The English Governess at the Siamese Court Part 12

The order of the procession behind the golden sedan in which the prince was borne, was nearly as follows:--

Next after the chair of state came four young damsels of the highest rank, bearing the prince's betel-box, spittoon, fan, and swords. Then followed seventy other maidens, carrying reverently in both hands the vessels of pure gold, and all the insignia of rank and office proper to a prince of the blood royal; and yet more, holding over their right shoulders golden fans.

In the train of these tripped troops of children, daughters of the n.o.bility, dressed and decorated with fantastic splendor.

Then the maids of honor, personal attendants, and concubines of the king, chastely dressed, though crowned with gold, and decorated with ma.s.sive gold chains and rings of great price and beauty.

A crowd of Siamese women, painted and rouged, in European costume.

Troops of children in corresponding attire.

Ladies in Chinese costume.

j.a.panese ladies in rich robes.

Malay women in their national dress.

Women of Hindostan.

Then the Kariens.

And, last of all, the female slaves and dependants of the prince.

At the foot of the hill a most extraordinary spectacle was presented.

On the east appeared a number of hideous monsters, riding on gigantic eagles. These nondescripts, whose heads reached almost to their knees, and whose hands grasped indescribable weapons, are called Yaks. They are appointed to guard the Sacred Mount from all vulgar approach.

A little farther on, around a pair of stuffed peac.o.c.ks, were a number of youthful warriors, representing kings, governors, and chiefs of the several dependencies of Siam.

Desirous of witnessing the sublime ceremony of hair-cutting, they cautiously approach the Yaks, performing a sort of war dance, and chanting in chorus:--

_Orah Pho, cha pai Kra Laat_. "Let us go to the Sacred Mount!"

Whereupon the Yaks, or evil angels, point their wonderful weapons at them, chanting in the same strain:--

_Orah Pho, salope thang pooang_. "Let us slay them all!"

They then make a show of striking and thrusting, and princes, rajahs, and governors drop as if wounded.

The princ.i.p.al parts in the drama were a.s.sumed by his Majesty, and their excellencies the Prime Minister and the Minister of Foreign Affairs. The king was dressed for the character of P'hra Inn Suen, the Hindoo Indra, or Lord of the Sky, who has also the attributes of the Roman Genius; but most of his epithets in Sanskrit are identical with those of the Olympian Jove. He was attended by the Prime Minister, personating the Sanskrit Sache, but called in Siamese "Vis Summo Kam," and the Minister of Foreign Affairs as his charioteer, Ma Talee. His imperial elephant, called Aisarat, caparisoned in velvet and gold, and bearing the supernatural weapons,--_Vagra_, the thunderbolts,--was led by allegorical personages, representing winds and showers, lightning and thunder. The hill, Khoa Kra Laat, is the Sanskrit Meru, described as a mountain of gold and gems.

His Majesty received the prince from the hands of his n.o.bles, set him on his right hand, and presented him to the people, who offered homage.

Afterward, two ladies of the court led him down the flight of marble steps, where two maidens washed his feet with pure water in a gold basin, and wiped them with fine linen.

On his way to the Maha Phrasat he was met by a group of girls in charming attire, who held before him tufts of palm and branches of gold and silver. Thus he was conducted to an inner chamber of the temple, and seated on a costly carpet heavily fringed with gold, before an altar on which were lighted tapers and offerings of all descriptions. In his hand was placed a strip of palmyra leaf, on which were inscribed these mystic words: "Even I was, even from the first, and not any other thing: that which existed unperceived, supreme. Afterwards, I am that which is, and He that was, and He who must remain am I."

"Know that except Me, who am the First Cause, nothing that appears or does not appear in the mind can be trusted; it is the mind's Maya or delusion,--as Light is to Darkness."

On the reverse was inscribed this sentence:--

"Keep me still meditating on Thy infinite greatness and my own nothingness, so that all the questions of my life may be answered and my mind abundantly instructed in the path of Niphan!"

In his hands was placed a ball of unspun thread, the ends of which were carried round the sacred hill, and thence round the temple, and into the inner chamber, where it was bound round the head of the young prince.

