
any attempt at forming cabals or attracting to themselves troops of
followers.” And on another occasion, when she specially invited the
Censors to impeach Prince Kung, she observed: “In discussing the
principles of just government you should remember the precept of
the Confucian school, which is, ‘Be not weary in well-doing: strict
rectitude of conduct is the road royal to good government. Face and
overcome your difficulties, and thus eventually earn the right to
ease.’” Tzŭ Hsi could turn out this sort of thing, which appeals to
every Chinese scholar, in good style and large quantities. She took
pride in the manufacture of maxims for the guidance of the
Mandarins, but there was always a suspicion that her tongue was in
her cheek while she carefully penned these copybook platitudes, just
as we know there was when she set herself to display what The
Times correspondent at Peking called her “girlish abandon,” in order
to regain the affection of Mrs. Conger and the ladies of the
Diplomatic Body.
Of the Empress Dowager’s popularity and prestige with all classes
of her subjects, there is no doubt. At Peking especially, and
throughout the Metropolitan Province, she was the object of a very
general and very sincere affection; seldom is her name spoken
except with expressions of admiration and regard, very similar in
effect to the feelings of the British people for Her Majesty Queen
Victoria. Although her share of responsibility for the Boxer rising and
for the consequent sufferings inflicted on the people was matter of
common knowledge, little or no blame was ever imputed to the Old
Buddha. Her subjects loved her for her very defects, for the
foolhardy courage that had staked the Empire on a throw. Amongst