“An Account of The Cultivation and Manufacture of Tea in China” 1848, by SAMUEL BALL, ESQ.

根据1848年的文章，总结出乌茶的工艺，主要包括炒青前工艺、炒青和最后的干燥三个阶段，每个阶段都有其独特的操作方法和要点。

1. 炒青前工艺

晒青与否：优质茶叶如最好的小种、岩茶等，采摘时茶青已在空气中自然萎凋失水，无需晒青；而粗枝大叶的茶青，或雨后采摘的茶青，常需晒青来提高柔韧性、加速叶片失水 ，避免“煮青”。

晾青：将茶青放在露天阴凉通风处或通风开阔建筑中冷却，防止或抑制发酵。茶青按质量不同放置，待发出轻微香气后，筛去杂质，为做青做准备。

做青：用手翻动茶青，常见动作有拢、翻、举、抖等，重复多次使茶叶产生红色边缘和斑点。不同茶叶做青方式有差异，最好的岩茶或包种茶仅需摇筛。做青时茶青重量因茶而异，完成后可能会进行“团青”，待释放出所需香味后进行下一步。

沤（渥）青：部分茶叶在炒青前会将茶青收成一堆，用布盖住，晚上工人照看，观察茶青是否出现斑点或红色，一旦出现且香味增加，立即炒青，否则影响茶叶品质。鲜叶原本无香气，此过程可使茶青形成一定香味。

2. 炒青

第一次炒青：使用干柴生火，将铁锅加热至远高于沸点，使茶叶噼啪作响。炒茶工双手拿半磅左右茶青放入锅中，按压、拉、翻、扔等动作交替，注意避免叶子停留在锅底中间以免烧焦。炒至茶青发出香味且松软适合揉捻时完成，期间香气会随水分蒸发而变化。

揉捻：第一次炒青后立即进行，揉茶工用双手在竹制圆盘上揉捻茶青，使其保持球形，揉捻充分的茶青抖散后叶片卷曲，挤压出的黏性汁液可使叶片保持卷曲。揉捻后的茶青摊放在托盘上，放在架子上。

重复炒青和揉捻：根据茶青品质和状态，重复炒青和揉捻1 – 3次。第二次炒青时火温降低，用木炭代替木头，茶青可一次性放入锅中，炒青方式类似第一次，但需经常抖动、撒在低温面加速热汽蒸发。多次重复操作，直到茶青在揉捻时无明显液汁析出，进入最后的干燥工艺。

特殊工序（部分茶叶）：最好的岩茶或“神小种”茶在第一次炒青时，可能会采用“打青”和“抛青”的特殊工序，需将锅加热到通红，对茶青进行特殊处理，但该工艺对技术和注意力要求高，除最好的茶叶外较少使用。

3. 最后的干燥（焙青）

准备工作：使用焙笼，高约2.5英尺，直径1.5英尺，两端开口，内部有十字交叉细竿支撑盛茶的筛子。在地面建低矮炉灶，放入少量木炭，将焙笼放置在上面。

干燥过程：将茶青过筛后均匀放在筛子里，在茶堆中央开小孔作为排烟口，将筛子放在焙笼中。在焙笼上方开口处放置圆形竹盘，打开三分之一让水分蒸发。茶青焙约半小时后，用两个同样大小的筛子对调的方式翻青，再继续焙青。重复干燥、揉搓和翻转过程，直到茶叶变黑、条索卷曲、干燥而脆。

筛选与包装：干燥后的茶叶用大圆形竹扁盘扬簸，去除老叶、黄片和碎末，必要时手工挑去粗叶。筛选后的茶叶再次放在炭火余烬上或文火上焙约两小时，然后根据质量和习惯做法装进箱子或筐子里，带到乡村集市出售，最终在星村包装成适合国外市场的产品。

乌茶特征

1，乌茶具有独特的外观、香气、口感和汤色特征，这些特征的形成与乌茶复杂的制作工艺密切相关。通过对制作工艺各环节的精准把控，造就了乌茶与众不同的品质。其特色、特征主要体现在以下方面：

• 外观特征：干茶外形乌黑，条索卷曲。在制作过程中，经过揉捻和焙青等工序，茶叶细胞结构被破坏，内含物质渗出，使得茶叶逐渐形成乌黑的色泽和卷曲的形状。例如，在揉捻时，茶叶受到挤压，细胞破碎，茶汁渗出，这些物质在后续的干燥过程中发生氧化等反应，促使茶叶颜色变深、条索卷曲 。
• 香气独特：香气是乌茶的重要特征之一。在制作过程中，从晾青开始，茶叶逐渐散发出香气，经过做青、渥青等工序，香气不断形成和发展。这些工艺使茶叶中的糖类等物质发生变化，产生独特的香气成分。如最好的岩茶或包种茶在制作时，对这些工艺的管控极为严格，以形成其独特的高香品质 。
• 汤色红亮：乌茶冲泡后，茶汤呈现红亮的色泽。这一特征与茶叶在制作过程中的发酵程度和化学变化有关。在做青等工序中，茶叶发生了一定程度的发酵，茶叶中的成分发生氧化等反应，使得茶汤在冲泡后呈现出红亮的颜色 。
• 滋味醇厚：乌茶滋味浓郁、甘甜。从制作工艺来看，晒青、揉捻等工序促使茶叶中的成分发生变化，保留了茶叶的甜味成分，使得乌茶滋味醇厚甘甜。像在一些实验中，经过日晒和揉捻制成的茶，滋味浓郁且甘甜，仿佛掺了糖 。

2，乌茶中部分茶叶呈现绿叶红镶边的特征，但并非所有乌茶都如此。乌茶制作工艺中的做青环节对茶叶是否形成绿叶红镶边起着关键作用，不同种类、品质的乌茶，以及不同的制作方式都会影响其最终的外观呈现。

• 部分乌茶呈现绿叶红镶边：在乌茶制作过程中，做青是形成绿叶红镶边的重要工序。如文中提到 “把它们倒进大竹盘（簸篮）里，手握着大竹盘将里面的茶青摇晃了三四百次。这就是所谓的‘做青’。正是这个工艺给了叶子‘红镶边’” 。做青时，茶叶细胞与空气充分接触，发生一系列复杂的氧化反应，边缘部分的细胞受损，氧化程度较高，从而形成红色；而叶片内部细胞受损较轻，仍保留绿色呈现出绿叶红镶边的外观。像岩茶、包种茶等，在规范的制作流程下，常常能呈现出这种典型特征。
• 并非所有乌茶都有此特征：乌茶包含多种品类，不同品类的制作工艺和品质要求存在差异。部分工夫茶在制作过程中，尤其是较次的工夫茶，可能不会刻意追求绿叶红镶边的效果。因为它们在采摘和制作时更注重效率，较少关注颜色和气味的精细变化，在制作工艺上与追求绿叶红镶边的茶叶有所不同。此外，文中还提到一些简易制作的乌茶，是给农民或同等阶层饮用的，其制作过程简单，也不一定会呈现出绿叶红镶边的特征。

原文第6部分和第7部分，介绍乌茶的工艺。

“An Account of The Cultivation and Manufacture of Tea in China” 1848, by SAMUEL BALL, ESQ. (late inspector of tea to Hon. united east India company in China)

CHAP. VI and CHAP. VII, Part of Black tea making process.

P103 – P153

CHAP. VI.

MANIPULATION PREVIOUSLY TO ROASTING — MODE DESCRIBED BY A CHINESE — EXPOSURE OR NON-EXPOSURE TO SUN — EXPEDIENTS ADOPTED IN RAINY WEATHER — DESCRIPTION OF THE SEVERAL PROCESSES — FRAGRANCE, NONE IN FRESH LEAVES DEVELOPED BY MANIPULATION — PERSONAL OBSERVATION OF THE SEVERAL PROCESSES — REDNESS OF THE LEAF.

炒青前工艺——中国工艺模式——晒青还是不晒青——在雨天的权宜之计——几道工艺的简述——鲜叶原没有香气——工艺制作开发——几个工艺的个人观察——叶底的红色

Loo Lan describes the method of preparing the Yen or Pao Chong tea as follows. This account is principally useful as containing most of the terms of art employed by the Chinese in the manipulation of tea.

“After the leaves are gathered spread them upon flat trays, and expose them to the air: this is called Leang Ching (晾青). Toss them with both hands, sift them, and carefully examine them with a light to see if they be spotted with red, which is necessary : this is called To Ching (做青). Carefully put them into small bamboo trays, and cover them up quite close with a cloth, until they emit a fragrant smell: this is called Oc Ching (渥青). Hand them to a roaster (Chao Ching Fu), to roast them in a red hot Kuo (an iron vessel). Throw about five ounces (four tales) of leaves into the Kuo, then with a bamboo brush sweep them out. Let them be well rolled, and afterwards sent to the poey or dryinghouse to be completely dried. This tea is called Souchong and Paochong (小种和包种), and sells at from fifteen to thirty shillings the pound (four and eight dollars the catty) in the country where it is made.”

卢兰（LO0LAN）介绍的岩茶或者包种茶的制作方法如下。其内容非常有用，因为它包含了中国人在制茶过程中使用的大部分工艺术语。

“采摘完茶青后，把它们铺在平筛上，使其接触空气，这叫做“晾（凉）青”（Leang Ching）。用双手翻抛、摇筛，然后在明亮的地方仔细检查，看是否形成红色的斑点，这是有必要的，这就是“做（抖、捣）青”工艺（To Ching）。小心地把它们放在竹筛里，用一块布紧密地盖住，直到它们散发出一股香味，这就是“沤（渥）青”（Oc Ching）。之后把它们交给炒青夫（Chao ChingFu）放在一个红热的锅里炒（锅是一个铁制容器），把5盎司（4两）的茶叶扔进锅里炒，然后用竹刷把它们扫出来。将它们揉捻成型后，送到烘焙间或者干燥室，直至完全干燥。这种茶被称为小种或包种，在其原产地售价每磅15到30先令（4-8银元/斤）。”

Another Chinese, in the manuscript previously quoted, thus describes the process of making the Yen and Puon Shan Souchong (岩茶和半山小种): ” Spread the leaves about iive or six inches thick on bamboo trays (Po Ky) in a proper place for the air to blow on them. Hire a workman, or Ching Fu (to watch them). Thus the leaves continue from noon until six o’clock, when they begin to give out a fragrant smell. They are then poured into large bamboo trays (Po Lam), in which they are tossed with the hands about three or four hundred times: this is called To Ching (做青). It is this operation which gives the red edges and spots to the leaves.

在之前引用的手抄本中，另一个中国人是这样介绍岩茶和半山小种（PuonShanSouchong）的制作过程：“把茶青铺在的竹盘（簸箕）上大约5到6英寸厚，放在适当的地方摊晾。雇个工人或“青夫”（负责看青）。这样从中午持续到傍晚6点，茶青就开始散发出芳香的气味。然后把它们倒进大竹盘（簸篮）里，手握着大竹盘将里面的茶青摇晃了三四百次。这就是所谓的“做青”。正是这个工艺给了叶子“红镶边”。

“They are now carried to the Kuo and roasted; and afterwards poured on flat trays to be rolled.”

The rolling is performed with both hands in a circular direction about three or four hundred times; when the leaves are again carried to the Kuo; and thus roasted and rolled three times. If the rolling be performed by a good workman, the leaves will be close and well twisted ; if by an inferior one, loose, open, straight, and ill-looking. They are then conveyed to the Poey Long, the fire fierce, and the leaves turned without intermission until they are nearly eight-tenths dried. They are afterwards spread on flat trays to dry until five o’clock, when the old, the yellow leaves, and the stalks are picked out. At eight o’clock tliey are ‘poeyed’  again over a slow fire. At noon tliey are turned once, and then left in this state to dry until three o’clock, when they are packed in chests. They are now fit for sale.”

“它们现在被倒到锅里去炒；然后倒在平筛上进行揉捻。

“双手绕圆揉捻约三四百次；再被倒到锅里去炒；这样来回炒、揉3次如果是一个好的揉捻工来揉捻，茶叶条索就会紧结而卷曲；如果是不好的揉捻工，茶叶条索松散，不紧结，不卷曲，很不好看。然后茶叶被送到焙笼中，高温焙青，期间要不间歇地翻拌，直到约八成干。之后把它们摊在平筛上凉，直到凌晨5点后，把老叶、黄叶和茶梗拣剔出去。上午8点钟再低温复焙。中午，再翻焙一次，然后保持文火，直到下午3点，才装箱这就算制作完成，可以出售了。

By the preceding accounts it appears, that no exposure of the leaves to the sun takes place previously to their being roasted. This opinion is supported by many authorities, upon the ground that the slightest fermentation would injure them.

Mr. Pigou, however, and many Chinese state, that the leaves may be placed in the sun if not too ardent; or, if necessary, that is, if they require it. One person says, “into each tray put five tales of leaves and place them in the sunshine.” Another, in speaking of the finest teas, observes, — ”If the leaves require it, they must be placed in the sun to dry. For this purpose they are thinly spread in
sieves, and whirled round. If then not sufiiciently dry and flaccid, they must be exposed to the sun again.” (Chinese Manuscripts.)

The teas which I have seen made, and have made myself after the manner of Souchong, have invariably been exposed to the sun ; and some teas are made altogether in the sun, though this is not esteemed a good method.

通过前面的介绍，到炒青之前似乎没有晒青的工艺，许多权威人士也支持这一观点。理由是，即使最轻微的发酵也会损害茶叶的品质。然而，皮古先生和许多中国人都说，如果有需要的话，茶青可以放在阳光下晒，但要避免烈日暴晒。有人说，“在每个筛子里放5两茶青，把它们放在阳光下。”另一个人在提到制作最好的茶叶时写道：“只要茶青需要，就必须放在太阳下晒青。为了达到这个目的，它们被薄薄地铺在筛子里，并旋转筛子使其均匀。如果茶青不够干燥和柔软，就必须放在太阳下晒。”（摘自中文手抄本）

虽然，这不被认为是一个好的制作工艺，但我看到过的制茶过程，以及我自己曾按照小种的方式制作的茶，总是要暴露在阳光下，有些茶完全是在阳光下制作的。

* When I say that I have “seen made,” I mean simply made to explam the process to me. I wish the reader particularly to understand that I have never seen tea made for sale, or which was fit for sale. The tea districts are distant eight hundred or more miles from Canton.