Thence again nine threads were taken, which, after encircling the altar, were pa.s.sed into the hands of the officiating priests. These latter threads, forming circles within circles, symbolize the mystic word _Om_, which may not escape the lips even of the purest, but must be meditated upon in silence.

Early on the third day all the princes, n.o.bles, and officers of government, together with the third company of priests, a.s.sembled to witness the ceremony of shaving the royal top-knot. The royal sire handed first the golden shears and then a gilded razor to the happy hair-cutter, who immediately addressed himself to his honorable function. Meanwhile the musicians, with the trumpeters and conch-blowers, exerted all their noisy faculties to beguile the patient heir.

The tonsorial operation concluded, the prince was robed in white, and conducted to the marble basin at the foot of the Sacred Mount, where the white elephant, the ox, the horse, and the lion, guarding the cardinal points, were brought together, and from their mouths baptized him in the sacred waters. He was then arrayed in silk, still white, by women of rank, and escorted to a golden paG.o.da on the summit of the hill, where the king, in the character of P'hra Inn Suen, waited to bestow his blessing on the heir. With one hand raised to heaven, and the other on the bowed head of his son, he solemnly uttered words of Pali, which may be translated thus:--

"Thou who art come out of the pure waters, be thy offences washed away!

Be thou relieved from other births! Bear thou in thy bosom the brightness of that light which shall lead thee, even as it led the sublime Buddha, to Niphan, at once and forever!"

These rites ended, the priests were served with a princely banquet; and then the n.o.bility and common people were also feasted. About midday, two standards, called _baisee_, were set up within a circle of people. These are not unlike the _sawekra chat_, or royal umbrella, one of the five insignia of royalty in Siam. They are about five cubits high, and have from three to five canopies. The staff is fixed in a wooden pedestal.

Each circle or canopy has a flat bottom, and within the receptacle thus formed custom requires that a little cooked rice, called _k'ow k'wan_, shall be placed, together with a few cakes, a little sweet-scented oil, a handful of fragrant flour, and some young cocoanuts and plantains.

Other edibles of many kinds are brought and arranged about the _baisee_, and a beautiful bouquet adorns the top of each of the umbrella-like canopies.

Then a procession was formed, of princes, n.o.blemen, and others, who marched around the standards nine times. As they went, seven golden candlesticks, with the candles lighted, were carried by princes, and pa.s.sed from one to another; and as often as they came in front of the prince, who sat between the standards, they waved the light before him.

This procession is but another form of the _Om_ symbol.

Afterwards the eldest priest or brahmin took a portion of the rice from the _baisee_, and, sprinkling it with cocoanut water, gave the lad a spoonful of it. Then dipping his finger, first in the scented oil and then in the fragrant flour, he touched the right foot of the prince, at the same time exhorting him to be manly and strong, and to bear himself bravely in "the conflict of feeling."

Now presents of silver and gold were laid at the feet of the lad,--every prince not of the royal family, and every n.o.bleman and high officer in the kingdom, being expected to appear with gifts. A chowfa might receive, in the aggregate, from five hundred thousand to a million ticals. [Footnote: A tical is equivalent to sixty cents.] It should be remarked in this connection, that the late king commanded that careful note be kept of all sums of money presented by officers of his government to his children at the time of Soh-Khan, that the full amount might be refunded with the next semi-annual payment of salary. But this decree does not relieve the more distinguished princes and endowed n.o.blemen, who have acquired a sort of complimentary relationship to his Majesty through their daughters and nieces accepted as concubines.

The children of plain citizens, who cannot afford the luxury of a public hair-cutting, are taken to a temple, where a priest shaves the tuft, with a brief religious ceremony.

