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Excerpt ​

Excerpt from The Chinese Boy and Girl, by Isaac Taylor Headland

The boys danced about in high glee, selected two captains who chose
sides, and they all squatted down in two rows twenty feet apart. Each
boy was given the name of some kind of fruit, such as apples, pears,
peaches, quinces or plums, all of which are common about Peking. The
captain on one side then blindfolded one of his boys, while one from
the other group arose and stealthily walked over and touched him,
returning to his place among his own group and taking as nearly as
possible the position he had when the other was blindfolded. In case
his companions are uncertain as to whether his position is exactly the
same, they all change their position, in order to prevent the one
blindfolded from guessing who it was who left his place.

The covering was then removed from his eyes, he went over to the other
side, examined carefully if perchance he might discover, from change of
position, discomfort in squatting, or a trace of guilt in the face or
eyes of any of them, a clue to the guilty party. He "made faces" to try
to cause the guilty one to laugh. He gesticulated, grimaced, did
everything he could think of, but they looked blank and unconcerned, or
all laughed together, allowing no telltale look to appear on their
faces. His pantomimes sometimes brought out the guilty one, but in case
they did not, his last resort was to risk a guess, and so he made his
selection. If he was right he took the boy to his side; if wrong, he
stayed on their side. One of their side was then blindfolded, and the
whole was repeated until one group or the other lost all its men. The
game is popular among girls as well as boys.

"Do you have any other guessing games?" we asked Chi.

Explanation ​

Detailed Explanation of the Excerpt from The Chinese Boy and Girl by Isaac Taylor Headland ​

1. Context of the Source ​

Isaac Taylor Headland (1859–1942) was an American missionary, sinologist, and writer who spent decades in China during the late Qing Dynasty (19th–early 20th century). His book The Chinese Boy and Girl (1900) is an ethnographic and cultural study documenting the daily lives, games, customs, and education of Chinese children. Headland’s work was part of a broader Western fascination with Chinese culture during this period, blending observation with a missionary perspective.

This excerpt describes a traditional Chinese children’s game, likely a variation of "Blind Man’s Bluff" with unique cultural adaptations. The game reflects communal play, social dynamics, and the importance of observation and deception in Chinese folk games.

2. Summary of the Excerpt ​

The passage depicts a guessing game played by Chinese boys (and girls) in Peking (modern-day Beijing). The rules are as follows:

  1. Setup: Two teams are formed, each led by a captain. The players squat in two parallel rows, 20 feet apart.
  2. Naming: Each child is assigned the name of a common fruit (apples, pears, peaches, quinces, plums).
  3. Blindfolding & Touching: One team blindfolds one of their players. A member from the opposing team sneaks over, touches the blindfolded boy, and returns to their original position (or a slightly altered one to confuse the guesser).
  4. Unblinding & Guessing: The blindfold is removed, and the boy must identify who touched him by:
    • Observing shifts in posture.
    • Detecting "traces of guilt" in facial expressions.
    • Using pantomime, gestures, and "making faces" to provoke a reaction.
  5. Outcome:
    • If correct, the guessed boy joins his team.
    • If wrong, the guesser’s team loses a member.
    • The game continues until one team loses all its players.

The narrator then asks a Chinese boy named Chi if there are other similar guessing games, implying an interest in comparative cultural play.

3. Themes ​

A. Social Interaction & Group Dynamics ​

  • The game is highly communal, requiring teamwork, observation, and deception.
  • The blindfolded player’s isolation contrasts with the united front of the opposing team, who collectively resist giving away the guilty party.
  • The shifting positions of the team members suggest fluidity in social roles—individuals must adapt to protect the group.

B. Observation vs. Deception ​

  • The game hinges on perception and misdirection:
    • The blindfolded boy must read subtle cues (body language, facial expressions).
    • The opposing team actively conceals the truth through collective laughter, blank expressions, or repositioning.
  • This reflects broader cultural values in Chinese society, where indirect communication, face-saving, and group harmony are often prioritized over individual honesty.

C. Play as Cultural Expression ​

  • The use of fruit names ties the game to local agriculture, reinforcing a connection to nature and daily life in Peking.
  • The physicality of the game (squatting, gesturing, laughing) mirrors traditional Chinese performance arts (e.g., opera, storytelling), where exaggerated expressions and body language are key.
  • The competitive yet non-violent nature of the game aligns with Confucian ideals of harmony within rivalry.