当我说“我看到过的制作过程”的时候，指的是别人简单地向我解释制作过程。我希望读者能特别理解，我从未见过那些用于出售或适合出售的茶的制作过程。因为茶叶产区（武夷茶区）离广州有八百多英里那么远。

It is also certain that the Congou teas are exposed to the sun in the tea country, where large stands are erected in the open air for this purpose. Some are made horizontally, but more frequently obliquely, and usually contain about three rows of trays (Po Ky 簸箕), each about two and a half feet diameter. Mr. Bruce states that the inclination given to these stands is such as to form an angle of 25°. They are raised two feet from the ground, and incline outwards, towards the sun, as here figured.

可以肯定的是，在茶叶产区，工夫茶是晒在阳光下的。在那里，人们为此在露天建起了大型的茶支架。有些是水平的，但更多的是倾斜的，通常大约每三根支架支撑一排簸箕，每个簸箕直径约2.5英尺。布鲁斯先生说这些支架的倾斜度为25度。它们离地面两英尺高，向外倾斜，朝向太阳如下图所示。

The apparent discrepancy, therefore, in these accounts, like many other contradictions which appear in the different relations concerning tea, will be found to arise in most cases from a difference
of manipulation dependent upon the state of the leaves, or on the kind or quality of tea required to be made.

The Chinese seem to agree that the finest Souchongs, the Yen or Padre Souchongs, or Paochongs (岩茶，神小种，包种), when made under favourable circumstances, would be injured by any exposure of the leaves to the sun. But it must be remembered that these teas are made from the finest shrubs, the young leaves of which are described as being large, and of great succulency, as well as extreme delicacy.

They are also gathered after a succession of bright weather; and the best kinds during the greatest heat of the day. That change, therefore, which is necessary to be produced previously to the process of Leang Ching, by exposing the leaves to the sun, during which they ” wither and give *,” and become soft and flaccid, may so far take place before and after the gathering as to render a simple exposure to the air sufficient. Indeed this exposure to the shade and air may be necessary to check or prevent fermentation, or some unfavourable change which they might otherwise undergo.

因此，以上说法中的明显差异，就像在有关茶的相关问题上存在其他的一些分歧一样。在大多数情况下，由于茶青状态不一样，或根据不同的种类和品质要求，其茶叶的制作工艺也有差异。

中国人似乎也同意这一点，在各方面条件都有利的情况下，任何最好的小种、岩茶，或“神小种”，或包种的叶子暴露在阳光下都会造成伤害。但必须记住的是，这种好茶是来自最好的茶树，据说该类茶树的嫩叶肥厚多汁，非常娇嫩。

它们会在连续的晴朗天气之后，且一天中最热的时候被采摘。因此，晾青之前的那道工艺，也就是在阳光下晒青“使萎凋和失水”，茶青变得蔫而软的这种变化，在采摘期间，将茶青暴露在空气中就已经产生了。事实上，这种茶放在阴凉处并保持通风可能是必要的，否则它们可能会发酵或者产生不利的变化。

On the other hand, leaves which are gathered from shrubs of inferior delicacy, and are somewhat harsh and fibrous in their texture, may be greatly improved by exposure to the sun, especially if any chemical change be sought. At any rate that state of flaccidity which is desirable must be greatly accelerated by such means ; and whether adopted from motives of utility or economy, it may be sufficient for all purposes of the present inquiry to state the fact, as gathered from the testimony of the Chinese, that the finest teas are not exposed to the sun, but that many souchongs of excellent quality commonly are, and the congous (工夫茶) invariably.

Leaves gathered after rains more particularly require exposure to the sun. I have seen the Ho Nan leaves collected under such circumstances so treated, and then kept twenty-four hours in
a cool place, and afterwards exposed to the sun again Avith advantage. Indeed leaves which are gathered during rains, or in cloudy weather after much rain, must be dried before or over a fire previously to their being roasted. ” To carry such leaves thus turgid and full of juices to the Kuo,” said an excellent workman, “would be boiling them instead of roasting them.”

The houses and stoves erected for this last purpose appear similar to those employed in the process denominated poey, under which article a description of these houses will be found.

The manner of drying the leaves in this process is differently described by different persons; and I imagine there may be many modes of performing it. Some Chinese say that the stoves are built in the centre, and the leaves placed on stands erected on either side, as for the common Bohea ; others, that the stands are placed over the fire, and not apart from it, and some that stoves are not used at all, but that the fire is wheeled about under a kind of stand, or framework, fitted to the walls of the building. Perhaps all these methods are used, since this exposure to the fire is simply to produce an evaporation of the exuberant juices acquired during rain ; for in proportion as the leaves are full of juices, so is the pain and difficulty, and even expense, of manipulation increased.

The following plate exhibits a room fitted up for this purpose, having a framework to receive the sieves, with earthern chafing dishes or stoves, containing charcoal placed underneath, taken from a Chinese drawing :—

另一方面，从劣等茶树采摘的茶青，质地较粗糙，纤维较多，可以通过晒青提高其柔韧性，尤其是当需要茶叶发生一定的化学变化时。无论如何，通过晒青来加速叶片失水，达到我们所希望的柔软状态。无论是出于茶叶的功效动机还是经济动机，目前所调查到事实情况就足够证明，正如从中国人的论述中提到的那样，最好的茶叶是不需要晒青的，可是许多品质优良的小种通常是要晒青的，而工夫茶也要。

雨后采摘的茶青更需要晾晒在阳光下。我曾见过“河南”（广州河南村）雨后采摘的茶青，先放在阴凉的地方24小时，然后再放到阳光下晾晒。事实上，在雨天或雨后的阴天采摘的茶叶，必须在炒青前晒干或烘干（茶青表面的水分）。一位高明的制茶师傅说：“把这种水分过多的茶青放到锅里，就变成煮青，而不是炒青了。”

为最后一个制茶步骤所建造的房屋和炉灶与一种被称为“焙”的过程所使用的房屋和炉灶类似，在皮古这篇文章中，我们可以找到对这些房屋的描述。

把茶青弄干的方法，不同的人有不同的说法。我想可能很多方法都可以用。一些中国人说，炉子建在中间，茶叶放在两边的架子上，如普通武夷茶的干燥方式；另外一些人则把架子要放在火上。除此之外，有些根本不用炉子，而火是在一种安装在建筑物墙壁上的支架或框架下旋转干燥。

也许这些方法都有人用，因为这种烤火只是为了让在下雨时附在茶叶上多余的水分蒸发。因为茶青上的水分超标越多，制作难度就越大，甚至制作费用也越高。

下图展示了一个为此目的而建造的房间，有一个支架用来放筛子，土制的锅或炉子，下面放着木炭。原图来自一幅中国画：

The manipulation now may be divided into — 1st, the process previously to roasting ; and 2ndly, the process of roasting. The process previously to roasting consists of Leang Ching, To Ching, and Oc Ching.

The process of Leang Ching is literally that of cooling the leaves, or keeping the leaves cool to prevent or check fermentation. For this purpose they are placed either in shady situations in the open air, exposed to the wind, or in open buildings which admit a draft through them. Easterly winds are said to be unfavourable to this process. Tall stands (Kia Czu), about six feet high, consisting of many stages, are employed to receive the different bamboo trays (Po Ky), in which the leaves are placed in quantities agreeably to their qualities, and the care intended to be bestowed on their manipulation. The finest description of Yen or Padre Souchong teas are thinly strewed over the trays; but inferior kinds of Yen and Puon Shan teas are placed five or six inches thick. In this state they are kept, until they begin to emit a slight degree of fragrance, when they are sifted, to rid them of any sand or dirt which may adhere to them, preparatory to the operation of To Ching.

To Ching signifies the tossing about the leaves with the hands.* The manner in which I have seen this process performed was thus : a man collected together as many leaves as his hands and arms could compass; these he turned over and over, then raised them a considerable height, and shook them on his hands : he then collected them together again, tossed and turned them as before. In the manuscript already quoted, it is stated that this operation is continued about three or four hundred times ; and that it is this part of the process which produces the red edges and spots on the dried leaves.

现在的制作工艺可以分步为：第一，炒青之前用到的工艺；第二，炒青工艺。炒青之前用到的工艺包括晾（凉）青、做（抖、捣）青和沤青（渥）青。

晾青的过程实际上就是冷却茶青，或保持茶青冷却，以防止或抑制发酵。为此，要么把它们放在露天的阴凉通风的地方，要么被放置在通风的开阔建筑中。据说东风对晾青不利。高台（架子），大约6英尺高，由许多层组成，用于放置不同的竹盘（簸箕），竹盘中放的茶青根据质量不同，数量也有所不同，制茶人给予的关注度也不同。最好的岩茶或“神小种”是稀疏地撒在筛子上，但较次的岩茶和半岩茶青则被平铺到5或6英寸厚。这样一直持续放到茶青开始发出一种轻微的香气，这时把任何可能附着在茶青上面的沙子或污垢筛去，为“做（抖、捣）青”的工序做准备。

做青是指用手翻动茶青’。我看到过的这个工艺过程是这样的：一个男人用他的手和胳膊把所有的茶叶拢过来，把它们翻来覆去，然后用手把茶青举得很高，再抖下来，然后又把它们拢在一起，重复前面的动作。在已经引用的手抄本中指出，这个操作过程重复了大约三四百次。正是这个重复的过程，让干燥的茶叶上产生了红色的边缘和斑点。

Another man whom I saw make tea, after having completed the operation of To Ching, pressed the leaves of each parcel together with a slight degree of force into a heap or ball, which seems to agree with what some Chinese call Tuon Ching. In both cases they were kept until they emitted what the workmen deemed the necessary degree of fragrance, when they were roasted. With respect to the quantity tossed at one time, the Chinese differ considerably. Some say that the Siao Poey, Ta Poey, with other Souchong teas, and Congou teas, are made in large quantities. The leaves of six or seven small trays are mixed, they say, together, and placed in large trays (Po Lam), and two. three, four, or more men, are employed to toss them. Some say that six or seven pounds (five catties), and others eleven or thirteen pounds (eight or ten catties), are thus formed into one heap even for fine Souchong.

The finest kinds of Yen or Pao Chong teas are said to be placed in sieves in a long narrow close room. Open shelves, made of bamboo, pass along the walls, eighteen or twenty in height, upon which sieves, or small trays, are placed. The leaves of this tea being thinly strewed in the sieves, as already described in the process of Leang Ching, require no tossing, but are simply whirled round and shaken to and fro, as in the act of sifting and winnowing, which obviously would produce the same effect. Thus the workman begins at one end of the room, and proceeds in the manner already described, until each sieve has passed through his hands. He then returns to the first sieve, and continues the process until the leaves give out the requisite degree of fragrance.*

我还见过另一个制茶的人，在完成了“做青”后，用轻微的力量将每一包茶叶压成一堆或一团，这似乎与中国人所说的“团青”（Tuon Ching）相吻合。在这两种情况下，它们都放在那里不动，直到它们释放出制茶师傅所认为所需的香味时，就可以炒青了。关于一次做青的重量，不同中国人有不同的看法。有人说，小焙茶、大焙茶以及其他小种茶和工夫茶都是大批量生产的。他们说，把六七个小竹盘的茶青混合在一起，放在大竹盘（簸篮）里，让二、三、四或更多的雇工摇青。有的说6-7磅（5斤），有的说11-13磅（8-10斤），堆成一堆，即使是优质小种也是这样制作的。

据说，最好的岩茶或包种被放在一个狭长密闭的房间里的筛子上。用竹子制成的开放式架子沿着墙壁，有18到20英尺高，上面放着筛子或小托盘。这种茶青被薄薄地摊在筛子里，就像晾青的过程中所描述的那样，不需要像在过筛和扬簸那样翻抛，只是简单地转动和前后摇筛，显然也会产生相同的效果。这样，工人就从房间的一端开始，按照前述的方式进行，直到每个筛子都过完手。然后他回到第一个筛子，继续这个过程，直到鲜叶散发出所需要的香气。

* In composition the Chinese frequently acid another word to the word To, which appears to be referable to some modification of this part of the process. Some use To Pa, the tossing and patting of the leaves ; others To Tuon, the tossing and collecting them into a heap or parcel ; others To Nao, the tossing and rubbing them: and again, To Lung, which means simply tossing, or literally tossing and tumbling about the leaves. Now the tossing, patting, rubbing; collecting the leaves in a heap and covering them up as in the process of Oc Ching, are doubtless different methods used for the purpose of checking or hastening fermentation, as the leaves may require. The finest descriptions of Yen or Paochong tea are not handled at all, but are simply whirled round in sieves.

在中文的行文用词中，经常在“做”（To）字后面加一个字，这似乎是指对这一过程中的不同方式进行修饰说明。有的用“拍”（Pa），指对茶叶的摇动和拍打；有的用“团” （Tuon），指把茶叶放进堆里或一批中；有的用“摇”（Nao），指的是摇动茶青使其产生碰撞；还有的用“浪”（Lung），指的是把茶叶翻来覆去揉搓。抛、拍、揉，像“沤 （渥）青”的过程一样把叶子堆起来，无疑是抑制或加速发酵的不同方法，因为这是根据茶青不同状态使用的。但最好的岩茶或包种茶根本不用处理，只需用筛子摇青。

These teas, agreeably to the accounts of some Chinese, then undergo another process previously to their being roasted, denominated Oc Ching. This consists in collecting the leaves of each sieve into a heap, and covering them with a cloth. They are then watched with the utinost care, and, as this part of the process is continued during the night, the workmen are described as constantly proceeding round to the different sieves, with a lamp in the hand, gently and carefully lifting up so much of the cloth of each sieve as will permit them to discern whether the leaves have become spotted and tinged with red. So soon as they begin to assume this appearance they also increase in fragrance, and must be instantly roasted or the tea would be injured.*

It may here be observed that the leaves of tea have no kind of fragrance in their unmanipulated state, but have a rank vegetable flavour both in taste and smell. Nor is the frao;rance which is evolved previously to roasting in any degree correspondent with that, at least in my opinion, which constitutes the flavour of tea after complete desiccation.

