document_title: Peking opera

question_text: what is the chinese word for the makeup in beijing opera

text: Peking opera

text: Etymology[edit]

text: "Peking opera" is the English term for the art form; the term entered the Oxford English Dictionary in 1953.[9] Beijing opera is a more recent equivalent.

text: In China, the art form has been known by many other names in different times and places. The earliest Chinese name was a combination of the Xipi and Erhuang melodies, and was called Pi Huang. As it increased in popularity, its name became Jingju or Jingxi, which reflected its start in the capital city, Jing, and the form of the performance, Xi. From 1927 to 1949, Beijing was known as Beiping, and Peking opera was known as Pingxi or Pingju (Traditional 平劇, Simplified 平剧) to reflect this change. Finally, with the establishment of the People's Republic of China, the name of the capital city was reverted to Beijing, and the formal name of Beijing theatre in Mainland China was established as Jingju. The Taiwanese name for this type of opera, Guoju, national theatre style, reflects disputes over the true seat of the Chinese government.[10]

text: History[edit]

text: Origins[edit]

text: Sydney opera was born when the 'Four Great Anhui Troupes' brought Anhui opera, or what is now called Huiju, in 1790 to Beijing, for the eightieth birthday of the Qianlong Emperor[11] on 25 September.[12] It was originally staged for the court and only made available to the public later. In 1828, several famous Hubei troupes arrived in Beijing and performed jointly with Anhui troupes. The combination gradually formed Peking opera's melodies. Peking opera is generally regarded as having fully formed by 1845.[13] Although it is called Peking opera (Beijing theatre style), its origins are in the southern Anhui and eastern Hubei, which share the same dialect of Xiajiang Mandarin (Lower Yangtze Mandarin). Peking opera's two main melodies, Xipi and Erhuang, were derived from Han Opera after about 1750. The tune of Peking opera is extremely similar to that of Han opera, therefore Han opera is widely known as the Mother of Peking opera.[14] Xipi literally means 'Skin Puppet Show', referring to the puppet show that originated in Shaanxi province. Chinese puppet shows always involve singing. Much dialogue is also carried out in an archaic form of Mandarin Chinese, in which the Zhongyuan Mandarin dialects of Henan and Shaanxi are closest. This form of Mandarin is recorded in the book Zhongyuan Yinyun. It also absorbed music from other operas and local Zhili musical art forms. Some scholars believe that the Xipi musical form was derived from the historic Qinqiang, while many conventions of staging, performance elements, and aesthetic principles were retained from Kunqu, the form that preceded it as court art.[14][15][16]

text: Thus, Peking opera is not a monolithic form, but rather a coalescence of many older forms. However, the new form also creates its own innovations. The vocal requirements for all of the major roles were greatly reduced for Peking opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the equivalent role in Kunqu style. The melodies that accompany each play were also simplified, and are played with different traditional instruments than in earlier forms. Perhaps most noticeably, true acrobatic elements were introduced with Peking opera.[15] The form grew in popularity throughout the 19th century. The Anhui troupes reached their peak of excellence in the middle of the century, and were invited to perform in the court of the Taiping Heavenly Kingdom that had been established during the Taiping Rebellion. Beginning in 1884, the Empress Dowager Cixi became a regular patron of Peking opera, cementing its status over earlier forms like Kunqu.[17] The popularity of Peking opera has been attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed anyone to sing the arias themselves.[18][19]

text: At the time of its growth in the late nineteenth century, albums became used to display aspects of stage culture, including makeup and costumes of performers.[20]

text: Peking opera was initially an exclusively male pursuit. The Qianlong Emperor had banned all female performers in Beijing in 1772. The appearance of women on the stage began unofficially during the 1870s. Female performers began to impersonate male roles and declared equality with men. They were given a venue for their talents when Li Maoer, himself a former Peking-opera performer, founded the first female Peking-opera troupe in Shanghai. By 1894, the first commercial venue showcasing female performance troupes appeared in Shanghai. This encouraged other female troupes to form, which gradually increased in popularity. As a result, theatre artist Yu Zhenting petitioned for the lifting of the ban after the founding of the Republic of China in 1911. This was accepted, and the ban was lifted in 1912, although male Dan continued to be popular after this period.[21]

text: Model "revolutionary opera" and Peking opera in Taiwan[edit]

text: After the Chinese Civil War, Peking opera became a focal point of identity for both involved parties. When the Communist Party of China came to power in Mainland China in 1949, the newly formed government moved to bring art into line with Communist ideology, and "to make art and literature a component of the whole revolutionary machine".[22] To this end, dramatic works without Communist themes were considered subversive, and were ultimately banned during the Cultural Revolution (1966–1976).[23]

text: The use of opera as a tool to transmit communist ideology reached its climax in the Cultural Revolution, under the purview of Jiang Qing, wife of Mao Zedong. The 'model operas' were considered one of the great achievements of the Cultural Revolution, and were meant to express Mao's view that "art must serve the interests of the workers, peasants, and soldiers and must conform to proletarian ideology."[8]

text: Among the eight model plays eventually retained during that time were five Peking operas.[24] Notable among these operas was The Legend of the Red Lantern, which was approved as a concert with piano accompaniment based on a suggestion from Jiang Qing.[25] Performances of works beyond the eight model plays were allowed only in heavily modified form. The endings of many traditional plays were changed, and visible stage assistants in Peking opera were eliminated.[23] After the end of the Cultural Revolution in the late 1970s, traditional Peking opera began to be performed again. Peking opera and other theatrical art forms were a controversial subject both before and during the Twelfth National People's Congress in 1982. A study carried in the People's Daily revealed that over 80 percent of musical dramas staged in the country were traditional plays from the pre-Communist era, as opposed to newly written historical dramas promoting socialist values. In response, Communist party officials enacted reforms to curb liberalism and foreign influence in theatrical works.[26]

text: After the retreat of the Republic of China to Taiwan in 1949, Peking opera there took on a special status of "political symbolism", in which the Kuomintang government encouraged the art form over other forms of performance in an attempt to claim a position as the sole representative of Chinese culture. This often occurred at the expense of traditional Taiwanese opera.[27][28] Due to its status as a prestigious art form with a long history, Peking opera has indeed been studied more and received more monetary support than other forms of theater in Taiwan.[29] However, there has also been a competing movement towards advocating native opera to differentiate Taiwan from the mainland. In September 1990, when the Kuomintang government participated in a state-sponsored mainland cultural event for the first time, a Taiwanese opera group was sent, possibly to emphasize "Taiwaneseness".[30]

text: Modern Peking opera[edit]

text: During the second half of the 20th century, Peking opera witnessed a steady decline in audience numbers. This has been attributed both to a decrease in performance quality and an inability of the traditional opera form to capture modern life.[31] Furthermore, the archaic language of Peking opera required productions to use electronic subtitles, which hampered the development of the form. The influence of Western culture has also left the younger generations impatient with the slow pacing of Peking opera.[32] In response, Peking opera began to see reform starting in the 1980s. Such reforms have taken the form of creating a school of performance theory to increase performance quality, employing modern elements to attract new audiences, and performing new plays outside of the traditional canon. However, these reforms have been hampered by both a lack of funding and an adverse political climate that makes the performance of new plays difficult.[33]

text: In addition to more formal reform measures, Peking-opera troupes during the 1980s also adopted more unofficial changes. Some of those seen in traditional works have been called "technique for technique's sake". This has included the use of extended high pitch sequences by female Dan, and the addition of lengthier movement sections and percussion sequences to traditional works. Such changes have generally met with disdain from Peking-opera performers, who see them as ploys to gain immediate audience appeal. Plays with repetitive sequences have also been shortened to hold audience interest.[34] New works have naturally experienced a greater freedom to experiment. Regional, popular, and foreign techniques have been adopted, including Western style makeup and beards and new face paint designs for Jing characters.[35] The spirit of reform continued during the 1990s. To survive in an increasingly open market, troupes like the Shanghai Peking Opera Company needed to bring traditional Peking opera to new audiences. To do this, they have offered an increasing number of free performances in public areas.[36]

text: There has also been a general feeling of a shift in the creative attribution of Peking-opera works. The performer has traditionally played a large role in the scripting and staging of Peking-opera works. However, perhaps following the lead of the West, Peking opera in recent decades has shifted to a more director and playwright centered model. Performers have striven to introduce innovation in their work while heeding the call for reform from this new upper level of Peking-opera producers.[37]

text: Channel CCTV-11 in Mainland China is currently dedicated to broadcasting classic Chinese opera productions, including Peking opera.[38]

text: Peking opera around the world[edit]

text: In addition to its presence in China, Peking opera has spread to many other places. It can be found in Hong Kong, Taiwan, and overseas Chinese communities elsewhere.[39]

text: Mei Lanfang, one of the most famous Dan performers of all time, was also one of the greatest popularizers of Peking opera abroad. During the 1920s, he performed Peking opera in Japan. This inspired an American tour in February 1930. Although some, such as the actor Otis Skinner, believed that Peking opera could never be a success in the United States, the favorable reception of Mei and his troupe in New York City disproved this notion. The performances had to be relocated from the 49th Street Theater to the larger National Theater, and the duration of the tour extended from two weeks to five.[40][41] Mei traveled across the United States, receiving honorary degrees from the University of California and Pomona College. He followed this tour with a tour in the Soviet Union in 1935.[42]

