XXIII. Cremation.

As soon as his Majesty had recovered from his genuine convulsion of grief for the death of his sweet little princess, Somdetch Chow Fâ-ying, he proceeded, habited in white, with all his family, to visit the chamber of mourning. The grand-aunt of the dead child, who seemed the most profoundly afflicted of all that numerous household, still lay prostrate at the feet of her pale cold darling, and would not be comforted. As his Majesty entered, silently ushered, she moved, and mutely laid her head upon his feet, moaning, Poot-tho! Poot-tho! There were tears and sighs and heart-wrung sobs around. Speechless, but with trembling lips, the royal father took gently in his arms the little corpse, and bathed it in the Siamese manner, by pouring cold water upon it. In this he was followed by other members of the royal family, the more distant relatives, and such ladies of the harem as chanced to be in waiting,—each advancing in the order of rank, and pouring pure cold water from a silver bowl over the slender body. Two sisters of the king then shrouded the corpse in a sitting posture, overlaid it with perfumes and odoriferous gums, frankincense and myrrh, and, lastly, swaddled it in a fine winding-sheet. Finally it was deposited in a golden urn, and this again in an-other of finer gold, richly adorned with precious stones. The inner urn has an iron grating in the bottom, and the outer an orifice at its most pendent point, through which by means of a tap or stop-cock, the fluids are drawn off daily, until the cadavre has become quite dry.

This double rim was borne on a gilt sedan, under a royal gilt umbrella, to the temple of the Maha Phrasat, where it was mounted on a graduated platform about six feet high. During this part of the ceremony, and while the trumpeters and the blowers of conch-shells performed their lugubrious parts, his Majesty sat apart, his face buried in his hands, confessing a keener anguish than had ever before cut his selfish heart.

The urn being thus elevated, all the insignia pertaining to the rank of the little princess were disposed in formal order below it, as though at her feet. Then the musicians struck up a passionate passage, ending in a plaintive and truly solemn dirge; after which his Majesty and all the princely company retired, leaving the poor clod to await, in its pagan gauds and mockery, the last offices of friendship. But not always alone; for thrice daily—at early dawn, and noon, and gloaming—the musicians came to perform a requiem for the soul of the dead,—"that it may soar on high, from the naming, fragrant pyre for which it is reserved, and return to its foster parents, Ocean, Earth, Air, Sky." With these is joined a concert of mourning women, who bewail the early dead, extolling her beauty, graces, virtues; while in the intervals, four priests (who are relieved every fourth hour) chant the praises of Buddha, bidding the gentle spirit "Pass on! Pass on!" and boldly speed through the labyrinth before it, "through high, deep, and famous things, through good and evil things, through truth and error, through wisdom and folly, through sorrow, suffering, hope, life, joy, love, death, through endless mutability, into immutability!"

These services are performed with religious care daily for six months; [Footnote: Twelve months for a king.] that is, until the time appointed for cremation. Meanwhile, in the obsequies of the Princess Fâ-ying, arrangements were made for the erection of the customary P'hra-mène,—a temporary structure of great splendor, where the body lies in state for several days, on a throne dazzling with gold and silver ornaments and precious stones.

For the funeral honors of royalty it is imperative that the P'hra-mène be constructed of virgin timber. Trunks of teak, from two hundred to two hundred and fifty feet in length, and of proportionate girth, are felled in the forests of Myolonghee, and brought down the Meinam in rafts. These trunks, planted thirty feet deep, one at each corner of a square, serve as pillars, not less than a hundred and seventy feet high, to support a sixty-foot spire, an octagonal pyramid, covered with gold leaf. Attached to this pyramid are four wings, forty feet long, with handsome porches looking to the cardinal points of the compass; here also are four colossal figures of heroic myths, each with a lion couchant at its feet.

On one side of the square reserved for the P'hra-mène, a vast hall is erected to accommodate the Supreme King and his family while attending the funeral ceremonies. The several roofs of this temporary edifice have peculiar horn-like projections at the ends, and are covered with crimson cloth, while golden draperies are suspended from the ceiling. The entire space around the P'hra-mène is matted with bamboo wicker-work, and decorated with innumerable standards peculiar to Siam. Here and there may be seen grotesque cartoons of the wars of gods and giants, and rude landscapes supposed to represent the Buddhist's heaven, with lakes and groves and gardens. Beyond these are playhouses for theatrical displays, puppet-shows, masquerades, posturing, somersaulting, leaping, wrestling, balancing on ropes and wires, and the tricks of professional buffoons. Here also are restaurants, or cook-shops, for all classes of people above the degree of boors; and these are open day and night during the period devoted to the funeral rites.

The grand lodge erected for the Second King and his household, at the cremation of his little niece, resembled that of his brother, the Supreme King, in the regal style of its decorations.

The centre of the P'hra-mène is a lofty octagon; and directly under the great spire is a gorgeous eight-sided pyramid, diminishing by right-angled gradations to a truncated top, its base being fifty or sixty feet in circumference, and higher by twenty feet than the surrounding buildings. On this pyramid stood the urn of gold containing the remains of the royal child. Above the urn a golden canopy hung from the lofty ceiling, and far above this again a circular white awning was spread, representing the firmament studded with silver stars. Under the canopy, and just over little Fâ-ying's urn, the whitest and most fragrant flowers, gathered and arranged by those who loved her best in life, formed a bright odoriferous bower. The pyramid itself was decorated with rare and beautiful gifts, of glass, porcelain, alabaster, silver, gold, and artificial flowers, with images of birds, beasts, men, women, children, and angels. Splendid chandeliers suspended from the ceiling, and lesser lights on the angles of the pyramid, illuminated the funeral hall.