Thus the manipulation previously to roasting seems to be for the purpose of evaporating as much of the fluids as possible without injury to the odorous principle, or aroma ; or rather, perhaps, to induce a slight degree of incipient fermentation, or analogous change, which partakes of the saccharine fermentation of hay, during which the requisite degree of fragrance is evolved. But whatever that change may be to which the fragrance of smell, and the red or brown appearance of the leaves, which constitute the peculiarity of black tea, may be due, it is on the management of this change that the quality of the Yen, or Padre Souchong teas, greatly dej^ends. To produce it slowly, to know when to retard it, when to accelerate it, and in what degree, requires some experience ; and the Chinese universally consider the management of the leaves of this fine tea previously to roasting, as the most important and difficult part of the whole manipulation.

We also find that the leaves of these teas, which are of great delicacy and succulency, and gathered during a succession of bright weather, are kept in small parcels ; and the highest degree of fragrance and incipient chemical change, of which they are susceptible without injury, is induced, besides being exposed to more than ordinary heat in the first process of roasting, denominated Ta Ching (打青) ; they consequently receive much care and attention throughout every stage of the manipulation.

按照一些中国人的说法，这些茶叶在被炒青之前会经过另一种过程，称为“沤（渥）青”。这包括将每个筛子的茶青收成一堆，并用一块布盖住它们。然后，人们极为小心地照看茶青。看青的过程在晚上持续进行，据说工人们手里都拿着灯，不停地巡查不同筛子，逐个的把筛子的布轻而小心地掀起来，辨别茶青是否有斑点或红色。一旦它们开始呈现这种外观，它们的香味也会增加，必须立即炒青，否则会有损茶叶的品质。

在这里可以看到，茶叶在其未经处理的状态下没有任何香味，但在味道和气味上却有一种难闻的蔬菜味?。至少在我看来，在炒青之前形成的香味与完全干燥后的茶的气味完全不同。

因此，炒青之前的制作过程似乎是为了在不损害气味（或香气）的原则下，尽可能地蒸发水分，或者更确切地说，可能为了初期的轻微发酵或类似的变化，其中茶青中的糖类物质也发生变化，在此期间，形成了必要程度的香味。但是，无论是什么样的变化，构成乌茶特性的香气和叶子的红色或棕色外观，都可能是由于这种变化造成的，岩茶或“神小种”的质量在很大程度上取决于对这种变化的管控。慢慢地产生发酵，知道什么时候延缓发酵，什么时候加速发酵，以及发酵到什么程度，都需要一些经验。中国人普遍认为炒青之前对这种上等茶叶的做青工艺管控是最重要也是最难的部分。

我们还发现，这些茶叶非常美味多汁，是在持续晴朗的天气下采摘的，它们的叶子始终保持小堆制作。除了在第一次炒青过程中，被称为“打青” （TaChing），使用了比通常更高的温度外，茶叶的香气不会被破坏，反而会诱发最大程度的香气和初期的化学变化。这些变化对茶叶来说是无害的流程，因此，在制茶的每一个阶段，它们都会受到很多关注。

* Mr. Jacobson describes this process very accurately. It is employed at Java for all descriptions of black tea, as well as tossing the leaves with the hands. He states, the leaves are strewed about two inches thick on circular trays, measuring about 301 inches in diameter. An undulatory motion is given to the tray from right to left, by a slight action of the arms and hands. The leaves thus kept in constant motion, and whirled round, turn as it were on a common axis, and rise in a conelike shape to the height of eight inches, occupying little more than one half of the tray. He also observes, that one man may work eighty trays containing 60 lbs. of leaves in this manner in one hour. The leaves are first whirled from thirty to forty times, then tossed from thirty-five to forty times, and so as long as necessary ; but the last motion must be the whirling. They are then covered with a tray, and put aside for about an hour; but this must depend on the state of the leaves. (Handbook v. d. Kultuur en Fabrikatie v. Thee, § 333.) 

* Lap Sing says, ” It is only a common kind of tea that undergoes the process of Oc Ching, and which is consumed principally at Su-chao, in Kiang Nan.” It is true, there is a particular kind of common tea called Hong Cha, or Red Tea, which I have seen, and which is said to be made by a longer continuance of the process of Oc Ching, which is the tea he alludes to. But many Chinese affirm that the Paochong tea is covered with a cloth, as already described, and others with a tray. Nor does Lap Sing’s own account diiFer very materially; for he admits that, after the process of To Ching, the leaves are collected together and suffered to remain in a heap, which he denominates Tuon Ching, during which the leaves become fragrant, and spotted with red. The difference seems only in degree.

雅各布森先生非常准确地描述了这个过程。在爪哇，在所有乌茶制作过程中都有用手摇晃茶青。他说，在直径约30.1英寸的圆形托盘上摊铺了大约两英寸厚的茶青，通过手臂和手的轻微抖动，托盘上的茶青会从右到左不断波动。就这样，茶青不停地旋转运动，好像绕着一个共同轴旋转，并呈圆锥形上升，达到8英寸高，只占托盘的一半多一点。他还注意到，一个人在一个小时内用这种方法可以操作80个托盘（60磅）茶青。只要有必要，茶青必须按先旋转30-40次，后摇荡35-40次的方法进行操作；但最后一个动作一定要旋转。然后用托盘盖上，放置大约一个小时；但放置时间必须取决于茶青的状态。（《茶叶种植与生产手册》第333条，参考: “Handboek voor de kultuur en fabrikatie van Thee”。

李星（Lapsing）说：“它只是一种普通的经过沤（渥）青的茶叶，主要的消费群体在江南苏州地区。”的确，有一种这样的茶，叫做红茶（译者注：原文redtea、hongtea），我见过，据说它是由更长时间的沤（渥）青过程制成的，也就是他提到的茶。如前所述，许多中国人认为包种茶是用布覆盖的，而其他茶用托盘。李星讲述的也没有太大差别，因为他认为，经过“做青”的茶叶被收拢堆在一起，他把这称为“团青”，在这个过程中茶叶变得芳香，并带有红色斑点。以上似乎只是（沤青）程度上的不同而已。

On the other hand, teas which are made from inferior shrubs, whose leaves are of a harsher and more fibrous texture, and, consequently, less disposed to chemical change or to heat, require less care. Thus we find that Congou teas in particular, which form the bulk of those imported into England, are gathered in all weathers, and exposed to the sun or fire, as circumstances permit, to hasten evaporation. They are also kept in large parcels throughout the whole process of manipulation, and less attention is paid to change of colour and fragrance of smell. They nevertheless must undergo the processes of To Ching and Leang Ching, during which they “wither and give,” and partially become spotted and tinged with red; for this state of withering is no less necessary to Congou than Souchong tea, and on the skilful management of this process the excellence of quality of all black tea depends.

Having now related what I have been enabled to collect from the Chinese upon the subject of the manipulation of the leaves previously to roasting, it may also be satisfactory to point out what has come under my own personal observation. I shall therefore now describe the mode in which I have seen this part of the process performed, on two occasions, by men from the Bohea and Ankoy countries. The leaves employed for this purpose were collected from Honan, in the southern suburbs of Canton, and Pack Yuen Shan, north of the city.

Nor did I perceive any material difference in the mode of manipulation as performed by these men.

另一方面，较次的茶树所产的茶青，叶子粗糙，纤维含量高，而且更不容易因发热产生化学变化，不需要特别关注。因此，我们发现，尤其是工夫茶（英国进口的大部分是工夫茶），在任何天气下都要采摘，并根据茶青的具体情况来确定是用日晒还是用火烤，来加速水分蒸发。在整个制茶过程中始终都大批量地进行制作，很少注意颜色和气味的变化。然而，他们也必须经历“做青”“晾青”的过程，在此期间的状态，称作“萎凋失水”（wither and give），有一部分出现斑点略带红色。对于工夫茶来说，这种枯萎的状态与小种茶的类似过程一样重要，因为所有乌茶的卓越品质都要靠这一过程的加工技巧。

现在，我把从中国人那里所收集到的关于炒青之前工艺的资料和我个人观察到的情况进行结合，可以得出较令人满意的结论。我现在将分别介绍从武夷山和安溪地区请来的做茶师傅实际演示我所看到的这个过程的制作工艺，茶青采自广州南部的河南和北部的白云山。

我也没有感觉到这些人的制作方式有什么实质性的不同。

The newly gathered leaves were first spread about an inch thick on small sieves, and suffered to remain in the sun about twenty minutes. The leaves of each sieve were then taken in succession, and turned and tossed with the hands for a considerable time, as already described in the process of To Ching, when they were again spread out and exposed to the sun. When the leaves began to ” wither and give,” and become soft and flaccid, the leaves of two or three sieves were then mixed together, and the tossing of the leaves and exposure to the sun again repeated until they began to emit a slight degree of fragrance. They were then removed into the shade, formed into still larger parcels, turned and tossed as before, and finally placed on stands in a room exposed to a free current of air, as in the process of Leang Ching. In a short time they gave out what the workmen deemed the requisite degree of fragrance, when each parcel was again tossed in the shade, and roasted in succession.

No attention was paid to any change of colour in the leaves, nor did any appear red or brown previously to roasting, though some few had a reddish purple appearance afterwards. The tea, when completely dried, resembled a black leaf Congou ; but, while the Honan tea was agreeable, and drew a red infusion, the Pack Yuen Shan tea was not drinkable, and the infusion was almost colourless. To what this difference is to be ascribed I am unable to explain, but I am disposed to think it arose from the high temperature employed in roasting the latter tea, it being too great for the then condition of the leaves. Subsequent experiments seem to sanction this opinion.

首先，把新采摘的茶叶铺在小筛子上，大约一英寸厚，在太阳下晒20分钟左右。然后，当每个铺着茶青的筛子被依次取出，用手转动和摇晃相当长的时间，就像做青的过程中已经描述的那样，之后它们再次被摊开，晒在太阳下。当茶青开始萎凋，变得松软时，就把两三筛子的茶青混合在一起，摇晃后晒在阳光下；不断重复上述动作，直到它们开始散发出淡淡的香味。然后，它们被移到阴凉处，做成更大的堆，像之前一样转动和摇晃，最后放在一个通风的房间里的架子上，就像晾青的制作过程一样不一会儿，它们发出了工人们认为所需的香气，每一批茶又放到阴凉处，然后开始炒青。

我们没有去注意茶青的颜色变化，茶青也没有在炒之前出现红色或棕色，尽管一些叶子在炒青之后出现了红紫色。当茶叶完全干燥时，就像黑色外形的工夫茶；虽然河南茶不错，浸泡后茶汤呈红色，但白云山的茶却不能喝，浸泡后茶汤几乎没有颜色。我无法解释造成这种差异的原因，但我倾向于认为这是由于后一种茶的炒青温度过高所致，对于当时的茶叶的状态来说，温度太高了。随后的实验似乎证实了这一观点。

The reddish-purple appearance of the leaves, however, previously to roasting, is not absolutely necessary to the redness of the leaves afterwards. I once rolled a small parcel of leaves previously to roasting them, in the same manner as it is performed after roasting, and, upon holding them up to the light, many appeared translucent in parts, but not red. When completely roasted, they had a rich reddish-purple appearance, and were more fragrant in smell than other parcels of the same tea roasted in the common manner. Nor did this translucency appear to be occasioned by the leaves having been bruised in the act of rolling, for the same appearance was produced by placing a few leaves under a wine glass exposed to the sun ; and, by a still further exposure, the leaves became spotted with red, particularly round the edges.

This experiment gave rise to others, which will more fully develop the cause of the change of colour, and the peculiar effects which accompanied that change. Let it here suffice to say that this state of withering is indispensably necessary to black tea ; but whether it be necessary to wait till the leaves begin to be spotted witb red for black leaf Congous may require further investigation. Mr. Jacobson deems it necessary for all black tea. For Souchong I believe it is ; that is, as soon as some few of the leaves begin to show
that disposition, it is time to prepare them for roasting. There is an art in the management of this process.

炒青前茶叶是否呈现红紫色，对于炒青后所呈现的红紫色并不是绝对必要的。我曾经把一小堆茶青先进行揉捻，就像炒青之后要做的那样。当我把茶青拿起来对着灯光的时候，很多茶青有一部分看起来是半透明的，但不是红色的。完全干燥后，它们呈现出浓郁的红紫色外观，闻起来比其他同类茶叶更香。这种半透明也不是因为茶叶在揉捻的过程中碰伤而产生的，因为把几片茶青压在酒杯下晒在阳光下也会产生同样的效果，在阳光下晒久一点，茶青就出现红色斑点，尤其是边缘的部分。

这个实验又引出了其他的实验，这些实验将更充分地阐明颜色变化的原因，以及伴随颜色变化而产生的特殊影响。这里我想说的是，这种萎凋的状态对乌茶来说是不可缺少的，而对于乌叶工夫茶而言，是否有必要等到茶青开始有红色斑点，可能需要进一步实验。雅各布森先生认为所有的乌茶都必须这样做。我相信小种是这样的，也就是说，只要一些茶青开始出现这种情况，就可以准备炒青了。对这一过程的管控，是一门艺术。

CHAP. VII.

ROASTING AND FINAL DRYING OF THE LEAVES — TWO PROCESSES — ROASTING VESSELS AND STOVES DESCRIBED — MODE OF ROASTING — MODE OF ROLLING PROCESS OF TA-CHING — FINAL DRYING — STOVES AND INSTRUMENTS USED — MODE OF DRYING — MARKETS ESTABLISHED — PACKING OF THE TEA AT THE VILLAGE OF SING-CSUN — REMARKS ON THE PROCESSES OF MANIPULATION — VARIATIONS IN THE MODE OF MANIPULATION — OBSERVATIONS ON THE MODES DESCRIBED BY MR. FORTUNE — SOME TEAS WHOLLY MANIPULATED IN THE SUN — EXPERIMENTS ON THIS MODE, AND DEDUCTIONS THEREFROM.