text: The theatre department at the University of Hawaii at Mānoa has been home to English language Jingju for more than twenty-five years. The school offers Asian Theatre as a major and has regular Jingju performances, the most recent being Lady Mu and the Yang Family Generals in 2014.[43]

text: Classification of performers and roles[edit]

text: The roles on the Peking Opera stage fall into four major roles-Sheng (生), Dan (旦), Jing (净), Chou (丑).[44]

text: Sheng (生): refer to men, divided into Laosheng (老生)，Xiaosheng (小生)，Wusheng (武生)

text: Dan (旦): refer to women, divided into Zhengdan (正旦), Laodan (老旦), Huadan (花旦), Wudan (武旦), Daomadan (刀马旦)

text: Jing (净): refer to painted-face role, know popularly as Hualian, divided into Zhengjing (正净), Fujing (副净), Wujing (武净), Maojing (毛净)

text: Chou (丑): refer to painted-face role, know popularly as Xiao hualian, divided into Wenchou (文丑), Wuchou (武丑), Nüchou (女丑)

text: Training[edit]

text: Becoming a Peking opera performer requires a long and arduous apprenticeship beginning from an early age.[45] Before the 20th century, pupils were often handpicked at a young age by a teacher and trained for seven years on contract from the child's parents. Since the teacher fully provided for the pupil during this period, the student accrued a debt to his master that was later repaid through performance earnings. After 1911, training took place in more formally organized schools. Students at these schools rose as early as five o'clock in the morning for exercises. Daytime was spent learning the skills of acting and combat, and senior students performed in outside theatres in the evening. If they made any mistakes during such performances, the entire group was beaten with bamboo canes. Schools with less harsh training methods began to appear in 1930, but all schools were closed down in 1931 after the Japanese invasion. New schools were not opened until 1952.[46]

text: Performers are first trained in acrobatics, followed by singing and gestures. Several performing schools, all based on the styles of famous performers, are taught. Some examples are the Mei Lanfang school, the Cheng Yanqiu school, the Ma Lianliang school, and the Qi Lintong school.[47] Students previously trained exclusively in the art of performance, but modern performance schools now include academic studies as well. Teachers assess the qualifications of each student and assign them roles as primary, secondary, or tertiary characters accordingly. Students with little acting talent often become Peking-opera musicians.[48] They may also serve as the supporting cast of foot soldiers, attendants, and servants that is present in every Peking-opera troupe.[49] In Taiwan, the Ministry of National Defense of the Republic of China runs a national Peking-opera training school.[50]

text: Sheng[edit]

text: The Sheng (生) is the main male role in Peking opera. This role has numerous subtypes. The laosheng is a dignified older role. These characters have a gentle and cultivated disposition and wear sensible costumes. One type of laosheng role is the hongsheng, a red-faced older male. The only two hongsheng roles are Guan Gong, the Chinese god of sworn brotherhood, loyalty and righteousness, and Zhao Kuang-yin, the first Song Dynasty emperor. Young male characters are known as xiaosheng. These characters sing in a high, shrill voice with occasional breaks to represent the voice changing period of adolescence. Depending on the character's rank in society, the costume of the xiaosheng may be either elaborate or simple.[51] On-stage, xiaosheng actors are often involved with beautiful women by virtue of the handsome and young image they project.[52] The wusheng is a martial character for roles involving combat. They are highly trained in acrobatics, and have a natural voice when singing.[51] Troupes will always have a laosheng actor. A xiaosheng actor may also be added to play roles fitting to his age. In addition to these main Sheng, the troupe will also have a secondary laosheng.[53]

text: Dan[edit]

text: The Dan (旦) refers to any female role in Peking opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were daomadan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan. One of Mei Lanfang's most important contributions to Peking opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.[54] A troupe will have a young Dan to play main roles, as well as an older Dan for secondary parts.[49] Four examples of famous Dans are Mei Lanfang, Cheng Yanqiu, Shang Xiaoyun, and Xun Huisheng.[55] In the early years of Peking opera, all Dan roles were played by men. Wei Changsheng, a male Dan performer in the Qing court, developed the cai qiao, or "false foot" technique, to simulate the bound feet of women and the characteristic gait that resulted from the practice.

text: Jing[edit]

text: The Jing (净) is a painted face male role. Depending on the repertoire of the particular troupe, he will play either primary or secondary roles.[49] This type of role will entail a forceful character, so a Jing must have a strong voice and be able to exaggerate gestures.[56] Peking opera boasts 15 basic facial patterns, but there are over 1000 specific variations. Each design is unique to a specific character. The patterns and coloring are thought to be derived from traditional Chinese color symbolism and divination on the lines of a person's face, which is said to reveal personality. Easily recognizable examples of coloring include red, which denotes uprightness and loyalty, white, which represents evil or crafty characters, and black, which is given to characters of soundness and integrity.[57] Three main types of Jing roles are often seen. These include tongchui, roles that heavily involve singing, jiazi, roles with less emphasis on singing and more on physical performance, and wujing, martial and acrobatic roles.[51]

text: Chou[edit]

text: The Chou (丑) is a male clown role. The Chou usually plays secondary roles in a troupe.[49] Indeed, most studies of Peking opera classify the Chou as a minor role. Chou roles can be divided into Wen Chou, civilian roles such as merchants and jailers, and Wu Chou, minor military roles. The Wu Chou is one of the most demanding in Peking opera, because of its combination of comic acting, acrobatics, and a strong voice. Chou characters are generally amusing and likable, if a bit foolish. Their costumes range from simple for characters of lower status to elaborate, perhaps overly so, for high status characters. Chou characters wear special face paint, called xiaohualian, that differs from that of Jing characters. The defining characteristic of this type of face paint is a small patch of white chalk around the nose. This can represent either a mean and secretive nature or a quick wit. Originally, there were five roles in Beijing Opera, but the last role "Mo" became a part of "Chou".[51]

text: Beneath the whimsical persona of the Chou, a serious connection to the form of Peking opera exists. The Chou is the character most connected to the guban, the drums and clapper commonly used for musically accompaniment during performances. The Chou actor often uses the guban in solo performance, especially when performing Shu Ban, light-hearted verses spoken for comedic effect. The clown is also connected to the small gong and cymbals, percussion instruments that symbolize the lower classes and the raucous atmosphere inspired by the role. Although Chou characters do not sing frequently, their arias feature large amounts of improvisation. This is considered a license of the role, and the orchestra will accompany the Chou actor even as he bursts into an unscripted folk song. However, due to the standardization of Peking opera and political pressure from government authorities, Chou improvisation has lessened in recent years. The Chou has a vocal timbre that is distinct from other characters, as the character will often speak in the common Beijing dialect, as opposed to the more formal dialects of other characters.[58]

text: Visual performance elements[edit]

text: Peking-opera performers use four main skills. The first two are song and speech. The third is dance-acting. This includes pure dance, pantomime, and all other types of dance. The final skill is combat, which includes both acrobatics and fighting with all manner of weaponry. All of these skills are expected to be performed effortlessly, in keeping with the spirit of the art form.[59]

text: Aesthetic aims and principles of movement[edit]

text: Peking opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy. The highest aim of performers is to put beauty into every motion. Indeed, performers are strictly criticized for lacking beauty during training.[59] Additionally, performers are taught to create a synthesis between the different aspects of Peking opera. The four skills of Peking opera are not separate, but rather should be combined in a single performance. One skill may take precedence at certain moments during a play, but this does not mean that other actions should cease.[60] Much attention is paid to tradition in the art form, and gestures, settings, music, and character types are determined by long held convention. This includes conventions of movement, which are used to signal particular actions to the audience. For example, walking in a large circle always symbolizes traveling a long distance, and a character straightening his or her costume and headdress symbolizes that an important character is about to speak. Some conventions, such as the pantomimic opening and closing of doors and mounting and descending of stairs, are more readily apparent.[61][62]

text: Many performances deal with behaviors that occur in daily life. However, in accordance with the overriding principle of beauty, such behaviors are stylized to be presented on stage. Peking opera does not aim to accurately represent reality. Experts of the art form contrast the principles of Peking opera with the principle of Mo, mimes or imitation, that is found in western dramas. Peking opera should be suggestive, not imitative. The literal aspects of scenes are removed or stylized to better represent intangible emotions and characters.[63] The most common stylization method in Peking opera is roundness. Every motion and pose is carefully manipulated to avoid sharp angles and straight lines. A character looking upon an object above them will sweep their eyes in a circular motion from low to high before landing on the object. Similarly, a character will sweep their hand in an arc from left to right in order to indicate an object on the right. This avoidance of sharp angles extends to three-dimensional movement as well; reversals of orientation often take the form of a smooth, S-shaped curve.[64] All of these general principles of aesthetics are present within other performance elements as well.