These showy preparations completed, the royal mourners only waited for the appointed time when the remains must be laid in state upon the consecrated pyre. At dawn of that day, all the princes, nobles, governors, and superior priests of the kingdom, with throngs of baser men, women, and children, in their holiday attire, came to grace the "fiery consummation" of little Fâ-ying. A royal barge conveyed me, with my boy, to the palace, whence we followed on foot.

The gold urn, in an ivory chariot of antique fashion, richly gilt, was drawn by a pair of milk-white horses, and followed and attended by hundreds of men clad in pure white. It was preceded by two other chariots; in the first sat the high-priest, reading short, pithy aphorisms and precepts from the sacred books; in the other followed the full brothers of the deceased. A strip of silver cloth, six inches wide, attached to the urn, was loosely extended to the seats of the royal mourners in this second chariot, and thence to the chariot of the high- priest, on whose lap the ends were laid, symbolizing the mystic union between death, life, and the Buddha.

Next after the urn came a chariot laden with the sacred sandal-wood, the aromatic gums, and the wax tapers. The wood was profusely carved with emblems of the indestructibility of matter; for though the fire apparently consumes the pile, and with it the body, the priests are careful to interpret the process as that by which both are endued with new vitality; thus everything consecrated to the religious observances of Buddhism is made to typify some latent truth.

Then came a long procession of mythological figures, nondescripts drawn on small wooden wheels, and covered with offerings for the priests. These were followed by crowds of both sexes and all ages, bearing in their hands the mystic triform flower, emblematic of the sacred circle, Om, or Aum. To hold this mystic flower above the head, and describe with it endless circles in the air, is regarded as a performance of peculiar virtue and "merit," and one of the most signal acts of devotion possible to a Buddhist. And yet, as the symbol of One great Central Spirit, whose name it is profanation to utter, the symbol is strangely at variance with the doctrines of Buddhism.

The moment the strange concourse, human and mythological, began to move, the conch-shells, horns, trumpets, sackbuts, pipes, dulcimers, flutes, and harps rent the air with wild wailing; but above the din rose the deep, booming, measured beat of the death-drums. Very subtile, and indescribably stirring is this ancient music, with its various weird and prolonged cadences, and that solemn thundering boom enhancing the peculiar sweetness of the dirge as it rises and falls.

Under the spell of such sounds as these the procession moved slowly to the P'hra-mène. Here the urn was lifted by means of pulleys, and enthroned on the splendid pedestal prepared for it. The silver cloth from the chariot of the high-priest was laid upon it, the ends drooping on the eastern and western sides to the rich carpet of the floor. A hundred priests, fifty on either hand, rehearsed in concert, seated on the floor, long hymns in Pali from the sacred books, principally embodying melancholy reflections on the brevity and uncertainty of human life. After which, holding the silver cloth between the thumb and forefinger, they joined in silent prayer, thereby, as they suppose, communicating a saving virtue to the cloth, which conveys it to the dead within the urn. They continued thus engaged for about an hour, and then withdrew to give place to another hundred, and so on, until thousands of priests had taken part in the solemn exercises. Meanwhile the four already mentioned still prayed, day and night, at the Maha Phrasat. A service was likewise performed for the royal family twice a day, in an adjacent temporary chapel, where all the court attended,—including the noble ladies of the harem, who occupy private oratories, hung with golden draperies, behind which they can see and hear without being seen. As long as these funeral ceremonies last, the numerous concourse of priests is sumptuously entertained.

At nightfall the P'hra-mène is brilliantly illuminated, within and without, and the people are entertained with dramatic spectacles derived from the Chinese, Hindoo, Malayan, and Persian classics. Effigies of the fabulous Hydra, or dragon with seven heads, illuminated, and animated by men concealed within, are seen endeavoring to swallow the moon, represented by a globe of fire. Another monster, probably the Chimæra, with the head and breast of a lion and the body of a goat, vomits flame and smoke. There are also figures of Echidna and Cerberus, the former represented as a beautiful nymph, but terminating below the waist in the coils of a dragon or python; and the latter as a triple-headed dog, evidently the canine bugaboo that is supposed to have guarded Pluto's dreadful gates.

About nine o'clock fireworks were ignited by the king's own hand,—a very beautiful display, representing, among other graceful forms, a variety of shrubbery, which gradually blossomed with roses, dahlias, oleanders, and other flowers.

The flinging of money and trinkets to the rabble is usually the most exciting of the pranks which diversify the funeral ceremonies of Siamese royalty; in this mal à propos pastime his Majesty took a lively part. The personal effects of the deceased are divided into two or more equal portions, one of which is bestowed on the poor, another on the priests; memorials and complimentary tokens are presented to the princes and nobles, and the friends of the royal family. The more costly articles are ticketed and distributed by lottery; and smaller objects, such as rings and gold and silver coins, are put into lemons, which his Majesty, standing on the piazza of his temporary palace, flings among the sea of heads below. There is also at each of the four corners of the P'hra-mène, an artificial tree, bearing gold and silver fruit, which is plucked by officers of the court, and tossed to the poor on every side. Each throw is hailed by a wild shout from the multitude, and followed by a mad scramble.

In this connection the following "notification" from the king's hand will be intelligible to the reader.

Дата добавления: 2015-07-20