炒青和最后的干燥——两道工序——所描述的炒锅和炉灶——炒制方法——揉捻方法——捣青的过程——最后的干燥——使用的炉灶和工具——干燥方法——建立的市场——在星村进行茶叶包装——对茶叶制作过程的评论茶叶制作方式的差异——对福琼先生所说的制作工艺的观察完全在太阳底下制作的茶——关于制作方式的实验以及从中得出的推论

The roasting and drying of the leaves may be divided into the two processes of Chao or Tsao and Poey. The former takes place in a shallow iron vessel called a Kuo ; and the latter in sieves over a charcoal fire—a description of which will be found under its proper article. The Kuo is a remarkably thin vessel of cast iron of a circular form, differing in no respect from those used in China for culinary purposes : except that it has no handles.

The size most employed is about 2 feet 4 inches in diameter, and 7, 3/4 inches deep ; but they vary in size according to the quantity of leaves intended to be roasted at one time. The stoves commonly in use are said to consist of oblong pieces of brickwork, resembling the Hyson stoves to be seen in the Hong merchants’ roasting houses at Honan, in the district of Canton. The Kuo is fitted in horizontally with its rim even with the upper surface of the stove. The best constructed stoves have a small ledge at the back part, for the purpose of holding a lamp, as the roasting is generally continued until a late hour, and frequently through the night.

茶叶的炒制和干燥可以分为两个程序：炒（Chao或Tsao）和焙（poey）。炒青是在一个叫做“锅”（Kuo）的浅浅的铁容器里进行，干燥是在炭火上放一个焙笼进行——关于焙笼的描述可以在相关的文章中找到。锅是一种非常薄的圆形铸铁的容器，与中国用于烹饪的容器没有任何区别，只不过它没有把手。

锅最常见的尺寸直径约2英尺4英寸，7.75英寸深；不过铁锅的大小会根据一次炒茶的投放量而有所差异。这种灶台通常由长方形的砖砌成，类似于广州河南地区的行商的炒制房里用的熙春灶。锅是安装在灶台上，它的边缘与灶台齐平。建得最好的炒青灶后面有一个小支架，用来放灯，因为炒青通常会持续到深夜，甚至通宵。

The fire-places are at the back of the stove: so constructed as to leave an opening underneath for wood or charcoal. As much tea is made by the poor, and small farmers, it occasionally happens that both the stove and the Kuo are identical with those used for culinary purposes; and the vessel, which in the morning is employed to boil rice for their breakfast, is in the evening used to roast tea.  Generally, however, separate vessels are used exclusively for tea; for great care must be taken to keep the Kuo clean and free from every thing which might communicate an objectionable flavour. And as a yellowish viscid juice exudes from the tea in the process of roasting and rolling, forming when dry a whitish deposit which adheres to the sides of the Kuo, it becomes necessary during the several stages of the manipulation to wash the vessel and other instruments used, and also the hands. I did not observe any such deposit during the experiments which I witnessed ; but I have no doubt of its existence when the leaves are thick and succulent.

In the first roasting of all black tea, the fire is prepared with dry Avood, and kept exceedingly brisk. The vessel is heated to a high temperature, much above the boiling point ; but any heat may suffice which produces the crackling of the leaves described by Kosmpfer. I shall now explain the mode in which I have seen the Honan tea leaves roasted after the manner of Souchong and Congou, by men from the Bohea and Ankoy districts, to exemplify this process to me.

灶口在灶台的后面，这样做是为了在灶台下面留下一个开口来放置一些木柴或木炭。由于茶叶大多是穷人和农户制作的，所以会出现煮饭和炒茶的锅灶共用，早上用铁锅来做早餐，晚上用来炒茶。然而，一般来说，制茶应该“专锅专用”，因为制茶铁锅必须保持清洁，避免异物异味污染。在炒青和揉搓的过程中，茶叶会渗出淡黄色黏汁，干燥后在锅边形成一圈白色沉淀物’，因此在茶叶制作的几个阶段中，有必要清洗使用到的容器和相关工具，以及清洁双手。虽然，在我所目睹的实验中，没有看到任何这样的沉淀物，但我并不怀疑当茶青肥壮多汁时会渗出这样的物质。

在第一次炒制乌茶时，要用干柴生火，火要旺。铁锅被加热到远高于沸点的温度，要热到让茶叶噼啪作响（像坎普费所描述的那种声音）。现在我将解释我所见过的用制作小种茶和工夫茶的方法来制作河南茶的过程。该制作过程由来自武夷茶区和安溪茶区的师傅为我演示。

The roaster stands on the side of the stove opposite the fireplace, and taking about half a pound of leaves between his hands, he throws them into the Kuo. He then places his hands upon the leaves, and with a slight degree of pressure, draws them from the opposite side of the vessel across the bottom to the side nearest himself. He then turns them over and throws them back again, repeating this action until the leaves are sufficiently roasted.

When the heat becomes excessive, and difficult to bear, the roaster then raises the leaves some height above the Kuo, and shaking them on his hands, he lets them gradually fall, which serves to dissipate the steam, and to cool them. There is one circumstance which it is necessary here to notice, as requiring the attention of the roaster. Care must be taken to observe that none of the leaves lodge or remain about the middle part of the bottom of the Kuo, for this being the part most heated, they soon begin to burn, and if not attended to, might communicate a smoky or burnt flavour to the tea; though in this early stage of the process there is not much danger of producing that evih This defect is easily perceived and obviated; for the smoke which arises from the burnt leaves can readily be distinguished from the steam produced by evaporation ; then by increasing the pressure of the leaves against the heated part of the vessel as they are drawn across, the roaster is enabled to sweep away or remove such leaves as may have lodged in the bottom ; and if he quicken the motion at the same time, the smoke and burnt smell will speedily disappear.

炒茶工站在灶口开在背部的灶台边上，双手拿了半磅左右的茶青，扔进了锅里。然后，他把手放在茶青上，轻轻按压茶青，把它们从锅的另一边从锅底拉到离他自己最近的一边。然后他把它们翻过来，再扔回去，重复这个动作，直到茶青被炒得充分。

当温度过高，难以忍受的时候，炒茶工就会把茶青举到锅的上方，然后用手摇晃它们，让它们逐渐下落，这样可以让茶青散汽冷却。这里有一个情况是必须要注意的，就是炒茶工要注意必须小心确保没有任何叶子停留在锅底的中间部分，因为这是温度最高的地方，只要停留，很快就会开始炒焦，如果不注意的话，可能会给茶带来烟熏或烧焦的味道。虽然在炒制的初始阶段，产生烤焦危险的几率并不大，且这种缺陷也很容易察觉和消除，因为烧焦的烟雾很容易与正常的蒸汽区分开来。然后，通过增加叶子通过锅底时的压力，炒茶工能够清除或去除那种可能卡在底部的叶片。如果他同时加快动作，烟熏和烧焦的味道就会很快消失。

With respect to the degree of roasting which is requisite, it may suffice to say, that the roasting must be continued until the leaves give out a fragrant smell, and become quite soft and flaccid, when they are in a fit state to be rolled. And here it may be important to observe, philosophically as well as practically, that though the leaves are fragrant when brought to the roasting vessel, yet that fragrance is dispersed so soon as the fluids are rapidly set in action, and they again acquire their vegetable smell. The fragrance, however, returns after the loss of a certain amount of moisture ; and its return, together with the flaccidity of the leaves, marks, as before observed, the period when the leaves are in a fit state for rolling.

The same observation holds during the process of rolling. Here, again, the fluids are discharged, but by pressure, not heat, and the vegetable smell returns. Thus, during the whole process of roasting and rolling, these alterations of smell occur, till the leaves are deprived of all moisture in their final desiccation in the drying tubes, when the fragrance becomes fixed. In my own experiments, when I found the heat more than I could bear, I removed the leaves from the Kuo, and allowed them to cool a little ; as also the Kuo from the fire. This I liave repeated two or three times during the first process of roasting before the leaves were sufficiently roasted, without any apparent injury to the tea. It is surprising how great a degree of heat the men habitually employed in this occupation can bear ; and in my few trials with these people, I always found they could continue the roasting a considerable time after the heat of the steam had obliged me to relinquish it, even with the aid of a pair of thick cotton gloves.

关于炒制所要达到的程度要求，可以这样说，炒茶一直持续到茶青发出香味，并处于松软适合揉捻的状态就完成炒青了。在这里，从理论研究以及实践中得出的这个观点很重要。虽然茶青在被放到铁锅时是有香气的，但是一旦茶青水分开始蒸发，香气就自动消散，茶青再次发出青草味。然而，在失去一定的水分后，香气又会恢复。正如前文所述，香气的回归和茶青的松软，标志着茶青处于适合揉捻的状态。

在揉捻过程中也同样如此。通过揉捻的压力，水分再次被排出（而不是因在温失水），青草味又回来了。因此，在整个炒青和揉捻的过程中，这些气味的变化都会交替发生，直到茶叶最后焙干所有水分，香味才固定下来。在我自己进行的实验中，当我觉得热得受不了时，我就把茶青从锅里拿出来让它们冷却一下，也把锅从火上拿下冷却。就这样，在第一次炒青过程中，我重复了两三次，也没有对茶叶造成任何明显的伤害。从事这一工作的人所能承受的温度之高令人惊讶，在我和他们进行的几次对比测试中，我总是发现，在高温迫使我远离炒锅之后（即使戴上一副厚厚的棉手套），他们仍然可以继续工作很长一段时间。

After this first roasting (Chao), the leaves are immediately rolled. Each roller is provided with a circular tray of bamboo work, upon which he places as many leaves as the two hands held together in a concave position can cover. They then all fall to work, immediately rolling the leaves round from left to right, using a slight degree of pressure, and attentively keeping them in the form of a ball. Some skill is required to preserve the leaves in this form : and it is the test of a good workman to keep the leaves well collected together under the hand, and not allow them to stray and spread themselves over the tray ; for on this depends the leaves being well or ill twisted. * When sufficiently rolled the ball is shaken to pieces. The leaves are then found twisted ; and the viscous juices expressed in the process of rolling are sufficient to keep the leaves in the twisted form. They are now spread out on clean trays, and placed on stands several tiers in height, until the whole of the fresh leaves have been roasted, when they again undergo the process of Chao.

* In the second roasting of all tea, the heat of the iire is considerably diminished, and charcoal used instead of wood. The heat of the vessel, however, is considerable, and not supportable to the touch. The fire requires no particular attention. The leaves having now been deprived of a considerable quantity of moisture, their bulk is consequently much diminislied.

As much therefore may now be put into the Kuo at one time as was roasted in three or four times during the first roasting. The mode of roasting is precisely similar to the first process, except that the leaves are frequently shaken and strewed round the less heated sides of the vessel to accelerate the evaporation of the steam by the admission of air, and thus to cool them. When sufficiently roasted, they are then rolled as before ; and the roasting and rolling repeated a third time ; which is applicable to all teas, when the substance and good quality of the leaves admit of it.* No measure of time can be given by which the necessary degree of roasting can be determined. The same may be said regarding the exposure of the leaves to the sun.

Both depend, as in every other stage of the preparation, upon the state and quality of the leaves. Thus, as we are informed, the Yen teas, whose leaves are large and fleshy, are roasted and rolled three or four times ; whereas the best Congous are roasted and rolled but twice, and the inferior ones only once ; for, say the Chinese, “these leaves being very thin, they would be broken and burnt if roasted more.” This simple rule may suffice :— When no longer any juices can be freely expressed in the process of rolling, the leaves are then in a fit state to undergo the final desiccation denominated Poey.

第一次炒青后，茶青需立即进行揉捻。每个揉茶工配有一个竹制圆盘，圆盘上放置尽可能多的两只手合成“凹”状可以覆盖的茶青。然后他们都开始工作，把茶青从左到右轻轻用力揉捻起来，保持球形。让茶青保持球形需要一些技巧，考验一个好制茶师傅的标准之一，就是能否很好地把茶青团在手上，不让它们散开在托盘上，因为这决定了茶青卷曲度是否到位。当揉捻充分时，团起来的茶青抖散摊开后就会发现叶片是卷曲的，而在揉捻过程中所挤压出的黏性汁液足以使叶片保持卷曲的形态。揉捻后的茶青被摊开铺在干净的托盘上，并被放置在几层高的架子上，直到所有炒制过的茶青都经过揉捻，然后再重复一遍炒青工序。

第二次炒青时，火温大大降低，用木炭代替木头。然而，铁锅温度还是相当高的，不适合直接触摸。不需要特别注意火温。到这时候茶青已经失去了相当多的水分，它们的体积也变小很多。

因此，第一次分了3到4次炒青量，此时可以一次性放进锅里了。炒青的方式与第一个过程完全相似，不同的是，茶青经常被抖动，并撒在铁锅的低温面的一侧，通过空气进入来加速热汽蒸发，然后再让它们冷却。经过充分的炒青后，再像前面一样进行揉捻。之后第三次重复炒青和揉捻。这适用于所有的茶青，只要茶青的品质和状态可以承受这样的重复?。炒青的程度是否充分并不是用时间来衡量的。

同样地，也不用时间来衡量晒青是否充分，两者和其他制茶准备阶段一样都取决于茶青的状态和质量。因此，正如我们所了解到的，岩茶叶子肥大多肉，要经过三四次的重复炒青和揉捻。最好的工夫茶，要经过两次炒青和揉捻，而较次的茶青仅进行一次，因为中国人说“这些叶子很薄，如果再炒的话，它们就会被炒碎或炒焦。”一个简单明了的规则当茶青在揉捻的过程中再没有明显的液汁析出时，茶青就会处于合适的状态，可以进行最后的干燥工艺，即焙青。

* Mr. Bruce describes the process of rolling very minutely and well. ” The art,” as he observes, ” lies in giving the heap, or ball, a circular motion, permitting it to turn under and in the hand two or three whole revolutions before the arms are extended to their full length, and drawing the leaves quickly back’without leaving a leaf behind. (Parliamentary Papers, Feb. 1839. Tea Cultivation, p. 109.) Mr. Fortune, also very aptly compares this action to that of a baker kneading his dough. ( Wanderings in China, 2d edit, p. 196.)

