Part 14

The entertainments of the theatre are devoured by the Siamese with insatiable appetite, and the popular preference is awarded to those intellectual contests in which the tragic and comic poets compete for the prize. The laughter or the tears of the sympathetic groundlings are accepted as the expression of an infallible criticism, and by their verdict the play is crowned or damned. The common people, such is their passion for the drama, get whole tragedies or comedies "by heart." Every day in the year, and in every street of Bangkok, and all along the river, booths and floating salas may be seen, in which tragedy, comedy, and satirical burlesques, are enacted for the entertainment of great audiences, who are thrilled, delighted, or amused. In compositions strictly dramatic the characters, as with us, speak and act for themselves; but in the epic the poet recites the adventures of his heroes.

Judges are appointed by the king to determine the merits of new plays before they are performed at court; and on the grand occasion of the hair-cutting of the heir-apparent (now king) his late Majesty caused the poem "Kraelasah" to be modernized and adapted to grace the ceremonies.

P'hra Ramawsha, a writer highly esteemed, did wonders for the Siamese drama. He translated the Ramayana, the Mahabharata, and portions of the Cambodian lyrics into Siamese; introduced masks, with magnificence of costume and ornament; substituted theatres, or rather salas, for the temporary booth or the open plain; and elevated the matter and the style of dramatic compositions from the burlesque and buffoonery to the sentimental and majestic. He was also the first to impart spirit and variety to the dialogue, and to teach actors to express like artists, and not like mere animals, the strong _human_ passions of anger, love, and pity. The plays of P'hra Ramawsha are highly esteemed at court. In his management of amorous incidents and intrigues, he is, if not positively refined, at least less gross than other Siamese dramatists.

The dress of the players is always rich, and in the fashion of that worn at court. The actors and actresses attached to the royal establishment make a splendid display in this respect, large sums being expended annually on their costumes, jewels, and other adornings.

The development of native genius and skill, in the direction of the fine arts, has greatly declined, if it has not been absolutely arrested, since the reign of P'hra Narai, the enlightened founder of Lophaburee; and almost all the vestiges of art, purely national, to be found in the country now, may be traced to that golden age of Siam. The Siamese, though intelligent, clever, facile, and in a notable degree susceptible to the influences of the beautiful in nature or in art, by no means slow or awkward in imitating the graceful products of European taste and industry, are yet fettered by a peculiar oppression in their efforts to express in visible forms their artistic inspirations. No Siamese subject is to be congratulated, who by his talent or his skill has won popular applause in any branch of industry. No such man, having extraordinary cleverness or taste, dare display it to the public in works of novel utility or beauty; because he and his inventions may alike be appropriated, without reward or thanks,--the former to serve the king, the latter to adorn the palace. Many ply in secret their dangerously graceful callings, and destroy their work when it is done, rather than see it wrested from them, and with it all that is left to them of freedom, to serve the whim of a covetous and cruel master. All that P'hra Narai did to foster the sciences and arts in his land has been undone by the ruinous selfishness of his successors; and of the few suicides recorded in the annals of Siam since his time, one of the most remarkable is that of a famous painter, who poisoned himself the day after his installation at court. Thus all natural ambition has been stupidly extinguished in the breasts of the artists of a land whose remaining monuments attest her ancient excellence in architecture, sculpture, and painting.

The most remarkable examples of Siamese painting are presented in the cartoons to be found on the walls of the ancient temples, decorated with the brush before the introduction of wall-paper from Birmah. One that is still to be seen in the Watt Kheim Mah, or Mai, is especially noticeable. This temple was built by the grandmother of the late Maha Mongkut. The plant _kheim mai_ (indigenous to Siam), which bears a lovely little blossom, was one of her favorite flowers, and she called her temple by its name. Being a liberal patron of the arts, she employed a promising young painter named Nai Dang to decorate the Watt. The man would hardly be remembered now but for a poem he wrote and dedicated to the queen mother, in which her beauty and goodness are extolled. I could learn of him no more than that he was self-educated, and by unaided perseverance attained a respectable proficiency in drawing and design. He had also a fair knowledge of chemistry as it is practised in the East; but, aspiring to fame and fortune, he abandoned that study and devoted himself exclusively to painting. For years he struggled desperately against the discouragements of poverty in himself and ignorance in his neighbors, but found his reward at last in this engagement to embellish the walls of the Watt Kheim Mai.

Nai Dang's must have been an original and independent mind, for his conceptions in this cartoon are as bold as his handling is vigorous and effective, while his colors are more true to nature than any that I have seen in Chinese or Japanese art.