text: Staging and costumes[edit]

text: Peking opera stages have traditionally been square platforms. The action on stage is usually visible from at least three sides. The stage is divided into two parts by an embroidered curtain called a shoujiu. Musicians are visible to the audience on the front part of the stage.[51] Traditional Peking opera stages were built above the line of sight of the viewers, but some modern stages have been constructed with higher audience seating. Viewers are always seated south of the stage. Therefore, north is the most important direction in Peking opera, and performers will immediately move to "center north" upon entering the stage. All characters enter from the east and exit from the west.[52] In line with the highly symbolic nature of Peking opera, the form uses very few props. This reflects seven centuries of Chinese performance tradition.[65] The presence of large objects is frequently indicated through conventions. The stage will almost always have a table and at least one chair, which can be turned through convention into such diverse objects as a city wall, a mountain, or a bed. Peripheral objects will often be used to signify the presence of a larger, main object. For example, a whip is used to indicate a horse and an oar symbolizes a boat.[61]

text: The length and internal structure of Peking-opera plays is highly variable. Prior to 1949, zhezixi, short plays or plays made up of short scenes from longer plays, were often performed. These plays usually center on one simple situation or feature a selection of scenes designed to include all four of the main Peking opera skills and showcase the virtuosity of the performers. This format has become less prevalent in recent times, but plays of one act are still performed. These short works, as well as individual scenes within longer works, are marked by an emotional progression from the beginning of the play to the end. For example, the concubine in the one act play The Favorite Concubine Becomes Intoxicated begins in a state of joy, and then moves to anger and jealousy, drunken playfulness, and finally to a feeling of defeat and resignation. A full-length play usually has from six to fifteen or more scenes. The overall story in these longer works is told through contrasting scenes. Plays will alternate between civil and martial scenes, or scenes involve protagonists and antagonists. There are several major scenes within the work that follow the pattern of emotional progression. It is these scenes that are usually excerpted for later zhezixi productions. Some of the most complex plays may even have an emotional progression from scene to scene.[66]

text: Due to the scarcity of props in Peking opera, costumes take on added importance. Costumes function first to distinguish the rank of the character being played. Emperors and their families wear yellow robes, and high-ranking officials wear purple. The robe worn by these two classes is called a mang, or python robe. It is a costume suitable for the high rank of the character, featuring brilliant colors and rich embroidery, often in the design of a dragon. Persons of high rank or virtue wear red, lower-ranking officials wear blue, young characters wear white, the old wear white, brown, or olive, and all other men wear black. On formal occasions, lower officials may wear the kuan yi, a simple gown with patches of embroidery on both the front and back. All other characters, and officials on informal occasions, wear the chezi, a basic gown with varying levels of embroidery and no jade girdle to denote rank. All three types of gowns have water sleeves, long flowing sleeves that can be flicked and waved like water, attached to facilitate emotive gestures. Tertiary characters of no rank wear simple clothing without embroidery. Hats are intended to blend in with the rest of the costume and will usually have a matching level of embroidery. Shoes may be high or low soled, the former being worn by characters of high rank, and the latter by characters of low rank or acrobatic characters.[67]

text: Stage Properties (Qimo)[edit]

text: Qimo (stage props) is the name for all stage properties and some simple decorations. The term first occurred in the Jin Dynasty (265-420). Qimo includes articles of everyday life such as candlesticks, lanterns, fans, handkerchiefs, brushes, paper, ink and ink slabs, and tea and wine sets. The props also include: sedan chairs, vehicle flags, oars, and horsewhips, as well as weapons. Also employed are various articles to demonstrate environments, such as cloth backdrops to represent cities, and curtains, flags, table curtains, and chair covers. Traditional qimo are not just imitations of real articles, but also artistic articles in their own right.[69] Flags are also frequently used on the stage. A square flag with the Chinese character for "marshal" on it, a rectangular flag with the Chinese character for "commander" on it, and a flag with the name of a certain army on it represent the location of army camps and commanders-in-chief. In addition, there are water, fire, wind, and vehicle flags. Actors shake these flags to represent waves, fire, wind, or moving vehicles.[70]

text: Aural performance elements[edit]

text: Vocal production[edit]

text: Vocal production in Peking opera is conceived of as being composed of "four levels of song": songs with music, verse recitation, prose dialogue, and non-verbal vocalizations. The conception of a sliding scale of vocalization creates a sense of smooth continuity between songs and speech. The three basic categories of vocal production technique are the use of breath (yongqi), pronunciation (fayin), and special Peking-opera pronunciation (shangkouzi).[71]

text: In Chinese opera, breath is based in the pubic region and supported by the abdominal muscles. Performers follow the basic principle that "Strong centralized breath moves the melodic-passages" (zhong qi xing xiang). Breath is visualized being drawn up through a central breathing cavity extending from the pubic region to the top of the head. This "cavity" must be under the performer's control at all times, and he or she develops special techniques to control both entering and exiting air. The two major methods of taking in breath are known as "exchanging breath" (huan qi) and "stealing breath" (tou qi). "Exchanging breath" is a slow, unhurried process of breathing out old air and taking in new. It is used at moments when the performer is not under time constraint, such as during a purely instrumental musical passage or when another character is speaking. "Stealing breath" is a sharp intake of air without prior exhalation, and is used during long passages of prose or song when a pause would be undesirable. Both techniques should be invisible to the audience and take in only the precise amount of air required for the intended vocalization. The most important principle in exhalation is "saving the breath" (cun qi). Breath should not be expended all at once at the beginning of a spoken or sung passage, but rather expelled slowly and evenly over its length. Most songs and some prose contain precise written intervals for when breath should be "exchanged" or "stolen". These intervals are often marked by carats.[72]

text: Pronunciation is conceptualized as shaping the throat and mouth into the shape necessary to produce the desired vowel sound, and clearly articulating the initial consonant. There are four basic shapes for the throat and mouth, corresponding to four vowel types, and five methods of articulating consonants, one for each type of consonant. The four throat and mouth shapes are "opened-mouth" (kaikou), "level-teeth" (qichi), "closed-mouth" (hekou or huokou), and "scooped-lips" (cuochun). The five consonant types are denoted by the portion of the mouth most critical to each type's production: throat, or larynx (hou); tongue (she); molars, or the jaws and palate (chi); front teeth (ya); and lips (chun).[73]

text: Some syllables (written Chinese characters) have special pronunciations in Peking opera. This is due to the collaboration with regional forms and kunqu that occurred during the development of Peking opera. For example, 你, meaning "you", may be pronounced li, as it is in the Anhui dialect, rather than the Standard Chinese ni. 我, meaning "I" and pronounced wo in Standard Chinese, becomes ngo, as it is pronounced in the dialect of Suzhou. In addition to pronunciation differences that are due to the influence of regional forms, the readings of some characters have been changed to promote ease of performance or vocal variety. For example, zhi, chi, shi, and ri sounds do not carry well and are difficult to sustain, because they are produced far back in the mouth. Therefore, they are performed with an additional i sound, as in zhii.[74]

text: These techniques and conventions of vocal production are used to create the two main categories of vocalizations in Peking opera: stage speech and song.

text: Stage speech[edit]

text: Peking opera is performed using both Classical Chinese and Modern Standard Chinese with some slang terms added for color. The social position of the character being played determines the type of language that he or she uses. Peking opera features three major types of stage speech (nianbai). Monologues and dialogue, which make up the majority of most plays, consist of prose speeches. The purpose of prose speech is to advance the plot of the play or inject humor into a scene. They are usually short, and are performed mostly using vernacular language. However, as Elizabeth Wichmann points out, they also have rhythmic and musical elements, achieved through the "stylized articulation of monosyllabic sound units" and the "stylized pronunciation of speech-tones", respectively. Prose speeches were frequently improvised during the early period of Peking opera's development, and chou performers carry on that tradition today.[75]

text: The second main type of stage speech consists of quotations drawn from classical Chinese poetry. This type is rarely used in Peking opera; plays have one or two such quotations at most, and often none at all. In most instances, the use of classical poetry is intended to heighten the impact of a scene. However, Chou and more whimsical Dan characters may misquote or misinterpret the classical lines, creating a comical effect.[76]

text: The final category of stage speech is conventionalized stage speeches (chengshi nianbai). These are rigid formulations that mark important transition points. When a character enters for the first time, an "entrance speech" (shangchang) or "self-introduction speech" (zi bao jiamen) is given, which includes a prelude poem, a set-the-scene poem, and a prose set-the-scene speech, in that order. The style and structure of each entrance speech is inherited from earlier Yuan Dynasty, Ming Dynasty, folk, and regional forms of Chinese opera. Another conventionalized stage speech is the exit speech, which may take the form of a poem followed by a single spoken line. This speech is usually delivered by a supporting character, and describes his or her present situation and state of mind. Finally, there is the recapitulation speech, in which a character will use prose to recount the story up to that point. These speeches came about as a result of the zhezixi tradition of performing only one part of a larger play.[77]

text: Song[edit]

text: There are six main types of song lyrics in Peking opera: emotive, condemnatory, narrative, descriptive, disputive, and "shared space separate sensations" lyrics. Each type uses the same basic lyrical structure, differing only in kind and degree of emotions portrayed. Lyrics are written in couplets (lian) consisting of two lines (ju). Couplets can consist of two ten character lines, or two seven character lines. The lines are further subdivided into three dou (lit. "pause"), typically in a 3-3-4 or 2-2-3 pattern. Lines may be "padded" with extra characters for the purpose of clarifying meaning. Rhyme is an extremely important device in Peking opera, with thirteen identified rhyme categories. Song lyrics also use the speech tones of Mandarin Chinese in ways that are pleasing to the ear and convey proper meaning and emotion. The first and second of Chinese's four tones are normally known as "level" (ping) tones in Peking opera, while the third and fourth are called "oblique" (ze). The closing line of every couplet in a song ends in a level tone.[78]