布鲁斯先生详细地描述了揉捻的过程——艺术。正如他所观察到的那样，“在于给茶青堆或茶青团进行圆周运动，让它在手臂伸展之前，在手里转动两三圈，然后迅速随手臂伸展转到边缘处，再迅速地把它们收拢回来，而不让一片茶青散落”（引自议会文件《茶叶种植》，1839年2月，第109页）。福琼先生也非常恰当地将这一动作与面包师揉面团作类比（《漫游中国》第2卷，第196页）。

* It may here be observed that the form of a ball is not a condition to which the Chinese attach any importance ; and tliat may explain why they frc^quently make no mention of it. The thing sought by them is the expression of the juices of the leaves to save expense and labour in the process of roasting, the form of a ball is simply an accident, and the twisting of the leaves also ; both arising out cf the peculiar mode adopted by the Chinese in the process of rolling the leaves, and which after all may turn out to be not the best method, although a natural one, and such as in a rude state of society is likely to be adopted. But if the mode of expressing the juices is to be by hand, it must be evident that no better mode could be adopted than that of collecting the leaves into such a heap or parcel as the hands can cover, pressing, rolling, and keeping them in as compact a form as possible under the hand: the rest follows as a necessary consequence, arising out of the glutinous quality of the leaves, as experiment will show.

These remarks may also serve to prove the fallacy which has so long existed, even to the present day, viz. that each separate leaf undergoes a i)rocess of rolling between the fingers and thumb of a female : an operose method which no cheapness of labour, when compared with the known cost of manufacturing tea, would serve to explain.

It must be admitted, however, that the twisted form of the leaf is now considered as a test of quality ; for experience has shown, that the closely twisted leaves generally make the best tea. The reason is, that good teas consist of the young leaves; and it is only the young, tender, and succulent leaves that can be made to assume that form.

在这里可以看到，茶叶制作圆团的形状并不是中国人所重视的一个条件，这也许可以解释它为什么不被经常提起。他们所做的目的是让茶青失去水分，以便在炒青的过程中节省费用和劳力，把茶青弄成一团完全是偶然的，把茶青弄成卷曲的形状也是偶然的，这两种方法都源于中国人揉捻茶青的特殊方式，尽管这是一种处于本能的揉捻方式，显然也不是最好的方式，但在因陋就简的生产状态下通用。如果要手工失水的话，很明显，没有比用手把茶青堆成一堆（团）更好的方法了，用手把它们压或揉成一团，尽量压得紧凑——就出现由茶青的黏性所产生的必然结果——松软而卷曲，这是通过实验证明的。这种实验也可以用来证伪一种由来已久的谬论——每一片茶叶都要经过女性的手指和拇指之间进行揉捻。这种繁琐且耗费人力的制作方法与已知的制茶成本对比，足以说明一切。然而，必须承认，现在人们把茶叶的卷曲形式看作是一种品质的检验。经验表明，紧结弯曲的茶叶通常是较好的茶叶，因为好茶叶是由嫩叶组成的，只有鲜嫩、多汁的茶青做出来的茶叶才能呈现这种形式。

* Mr. Jacobson states that at Java 1, 1/2  or 2 lb. of leaves are roasted at a time, and that this quantity is divided, afterwards, between two men to roll them. He also observes, that after rolling, the leaves are covered with a tray, which encourages their heating, and that this heating improves the colour of the leaf and infusion ; besides giving a fuller flavour to the tea. It may here be remarked, that the Chinese differ much as to the quantity roasted at one time. The accounts vary from three or four tales, or ounces, to two, three, or even four pounds, for fine teas. I should deem two pounds a full quantity even for Congou tea.

雅各布森先生说，在爪哇的时候，每次炒1.5或2磅的茶青，然后把这些茶青分成两份，由两个人来揉捻。他还观察到，在揉捻后，茶青被一个托盘覆盖，这有助于发热，这种发热改善了茶青和茶汤的颜色；而且让茶汤的味道更浓。这里要指出的是，中国人对一次性炒青的量有很大的不同。对上等茶的炒青量说法从三四两，或者三四盎司到两三磅，甚至四磅不等。但我认为，就算是工夫茶，每次两镑的量已是足够。

Before closing this chapter, it must be observed, that the finest kinds of Yen or Padre Souchong teas are said to undergo in their first roasting a modification of the process of Chao Ching, denominated by the Chinese Ta Ching and Pao Ching, from the particular mode of handling the leaves. In this particular part of the process, the roasting vessel is heated to red heat. In the operation of Ta Ching, a man standing on the right of the roaster throws about two ounces of leaves smartly against the Kuo ; the roaster then seizes them with his hands, gives them a brisk turn round the Kuo, and sweeps them into a tray, which another man holds in readiness to receive them. In the operation of Pao Ching, the roasting is continued three or four seconds, and about three or four ounces (Tales) of leaves are roasted at one time. In this process, the instant the leaves fall down to the brickwork, the roaster receives them on his hands, and tosses them back against the heated part of the vessel; which operation is repeated for a few seconds.  They are then collected together, and, having been turned briskly two or three times round the less heated part of the Kuo, they are swept out as before. The leaves are now put aside to cool, and then roasted (Chao) and rolled three times, as already described.

在结束上述工序之前，必须特别提醒的是，据说最好的岩茶或“神小种”茶在第一次炒青时，会使用一种改进的特殊工序来处理茶青，中国人叫它打青和抛青。在这个特殊工序中，要把锅加热到通红。在打青的过程中，一个站在炒青师傅右边的人把两盎司左右的茶青投入锅里，然后炒青师傅抓住茶青在锅上快速地转了一圈，然后把它们扫进另一个人准备的一个盘子里。在抛青的过程中，要炒3到4秒钟，一次炒制大约3到4盎司（两）的茶青。此时，茶青掉到灶台的瞬间，炒青师傅用手接住它们，把它们扔回红锅在数秒内要重复这个动作。然后，它们被拢在一起，并被迅速地绕着锅温低的位置绕锅两三圈后，像以前一样出锅。之后，把茶青放在一边冷却，然后如前所述那样炒、揉反复三次。

Some of the Chinese say that the process of Ta Ching is not used in the present day ; but that Pao Ching is substituted in lieu of it. Others say that these teas first undergo the process of Ta Ching, and then are roasted and rolled three times, after the manner of Pao Ching instead of Chao. These modes do not seem to vary essentially from the simple process of Chao, since they depend principally upon the quantity of leaves roasted at one time, and the greater heat of the vessel. It is obvious that the smaller the quantity of leaves used, and the greater the heat employed, the greater nuist be the risk of burning, which is sufficient to account for the inclination given to the Kuo. It must, however, produce a quicker evaporation of the fluids ; and hence, perhaps, it may be inferred here, as in the early parts of the process, that the Chinese deem a quick evaporation of the fluids desirable. But as this mode requires much care, attention, expertness, and labour, it is not practised, so far as my information extends, except with the finest teas, such as rarely or never form a part of the teas of foreign commerce.

有些中国人说，“打青”在今天已经不被使用了，“抛青”（PaoChing）代替了它。也有人说，这些茶都是先经过“打青”，然后再经过三次炒青和揉捻，以“抛青”代替“炒青”?。这些工艺似乎与“炒”的过程没有本质上的不同，因为它们主要取决于一次茶青的投入量和铁锅高温程度。很明显，茶青越少，温度越高，炒焦的风险就越大，这就足以解释锅为什么是倾斜的。然而，茶青的水分必须更快地蒸发，因此，也许在这里可以推断出，正如在制茶的早期阶段，中国人认为茶青快速蒸发水分是可取的。但是，由于这种工艺要非常小心、集中注意力，需要更多的专业技能和劳动力，据我所知，除了最好的茶叶，其他的茶叶都没有使用这种工艺比如，对外国贸易的茶很少或从来没有使用这种工艺。

THE FINAL DESICCATION OF BLACK TEA. 乌茶的最后干燥（焙青）

(Poey ching or Poey tsing.)

It has already been observed that the process of Poey is considered by the Chinese as a very important part of the manipulation of black tea. This, however, does not arise from any particular nicety of art or difficulty in this process; but simply from this circumstance, that, as the leaves are roasted in open sieves over a bright charcoal fire, a certain degree of watchfulness is requisite, to see that none of them accidentally fall through the interstices of the sieves, which would occasion smoke, and thereby injure the tea.

我们已经注意到，“烘焙”工序，被中国人认为是在乌茶的制作工序中非常重要的一部分。然而，并不是因为这个工序中任何特殊的工艺或困难，而是，简单地说，因为当茶青在明亮的炭火上用敞开的筛子烘焙的时候，要保持一定的警惕，注意不要让茶青意外地从筛子的缝隙里掉下来，以免产生烟雾，损害茶叶品质。

The instrument used for this purpose is a kind of basket, called a Poey Long, about two and a half feet in height, and one and a half in diameter, open at both ends : or rather a tubular piece of basket-work of those dimensions covered with paper, which we may here denominate a ” Drying Tube,” having a slight inclination from the ends to the centre, thus making the centre the smallest circumference.

In the inner part, a little above the centre, are placed two cross wires for the purpose of receiving the sieve which contains the tea, and which is placed about fourteen inches above the fire. When the tea is sufficiently prepared for this process, the drying-tube is then placed over a low stove built upon the ground to contain a small quantity of charcoal. The stoves, consisting of circular receptacles for charcoal, are constructed within a continuous piece of brickwork coated with plaster, extended round three sides of a long narrow room. The brickwork is about 5, 1/2 inches in height and 2 or 3 feet in depth, from the front to the wall. The receptacle for the charcoal must be in proportion to the diameter of the drying-tube. Mr. Jacobson gives the following as the dimensions of the tube used at Java: height 2ft. 10,4/8in. ; diameter 2ft. 4,7/8in. ; diameter of centre, 1ft. 11,6/8in.

在此工序使用的是一种叫做焙笼的篮子，高约2.5英尺，直径1.5英尺，两端开口——或者更确切地说，这种尺寸的管状篮子制品，上面覆盖着纸，我们可以在这里称之为“干燥管（焙笼）”，从末端到中心有轻微的倾斜，因此中心最窄。

在内部，稍高于在中心位置，放置了两根十字交叉的细竿，用来支撑盛茶的筛子，这个筛子位置距离炭火大约14英寸。当适用于焙的茶叶准备完成后，焙笼被放置在一个低矮的炉灶上，这个炉灶建在地面上，里面装有少量的木炭。这种炉灶（圆形的放置木炭的坑），砌在涂有灰泥的砖台上，砖台在一个狭长的房间三面环绕延伸。从正面到墙，砖台高5.5英寸，进深2到3英尺。木炭的容器必须与焙笼的直径成比例。雅各布森先生给出了爪哇使用的焙笼尺寸：高2英尺10.5英寸；边缘直径2英尺4.875英寸；中心直径，1英尺11.75英寸。

The process of Poey is used for every denomination of black tea, manufactured with care, whether Paochong, Souchong, Sonchy, Pekoe or Congou. I shall now describe this process as I have seen it performed, and as I have performed it myself. A bright charcoal fire is prepared in a common Fu-Gong, or chafing-dish, containing about three or four pounds of charcoal : the drying-tube is then placed over the fire, one end resting on the ground. The roaster then takes a quantity of leaves and sifts them, to prevent any dust or small leaves from falling into the fire. When properly sifted, he first spreads them equally in the sieve, and then makes a small aperture in the centre of the heap with the finger, about an inch and a half in diameter, in order to afford a free vent to any smoke which may accidentally be formed. The sieve is then placed in the Poey Long, upon the cross wires before described. A circular flat bamboo tray is placed over its mouth, about one third of which is left open to admit a free evaporation of the steam which arises from the leaves, for a considerable degree of moisture still remains, though no more can be expressed by the process of rolling. The leaves also retain their green and vegetable appearance.

焙青的工艺用于每一种精心制作的乌茶，无论是包种、小种、松制白毫还是工夫。现在将详细说明我看到的过程和我自己实际制作的过程。在焙坑中准备明亮的炭火，含有大约3到4磅的木炭，然后把焙笼放置在焙坑上，其边缘一端放在地上。然后，焙火师傅将大量的茶青过筛，以防止灰尘或小茶青落入火中。过筛后，他首先把它们均匀地放在筛子里然后用手指在茶堆的中央开一个直径大约1.5英寸的小孔，作为意外有烟的排烟口。筛子被放置在焙笼中，如前面所述的十字交叉的细竿上。一个圆形竹盘放在焙笼上方开口处，开口打开三分之一，让茶青中所焙出的水分自由蒸发，因为尽管揉捻过的茶青不再有汁液析出，但茶青在焙火之前还是残留不少水分的，也还保持如蔬菜般的绿色外观。

The leaves are thus suffered to remain about half an hour, when the drying-tube is removed from the fire, the sieve taken out, and the leaves turned. The turning is performed by the following simple and effectual method. Another sieve of equal size is placed over the one containing the leaves ; and both held horizontally between the hands. Then by a sudden turn, the two sieves are reversed, the bottom one being brought to the top in the action of turning. It is then removed, and the leaves are found in the lower sieve completely turned, without being mixed or scarcely deranged. They are then placed over the fire, and suffered to remain as before.*

这样，茶青焙了大约半个小时，然后把焙笼从焙坑上移开，拿出筛子，把茶青翻过来。翻青是通过以下简单有效的方法来完成的。在装着茶青的筛子上面放置另一个同样大小的筛子，两手水平握着两个筛子。然后通过一个突然的翻转，两个筛子对调，底部的筛子翻转到顶部，然后将其移除。茶青完全被翻过来了，没有混合，也没有错乱。然后再把它们放在炭火上，仍然和之前一样去焙青。

* Mr. Jacobson ridicules this mode of turning the leaves; to me, however, it seemed a simple and an effectual method. A large quantity being contained in the sieve does not increase the difficulty of turning it. Indeed I thought at the time it appeared a preferable mode to the one very accurately described by him, which I also saw practised by a man from the Ankoy country. But I must defer to his opinion, because he has great practical experience to guide him. The method here alluded to is described by Mr. Jacobson (§ 400.) as follows : When the second roasting is completed the leaves must no longer be spread out, but be pressed closely together into small heaps, a little flattened at the top. In placing them on the drying sieves, each heap is taken up between the hands, and the leaves are allowed to fall loosely and gently down on the sieve.