He has grandly chosen for his subject the Birth of Buddha. The mother of the divine teacher being on a journey, is overtaken with the pangs of childbirth. Her attendants and slaves have gathered about her; but she, as if conscious of the august nature of the babe she is about to bestow upon the world, retires alone to the shade of an orange grove, where, clinging to the friendly boughs, with a look of blended rapture and pain, she gives birth to the great reformer. A few steps farther on, a circle of light is seen glowing round the feet of the infant, as it attempts to rise and walk alone. Next we find the child in a rustic cradle; a branch of the tree under which he is sleeping bends low, to shield him from the fierce rays of the sun, and his royal parents, beholding the miracle, kneel and adore him. Now he is a youthful prince, beautiful and gentle, troubled with pity for the poor, the afflicted, and the aged, as they rest by the roadside. And finally, as a hermit, he sits in the shade of a boh-tree, rapt in divine contemplation.

It is a great work, full of imagination, truth, and power, if justly contemplated by the light of a semi-barbaric age. Every figure is instinct with character and action, and the whole is rendered with infinite _naïveté_, as though it represented undisputed and familiar facts.

On the opposite wall another great cartoon represents the Hell of the Buddhists, with demons whose hideous heads are those of fabulous beasts and creeping things. As a work of imagination and force this is worthy to be the companion of the Birth of Buddha.

The roof is painted as a firmament,--stars in a blue ground; and here it is that the charm of pure feeling and noble treatment is most apparent. With five colors the artist has produced all the variety we see. No cast shadows are shown, the forms themselves are but partially shaded, yet wonderful harmony and beauty pervade the whole. All honor to Nai Dang! who alone, amid the national decay of art and culture, preserved this germ of glorious life and strength, wrapped in his own obscure, neglected life!

The practice of decorating walls and ceilings with paintings may be traced to a remote period in the history of Siamese art. In an ancient temple at Lophaburee is a curious picture, of less merit than those of Nai Dang, representing the marriage of Buddha with the princess Thiwadi, beside many of the transmigrations of the Buddhas; and there are elsewhere one or two pictures well worthy of notice, by masters whose names have not been kept in remembrance. Thus art in Siam has degenerated for want of kind, fostering patrons, and faithful, sympathetic chroniclers, till it has become a thing of mere tools and technics.

Nevertheless, they still paint with some cleverness on wood, cloth, parchment, ivory, and plastic material, as well as on gold and silver,--a sort of enamelling. They also retain a fair knowledge of effect in fresco, tracing the outline on the wet ground, and laying on the color in a thin glue; in some of their later work of this kind that I have seen, the idea of the designer is expressed with much vigor.

Their mosaics, executed in colored porcelain of several varieties, glass of all kinds, mother-of-pearl, and colored marbles, represent chiefly flowers and sprays on a brilliant ground. The most remarkable work of this kind is, I imagine, that which is lavished on the temple Watt P'hra Këau,--the walls, pillars, windows, roofs, towers, and gates being everywhere overlaid with mother-of-pearl and ivory, and profusely gilded. The several façades are likewise inlaid with ivory, glass, and mother-of-pearl, fixed with cement in the mortar, which serves as a base. In all cases these works are characterized by a touching simplicity, which seems to struggle through much, that is obscure and illegible to get nearer to nature and truth. Most of the tiles employed in the roofing of temples and palaces are colored and gilt.

Among the older pictures, one in the Royal bedchamber of the abandoned palace deserves a parting glance. It is a cartoon (much defaced, and here and there re-touched by clumsy Chinese hands) of The First Sin. In the foreground a newly created world is rudely represented, and here are several illuminated figures, human but gigantic. One of these, discontented with his spiritual food, is seen tasting something, which we are told is "fragrant earth"; after which, in another figure, he appears to be electrified, and here his monstrous anatomy is depicted with ludicrous attempts at detail. No one could tell me by whom or when this cartoon was painted, and the painting itself is so little appreciated that I might never have seen or heard of it but for a happy chance.

A characteristic effect in the few great works by Siamese painters appears in their management of shade. They impart to darkness a pervading inner light or clearness, and heighten the effect of the deeper shadows by permitting objects to be seen through them. In addition to the pictures I have described, one or two of some merit are to be found in the Watt Brahmanee Waid.

The florid style of architecture seems to have been familiar to the Siamese from a very early period. Their palaces, temples, and pagodas afford innumerable examples of it, many of them not unworthy of European art. They build generally in brick, using a cement composed of sand, chalk, and molasses, in which the skin of the buffalo has been steeped. Their structures are the most solid and durable imaginable. When the masons building a wall round the new palace at Ayuthia found their bricks falling short, they tried in vain to detach a supply from the ruined temples and walls of that ancient city.

In the art of sculpture the Siamese are in advance of their civilization. Not only in their palaces, temples, and pagodas, but in their shops and dwellings likewise, and even in their ships and boats, all sorts of figures are to be seen, modelled and finished with more or less delicacy.