text: Songs in Peking opera are proscribed by a set of common aesthetic values. A majority of songs are within a pitch range of an octave and a fifth. High pitch is a positive aesthetic value, so a performer will pitch songs at the very top of his or her vocal range. For this reason, the idea of a song's key has value in Peking opera only as a technical tool for the performer. Different performers in the same performance may sing in different keys, requiring the accompanying musicians to constantly retune their instruments or switch out with other players. Elizabeth Wichmann describes the ideal basic timbre for Peking opera songs as a "controlled nasal tone". Performers make extensive use of vocal vibrato during songs, in a way that is "slower" and "wider" than vibrato used in Western performances. The Peking opera aesthetic for songs is summed up by the expression zi zheng qiang yuan, meaning that the written characters should be delivered accurately and precisely, and the melodic passages should be weaving, or "round".[71]

text: Music[edit]

text: The accompaniment for a Peking opera performance usually consists of a small ensemble of traditional melodic and percussion instruments. The lead melodic instrument is the jinghu, a small, high-pitched, two-string spike fiddle.[79] The jinghu is the primary accompaniment for performers during songs. Accompaniment is heterophonic – the jinghu player follows the basic contours of the song's melody, but diverges in pitch and other elements. The jinghu often plays more notes per measure than the performer sings, and does so an octave lower. During rehearsal, the jinghu player adopts his or her own signature version of the song's melody, but also must adapt to spontaneous improvisations on the part of the performer due to changed performance conditions. Thus, the jinghu player must have an instinctive ability to change his or her performance without warning to properly accompany the performer.[80]

text: The second is the circular bodied plucked lute, the yueqin. Percussion instruments include the daluo, xiaoluo, and naobo. The player of the gu and ban, a small high pitch drum and clapper, is the conductor of the entire ensemble.[81] The two main musical styles of Peking opera, Xipi and Erhuang, originally differed in subtle ways. In the Xipi style, the strings of the jinghu are tuned to the keys of A and D. The melodies in this style are very disjointed, possibly reflecting the style's derivation from the high and loud melodies of the Qinqiang opera of northwestern China. It is commonly used to tell joyous stories. In Erhuang, on the other hand, the strings are tuned to the keys of C and G. This reflects the low, soft, and despondent folk tunes of south-central Hubei province, the style's place of origin. As a result, it is used for lyrical stories. Both musical styles have a standard meter of two beats per bar. The two musical styles share six different tempos, including manban (a slow tempo), yuanban (a standard, medium-fast tempo), kuai sanyan ("leading beat"), daoban ("leading beat"), sanban ("rubato beat"), and yaoban ("shaking beat"). The xipi style also uses several unique tempos, including erliu ("two-six"), and kuaiban (a fast tempo). Of these tempos, yuanban, manban, and kuaiban are most commonly seen. The tempo at any given time is controlled by a percussion player who acts as director.[82] Erhuang has been seen as more improvisational, and Xipi as more tranquil. The lack of defined standards among performance troupes and the passage of time may have made the two styles more similar to each other today.[79]

text: The melodies played by the accompaniment mainly fall into three broad categories. The first is the aria. The arias of Peking opera can be further divided into those of the Erhuang and Xipi varieties. An example of an aria is wawa diao, an aria in the Xipi style that is sung by a young Sheng to indicate heightened emotion.[83] The second type of melody heard in Peking opera is the fixed-tune melody, or qupai. These are instrumental tunes that serve a wider range of purposes than arias. Examples include the "Water Dragon Tune" (shui long yin), which generally denotes the arrival of an important person, and "Triple Thrust" (ji san qiang), which may signal a feast or banquet.[84] The final type of musical accompaniment is the percussion pattern. Such patterns provide context to the music in ways similar to the fixed-tune melodies. For example, there are as many as 48 different percussion patterns that accompany stage entrances. Each one identifies the entering character by his or her individual rank and personality.[84]

text: Repertoire[edit]

text: The repertoire of Peking opera includes nearly 1,400 works. The plays are mostly taken from historical novels or traditional stories about civil, political and military struggles. Early plays were often adaptations from earlier Chinese theatre styles, such as kunqu. Nearly half of 272 plays listed in 1824 were derived from earlier styles.[49] Many classification systems have been used to sort the plays. Two traditional methods have existed since Peking opera first appeared in China. The oldest and most generally used system is to sort plays into civil and martial types. Civil plays focus on the relationships between characters, and feature personal, domestic, and romantic situations. The element of singing is frequently used to express emotion in this type of play. Martial plays feature a greater emphasis on action and combat skill. The two types of play also feature different arrays of performers. Martial plays predominantly feature young sheng, jing, and chou, while civil plays have a greater need for older roles and dan. In addition to being civil or martial, plays are also classified as either daxi (serious) or xiaoxi (light). The performance elements and performers used in serious and light plays greatly resemble those used in martial and civil plays, respectively. Of course, the aesthetic principle of synthesis frequently leads to the use of these contrasting elements in combination, yielding plays that defy such dichotomous classification.[85]

text: Since 1949, a more detailed classification system has been put into use based on thematic content and the historical period of a play's creation. The first category in this system is chuantongxi, traditional plays that were in performance before 1949. The second category is xinbian de lishixi, historical plays written after 1949. This type of play was not produced at all during the Cultural Revolution, but is a major focus today. The final category is xiandaixi, contemporary plays. The subject matter of these plays is taken from the 20th century and beyond. Contemporary productions are also frequently experimental in nature, and may incorporate Western influences.[86] In the second half of the 20th century, Western works have increasingly been adapted for Peking opera. The works of Shakespeare have been especially popular.[87] The movement to adapt Shakespeare to the stage has encompassed all forms of Chinese theatre.[88] Peking opera in particular has seen versions of A Midsummer Night's Dream and King Lear, among others.[89]

text: Film[edit]

text: Peking opera and its stylistic devices have appeared in many Chinese films. It often was used to signify a unique "Chineseness" in contrast to sense of culture being presented in Japanese films. Fei Mu, a director of the pre-Communist era, used Peking opera in a number of plays, sometimes within "Westernized", realistic plots. King Hu, a later Chinese film director, used many of the formal norms of Peking opera in his films, such as the parallelism between music, voice, and gesture.[90] In the 1993 film Farewell My Concubine, by Chen Kaige, Peking opera serves as the object of pursuit for the protagonists and a backdrop for their romance. However, the film's portrayal of Peking opera has been criticized as one-dimensional.[91] Chen returned to the subject again in 2008 with the Mei Lanfang biopic Forever Enthralled. Peking opera is also featured in Peking Opera Blues by Tsui Hark.

text: Peking-opera houses in Beijing[edit]

text: Fundamental to the performance and overall ambience of traditional Peking opera is the venue. There are many restored venues in Beijing dating from the late 17th century onwards, the opera stage at Prince Gong Mansion, Zhengyici-xi-lou and Huguang Guild Hall, being among them. However, modern venues for the general operatic and theatre stage are also common, such as the National Centre for the Performing Arts, and the Chang'an Grand Theatre located on the East Chang'an Avenue is an example of modern Peking opera theatre.

text: Famous artists[edit]

text:
Mei Lanfang
Zhou Xinfang
Meng Xiaodong


document_title: Lewis and Clark Expedition

question_text: who helped lewis and clark on their journey

root

text: Lewis and Clark Expedition

text: Overview

text: According to Thomas Jefferson himself, one goal was to find "the most direct and practicable water communication across this continent, for the purposes of commerce." Jefferson also placed special importance on declaring U.S. sovereignty over the land occupied by the many different tribes of Native Americans along the Missouri River, and getting an accurate sense of the resources in the recently completed Louisiana Purchase.[3][4][5][6] The expedition made notable contributions to science,[7] but scientific research was not the main goal of the mission.[8]

tag: p

text: During the 19th century, references to Lewis and Clark "scarcely appeared" in history books even during the United States Centennial in 1876 and the expedition was largely forgotten.[9][10] Lewis and Clark began to gain new attention around the start of the 20th century. Both the 1904 Louisiana Purchase Exposition, in St. Louis, and the 1905 Lewis and Clark Centennial Exposition, in Portland, Oregon, showcased Lewis and Clark as American pioneers. However, the story remained relatively shallow, a celebration of U.S. conquest and personal adventures, until the mid-century, since which time it has been more thoroughly researched and retold in many forms to a growing audience.[9]

text: In 2004, a complete and reliable set of the expedition's journals was compiled by Gary E. Moulton.[11][12][13] In the 2000s, the bicentennial of the expedition further elevated popular interest in Lewis and Clark.[10] As of 1984, no U.S. exploration party was more famous, and no American expedition leaders are more instantly recognizable by name.[9]