An aperture of about an inch in diameter is made in the centre of each parcel, and the heaps or half balls are thus placed round the extreme edge of the sieve ; about fourteen of such parcels thus occupying that space. Then a second row is placed within, consisting of about ten heaps, which further admits of about four or five more, forming a third circle ; and finally, an open space is left in the centre of about four inches in diameter. When the drying-tube is removed from the fire, it must be placed on a tray. In turning the parcels the dryer turns the drying-tube round, bringing each parcel in succession before him, that they may all be turned in due order, but the sieve is not removed from the drying-tube. As the leaves dry, it becomes desirable to mix the leaves of two of the dryingtubes together : this is done by pouring the contents of one drying-tube on to those of another, and not by taking the leaves out with the hand. The charcoal is well covered with ash throughout the entire process of drying.

* The mode of rubbing and twisting the leaves between the hands is rather difficult to explain. About a handful of leaves should be taken up at one time, and placed between the hands held side-ways, with the thumbs uppermost ; the left hand is kept stationary, while the right is brought back, drawing back the leaves at the same time, until the fingers touch the palm of the left hand. It is then advanced, pressing the leaves slightly against the left, until the palm is brought on a line with the fingers of the left hand. The pressure is then relieved, and the leaves brought back as before. This is done with much celerity, and continued until no more leaves remain in the hands, for the leaves are projected forward by this movement. The pressure being all in one direction, the twist of the leaf becomes so likewise.

雅各布森先生嘲笑这种翻青方式，但是我认为这似乎是一个简单而有效的方法。筛子中有大量茶青并不会增加转动的难度。的确，当时我想，这似乎比他所描述的翻青方式更加可取，我还看到一个安溪茶区的人也在用这种方式。但我必须遵从他的意见，因为他有丰富的实践经验。这里提到的方法由雅各布森先生（第400条）描述如下：当第二次炒青完成时，茶青不能再摊开，而是紧紧地压成小堆，顶部有点扁平。在把它们放在干燥的筛子上时，每堆被夹在手之间，叶子松散地轻轻地落在筛子上。

在每小团的中心形成一个直径约半英寸的孔，这些堆形或半球形团青就这样放置在筛子的边缘；最边缘的一圈大约有14个这样的小堆。然后再放第二圈，大约有10堆，第三圈可以放四五堆；最后，在中心留下一个直径约4英寸的空白。当焙笼从火中取出时，必须放在托盘上。在翻动茶青的时候，焙青工把焙笼转动，把每小团依次带到他的面前，这样他们就可以按适当的顺序翻动茶青，但是筛子并没有从焙笼中除去。当茶青变干时，需要把两个焙笼的茶青混合在一起——这是通过把一个焙笼的茶青倒入另一个焙笼中，而不是用手把茶青拿出来。在整个干燥过程中，炭火都被炭灰覆盖。

双手之间揉搓茶青的方式很难解释。一次应该拿起大约几片叶子，放在双手握住的两边，拇指放在最上面；左手保持静止，右手收回，同时收回茶叶，直到手指接触到左手的手掌。然后向前移动，将茶叶轻轻压向左侧，直到手掌与左手手指成一条直线。然后，压力被释放，叶子又像以前一样被带回来了。这一过程进行得很快，一直持续到手中不再有茶叶，因为茶叶被这一运动向前投射，压力都在一个方向上，叶子也因此变得扭曲。（该工序为茶叶整形、理条。）

At the expiration of this time, they are again taken out of the drying-tube, and rubbed and twisted between the hands. * A great change has now taken place in the colour of the leaves. They have already begun to assume their black appearance. A considerable quantity of moisture having also been dissipated by this mode of drying, the fire is now covered with the ash of charcoal or burnt paddy husk, which not only serves to moderate its heat, but prevents smoke in the event of any leaves falling accidentally through the sieves.

The leaves are then sifted, and again undergo the process of drying, twisting, and turning, as before; which is repeated once or twice more, until they become quite black, well twisted, and perfectly dry and crisp. As the leaves dry, they obviously must occupy less space in the sieves : the quantity is consequently increased from time to time, in order that each sieve may be full. In this part of the process, as the leaves give out little moisture, the mouth of the drying-tube is nearly closed. The drying-tube is always removed from the fire, and placed on a tray on the ground, before the sieve is taken out, when the tea requires turning ; and in the act of replacing it over the fire, it is necessary to give it a smart tap on the side, to get rid of any dust or leaf which may be in a situation to fall.

When the leaves appear sufficiently dry, which is ascertained by their crispness, they are then taken  from the fire and sifted ; and the old, the yellow, and the chafiy leaves are winnowed off by means of a large circular bamboo tray.

焙火时间到之后，将茶青从焙笼拿出，在双手之间揉搓茶叶。茶叶的颜色发生了很大的变化。他们已经开始呈现出黑色的外表。通过这种干燥方式，相当数量的水分也被蒸发掉了。在炭火上覆盖木炭灰或稻灰，这不仅可以调节温度，而且防止任何茶青意外地通过筛网落下而产生烟雾。

然后，茶青过筛，再经历干燥、揉搓和翻转的过程，就像之前一样；这样再重复一两次，直到它们变得相当黑，条索卷曲得很好，且相当干燥而脆。茶青变干时，显然它们在筛子里所占的空间就会减少——因此就会不时地增加茶青数量，以便使每一个筛子都充满茶青。在这个过程中，由于茶青散发的水分很少，焙笼的口几乎是关闭的。当茶叶需要翻转时，在取出筛子之前，总是将焙笼从焙坑上移除，放在地上的托盘上，在把它重新放到火上前，有必要在旁边轻轻一拍，清除掉可能会掉下来的灰尘或茶末。

当茶叶看起来足够干燥时，这是通过它们的脆度来确定的，就可以从火中取出来筛选，用一个大的圆形竹扁盘（簸箕）扬簸去老叶、黄片和碎末。

The coarse leaves which remain are then, if necessary, picked out by hand, which is seldom, or perhaps never, the case with any black teas forming a part of the foreign investments.  They certainly are not hand-picked with the same care as green teas, which is evident from the quantity of stalks they cojitain, while none are found in either Twankay or Hyson tea. The residue, which is the tea for sale, is again placed over the remaining embers, or over a very slow fire, but in still larger quantities, for about two hours. In some cases they remain throughout the night, the embers being left to die away. In this part of the process the drying-tube is completely closed with the tray.

The tea is then packed in chests or baskets according to its quality, and the practice of the planter or farmer. In this state they are carried to the public markets for sale, and sold from two to one hundred chests at a time, according to the size of the farm or plantation. These markets have their regular and appointed times ;—as, for example, at Ly Yuen there is a tea market every tenth day during the season ; on the 2d, 12th, and 22d days of one month, and on the 7th, 17th, and 27th days of the following month ; and so on at other places.

如果有必要，会手工挑去剩余的粗叶。在外国购买的乌茶中，手工挑茶是很少见的，也许从来没有过。它们当然不是像绿茶那样精心手工采摘的，这从它们所含的茶梗数量上可以明显看出，而在屯溪茶或熙春茶中都没有发现茶梗。筛选过的茶叶，即待售的茶叶，再次放在炭火的余烬上，或在文火上焙（由于焙量很大）大约两个小时。在某些情况下，余烬会持续一整夜，然后逐渐消失。在这部分的过程中，托盘完全闭合地盖在焙笼上。

然后，茶农根据茶叶的质量和习惯做法，把茶叶装进箱子或筐子里。东这种情况下，它们被带到乡村集市出售，根据茶园的大小，一次出售2到100箱不等。这些集市的开市时间是固定的，例如黎源茶市在茶季里每隔十天就要开一次，每月2日、12日、22日，次月7日、17日、27日，其他地方的集市以此类推。

As the teas are packed and collected at these country markets, they are sent to the village of Sing-csun. Here the Canton Hong merchants and tea factors have large packing establishments, where the teas are finally packed suitably to the foreign markets. Here, also, the Shan-see merchants or factors procure and pack their teas for the Russian markets. I believe it to be altogether an error to suppose that any other part of China furnishes the Congou and superior teas ; or that any other than the Hyson districts of Moo-yuen and Yu-ning supply the Hyson tea, and the districts in the immediate vicinity, the Twankay tea. The rumours recently spread, that some of these teas are now procured, or ever were procured, from other parts of China, I believe to be wholly undeserving of credit. It is not easy in China to obtain accurate information concerning remote districts. Some Congou teas are also packed at the villages where the teas are collected, as at To-pa, and some few other places. These may generally be distinguished by the dark green colour of the chests. The Sing-csun chests are of a lighter colour, and somewhat yellow. The Pekoe kind of teas, formerly imported into England as Congou, came from To-pa.

当茶叶在这些乡村集市采购和包装后，会被送到星村。在这里，广州行商和茶叶商拥有大型的包装场所，茶叶最终被包装成适合国外市场的产品。在这里，山西商人也会采购并包装销往俄罗斯市场的茶叶。有观点认为工夫茶和上等茶在中国其他任何地方都有，或除了婺源和休宁的熙春茶区及其邻近地区供应熙春茶，其余的供应屯溪绿茶，我认为这是完全错误的。最近有传言，这些茶里有一部分在现在或曾经从中国其他地方采购过，我认为这是不可信的。在中国，要获得有关偏远地区的准确信息并不容易。一些工夫茶直接在集散地制作包装，比如杜坝和其他一些地方。这些通常可以通过绿箱子的颜色深浅来区分。星村的箱子颜色较浅，有点黄。以前作为工夫茶进口到英国的白毫茶来自杜坝。

The Congous are packed in parcels, chops or breaks, of about 600 chests, each chest containing about 80 lbs. of tea. Each parcel is divided into two packings, consisting generally of 300 chests each, sometimes 500 or 600 chests, according to the size of the packing-house. The teas which are to constitute one uniform quality of 600 or even 1000 chests consist of certain proportions of the three gatherings, collected from the produce of various farms and dilFerent localities. These teas having been previously arranged and classed agreeably to quality, and noted in a book, a sufficient quantity to constitute a packing of 300 chests is now started into a heap or pile, and so placed in different layers, that, when raked down with a wooden rake for the purpose of packing, their several and various qualities may all mix and blend together, so as to form one uniform quality suited to a fixed and settled price. The quantity put into each chest is previously weighed, and the packing is performed by men with their bare feet. I do not understand that the black tea is packed hot ; or that it is submitted to any further process of heating or drying at the packing houses: it, nevertheless, must be perfectly dry. In the event of damage or injury to the tea, or the teas not having been sufficiently dried, then they doubtless undergo a somewhat similar process of drying in sieves in Poey Longs, or on stands in drying-houses, as is practised at Canton, to restore tea which has been slightly damaged on its passage down the country.

工夫散茶被放置在空地上拼配、分装，约600箱，每箱约含80磅茶叶。每批茶分为两种包装，一般每种为300箱，根据包装室的大小，有时为500或600个箱子。600箱甚至1000箱的茶叶是由三次采摘制作的茶叶按一定比例混拼的，是从产区的不同茶厂或农村集市采购。这些茶叶已经按照质量进行了分类存放，并一一记录在册，到足以装300箱的茶叶时进行有序堆放，然后按质量放在不同的层次，用木耙耙在一起，准备打包时，它们由几种不同质量的茶叶拼堆一起，从而形成一个统一的质量，制订一个固定而稳定的价格。装进箱子的茶叶都要事先称重，打包时由男人光脚来完成。我不明白乌茶打包时为何是热的，或是在包装厂进行加热或干燥——茶叶必须完全干燥。如果茶叶品质受损，或者茶叶没有充分干燥，那么它们无疑要在焙笼的筛子或者在干燥房的架子上再次进行干燥，就像广州茶行惯例（复焙），来恢复由各地运到广州路途期间受到了轻微损坏的茶叶品质。

Having now explained the manner in which the Paochong, Souchong, and Congou teas are made when manufactured with care, I feel I may have impressed on the mind of the reader an exaggerated sense of the difficulty of manipulating tea for the European markets. Nor do I see how this was to be avoided. It is surely desirable that the superior methods should be known and fully described ; and more especially since even the inferior modes are regulated and governed by the same principles ; the main difference being the more or less skill and care bestowed on the several stages of the process. It has been my aim so to describe every part of this curious, and to us novel, art, that it may be rendered useful and acceptable to the experimentalist and cultivator, even at the risk of its being tedious to the general reader. But it must be confessed that minuteness of description, and long dwelling on the superior modes of manipulation, may have the effect of discouraging even the experimentalist. This, however, seems to me a difficulty inherent in all minute descriptions of art, even that of making beer or cider. Nothing is more simple than to sketch a general outline of the art of making wine; yet Chaptal devoted no less than ninety octavo pages to the theory of fermentation.

在解释了包种茶、小种茶和工夫茶的精心制作方法之后，我觉得我可能给读者留下了一种夸大的印象，即出现在欧洲市场上的茶叶的制作难度。我也不知道该如何避免。充分了解这些好的制作方法当然是可取的，即使是差一些的制作方法也是用同样的原理来规范和管控的，主要的区别在于制茶过程中的几个阶段工艺技巧和关注的程度差异而已。我的目的是详细介绍这种对我们来说是新奇工艺的每一个独特部分，以便使它对实验者和种植者来说是有用且适用的，甚至冒着让普通读者感到乏味的风险。但是，必须承认的是，细致的描述和长期专注于高端茶叶制作方法的研究甚至可能会使实验者们感到沮丧。然而，在我看来，这似乎是所有专注于技术研究都会遇到的困难，甚至，如啤酒或苹果酒的技术。没有什么比公勒出酿酒工艺的总体轮廓更简单的了。然而，查塔尔花了不少于90页的篇幅来阐述发酵理论。

Agreeably to this able author, if we seek a wine of high quality and of good age, Nature must first be bountiful in her season, and the fermentation so regulated that the saccharine matter and the ferment may be both destroyed, so that no second fermentation shall take place. But here enters the nicety of the art : a certain practical knowledge is required, which though every operator does not possess, and some never, yet is this art neither difficult to acquire, nor are skilful workmen rare or expensive to obtain. The same may be said of the first and highest flavoured teas. But if we simply speak of the art of making wine, in what does it consist?