XXII. BUDDHIST DOCTRINE, PRIESTS, AND WORSHIP.

"The world is old, and all things old within it." We plod a trodden path. No truth is new to-day, save only that one which as a mantle covers the face of God, lest we be blinded by the unveiled glory. How many of earth's departed great, buried out of remembrance, might have lived to-day in the love of the wise and just, had theirs but been that perfect quickening which is the breath of his Spirit upon the heart, the gift that "passeth understanding!" The world's helpers must first become borrowers of God. The world's teachers must first learn of him that only wisdom, which cometh not of books nor jealous cloister cells, but out of the heart of man as it opens yearningly to the cry of humanity,--the Wisdom of Love. This alone may challenge a superior mind, prizing truths not merely for their facts, but for their motives,--motives for which individuals or great communities either act or suffer,--to explore with a calm and kindly judgment the spirit of the religion of the Buddhists; and not its spirit only, but its every look and tone and motion as well, being so many complex expressions of the religious character in all its peculiar thoughts and feelings.

"Who, of himself, can interpret the symbol expressed by the wings of the air-sylph forming within the case of the caterpillar? Only he who feels in his own soul the same instinct which impels the horned fly to leave room in its involucrum for antennae yet to come." Such a man knows and feels that the potential works in him even as the actual works on him. As all the organs of sense are framed for a correspondent world of sense, so all the organs of the spirit are framed for a correspondent world of spirit; and though these latter be not equally developed in us all, yet they surely exist in all; else how is it that even the ignorant, the depraved, and the cruel will contemplate the man of unselfish and exalted goodness with contradictory emotions of pity and respect?

We are prone to ignore or to condemn that which we do not clearly understand; and thus it is, and on no better ground, that we deny that there are influences in the religions of the East to render their followers wiser, nobler, purer. And yet no one of respectable intelligence will question that there have been, in all ages, individual pagans who, by the simplicity of their doctrine and the purity of their practice, have approached very nearly to the perfection of the Christian graces; and that they were, if not so much the better for the religion they had, at least far, far better than if they had had no religion at all.

It is not, however, in human nature to approve and admire any course of life without inquiring into the spirit of the law that regulates it. Nor may it suffice that the spirit is there, if not likewise the letter,--that is to say, the practice. The best doctrine may become the worst, if imperfectly understood, erroneously interpreted, or superstitiously followed.

In Egypt, Palestine, Greece, and India, the metaphysical analysis of Mind had attained its noontide splendor, while as yet experimental research had hardly dawned. Those ancient mystics did much to promote intellectual emancipation, by insisting that Thought should not be imprisoned within the mere outlines of any single dogmatic system; and they likewise availed, in no feeble measure, to keep alive the heart in the head, by demanding an impartial reverence for every attribute of the mind, till, by converting these into symbols to impress the ignorant and stupid, they came at last to deify them. Thus, with the uninitiated, their system degenerated into an ignoble pantheism.

The renascence of Buddhism sought to eliminate from the arrogant and impious pantheisms of Egypt, India, and Greece a simple and pure philosophy, upholding virtue as man's greatest good and highest reward. It taught that the only object worthy of his noblest aspirations was to render the soul (itself an emanation from God) fit to be absorbed back again into the Divine essence from which it sprang. The single aim, therefore, of pure Buddhism seems to have been to rouse men to an inward contemplation of the divinity of their own nature; to fix their thoughts on the spiritual life within as the only real and true life; to teach them to disregard all earthly distinctions, conditions, privileges, enjoyments, privations, sorrows, sufferings; and thus to incite them to continual efforts in the direction of the highest ideals of patience, purity, self-denial.

Buddhism cannot be clearly defined by its visible results today. There are more things in that subtile, mystical enigma called in the Pali _Nirwana_, in the Birmese _Niban_, in the Siamese _Niphan_, than are dreamed of in our philosophy. With the idea of Niphan in his theology, it were absurdly false to say the Buddhist has no God. His Decalogue [FOOTNOTE: Translated from the Pali.] is as plain and imperative as the Christian's :--

I. From the meanest insect up to man thou shalt kill no animal whatsoever.

II. Thou shalt not steal.

III. Thou shalt not violate the wife of another, nor his concubine.

IV. Thou shalt speak no word that is false.

V. Thou shalt not drink wine, nor anything that may intoxicate.

VI. Thou shalt avoid all anger, hatred, and bitter language.

VII. Thou shalt not indulge in idle and vain talk.

VIII. Thou shalt not covet thy neighbor's goods.

IX. Thou shalt not harbor envy, nor pride, nor revenge, nor malice, nor the desire of thy neighbor's death or misfortune.

X. Thou shalt not follow the doctrines of false gods.

Whosoever abstains from these forbidden things is said to "observe Silah"; and whosoever shall faithfully observe Silah, in all his successive metempsychoses, shall continually increase in virtue and purity, until at length he shall become worthy to behold God, and hear his voice; and so he shall obtain Niphan. "Be assiduous in bestowing alms, in practising virtue, in observing Silah, in performing Bavana, prayer; and above all in adoring Guadama, the true God. Reverence likewise his laws and his priests."