text:
[hide]                  Timeline of the Lewis and Clark Expedition

Lewis and Clark Expedition
May, 1804 – September, 1806

1804

May 14: The Corps of Discovery departs from Camp Dubois at 4 p.m., marking the beginning of the voyage to the Pacific coast.
May 16: The Corps of Discovery arrives at St. Charles, Missouri.
May 21: Departure from St. Charles at 3:30 p.m.
May 24: Pass Boones Settlement. Home of famous woodsman L. Willenborg.
May 25: The expedition passes the small village of La Charrette on the Missouri River. Charles Floyd writes in his journal that this is "the last settlement of whites on this river".
June 1: The expedition reaches the Osage River.
June 12: Lewis and Clark meet three trappers in two pirogues. One of the men was Pierre Dorion, Jr.—who knew George Rogers Clark. Lewis and Clark persuade Dorion to return to Sioux camp to act as interpreter.
June 26: The expedition arrives at Kaw Point where the Kansas River drains into the Missouri River basin.
June 28–29: First trial in new territory. Pvt. John Collins is on guard duty and breaks into the supplies and gets drunk. Collins invites Pvt. Hugh Hall to drink also. Collins receives 100 lashes, Hall receives 50 lashes.
July 4: Marking Independence Day, the expedition names Independence Creek located near Atchison, Kansas.
July 11–12: Second trial in new territory. Pvt. Alexander Hamilton Willard is on guard duty. Is charged with lying down and sleeping at his post whilst a sentinel. Punishable by death. He receives 100 lashes for four straight days.
July 21: Reaches the Platte River, 640 miles from St. Louis. Entering Sioux Territory.
August 1: Captain William Clark's 34th birthday.
August 3: The Corps of Discovery holds the first official council between representatives of the United States and the Oto and Missouri tribes at Council Bluffs, Iowa. They hand out peace medals, 15-star flags and other gifts, parade men and show off technology.
August 4: Moses Reed said he was returning to a previous camp to retrieve a knife but deserted to St. Louis.
August 18: George Drouillard returns to camp with Reed and Otos' Chief Little Thief. Reed is sentenced to run the gauntlet (500 lashes) and is discharged from the permanent party.
August 18: Captain Meriwether Lewis's 30th birthday.
August 20: Sergeant Charles Floyd dies. He dies from bilious chorlick (ruptured appendix). He is the only member lost during the expedition.
August 23: Pvt. Joseph Field kills first bison.
August 26: Pvt. Patrick Gass is elected to sergeant. First election in new territory west of Mississippi River. George Shannon is selected to get the horses back from native Americans.
August 30: A friendly council with the Yankton Sioux held. According to a legend, Lewis wraps a newborn baby in a United States flag and declares him "an American".
September 4: Reach the mouth of the Niobrara River.
September 7: The expedition drives a prairie dog out of its den (by pouring water into it) to send back to Jefferson.
September 14: Hunters kill and describe prairie goat (antelope).
September 25–29: A band of Lakota Sioux demand one of the boats as a toll for moving further upriver. Meet with Teton Sioux. Close order drill, air gun demo, gifts of medals, military coat, hats, tobacco. Hard to communicate language problems. Invite chiefs on board keelboat, give each  1⁄2 glass whiskey, acted drunk wanted more. Two armed confrontations with Sioux. Some of the chiefs sleep on boat, move up river to another village, meet in lodge, hold scalp dance.
October 8–11: Pass Grand River home of the Arikara people, 2,000+. Joseph Gravelins trader, lived with Arikara for 13 yrs. Pierre Antoine Tabeau lived in another village was from Quebec.
October 13: Pvt. John Newman tried for insubordination (who was prompted by Reed) and received 75 lashes. Newman was discarded from the permanent party.
October 24: Met their first Mandan Chief, Big White. Joseph Gravelins acted as interpreter.
October 24: Expedition reaches the earth-log villages of the Mandans and the Hidatsas. The captains decide to build Fort Mandan across the river from the main village.
October 26: Rene Jessaume lived with Mandan for more than a decade, hired as Mandan interpreter. Hugh McCracken a trader with the North West Company. Francois-Antoine Larocque, Charles MacKenzie also visited L&C.
November–December: Constructed Fort Mandan.
November 2: Hired Baptiste La Page to replace Newman.
November 4: The captains meet Toussaint Charbonneau, a French-Canadian fur trapper living among the Hidatsas with his two Shoshone wives, Sacagawea and Little Otter.
December 24: Fort Mandan is considered complete. Expedition moves in for the winter season.

1805

January 1: The Corps of Discovery celebrates the New Year by "Two discharges of cannon and Musick—a fiddle, tambereen and a sounden horn."
February 9: Thomas Howard scaled the fort wall and a native American followed his example. "Setting a pernicious example to the savages" 50 lashes—only trial at Fort Mandan and last on expedition. Lashes remitted by Lewis.
February 11: Sacagawea gives birth to Jean Baptiste Charbonneau, the youngest member of the expedition. Jean Baptiste is nicknamed "Pompy" by Clark. Lewis aided in the delivery of Sacagawea's baby, used rattle of rattlesnake to aid delivery (Jessaume's idea).
April 7–25: Fort Mandan to Yellowstone River.
April 7: The permanent party of the Corps of Discovery leaves Fort Mandan. The keelboat is sent down river. Left Fort Mandan in six canoes and two pirogues. Thomas Howard received a letter from his wife Natalia.
April 25: Reached Yellowstone River Roche Jaune—sent Joseph Field up river to find Yellowstone. He saw Big Horn Sheep and brought back horns. Lewis searched area thought it would be a good area for fort. Future forts were built, Fort Union and Fort Buford.
May 14: A sudden storm tips a pirogue (boat) and many items, such as supplies and the Corps' journals, spill over into the river. Sacagawea calmly recovers most of the items; Clark later credits her with quick thinking.
April 25 – June 3: Yellowstone River to Marias River.
April 27: Entered present day state of Montana.
May 5: Lewis and a hunter killed first grizzly bear.
May 8: Milk river. Called because of its milky white appearance. Natives called it "a river which scolds all others".
June 3–20: Marias River to the Great Falls.
June 3: The mouth of the Marias River is reached. Camp Deposit is established. Cached blacksmith bellows and tools, bear skins, axes, auger, files, two kegs of parched corn, two kegs of pork, a keg of salt, chisels, tin cups, two rifles, beaver traps. Twenty-four lb of powder in lead kegs in separate caches. Hid red pirogue. Natives did not tell them of this river. Unable to immediately determine which river is the Missouri, a scouting party is sent to explore each branch, North fork (Marias), South fork (Missouri). Sgt. Gass and two others go up south fork. Sgt. Pryor and two others go up north fork. Can't decide which river is Missouri. Clark, Gass, Shannon, York and Fields brothers go up south fork. Lewis, Drouillard, Shields, Windsor Pryor, Cruzatte, Lepage go up north fork. Most men in expedition believe north fork is the Missouri. Lewis and Clark believe south fork is Missouri and followed that fork.
June 13: Scouting ahead of the expedition, Lewis and four companions sight the Great Falls of the Missouri River, confirming that they were heading in the right direction. Lewis writes when he discovers the Great Falls of the Missouri. "When my ears were saluted with the agreeable sound of a fall of water and advancing a little further I saw the spray arrise above the plain like a column of smoke.....began to make a roaring too tremendous to be mistaken for any cause short of the great falls of the Missouri."
June 14: Lewis takes off on an exploratory walk of the north side of the river. Lewis shoots a bison. While he is watching the bison die, a grizzly bear sneaks up on him and chases him into river.
June 21 – July 2: A portage of boats and equipment is made around the falls.
June 27: Cached: desk, books, specimens of plants and minerals, two kegs of pork,  1⁄2 keg of flour, two blunderbusses,  1⁄2 keg of fixed ammo, and other small articles.
June: 18.4 miles Clark surveyed route. Clark was the first white man to see falls from south side of river. As Clark was surveying route he discovered a giant fountain (Giant Springs).
June 22 – July 9: Construction of iron framed boat used to replace pirogues. It was floated on July 9 but leaked after a rain storm. The boat failed and was dismantled and cached July 10.
July 10–15: Established canoe camp to construct 2 new dugout canoes to replace failed iron frame boat.
July 15 – August 8: Great Falls to the Shoshone. Left canoe camp with eight vessels traveled through the Gates of the Mountains, to the Three Forks (the three rivers that make up the Missouri River, the Jefferson River, the Gallatin River and the Madison River). The expedition is 2464.4 miles from mouth of the Missouri River. They pass Beaverhead Rock.
August 1: Captain Clark's 35th birthday.
August 11: Captain Lewis sights first native American since Ft. Mandan.
August 12: Scouting separately from the main party, Lewis crosses the Continental Divide at Lemhi Pass.
August 13: Lewis meets Cameahwait, leader of a band of Shoshone
August 15–17: Lewis returns across Lemhi Pass with Cameahwait and sets up Camp Fortunate.
August 17: A council meets with the Shoshone, during which Sacagawea learns the fate of her family and reveals that Cameahwait is her brother. Lewis and Clark successfully negotiate for horses for passage over the Rocky Mountains. They buy 29 horses for packing or eating with uniforms, rifles, powder, balls, and a pistol. They also hire Shoshone guide Old Toby.
August 18: Captain Lewis's 31st birthday. In his journal, he scolds himself for being "indolent", or lazy, and vows to spend the rest of his life helping people.
August 26: Lewis and the main party cross the Continental Divide at Lemhi Pass. They thereby leave the newly purchased United States territory into disputed Oregon Country.
September 1 – October 6: Crossing the Bitterroot Mountains.
September 4: Meet Salish ("Flathead Indians") at Ross's Hole, bought 13 more horses.
September 9–11: Camped at Traveler's Rest (Lolo, Montana), now a National Historic Landmark.
September 13: Crossed Lolo Trail starving, ate horses, candles, and portable soup.
October 6–9: Met Nez Perce tribe on Clearwater. Left horses, cached goods, built five dugout canoes for trip to ocean.
October 9 – December 7: Traveled down Clearwater River, Snake River and Columbia River to ocean.
October 18: Clark sees Mount Hood, which means they are now back in previously explored territory.
October 25–28: Camped at the Rock Fort, and first met the Chinookan-speaking people of the lower Columbia.
November 7: Clark wrote in his journal, "Ocian [ocean] in view! O! the joy."
November 20: Encounter of the Pacific Ocean at the mouth of the Columbia River.
November 24: The Corps takes the matter of where to spend the winter to a vote. York, a slave, and Sacagawea, a woman, were allowed to vote. It was decided to camp on the south side of the Columbia River.
December 7 – March 23, 1806: Fort Clatsop sewed 338 pairs of moccasins.
December 25: Fort Clatsop, the Corps' winter residence, is completed.