Press a quantity of grapes in a vat with the feet or otherwise; strain off the juice into a cask ; allow it to ferment, and you have very good Vin de Pays. Thus with tea : place the leaves in a sieve, expose them to the sun and air ; toss them and turn them as hay ; then place them in the shade till they give out a certain degree of fragrance ; then roast them in an iron vessel, roll them with the hands or feet, and finally dry them over a charcoal fire, and you have fair Congou tea. The cost of Congou tea at its place of growth will show, when we come to treat of that part of our subject, that not much skill, labour, or expense are bestowed on its cultivation and manipulation. At the same time it must be obvious, that this art is not to be learned from description : and that our only teachers are the Chinese, such namely as belong to the Bohea and, failing these, the Ankoy districts. Let us beware of giving too ready credence to assertions that the art is easily taught. Simple as it may be, like other arts, it requires an apprenticeship.

这位才华横溢的作者的观点是，“如果我们要寻找一款高品质好年份的葡萄酒，首先必须在葡萄生长季节，自然条件优越，并且发酵过程必须进行有益的调控，破坏糖类物质和终止发酵，防止第二次发酵。然而，想让这门工艺恰当的重点在于——它需要一定的实践经验而这并不是每个技术人员都具备，甚至有些人从来没有实践过，然而，这门技术既不难获得，熟练的工人也不罕见，费用也不昂贵。” 最好和最高风味的茶也是如此。但如果我们简单地说葡萄酒酿造技术，它包含哪些工序呢？

用脚或其他工具将一定量的葡萄压入桶中把果汁滤到桶里，让它发酵——非常好的地区餐酒就制作好了。茶叶的做法是把茶叶放在一个筛子里，让它们晒在太阳下——像干草一样把它们翻来翻夫然后把它们放在阴凉处，直到它们发出一定程度的香味——然后放在铁锅里炒熟——用手或脚揉捻——最后放在炭火上烘干——非常好的工夫茶就制作好了。当我们谈到工夫茶的种植和制作时，从工夫茶生长地的成本就可以看出，工夫茶的种植和制作并没有花费太多的技术、劳力和成本。同时，很明显，这门技术是无法言传的。我们唯一的老师是中国人，比如武夷茶区的人，如果没有武夷茶区的人，则可以是安溪茶区的人。我们需要注意不要过于轻易相信该技术是容易学会的主张，尽管它可能很简单，但就像其他技术一样，它需要一个学徒期。

There are also many inferior methods which are adopted with coarse teas. The best of these is, by continuing the final process of drying in the roasting pan, as in the final drying of green tea, in lieu of the drying-tube employed for black. It is remarkable that all the Chinese factors, whom I have questioned upon this subject, have invariably denied the existence of this method. It nevertheless unquestionably exists ; and I shall now describe the manner in which I have seen this process performed by a man from the Bohea country.

The vessel and other circumstances were the same as in the final process of roasting black tea, the heat of the fire being reduced. The leaves were then sprinkled round the sides and less heated parts of the vessel, occasionally collected together, and then stirred about with the hands. This was repeated until the leaves became well twisted, and the colour black ; the fire being still further diminished as the leaves dried. They were then winnowed and packed as before.

对于粗茶也有许多差一些的制作方法。其中最好的方法是，继续在锅中进行最后的干燥过程，用绿茶干燥方法来替代乌茶的“焙青”（用焙笼干燥）。值得注意的是，在这个问题上，我问过的所有中国茶叶代理商，都无一例外地否认这种方法的存在。然而它毫无疑问是存在的，现在我将描述一下我所看到的一个来自武夷茶区的人使用这一过程的方式。

使用的器皿（锅）及其他条件与乌茶最后一次炒青方法相同，火温降低。然后把茶叶撒在器皿（锅）的四周和火温较低的位置，偶尔用手把茶叶拢起来并翻动。这样重复着，直到茶叶外形弯曲乌黑；随着茶叶干燥，火温进一步降低。然后像以前一样对它们进行筛选和包装。

Some Congou teas are rolled indifferently with the hands or bare feet after roasting ; and are then, it is said, dried in the sun, without any further exposure to the fire. This, however, is only done with the second and third gatherings of inferior shrubs. But some teas are said to be wholly dried in the sun : some in a coarse and careless manner, doubtless for the use of the peasantry and others ; and some by a laborious and expensive method. There is also a mode of manipulating black tea in cloths, as described by Mr. Bruce for the manufacture of green tea. But the Chinese all agree that this mode is never adopted except with very coarse and inferior leaves, and for the purpose of fraudulent adulteration of good tea.

有的工夫茶炒青后直接用手或者赤脚揉捻；然后，据说，在太阳下直接晒干，不再用火干燥。然而，这种方法只用于第二次和第三次采摘的次级茶青制作。但有些茶据说是完全靠太阳来干燥，有的进行简易制作的茶，无疑是给农民或者其同等阶层的人饮用的，还有一些用的是“费工费力”的方法。还有一种用布制作乌茶的方法，如布鲁斯先生所说的绿茶制作方法。但是中国人都认为，除了粗茶和次品茶，以及以次充好的茶叶，从来不会采取这种制作方法。

It may, perhaps, be expected that I should make a few observations on the modes of manipulating tea, as seen by Mr. Fortune in the provinces of Fokien and Chekiang ; and this appears to be a suitable place. It may be succinctly stated, that the difference in the modes of roasting and drying black and green tea arises from the black tea being finally dried in sieves over a charcoal fire, and the green tea in an iron vessel : and this is an essential difference. The modes seen by Mr. Fortune in Chekiang correspond with this rule, with the exception that a flat basket was used in lieu of a sieve, but there, green teas were produced by both methods. Now if we refer to Fokien, where the same modes were employed, we there find that they produced black teas. Thus it would appear a matter of indifference which of the two methods be adopted, which seems to me to strike the mind at once as a fallacy. It is partly true with respect to black tea, but wholly false as regarding green; and indeed that the results should be so different where the means employed are the same, presents a discrepancy which we find it embarrassing to reconcile. The only mode of doing this, is, by supposing that some of the teas so manipulated were not truly what we understand by black and green tea, but were peculiarities, such as Lin-czu-sin or others, made exclusively for Chinese consumption. Indeed, Mr. Fortune speaks only of one tea in each province, which seemed to correspond with the teas of European consumption. It is true that black tea may be produced in an iron pan, as we have already seen; but the Chinese all agree that this is an inferior method, of which the tea-men from the Bohea district deny the usage. It therefore seems probable, that Mr. Fortune was misinformed, when he was told that this was the mode employed for the manufacture of ” our common black teas*,” if by that term be meant the black teas commonly in use. It has been shown that the mode adopted in the Bohea district for the final drying of black tea is in sieves over a charcoal fire.

也许，我应该就福琼先生在福建和浙江所看到的茶叶的制作方法发表一些看法。这里似乎是一个合适的位置来写这些看法。可以简单地说，乌茶和绿茶在炒青和干燥方式上的区别在于，乌茶最后要在炭火上的筛子中干燥，而绿茶则要在铁器皿（铁锅）中干燥。这是一个本质的区别。福琼先生在浙江看到的模式也符合这一规律，除了用扁篮子代替筛子，但那里的绿茶是用两种方法生产的。现在，如果在福建用同样的方法制茶，我们会发现他们是在制作乌茶。因此，采用哪一种方法就显得无关紧要了。在我看来，这似乎是一种谬论。对于乌茶，这种说法有一部分是正确的，而对于绿茶，则完全是错误的。事实上，相同的制作却出现不同种类的成品茶，这种差异的出现，让我们难以置信。唯一的方法是，假设一些经过这样制作的茶并不是我们所理解的乌茶和绿茶，而是专门为中国人生产的特殊茶，比如莲子心等其他茶。事实上，福琼只提到了每个省的一种茶叶，这似乎与欧洲消费的茶叶相吻合。的确，乌茶可以在铁锅里制作出来，正如我们已经提到的。但中国人都认为这是一种较差的方法，而来自武夷地区的茶人则否决这种方法。因此，当福琼先生被告知这是用于制造“我们常见的乌茶”（如果这个术语指的是通常使用的乌茶）的方法时，似乎很可能是被误导了。研究表明，在武夷茶区，乌茶的最后干燥采用的方式用的是在炭火上的焙笼。

And with respect to green tea, it would be impossible to produce the peculiar and characteristic colour of green tea, by any process of drying the leaves in a sieve or basket. When Mr. Fortune states, that the green teas which he saw manufactured in Chekiang were not the painted bloom-like teas seen in our shops, which he so justly ridicules, the reader must nevertheless not imagine that there is no natural foundation for this colour. The expression of Mr. Fortune is ” the leaf has little or none of what we call  ‘the beautiful bloom’ upon it ; ” * but then it has some and be it ever so little, it is naturally produced in the course of manufacture, as I shall show under the article green tea. It is evident that Europeans could never have suggested to the Chinese to dye their teas blue, if there had not been some foundation for it in the natural process of manipulation.

I believe also that Mr. Fortune was misinformed, when he was told that the districts in which he was, formerly furnished a portion of the tea intended for foreign consumption. But it is no disparagement to Mr. Fortune even if he was misinformed. He states what he saw and collected. In a paper on the expediency of opening a second port in China, printed in 1816 and published in 1840, I computed that the black tea districts were about 240 miles from the city of Foo-chew-foo, and about 270 from the sea.  Mr. Fortune states that he penetrated into the interior about thirty or forty miles north of that city ; consequently he must have been at least 150 or 200 miles from the district which supplies the foreign markets with black tea.

对于绿茶来说，任何用竹筛和竹篮（扁篮）干燥茶叶的方法，都不可能产生出绿茶独特的颜色。福琼先生说，他看到的浙江生产的绿茶，并没有我们商店那样的染色茶，所以，他理所当然地嘲笑。然而，读者千万不要以为这种颜色没有天然的基础。福琼先生的说法是“茶青上很少或根本没有我们所说的‘美丽的花朵”；但是它有一些，尽管很少，它是在制作过程中自然产生的，这我将在后续绿茶的章节论述。很明显，如果不是在自然的制作过程中有这样的发现，欧洲人就不会向中国人提出将茶染成青色的需求。

我也相信当福琼先生被告知他所在的地区以前供应的茶叶中有一部分是供外国人消费的时候，他被误导了。即使如此，我们也没有轻视他。他所描述的只是他看到和收集到的东西。在1816年印刷并于1840年出版的一篇关于在中国开设第二个港口的可行性分析的论文中，我计算出乌茶区’距离福州府约240英里，距离港口大约270英里。福琼先生说，他深入到福州以北大约三四十英里的地方。因此，他离外销乌茶的产区至少有150或200英里。

With respect to the exposure of the leaves for ” two or three days on screens after they have been roasted and rolled,” and ” while yet moist,” * this assuredly is a mode not to be imitated. It has been shown that in the Bohea district, so important is it considered to complete the roasting and drying of the leaves on the day they are gathered, that the work is often continued to a late hour, and sometimes through the night. Under the long exposure to air as seen by Mr. Fortune, there must be a danger of the leaves turning sour ; but at all events red, as the name of the tea ” hongcha ” (red tea) indicates, a species often made, as already stated, for the Su-chao market.

I think the account already given of the manipulation of black tea in the Bohea country, must be sufficient to prove, that the dark colour of the leaf and infusion of black tea, does not necessarily depend on a long exposure of the leaves to the air, while yet ” in a soft and moist state,” after they have been roasted and rolled ; though I have little doubt an increased redness of the leaf and infusion may be produced, under proper management, by such means, and may be employed for some teas.

关于未干燥茶露天放置——“在炒青和揉捻后在筛子上放置两三天”，或“还很潮湿”4，这无疑是一种不值得效仿的制作方法。研究表明，在武夷茶区，人们认为在采青的当天就完成炒青和干燥是非常重要的，因此这项工作经常持续到深夜，有时甚至通宵。福琼先生所看到的茶青长时间暴露在空气中的情况，会让茶青面临变酸的风险。但无论如何，红色，正如“红茶”（hong-cha，redtea）的名字所表明的那样，是一种通常为苏州市场生产的品类。

我认为，已经给出的关于在武夷山乌茶的制作说明，足以证明，干茶外形乌黑，汤色红亮，并不一定取决于茶叶在炒青和揉捻后“处于柔软和潮湿的状态”长时间暴露在空气中。尽管我毫不怀疑，在适当的管理下，这种方法可以使茶叶变红，并适用于一些茶叶制作。因此我认为，颜色并不是“茶青受到火温的高低”所决定。

Nor does it depend, as I think I shall be enabled to prove, “on the leaves being subjected to a greater degree of fire heat.” I have seen a sample of black tea, and another of green tea, which Mr. Fortune very handsomely showed to me. Unhappily they were not marked with the name of the province whence they were procured ; but on comparison with the preceding accounts, I should imagine that the green tea was brought from the province of Chekiang and the black from Fokien. The green tea had been much injured by damp, and w^as somewhat mouldy ; but the bluish or greyish colour of the leaf was sufficiently indicated to prove the class to which the tea belonged. It was a coarsely made tea, not very suitable to our market. The black tea, however, seemed a sufficiently well made tea. Thus there is every reason to believe that Mr. Fortune saw black and green tea made from the same species or variety, that variety being the Thea viridis, as stated by him.

But the fact of black and green tea being made from the same leaves is not a novel discovery. Mr. Bruce states, in his report on the cultivation of tea at Assam*, ” I am now plucking leaves for both black and green tea from the same tract and from the same plants ; the difference lies in the manufacture and nothing else.” There are still more early authorities on the same point, and so far back as Dr. Abel’s journey in China, 1818.