Hardly had the prince recovered his wonted frame of mind, after an event so pregnant with significance and agitation to him, when the time arrived for his induction into the priesthood. For this the rites, though simpler, were more solemn. The hair, which had been suffered to grow on the top of his young pate like an inverted brush, was now shorn close, and his eyebrows were shaven also. Arrayed in costly robes and ornaments, similar to those worn at a coronation, he was taken in charge by a body of priests at his father's palace, and by them conducted to the temple Watt P'hra Keau, his yellow-robed and barefooted escort chanting, on the way, hymns from the Buddhist liturgy. At the threshold of the temple another band of priests divested him of his fine robes and clad him in simple white, all the while still chanting. The circle being characteristic of a Buddhist ceremonial, as the cross is of their religious architecture, these priests formed a circle, standing, and holding lighted tapers in their folded palms, the high-priest in the centre. Then the prince advanced meekly, timidly, bowing low, to enter the holy ring. Here he was received by the high-priest, and with their hands mutually interfolded, one upon the other, he vowed to renounce, then and there, the world with all its cares and temptations, and to observe with obedience the doctrines of Buddha. This done, he was clad afresh in sackcloth, and led from the temple to the royal monastery, Watt Brahmanee Waid; with bare feet and eyes downcast he went, still chanting those weird hymns.

Here he remained recluse for six months. When he returned to the world, and to the residence a.s.signed him, he seemed no longer the impressible, ardent boy who was once my bright, ambitious scholar. Though still anxious to prosecute his English studies, he was p.r.o.nounced too old to unite with his brothers and sisters in the school. For a year I taught him, from seven to ten in the evening, at his "Rose-planting House"; and even from this distant place and time I look back with comfort to those hours.

XX. AMUs.e.m.e.nTS OF THE COURT.

Of all the diversions of the court the most polite, and at the same time the most engrossing, is the drama.

In a great sala, or hall, which serves as a theatre, the actors and actresses a.s.semble, their faces and bodies anointed with a creamy, maize-colored cosmetic. Fantastic extravagance of attire const.i.tutes the great gun in their a.r.s.enal of attractions. Hence ear-rings, bracelets, ma.s.sive chains and collars, tapering crowns with wings, spangled robes, curious finger-rings, and, strangest of all, long tapering nails of gold, are joined to complete their elaborate adornment. The play, in which are invariably enacted the adventures of G.o.ds, kings, heroes, genii, demons, and a mult.i.tude of characters mythical and fabulous, is often performed in lively pantomime, the interludes being filled by a strong chorus, with songs and instrumental accompaniment. At other times the players, in grotesque masks, give burlesque versions of the graver epics, to the great amus.e.m.e.nt of the audience.

Chinese comedies, termed Ngiu, attract the Siamese in crowds; but the foreign is decidedly inferior to the native talent. "Nang," so called, is a sort of tableau, masked, representing characters from the Hindoo mythology. Parts of the popular epic, Ramayana, are admirably rendered in this style. In front of the royal palace an immense transparent screen, mounted on great poles, is drawn across the esplanade, and behind this, at a moderate distance, great fires are lighted. Between the screen and the fire masked figures, grotesquely costumed, enact the story of Rama and Sita and the giant Rawuna, with Hanuman and his army of apes bridging the Gulf of Manaar and piling up the Himalayas, while the bards, in measured story, describe the several exploits.

A great variety of puppet-shows are contrived for the delectation of the children; and the Siamese are marvellously ingenious in the manufacture of toys and dolls, of porcelain, stone, wood, bark, and paper. They make paG.o.das, temples, boats, and floating houses, with miniature families to occupy them, and all true to the life in every apartment and occupation; watts, with idols and priests; palaces, with kings, queens, concubines, royal children, courtiers, and slaves, all complete in costume and att.i.tude.

The royal children observe with grave formalities the eventful custom of "hair-cutting" for their favorite dolls; and dramas, improvised for the occasion by ingenious slaves, are the crowning glory of those high holidays of toddling princes and princesses.

The ladies of the harem amuse themselves in the early and late hours of the day by gathering flowers in the palace gardens, feeding the birds in the aviaries and the gold-fishes in the ponds, twining garlands to adorn the heads of their children, arranging bouquets, singing songs of love or glory, dancing to the music of the guitar, listening to their slaves'

reading, strolling with their little ones through the parks and _parterres_, and especially in bathing. When the heat is least oppressive they plunge into the waters of the pretty retired lakes, swimming and diving like flocks of brown water-fowl.