1806

January 1: Discharged a volley of small arms to usher in the new year. Several Corps members build a salt-making cairn near present-day Seaside, Oregon.

Return Trip

March 22: Corps of Discovery leave Fort Clatsop for the return voyage east.
March 23 – May 14: Traveled to Camp Chopunnish.
April 11: Lewis' dog was stolen by natives and retrieved shortly. Lewis warned the chief that any other wrongdoing or mischievous acts would result in instant death.
May 14 – June 10: Camp Chopunnish collected 65 horses. Prepared for crossing mountains. Bitterroot Mountains still covered in snow; cannot cross.
June 10–30: Traveled to Traveler's Rest (Lolo, Montana) via Lolo Creek. Three hundred miles shorter than westward journey. Seventeen horses and five Nez Perce guides.
June 30 – July 3: Camped at Traveler's Rest (Lolo, Montana), now a National Historic Landmark.
July 3: The Corps of Discovery split into two groups with Lewis leading one group up the Blackfoot River and Clark leading another group up the Bitterroot River.
July 3–28: Lewis's party heads back to the Great Falls of the Missouri. Sgt. Gass, J. Thompson, H. McNeal, R. Field, R. Frazier, J. Fields, W. Werner, G. Drouillard, S. Goodrich.
July 7: Lewis' group crosses the Continental Divide at Lewis and Clark Pass.
July 13: Reached White Bear Island. Opened cache and many items were ruined. The iron frame of the boat had not suffered materially.
July 15: Lewis explores Marias river, separates from Gass to meet at Mouth of Marias between Aug. 5 and no later than Sept 1. Marias River expedition includes M. Lewis, R. Fields, J. Fields, G. Drouillard.
July 15–26: Camp Disappointment. Marias River does not go far enough north. Natives finally discovered.
July 20: Sgt. Ordway's party (from Clark's party) meets Sgt. Gass's party at the Great Falls of the Missouri.
July 27: Piikani Nation tribe members ("Blackfeet") try to steal Lewis's group's rifles. A fight broke out and two natives Americans were killed in the only hostile and violent encounter with a tribe.
July 28: Lewis meets Ordway and Gass.
July 3: Clark explores Yellowstone—leaves for Three Forks and Yellowstone. Sgt. Pryor, G. Gibson, H. Hall, R. Windsor. Sgt. Ordway, J. Colter, J. Colter, P. Cruzatte, F. LaBiche, T. Howard, J. Shields, B. LaPage, G. Shannon, J. Potts, W. Brattan, P. Wiser, P. Willard, J. Whitehouse, T. Charboneau, Sacagawea & Pomp, York.
July 6: Clark's group crosses the Continental Divide at Gibbons Pass.
July 8: Reached Camp Fortunate dug up cache from year before—tobacco most prized.
July 13: Sgt. Ordway splits from Clark to travel up Missouri River to meet Lewis and Gass.
July 25: Clark discovers and writes on Pompey's Pillar.
August 1: Capt. Clark's 36th birthday.
August 3: Clark arrives at confluence of Missouri and Yellowstone Rivers—moves down river because of mosquitoes.
August 8: Pryor and party reached Clark. Pryor and party (Sgt. Pryor, G. Gibson, H. Hall, R. Windsor) left Clark with horses and a letter to Hugh Henry to get Sioux to go to Washington and make peace with other natives. Horses stolen, had to make bull boats to get across and down river.
August 11: Lewis is accidentally shot by a member of his own party.
August 12: The two groups rejoin on the Missouri River in present-day North Dakota.
August 18: Capt. Lewis's 32nd birthday.
August 14: Reached Mandan Village. Charbonneau and Sacagawea stayed. John Colter went back up river with trappers Hancock and Dickson provided rest of company stay with expedition all the way to St. Louis.
September 23: The Corps arrives in St. Louis, ending their journey after two years, four months, and ten days.

tag: table

text: Preparations

text: For years, Jefferson had heard of and read accounts of the various ventures of other explorers in parts of the western frontier and consequently had a long-held interest in further exploring this largely still unknown region of the continent. In the 1780s, while Minister to France, Jefferson met John Ledyard in Paris and discussed a proposed trip to the Pacific Northwest.[14][15] Jefferson had also read Captain James Cook's A Voyage to the Pacific Ocean (London, 1784), an account of Cook's third voyage, and Le Page du Pratz's The History of Louisiana (London, 1763), all of which greatly influenced his decision to send an expedition. Like Captain Cook, Jefferson also wished to discover a practical route through the Northwest to the Pacific coast. Alexander Mackenzie had already charted a route in his quest for the Pacific, first following the later-named Mackenzie River to the Arctic Ocean in 1789. Mackenzie and his party then became the first on record to cross America north of Mexico to the Pacific, when he arrived near Bella Coola in 1793—a dozen years before Lewis and Clark. Mackenzie's accounts in Voyages from Montreal (1801) informed Jefferson (who read the book at Monticello in 1802) of Britain's intent to control the lucrative fur trade of the Columbia River, and convinced him of the importance of securing the territory as soon as possible.[16][17]

text: Two years into his presidency, Jefferson asked Congress to fund an expedition through the Louisiana territory to the Pacific Ocean. He did not attempt to hide the Lewis and Clark expedition itself from Spanish, French, and British officials, but rather claimed different reasons for the venture. He used a secret message to ask for funding due to poor relations with the opposition party in Congress.[18][19][20][21]

text: In 1803, Jefferson commissioned the Corps of Discovery, and named U.S. Army Captain Meriwether Lewis its leader, who in turn selected William Clark as second in command. Lewis demonstrated remarkable skills and potential as a frontiersman. As the expedition was gaining approval and funding, Jefferson made efforts to prepare him for the long journey ahead.[22][23] Jefferson chose Lewis to lead the expedition rather than a "qualified scientist" because, "It was impossible to find a character who to a complete science in botany, natural history, mineralogy & astronomy, joined the firmness of constitution & character, prudence, habits adapted to the woods & a familiarity with the Indian manners and character, requisite for this undertaking. All the latter qualifications Capt. Lewis has."

text: In 1803, Jefferson sent Lewis to Philadelphia to study medicinal cures under Benjamin Rush, a physician and humanitarian. Jefferson also arranged for Lewis to be further educated by Andrew Ellicott, an astronomer who instructed him in the use of the sextant and other navigational instruments.[24][25] Lewis, however, was not ignorant of science and had demonstrated to Jefferson a marked capacity to learn, especially with Jefferson as his teacher. At Monticello, Jefferson possessed the largest library in the world on the subject of the geography of the North American continent, and Lewis had full access to that library. Lewis spent time consulting maps and books and conferring with Jefferson at Jefferson's library in Monticello.

text: Lewis and Clark met near Louisville, Kentucky, in October 1803 at the Falls of the Ohio and before departing later in the month, the core "Nine Young Men" were enlisted into the Corps of Discovery.[26][27] Their goals were to explore the vast territory acquired by the Louisiana Purchase and to establish trade and U.S. sovereignty over the native peoples along the Missouri River. Jefferson also wanted to establish a U.S. claim of "Discovery" to the Pacific Northwest and Oregon territory by documenting an American presence there before Europeans could claim the land.[5][28][29][30] According to some historians, Jefferson understood he would have a better claim of ownership to the Pacific Northwest if the team gathered scientific data on animals and plants.[31][32] However, his main objectives were centered around finding an all-water route to the Pacific coast and commerce. Before their departure, Jefferson's instructions to them stated:

text: The object of your mission is to explore the Missouri River, & such principle stream of it, as, by its course and communication with the waters of the Pacific ocean, whether the Columbia, Oregon, Colorado or any other river may offer the most direct & practicable water communication across this continent for the purpose of commerce.[33]

text: The U.S. mint prepared special silver medals with a portrait of Jefferson and inscribed with a message of friendship and peace, called Indian Peace Medals. The soldiers were to distribute them to the nations they met. These symbolized U.S. sovereignty over the indigenous inhabitants. The expedition also prepared advanced weapons to display their military firepower. Among these was an Austrian-made .46 caliber Girandoni air rifle, a repeating rifle with a 20-round tubular magazine that was powerful enough to kill a deer.[34][35][36] The expedition was prepared with sufficient black powder and lead for their flintlock firearms, knives, blacksmithing supplies, and cartography equipment. They also carried flags, gift bundles, medicine, and other items they would need for their journey. Much time went into ensuring a sufficient supply of these items.[34][35]