福琼先生很大方地向我展示一些乌茶和绿茶样品，不幸的是，这些茶并没有标明是从哪里买来的。但与前面的说法相比，我想绿茶是从浙江来的，而乌茶是从福建来的。绿茶受潮严重，有些发霉了。但是茶叶上有浅青或者说浅灰的颜色，足以证明这种茶的品质。这是制作粗糙的茶，不太适合我们的市场。然而，乌茶似乎是一种做得很好的茶。因此，我们有充分的理由相信，福琼先生看到乌茶和绿茶是由同一品种制成的，这个品种就是他所说的绿茶。

但乌茶和绿茶是由同一类型茶树叶制成的，这并不是一个新发现。布鲁斯先生在他关于阿萨姆邦茶叶种植的报告’中写道：“我现在从同一块土地和同一种茶树上采摘乌茶和绿茶的茶青，区别在于制作方法，而不是其他。” 在这一点上，还有更多早期的权威，可以追溯到1818年阿贝尔博士的中国之行。

In conclusion I may say, that the tubs containing charcoal used in the final drying of black tea or green tea, and the shifting of the iron pan and employing tlie stove for the same purpose, though in principle the same as the mode adopted in the black tea district for drying black tea, yet obviously indicate the employment of make-shifts, and rough methods, fit only for peasants and small plantations. It will also be seen, when we come to examine into the mode of manipulating green tea, that the forms of the stoves and vessels, used in the Hyson district, differ essentially from those seen by Mr. Fortune in the parts of China which he visited.

I shall now explain the manner in which I have seen black tea manipulated in the sun by a man from the village of Puck-Uen-Hiang, in the district of Sy-Chu-Shan, about a day’s journey from Canton.

总之，我要说的是，在最后干燥乌茶或绿茶时使用炭盆，以及用铁锅和灶台来炒制同样的茶叶，虽然在原理上和乌茶区炒制乌茶的原理是一样的，但显然其具体做法是粗糙的，只适合农民和小种植园。当我们研究绿茶的制作方式时，我们还会发现，熙春茶区使用的炉灶和器皿与福琼先生所调查过一些中国茶区所看到的有本质上的不同。

现在我将叙述我所见过的一个人是如何在阳光下制作乌茶的，这个人来自“西樵山”（Sy-Chu-Shan）区“白云乡”（Puck-Uen-Hiang），离广州大约有一天的路程。

1. I first made him divide the leaves into three parcels, with a view of trying some experiments. The leaves of the first parcel were then placed in sieves in the sun for three quarters of an hour. They were afterwards rolled in the manner already described under the article on “Rolling;” and upon the ball being shaken to pieces, the leaves were equally well twisted as if they had been previously roasted. In the district where the man resided a square stone channelled in a regular manner is used for this purpose. The one I saw was a piece of granite measuring eighteen inches by fourteen, and two inches thick. The surface was channelled and made rough. It was hollowed out on two sides to afford a place for the hands to lift it.

The leaves were then placed in the sun again, and thus rolled and exposed to the sun twice. The leaves were afterwards divided into smaller parcels in each sieve, and rolled up into small balls about the size of a duck’s egg, considerable pressure being used for that purpose. They were then placed in the sun again, and turned once during the exposure. The balls were now partly broken to pieces with the hands, spread out, and placed in the sun again. During this process the leaves gradually became black. They were then removed from the sun, and rolled into balls the size of an orange, and exposed to the sun again for a quarter of an hour. The balls were then shaken to pieces, the leaves spread out loosely in the sieves, and thus left to dry. When completely and properly dried, they were exposed to the air to cool, when they were packed. This tea was fragrant in smell, and had a rich reddish appearance, resembling in colour the Hong-Moey pekoe : the infusion was a deepish red ; and the flavour fragrant, but somewhat sweet, as if mixed mth sugar ; nor did I think that tea so made would keep. I have seen samples of tea, which this man affirmed were made precisely in the manner here described, which would have sold at the East India Company’s sales at 3s. 10d. the pound. This want of success in my presence he ascribed to the unfitness of the Honan leaves for the preparation of tea.

1，我首先让他把茶青分成3小堆，想做一些实验。第一堆的茶青被铺在筛子里，放在太阳下晒45分钟（晒青）。接着直接进行揉捻，用前面“揉捻”一文中说过的方法。当揉捻过的成团茶青被抖散的时候，条索就像已经经过了炒制的茶青一样具有很好的扭曲度。我在那个人居住的地方，看到了一块用来揉捻的方形石块。长18英寸，宽14英寸，厚2英寸的花岗岩，表面有粗糙的沟槽，在两侧挖了两个方便放下或举起石块的洞。

然后把茶青再次放在太阳下晒，再揉捻、晒青，重复两次。每个筛子里茶青再被分成几小堆，然后用力把每小堆揉捻成鸭蛋大小的小茶团。然后再把它们放在太阳下，在此期间转动一次。然后这些茶团再次被用手掰碎、摊开，重新放在太阳底下。在这个过程中，茶青颜色逐渐变黑。然后把它们从太阳下移开，揉捻成橘子大小的球，再在太阳下曝晒一刻钟。然后把茶团抖散，茶青在筛子里散开，晾干。当它们完全干燥后，将其放在通风的地方自然冷却之后打包。这茶闻起来很香，呈淡红色（颜色像红毛白毫），茶汤呈深红色。滋味浓郁，甘甜，仿佛掺了糖。我觉得这样制作的茶不好保存。我曾见过一些茶叶样品，这位制茶工肯定那些茶叶样品正是按照前面所描述的那种方式制成的，按照东印度公司的价格，这些茶叶的售价是3先令10便士。这次在我面前的制茶实验没有成功，他把原因归结为河南的茶青不适用于制作。

2. The leaves of the second parcel, after exposure to sun, were roasted once in the usual manner, at my suggestion, and the process completed as above described by rolling and exposure to the sun. This tea was less mixed with red leaves, and better suited to the taste of Europeans ; and I thought more likely to keep than the former parcel.

2.第二堆的茶青在晒青后，按照我的建议，用通常的方法进行一次炒青，然后像上面描述的那样揉捻和晾晒。这种茶所形成的红色叶片更少，比较适合欧洲人的口味。我想这种茶叶比前一种做法更容易保存。

3. The leaves of the third parcel having been exposed to the sun were by my desire, roasted twice, and the desiccation completed by the process of poey. But these leaves were of a paler colour ; much mixed with green and yellow leaves, and wholly without fragrance. The infusion also was as light as green tea, and almost tasteless. This inferiority of quality the workman ascribed to the leaves having undergone the process of cliao twice instead of once.

3.第三堆的茶青如我所想要的那样进行晒青、炒青两次，用焙青的方式完成干燥的过程。但是这些茶叶颜色较淡；夹杂大量的绿色和黄色叶片，完全没有香气。茶汤也像绿茶一样淡，几乎没有味道。制茶工把这种质量不好的原因归结为炒青——炒了两次，而不是一次。

4. On a subsequent occasion, I saw the same man, after having placed the leaves in the sun for half an hour, roll and sun-dry them twice as already described, forming them into a ball, &c. When completely dried in the sun, a kuo was slightly heated, more to warm than to roast the tea. It must here be remembered that the leaves were deprived of much of their moisture, and consequently the roasting now corresponded with the final process of drying in the drying-tube, when a very moderate temperature is employed. The leaves were put into the kuo, and kept constantly stirred, until the vessel became too hot, though of a very moderate temperature. It was then taken off the fire ; but the leaves were gently stirred about until sufficiently dry.

These leaves previously to roasting had a vegetable smell, as if not sufficiently dried ; which, however, the roasting entirely dissipated, and made fragrant like tea. They were then packed warm : and a piece of charcoal wrapped up in paper was placed in the canister, to absorb any remaining moisture in the leaves, or any humidity which might penetrate. This tea, like the first parcel, resembled a ” Hong Moey” pekoe, and was agreeable in flavour. The manipulator informed me that lie could afford to sell tea of this description, though of superior quality, for about 18 tales the pecul, which at 6s. Sd, the tale, or 5s. 6d. the ounce of silver, would cost 10,1/2d. the pound.

4.后来，有一次在制茶的地方，我又看到了这个制茶工，他把茶青放在太阳下晒了半个小时后，如上文所述重复揉捻、晒青两次后，把它们揉成一个球，等等。放在太阳下完全干燥后放到热锅里，锅温比炒茶叶温度要高。这里必须记住的是，茶青已经没有什么水分，因此，现在放在锅里炒相当于放在焙笼里干燥的最后一个过程，当温度适当时，把茶青放进锅里，不停地翻动，直到锅的温度相对于茶叶来说过高的时候，把锅从火上移开。但锅里茶叶继续被搅动，直到茶叶足够干燥。

未炒过的茶有一种青臭味，好似没有充分干燥。然而，经过炒制完全干燥后，青臭味完全消散了，散发出一股茶香。然后，趁热装茶，在装茶的罐子里放一包用纸包封的木炭，用来吸收茶青残留水分，或外部的渗水。这种茶和第一次实验做出来的茶一样，像一种红毛白毫，滋味很好。制茶工告诉我，他可以卖这种茶叶，虽然质量很好，但价格只是18两一担，银价为每两6先令8便士或每盎司5先令6便士，货币换算费用每磅10.5便士。

5. Now these experiments, though they do not afford examples of the best mode of manipulating tea, seem nevertheless to me not devoid of interest, nor without their utility. In fact I am disposed to think, that they point to the true direction, in which we must seek to discover the real cause of the distinctive character and quality of black tea.

5.这些实验虽然不是茶叶制作最佳方法的例子，但在我看来，似乎不是没有好处，也不是没有用处。事实上，我倾向于认为，它们为我们指明了正确的方向，在这个方向上，我们必须找出乌茶那独特特性和品质产生的真正原因。

6. The first experiment shows, that, by exposure to sun and the rolling or kneading of the leaves, a sweet principle was either elaborated or preserved ; and that the reddish-purple appearance of the leaves, and the red infusion co-exist with and may depend on this principle. And this experiment serves to strengthen the opinion already expressed, that the manipulation previously to roasting may be to produce some slight chemical change analogous to hay when stacked, or to the germination of barley in the process of malting, on which the sweetness and delicacy of flavour, the red infusion, and the rich reddish-purple colour of the leaves may depend. It also proves that the colouring matter of black tea in leaf and infusion is not necessarily due to the agency of heat ; and still less to high temperature.

6.第一个实验表明，经日晒和揉捻而成的茶青，可以精制出或者保留其甜味的成分。而茶叶的红紫色叶底能与红色茶汤同时存在，也可能依赖于这一成分。这个实验加强了我们已经表达过的观点，那就是，茶青在炒青之前的那些制作流程可能会产生一些轻微的化学变化，类似于干草堆放时的化学变化，或者类似于大麦在制麦芽糖过程中萌发的化学变化，这些变化决定了茶叶风味的甜度和细腻、红色的茶汤以及茶叶的红紫色外观。并证明了乌茶所特有的叶子色泽和茶汤色泽不一定是热的作用，更不用说高温了。

7. The second experiment shows that by the application of heat the saccharine matter was diminished, and the leaves became less red ; but the tea was improved thereby, and more likely to keep ; thus indicating that a completely sun-drying process is an inferior method ; also that the excellence of black tea depends on the combined and skilful management of the leaves previously to, and during the process of roasting. Whereas green tea will be found to depend solely on a peculiar management of the leaves during the final process of drying.

7.第二个实验表明，通过加热，糖类物质减少，茶青红色部分变少。但是由此茶叶品质提高，更容易保存。这表明完全通过太阳干燥茶叶是一种较差的方法。此外，乌茶的卓越之处在于炒青前和炒青过程中的高超的制作方法。而绿茶则完全依赖于在最后干燥过程中对茶叶的特殊制作管控。

8. The third experiment shows that by an application of heat too great for the then condition of the leaves, though at a moderate temperature, the saccharine matter was altogether destroyed, and with it those elements on which excellence of quality depends. The dried leaves also became pallid and yellow, the infusion as light-coloured as green tea, and almost flavourless. This experiment further proves, what has already been explained, that no measure of time or degree of heat can be given for the roasting and drying of tea : they both depend on the state of the leaves, as regarding; their succulency and aqueous condition, the mode of manipulation, and the kind of tea required to be made.

8.第三个实验表明，尽管温度适中，但由于其加热的热量对当时的实验中茶青的条件来说太高了，因此含糖物质完全被破坏的同时，也破坏了优良品质所依赖的物质。干茶颜色显得苍白，发黄，茶汤颜色像绿茶一样浅，几乎没有味道。这个实验进一步证明了，之前已经解释过的，炒青和干燥茶叶的时间和温度是无法确定的，它们都取决于茶叶的状态，如茶叶的多汁性和水分条件、制作的方式，以及需要制作的茶的种类。

9. This example, moreover, shows that what was here effected by excess of temperature, as connected with the state of humidity of the leaves, though at a low degree of heat, was not very dissimilar to that which takes place in nature under the ordinary conditions of decay. Thus in autumn the leaves of deciduous trees having performed the several functions for which they were destined in the production of flowers, fruit, and wood, are no longer required : assimilation is impeded, they begin to absorb oxygen from the air, decay and dryness follow, the leaves change colour and fall, and nothing remains but red, or brown, or yellow cellular tissue, and woody fibre. We will here leave these experiments for the present, though we shall have occasion to recur to them, when we come to treat specifically of the degree of heat employed in the manipulation of tea, and of its chemical constituents after desiccation.

9.此外，这个例子还表明，温度过高所造成的影响，与茶叶的湿度状态有关，虽然处于低温烘烤，但与自然界在正常衰败条件下发生的情况没有太大的不同。因此，在秋天，落叶树的叶子已经完成了它们注定要产生花朵、果实和木材的几项功能，现在，它们不再被需要了——无法吸收养分，在空气中氧化，随后衰老、变干，褪色，掉落，叶子上只剩下的红色、棕色或黄色的细胞组织和木质纤维。现在我们暂且将这些实验放下，尽管我们将有机会重复这些实验，当我们具体讨论茶叶加工中所用温度以及干燥后的化学成分时。