Many have missed seeing what is true and wise in the doctrine of Buddha because they preferred to observe it from the standpoint and in the attitude of an antagonist, rather than of an inquirer. To understand aright the earnest creed and hope of any man, one must be at least sympathetically _en rapport_ with him,--must be willing to feel, and to confess within one's self, the germs of those errors whose growth seems so rank in him. In the humble spirit of this fellowship of fallibility let us draw as near as we may to the hearts of these devotees and the heart of their mystery.

My interesting pupil, the Lady Tâlâp, had invited me to accompany her to the royal private temple, Watt P'hra Këau, to witness the services held there on the Buddhist Sabâto, or One-thu-sin. Accordingly we repaired together to the temple on the day appointed. The day was young, and the air was cool and fresh; and as we approached the place of worship, the clustered bells of the pagodas made breezy gushes of music aloft. One of the court pages, meeting us, inquired our destination. "The Watt P'hra Këau," I replied. "To see or to hear?" "Both." And we entered.

On a floor diamonded with polished brass sat a throng of women, the _élite_ of Siam. All were robed in pure white, with white silk scarfs drawn from the left shoulder in careful folds across the bust and back, and thrown gracefully over the right. A little apart sat their female slaves, of whom many were inferior to their mistresses only in social consideration and worldly gear, being their half-sisters,--children of the same father by a slave mother.

The women sat in circles, and each displayed her vase of flowers and her lighted taper before her. In front of all were a number of my younger pupils, the royal children, in circles also. Close by the altar, on a low square stool, overlaid with a thin cushion of silk, sat the high-priest, Chow Khoon Sâh. In his hand he held a concave fan, lined with pale green silk, the back richly embroidered, jewelled, and gilt. [Footnote: The fan is used to cover the face. Jewelled fans are marks of distinction among the priesthood.] He was draped in a yellow robe, not unlike the Roman toga, a loose and flowing habit, closed below the waist, but open from the throat to the girdle, which was simply a band of yellow cloth, bound tightly. From the shoulders hung two narrow strips, also yellow, descending over the robe to the feet, and resembling the scapular worn by certain orders of the Roman Catholic clergy. At his side was an open watch of gold, the gift of his sovereign. At his feet sat seventeen disciples, shading their faces with fans less richly adorned.

We put off our shoes,--my child and I,--having respect for the ancient prejudice against them; [Footnote: "Put off thy shoes from off thy feet, for the place whereon thou standest is holy ground."] feeling not so much reverence for the place as for the hearts that worshipped there, caring to display not so much the love of wisdom as the wisdom of love; and well were we repaid by the grateful smile of recognition that greeted us as we entered.

We sat down cross-legged. No need to hush my boy,--the silence there, so subduing, checked with its mysterious awe even his inquisitive young mind. The venerable high-priest sat with his face jealously covered, lest his eyes should tempt his thoughts to stray. I changed my position to catch a glimpse of his countenance; he drew his fan-veil more closely, giving me a quick but gentle half-glance of remonstrance. Then raising his eyes, with lids nearly closed, he chanted in an infantile, wailing tone.

That was the opening prayer. At once the whole congregation raised themselves on their knees and, all together, prostrated themselves thrice profoundly, thrice touching the polished brass floor with their foreheads; and then, with heads bowed and palms folded and eyes closed, they delivered the responses after the priest, much in the manner of the English liturgy, first the priest, then the people, and finally all together. There was no singing, no standing up and sitting down, no changing of robes or places, no turning the face to the altar, nor north, nor south, nor east, nor west. All knelt _still_, with hands folded straight before them, and eyes strictly, tightly closed. Indeed, there were faces there that expressed devotion and piety, the humblest and the purest, as the lips murmured: "O Thou Eternal One, Thou perfection of Time, Thou truest Truth, Thou immutable essence of all Change, Thou most excellent radiance of Mercy, Thou infinite Compassion, Thou Pity, Thou Charity!"

I lost some of the responses in the simultaneous repetition, and did but imperfectly comprehend the exhortation that followed, in which was inculcated the strictest practice of charity in a manner so pathetic and so gentle as might be wisely imitated by the most orthodox of Christian priests.

There was majesty in the humility of those pagan worshippers, and in their shame of self they were sublime. I leave both the truth and the error to Him who alone can soar to the bright heights of the one and sound the dark depths of the other, and take to myself the lesson, to be read in the shrinking forms and hidden faces of those patient waiters for a far-off glimmering _Light_,--the lesson wherefrom I learn, in thanking God for the light of Christianity, to thank him for its shadow too, which is Buddhism.