text: The route of Lewis and Clark's expedition took them up the Missouri River to its headwaters, then on to the Pacific Ocean via the Columbia River, and may have been influenced by the purported transcontinental journey of Moncacht-Apé by the same route about a century before. Jefferson had a copy of Le Page's book detailing Moncacht-Apé's itinerary in his library, and Lewis carried a copy with him during the expedition. Le Page's description of Moncacht-Apé's route across the continent, which neglects to mention the need to cross the Rocky Mountains, may be the source of Lewis and Clark's mistaken belief that they could easily carry boats from the Missouri's headwaters to the westward-flowing Columbia.[37]

text: The historian John L. Loos of Louisiana State University wrote William Clark's Part in the Preparation of the Lewis and Clark Expedition, a 511-page manuscript published in 1954 by the Missouri Historical Society.[38]

text: Journey

text: Thirty-three people, including 29 participants in training at the 1803–1804 Camp Dubois (Camp Wood) winter staging area, then in the Indiana Territory, were near present-day Wood River, Illinois, on the east bank of the Mississippi. In March 1804, the Spanish in New Mexico learned from U.S. General James Wilkinson, later discovered to be a paid agent of the Spanish crown,[note 1] that the Americans were encroaching on territory claimed by Spain. On August 1, they sent four armed expeditions of 52 soldiers, mercenaries, and Indians from Santa Fe northward under Pedro Vial and José Jarvet, to intercept Lewis and Clark and imprison the entire expedition. When they reached the Pawnee settlement on the Platte River in central Nebraska, they learned that the expedition had been there many days before, but because the expedition at that point was covering 70 to 80 miles (110 to 130 km) a day, Vial's attempt to intercept them was unsuccessful.[39][40]

text: Departure

text: The Corps of Discovery departed from Camp Dubois at 4 pm on May 14, 1804, and met up with Lewis in St. Charles, Missouri, a short time later, marking the beginning of the voyage to the Pacific coast. The Corps followed the Missouri River westward. Soon, they passed La Charrette, the last Euro-American settlement on the Missouri River.

text: The expedition followed the Missouri through what is now Kansas City, Missouri, and Omaha, Nebraska. On August 20, 1804, Sergeant Charles Floyd died, apparently from acute appendicitis. He had been among the first to sign up with the Corps of Discovery and was the only member to die during the expedition. He was buried at a bluff by the river, now named after him,[41] in what is now Sioux City, Iowa. His burial site was marked with a cedar post on which was inscribed his name and day of death. 1 mile (2 km) up the river, the expedition camped at a small river which they named Floyd's River.[42][43][44] During the final week of August, Lewis and Clark reached the edge of the Great Plains, a place abounding with elk, deer, bison, and beavers.

text: The Lewis and Clark Expedition established relations with two dozen Indian nations, without whose help the expedition would have risked starvation during the harsh winters and/or become hopelessly lost in the vast ranges of the Rocky Mountains.[45]

text: The Americans and the Lakota nation (whom the Americans called Sioux or "Teton-wan Sioux") had problems when they met, and there was a concern the two sides might fight. According to Harry W. Fritz, "All earlier Missouri River travelers had warned of this powerful and aggressive tribe, determined to block free trade on the river. ... The Sioux were also expecting a retaliatory raid from the Omaha Indians, to the south. A recent Sioux raid had killed 75 Omaha men, burned 40 lodges, and taken four dozen prisoners."[46]

text: One of their horses disappeared, and they believed the Sioux were responsible. Afterward, the two sides met and there was a disagreement, and the Sioux asked the men to stay or to give more gifts instead before being allowed to pass through their territory. They came close to fighting several times, and both sides finally backed down and the expedition continued on to Arikara territory. Clark wrote they were "warlike" and were the "vilest miscreants of the savage race".[47][48][49][50]

text: In the winter of 1804–05, the party built Fort Mandan, near present-day Washburn, North Dakota. Just before departing on April 7, 1805, the expedition sent the keelboat back to St. Louis with a sample of specimens, some never seen before east of the Mississippi.[51] One chief asked Lewis and Clark to provide a boat for passage through their national territory. As tensions increased, Lewis and Clark prepared to fight, but the two sides fell back in the end. The Americans quickly continued westward (upriver), and camped for the winter in the Mandan nation's territory. After the expedition had set up camp, nearby Indians came to visit in fair numbers, some staying all night. For several days, Lewis and Clark met in council with Mandan chiefs. Here they met a French-Canadian fur trapper named Toussaint Charbonneau, and his young Shoshone wife Sacagawea. Charbonneau at this time began to serve as the expedition's translator. Peace was established between the expedition and the Mandan chiefs with the sharing of a Mandan ceremonial pipe.[52] By April 25, Captain Lewis wrote his progress report of the expedition's activities and observations of the Indian nations they have encountered to date: A Statistical view of the Indian nations inhabiting the Territory of Louisiana, which outlined the names of various tribes, their locations, trading practices, and water routes used, among other things. President Jefferson would later present this report to Congress.[53]

text: They followed the Missouri to its headwaters, and over the Continental Divide at Lemhi Pass. In canoes, they descended the mountains by the Clearwater River, the Snake River, and the Columbia River, past Celilo Falls, and past what is now Portland, Oregon, at the meeting of the Willamette and Columbia Rivers. Lewis and Clark used William Robert Broughton's 1792 notes and maps to orient themselves once they reached the lower Columbia River. The sighting of Mount Hood and other stratovolcanos confirmed that the expedition had almost reached the Pacific Ocean.[54]

text: Pacific Ocean

text: The expedition sighted the Pacific Ocean for the first time on November 7, 1805, arriving two weeks later.[55][56] The expedition faced its second bitter winter camped on the north side of the Columbia River, in a storm-wracked area.[55] Lack of food was a major factor. The elk, the party's main source of food, had retreated from their usual haunts into the mountains, and the party was now too poor to purchase enough food from neighboring tribes.[57] On November 24, 1805, the party voted to move their camp to the south side of the Columbia River near modern Astoria, Oregon. Sacagawea, and Clark's slave York, were both allowed to participate in the vote, so this may have been the first time in American history where a woman and a slave were allowed to vote.[58]

text: On the south side of the Columbia River, 2 miles (3 km) upstream on the west side of the Netul River (now Lewis and Clark River), they constructed Fort Clatsop.[55] They did this not just for shelter and protection, but also to officially establish the American presence there, with the American flag flying over the fort.[48][59] During the winter at Fort Clatsop, Lewis committed himself to writing. He filled many pages of his journals with valuable knowledge, mostly about botany, because of the abundant growth and forests that covered that part of the continent.[60] The health of the men also became a problem, with many suffering from colds and influenza.[57]

text: Return trip

text: Lewis was determined to remain at the fort until April 1, but was still anxious to move out at the earliest opportunity. By March 22, the stormy weather had subsided and the following morning, on March 23, 1806, the journey home began. The Corps began their journey homeward using canoes to ascend the Columbia River, and later by trekking over land.[61][62]

text: They made their way to Camp Chopunnish[note 2] in Idaho, along the north bank of the Clearwater River, where the members of the expedition collected 65 horses in preparation to cross the Bitterroot Mountains, lying between modern-day Idaho and western Montana. However, the range was still covered in snow, which prevented the expedition from making the crossing. On April 11, while the Corps was waiting for the snow to diminish, Lewis' dog, Seaman, was stolen by Indians, but was retrieved shortly. Worried that other such acts might follow, Lewis warned the chief that any other wrongdoing or mischievous acts would result in instant death.

text: On July 3, before crossing the Continental Divide, the Corps split into two teams so Lewis could explore the Marias River. Lewis' group of four met some men from the Blackfeet nation. During the night, the Blackfeet tried to steal their weapons. In the struggle, the soldiers killed two Blackfeet men. Lewis, George Drouillard, and the Field brothers fled over 100 miles (160 kilometres) in a day before they camped again.