D. Childhood & Learning ​

  • The game teaches critical thinking, memory, and social intelligence.
  • The risk of guessing wrong introduces an element of strategy and consequence, preparing children for real-world decision-making.

4. Literary Devices & Stylistic Features ​

A. Vivid Imagery & Sensory Details ​

  • "Danced about in high glee" → Conveys joy and energy of childhood play.
  • "Squatted down in two rows" → Evokes a structured yet informal setting.
  • "Made faces," "gesticulated," "grimaced" → Highlights the theatrical, performative aspect of the game.

B. Juxtaposition & Contrast ​

  • Blindness vs. Sight: The blindfolded boy’s temporary disability contrasts with the keen observation required afterward.
  • Individual vs. Collective: One boy’s isolated guessing against the unified resistance of the team.
  • Guilt vs. Innocence: The "trace of guilt" in faces vs. the team’s "blank and unconcerned" expressions.

C. Repetition & Cyclical Structure ​

  • The game’s repetitive nature ("the whole was repeated until one group... lost all its men") mirrors traditional oral storytelling and reinforces the rhythmic, ritualistic quality of folk games.

D. Dialogue & Direct Address ​

  • The final question ("Do you have any other guessing games?") serves as a narrative hook, inviting further cultural exploration while making the text feel conversational and interactive.

5. Significance & Cultural Insights ​

A. A Window into Qing-Dynasty Childhood ​

  • The game reflects pre-modern Chinese recreational culture, where simple, imaginative play was common before Western influences (e.g., organized sports) became widespread.
  • The lack of props (only a blindfold is needed) suggests resourcefulness in children’s entertainment.

B. Cross-Cultural Comparisons ​

  • Similar to Western "Blind Man’s Bluff", but with unique Chinese adaptations:
    • Team-based rather than individual.
    • More emphasis on facial expressions and group deception.
    • Fruit names tie it to local culture (unlike generic Western versions).
  • Highlights how universal play patterns (hiding, guessing, teasing) are culturally adapted.

C. Missionary Perspective & Orientalism ​

  • Headland’s tone is observational but slightly exoticizing—he presents the game as quaint and foreign to a Western audience.
  • The question to Chi at the end frames the Chinese boy as an informant, reinforcing the colonial-era dynamic of Westerners "studying" non-Western cultures.

D. Enduring Legacy ​

  • Games like this are precursors to modern Chinese children’s games and may still exist in rural areas.
  • The emphasis on non-verbal communication aligns with traditional Chinese values of reading between the lines ("reading the air" or kan qi 看气 in social interactions).

6. Close Reading of Key Passages ​

*A. "He 'made faces' to try to cause the guilty one to laugh." ​

  • "Made faces" → Implies exaggerated, comedic expressions, similar to Chinese opera masks or comic storytelling.
  • The goal is to break the guilty party’s composure, showing how emotional control is both a skill and a vulnerability in the game.

*B. "They looked blank and unconcerned, or all laughed together, allowing no telltale look to appear." ​

  • "Blank and unconcerned" → A deliberate poker face, a skill valued in Chinese culture (e.g., in negotiation or diplomacy).
  • "All laughed together" → Collective solidarity over individual betrayal—reinforces group loyalty.

*C. "His pantomimes sometimes brought out the guilty one, but in case they did not, his last resort was to risk a guess." ​

  • "Pantomimes" → Suggests theatrical performance, a key element in Chinese folk entertainment.
  • "Risk a guess" → Introduces uncertainty and strategy, making the game psychological as much as physical.

7. Conclusion: Why This Excerpt Matters ​

This passage is more than a simple description of a children’s game—it is a microcosm of Chinese social values:

  • Observation and subtlety over direct confrontation.
  • Group harmony over individual success.
  • Play as a training ground for real-world skills.

Headland’s account, while filtered through a Western missionary lens, preserves a cultural artifact that reveals how traditional Chinese society shaped even the simplest forms of recreation. The game’s blend of deception, teamwork, and performance mirrors broader themes in Chinese philosophy, art, and social interaction, making it a fascinating subject for both literary and anthropological study.

Would you like a deeper analysis of any specific aspect, such as the missionary context or comparisons to other global guessing games?