Gleanings from Chinese folklore — Text and Context
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ers was the gift of making even the brief, formal call an opportunity for speaking the word which might lead to an upward look or an outward vision.
The Chinese pastor came to Miss Russell with his problems, also the child with her new toy. She loved flowers, animals, and children, the latter with the passionate love of a mother-heart. One who watched her taking a little dead goldfish out of the water said, “Don’t keep goldfish any more, it hurts you so when they die.” But the things which hurt could no more be put outside of that wide-embracing life than could the things which gave a thrill of joy, or enraptured her with a sense of the beautiful.
The tragedy of 1900 brought to one of such wideness and depth of friendship and intimate knowledge a sorrow whose outward tokens were whitening hair and a physically weakened constitution. The first massacres in the country brought refugees to Peking, to whom she ministered day and night. In the British Legation she went to the hospital to nurse wounded soldiers when she needed herself to be carried there on a stretcher. Naturally sensitive not only to pain but to danger and to all that was unsightly or repulsive, her sufferings during those two months cannot be measured. The year that followed was a drawn-out agony, as she heard the stories of martyrdoms, listened with tense sympathy to the tales of returned refugees, gathered orphans and widows into schools, and with a faith that never faltered planned to build up the waste places. She might indeed have said, with Paul, “I die daily.”
Miss Russell was large in her plans as well as in her feelings. The past could not chain her, the present could not bind her. A Bible school for women rose in her future, and after it became a fact, and others were doing most of the routine work, she passed on to work into a reality dreams of a school for women of the higher classes, with lecture courses, mothers’ clubs, and training for social service, a work which for many years to come cannot reach the proportions of her vision. There could be no more fitting memorial for Miss Russell than buildings which would help to make her dreams come true. If Mark Hopkins, one student, and a log made a college, Miss Russell, a Chinese woman, and a tiny Chinese room made a Social Settlement.
Miss Russell was not always logical and judicial. Her virtues carried their dear earthly defects with them. From those who disappointed her hope after long patience of love she might recoil into an attitude which seemed like prejudice. Sometimes she walked so far with others into the Valley of Baca that no strength was left to make it a well.
It might seem that the outpouring of her life was too lavish, and so injudicious. But who knows? The impulse which went upward in prayer and outward in loving service had its fruition in a clearer vision of the earth mission of the Master, a vision for herself, and a vision for the thousands with whom she came in touch. And China needs nothing more than she needs this vision.
For those who find their richest fruition in deeds accomplished, we crave the threescore years and ten, crowded with achievement. Those whose gifts lie in loving and befriending may sooner rest from their labours, for their works do follow them, and love and friendship are deathless. Those of us in Peking who walk where Miss Russell’s feet have trod still see the spiritual blossoming of that beautiful life.
An Appreciation of Nellie N. Russell By Charles Frederic Goss, her pastor in Chicago. 13 Nellie N. Russell (Historical) 16 Miss Nellie N. Russell’s Unique Work An Appreciation—Mrs. Chauncey Goodrich. 31 Miss Russell’s Funeral Service 41
A Tartar Joan of Arc 47 A Daughter of the Orient 52 The Wild Goose and the Sparrow 56 A Chinese Hero Han Hsin. 61 A Chinese Tea-House Story Chi Hsiao Tang. 71 The Jade Treasure 82 Chinese Heroism 88 Literary Glory 92 How the Dog and Cat Came to Be Enemies 98 A Daughter of the Present 106 T’ang Sung’s Journey to Get the Buddhist Classics 110 A Story of Old China 124
AN APPRECIATION OF NELLIE N. RUSSELL
By Charles Frederic Goss,
Her Pastor in Chicago
Nellie N. Russell's Gleanings from Chinese Folklore opens with a striking blend of personal memoir and traditional tale. The foreword, written by a colleague, describes Russell as someone who 'relived' the lives around her, a quality that permeates her storytelling. In the story 'How the Dog and Cat Came to Be Enemies,' Russell directly addresses her readers: 'Let me tell you the story, and as you listen possibly you can see the dear little children of the great flowery kingdom.' This choice to frame folklore within a conversational, almost intimate tone reveals a deliberate authorial strategy: she positions herself as a bridge between cultures, inviting Western readers to imagine Chinese domestic scenes.
Direct Address and Orality
Russell frequently breaks the fourth wall, using phrases like 'My young readers' and 'Can you not say with her?' This technique mimics the oral tradition of Chinese grandmothers telling stories to children, which she explicitly references: 'the old women of China love to tell their children and grandchildren.' By adopting a storyteller's voice, Russell transforms written text into a performed narrative. The effect is twofold: it creates immediacy and underscores the folkloric origin of the material. However, this choice also risks flattening cultural distance, as she assumes a shared moral framework with her audience.
Embedded Missionary Perspective
Russell does not separate her folklore from her missionary work. In the story of 'Literary Glory,' a convert killed during the Boxer Rebellion, Russell interjects: 'My young readers who have given your money for Bridgman School... does the result of your investment satisfy you?' This direct appeal to donors reveals the collection's dual purpose: entertainment and evangelical fundraising. The folklore is framed by Christian commentary, as when she speculates on 'Literary Glory's' heavenly name: 'Is it "Heavenly Glory"?' Such passages show Russell using folk narratives as vehicles for moral instruction, blending Chinese motifs with Protestant theology.
Diction and Cultural Translation
Russell's diction oscillates between colloquial English and translated Chinese idioms. She describes a gold ornament that produces food when a charm is repeated, a motif common in Chinese folklore. Yet she renders the charm in simple English: 'I want dumplings, meat dumplings. Come, dumplings, come.' This choice prioritizes accessibility over authenticity. Similarly, she uses Western analogies like 'Mother Goose' to explain the story's popularity. While this aids comprehension, it also domesticates the source material, potentially erasing cultural specificity. The compiler, Mary H. Porter, notes that the volume includes 'memorial sketches,' suggesting that the folklore is secondary to Russell's biography.
Structure and Compilation
The book is not a pure folklore collection but a hybrid: it combines traditional tales with personal narratives and memorial tributes. The foreword by Luella Miner and the dedication 'to Miss Russell's fellow-workers' indicate that the volume serves as a memorial. The folklore is interspersed with accounts of Russell's missionary work, such as the story of 'Literary Glory,' which is presented as a true account. This structure implies that the folklore is meant to illuminate Russell's character and her relationship with Chinese converts. The reader must navigate between genres, recognizing that the tales are filtered through a Western, Christian lens.
Readers should approach Gleanings from Chinese Folklore as a document of cross-cultural encounter rather than a pure ethnographic record. Russell's authorial choices—her direct address, missionary framing, and selective translation—reveal as much about her own worldview as about Chinese folklore. To appreciate the tales, one must attend to the editorial apparatus: the foreword, the memorial sketches, and the compiler's notes. These paratexts shape how the folklore is presented and received, making the book a rich subject for studying early twentieth-century American missionary literature.
Sometimes I think about how Nellie Russell must have felt, gathering those tales between her own life and the strangers' firesides. It reminds me of the quiet way another collection holds its ground, The Unwritten Literature of the Hopi — Story, Setting & Ideas, as if both books were simply listening. A particular ache lingers there, a kind of home-sadness, and I find myself returning to it more often than I expected.
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