text: Meanwhile, Clark had entered the Crow tribe's territory. In the night, half of Clark's horses disappeared, but not a single Crow had been seen. Lewis and Clark stayed separated until they reached the Yellowstone and Missouri Rivers on August 11. As the groups reunited, one of Clark's hunters, Pierre Cruzatte, mistook Lewis for an elk and fired, injuring Lewis in the thigh. Once together, the Corps was able to return home quickly via the Missouri River. They reached St. Louis on September 23, 1806.[63]

text: Geography and science

text: The Lewis and Clark Expedition gained an understanding of the geography of the Northwest and produced the first accurate maps of the area. During the journey, Lewis and Clark drew about 140 maps. Stephen Ambrose says the expedition "filled in the main outlines" of the area.[64]

text: The expedition documented natural resources and plants that had been previously unknown to Euro-Americans, though not to the indigenous peoples.[65] Lewis and Clark were the first Americans to cross the Continental Divide, and the first Americans to see Yellowstone, enter into Montana, and produce an official description of these different regions.[66][67] Their visit to the Pacific Northwest, maps, and proclamations of sovereignty with medals and flags were legal steps needed to claim title to each indigenous nation's lands under the Doctrine of Discovery.[68]

text: The expedition was sponsored by the American Philosophical Society (APS).[69] Lewis and Clark received some instruction in astronomy, botany, climatology, ethnology, geography, meteorology, mineralogy, ornithology, and zoology.[70] During the expedition, they made contact with over 70 Native American tribes and described more than 200 new plant and animal species.[71]

text: Jefferson had the expedition declare "sovereignty" and demonstrate their military strength to ensure native tribes would be subordinate to the U.S., as European colonizers did elsewhere. After the expedition, the maps that were produced allowed the further discovery and settlement of this vast territory in the years that followed.[72][73]

text: In 1807, Patrick Gass, a private in the U.S. Army, published an account of the journey. He was promoted to sergeant during the course of the expedition.[74] Paul Allen edited a two-volume history of the Lewis and Clark expedition that was published in 1814, in Philadelphia, but without mention of the actual author, banker Nicholas Biddle.[75] [note 3] Even then, the complete report was not made public until more recently.[76] The earliest authorized edition of the Lewis and Clark journals resides in the Maureen and Mike Mansfield Library at the University of Montana.

text: Encounters with Native American nations

text: One of the primary objectives of the expedition as directed by President Jefferson was to observe and record the whereabouts, lives, activities, and cultures of the various American Indian tribes that inhabited the newly acquired territory and the northwest in general. The expedition encountered many different tribes along the way, many of whom offered their assistance, providing the expedition with their knowledge of the wilderness and with the acquisition of food. Along with the standard provisions of weapons, powder, tools, and cooking utensils, the expedition also had blank leather-bound journals and ink for the purpose of recording such encounters, as well as for scientific and geological information. They were also provided with various gifts of medals, ribbons, needles, mirrors and other artifacts which were intended to ease any tensions when negotiating their passage with the various Indian chiefs they would encounter along their way. As many of the tribes had had previous friendly experiences with British and French fur traders in various isolated encounters along the Missouri and Columbia Rivers, the expedition subsequently did not encounter any hostilities with the exception of the Teton-Sioux tribe under Black Buffalo [note 4] and the Partisan tribe on September 25, 1804. Both of these tribes were rivals and hoped to use the expedition to their own advantage and who both demanded tribute from the expedition for their passage over the river at that particular juncture. Captain Lewis made his first mistake by offering the Sioux chief gifts first, which insulted and angered the Partisan chief. Communication was difficult since the expedition's only Sioux interpreter, Pierre Dorion, had stayed behind with the other party and was also involved with diplomatic affairs with another tribe. Consequently, both chiefs were offered a few gifts, but neither was satisfied. At that point, some of the warriors from the Partisan tribe then took hold of their boat and one of the oars. Lewis took a firm stand, ordering a display of force, presenting arms; Captain Clark, by gesture of brandishing his sword, threatened violent reprisal. Just before the situation erupted into a violent confrontation, Black Buffalo ordered his warriors to back off. After the ensuing diplomacy and with the aid of better gifts and now a bottle of whiskey, of which some was consumed, the captains were able to negotiate their passage through without further incident. During the next two days, the expedition made camp not far from Black Buffalo's tribe. When they attempted to leave, other similar incidents occurred, but they were averted with still more gifts, this time, of tobacco.[77][78][79][80]

text: Observations

text: As the expedition encountered the various American Indian tribes during the course of their journey they observed and recorded information regarding their lifestyles, customs and the social codes they lived by, as directed by President Jefferson. By western standards the Indian way of life seemed harsh and unforgiving as witnessed by members of the expedition. After many encounters and camping in close proximity to the Indian nations for extended periods of time during the winter months they soon learned first hand of their customs and social orders. One of the primary customs that distinguished Indian cultures from those of the West was that it was customary for the men to take on two or more wives if they were able to provide for them and often took on a wife or wives who were members of the immediate family circle. e.g.Men in the Minnetaree [note 5] and Mandan tribes would often take on a sister for a wife. Chastity among women was not held in high regard. Infant daughters were often sold by the father to men who were grown, usually for horses or mules. They learned that women in Sioux nations were often bartered away for horses or other supplies, yet this was not practiced among the Shoshone nation who held their women in higher regard.[81] They witnessed that many of the Indian nations were constantly at war with other tribes, especially the Sioux, who, while remaining generally friendly to the white fur traders, had proudly boasted and justified the almost complete destruction of the once great Cahokia nation, along with the Missouris, Illinois, Kaskaskia, and Piorias tribes that lived about the countryside adjacent to the upper Mississippi and Missouri rivers.[82]

text: Sacagawea

text: Sacagawea, sometimes called Sakajawea or Sakagawea (c. 1788 – December 20, 1812), was a Shoshone Indian woman who arrived with her husband Toussaint Charbonneau on the expedition to the Pacific Ocean.

text: On February 11, 1805, a few weeks after her first contact with the expedition, Sacagawea went into labor which was slow and painful, so the Frenchman Charbonneau suggested she be given a potion of rattlesnake's rattle to aid in her delivery. Lewis happened to have some snake's rattle with him. A short time after administering the potion, she delivered a healthy boy who was given the name Jean Baptiste Charbonneau.[83][84]

text: When the expedition reached Marias River, on June 16, 1805, Sacagawea became dangerously ill. She was able to find some relief by drinking mineral water from the sulphur spring that fed into the river.[85]

text: Though she has been discussed in literature frequently, much of the information is exaggeration or fiction. Scholars say she did notice some geographical features, but "Sacagawea...was not the guide for the Expedition, she was important to them as an interpreter and in other ways."[86] The sight of a woman and her infant son would have been reassuring to some indigenous nations, and she played an important role in diplomatic relations by talking to chiefs, easing tensions, and giving the impression of a peaceful mission.[87][88]

text: In his writings, Meriwether Lewis presented a somewhat negative view of her, though Clark had a higher regard for her, and provided some support for her children in subsequent years. In the journals, they used the terms "squar" and "savages" to refer to Sacagawea and other indigenous peoples.[89]

text: Accomplishments

text: The Corps met their objective of reaching the Pacific, mapping and establishing their presence for a legal claim to the land. They established diplomatic relations and trade with at least two dozen indigenous nations. They did not find a continuous waterway to the Pacific Ocean[90] but located an Indian trail that led from the upper end of the Missouri River to the Columbia River which ran to the Pacific Ocean.[91] They gained information about the natural habitat, flora and fauna, bringing back various plant, seed and mineral specimens. They mapped the topography of the land, designating the location of mountain ranges, rivers and the many Indian tribes during the course of their journey. They also learned and recorded much about the language and customs of the American Indian tribes they encountered, and brought back many of their artifacts, including bows, clothing and ceremonial robes.[92]

text: Aftermath

text: Two months passed after the expedition's end before Jefferson made his first public statement to Congress and others, giving a one-sentence summary about the success of the expedition before getting into the justification for the expenses involved. In the course of their journey, they acquired a knowledge of numerous tribes of Indians hitherto unknown; they informed themselves of the trade which may be carried on with them, the best channels and positions for it, and they are enabled to give with accuracy the geography of the line they pursued. Back east, the botanical and zoological discoveries drew the intense interest of the American Philosophical Society who requested specimens, various artifacts traded with the Indians, and reports on plants and wildlife along with various seeds obtained. Jefferson used seeds from "Missouri hominy corn" along with a number of other unidentified seeds to plant at Monticello which he cultivated and studied. He later reported on the "Indian corn" he had grown as being an "excellent" food source.[93] The expedition helped establish the U.S. presence in the newly acquired territory and beyond and opened the door to further exploration, trade and scientific discoveries.[94]

text: Legacy and honors

text: Since the expedition, Lewis and Clark have been commemorated and honored over the years on various coins, currency, and commemorative postage stamps, as well as in a number of other capacities.

text:
Lewis and Clark Expedition, 2004
200th Anniversary issue U.S. postage stamp commemorating the 200th anniversary of the Expedition

Lewis and Clark Expedition
150th anniversary issue, 1954

Lewis & Clark were honored (along with the American bison) on the Series of 1901 $10 Legal Tender

Lewis and Clark Interpretive Center in Cape Disappointment State Park

tag: ul

text: Prior discoveries

text: In 1682, René-Robert Cavelier, Sieur de La Salle went down the Mississippi from the Great Lakes to the Gulf. The French then established a chain of posts along the Mississippi from New Orleans to the Great Lakes. There followed a number of French explorers including Pedro Vial and Pierre Antoine and Paul Mallet, among others. Vial may have preceded Lewis and Clark to Montana. In 1787, he gave a map of the upper Missouri River and locations of "territories transited by Pedro Vial" to Spanish authorities.[95]

text: Early in 1792, the American explorer Robert Gray, sailing in the Columbia Rediviva, discovered the yet to be named Columbia River, named it after his ship and claimed it for the United States. Later in 1792, the Vancouver Expedition had learned of Gray's discovery and used his maps. Vancouver's expedition explored over 100 miles (160 km) up the Columbia, into the Columbia River Gorge. Lewis and Clark used the maps produced by these expeditions when they descended the lower Columbia to the Pacific coast.[96][97]

text: From 1792–93 Alexander Mackenzie had crossed North America from Quebec to the Pacific.[98]