The Unknown Life of Jesus Christ, Nicolas Notovitch [readera ebook reader TXT] 📗

rich materials, embroidered in various bright colors. In one hand each of them carried a small tambourine and with the other he agitated a little bell. From the rim of each tambourine depended a metallic ball, so placed that the least movement of the hand brought it in contact with the resonant tympanum, which caused a strange, continuous undercurrent of pulsating sound. There new performers circled several times about the court, marking the time of their dancing steps by measured thumpings of the tambourines. At the completion of each turn, they made a deafening noise with their instruments. Finally, they ran to the temple door and ranged themselves upon the steps before it.

For a moment, there was silence. Then we saw emerge from the temple a third band of performers. Their enormous masks represented different deities, and each bore upon its forehead "the third eye." At their head marched Thlogan-Poudma-Jungnas (literally "he who was born in the lotus flower"). Another richly dressed mask marched beside him, carrying a yellow parasol covered with symbolic designs. His suite was composed of gods, in magnificent costumes; Dorje-Trolong and Sangspa-Kourpo (i.e., Brahma himself), and others. These masks, as a lama sitting near me explained to us, represented six classes of beings subject to the metamorphoses; the gods, the demigods, men, animals, spirits and demons.

On each side of these personages, who advanced gravely, marched other masks, costumed in silks of brilliant hues and wearing on their heads golden crowns, fashioned with six lotus-like flowers on each, surmounted by a tall dart in the centre. Each of these masks carried a drum.

These disguises made three turns about the masts, to the sound of a noisy and incoherent music, and then seated themselves on the ground, around Thlogan-Pondma-Jungnas, a god with three eyes, who gravely introduced two fingers into his mouth and emitted a shrill whistle. At this signal, young men dressed in warrior costumes—with ribbon-decked bells dangling about their legs—came with measured steps from the temple. Their heads were covered by enormous green masks, from which floated triangular red flags, and they, too, carried tambourines. Making a diabolical din, they whirled and danced about the gods seated on the ground. Two big fellows accompanying them, who were dressed in tight clown costumes, executed all kinds of grotesque contortions and acrobatic feats, by which they won plaudits and shouts of laughter from the spectators.

Another group of disguises—of which the principal features were red mitres and yellow pantaloons—came out of the temple, with bells and tambourines in their hands, and seated themselves opposite the gods, as representatives of the highest powers next to divinity. Lastly there entered upon the scene a lot of red and brown masks, with a "third eye" painted on their breasts. With those who had preceded them, they formed two long lines of dancers, who to the thrumming of their many tambourines, the measured music of the trumpets and drums, and the jingling of a myriad of bells, performed a dance, approaching and receding from each other, whirling in circles, forming by twos in a column and breaking from that formation to make new combinations, pausing occasionally to make reverent obeisance before the gods.

After a time this spectacular excitement—the noisy monotony of which began to weary me—calmed down a little; gods, demigods, kings, men and spirits got up, and followed by all the other maskers, directed themselves toward the temple door, whence issued at once, meeting them, a lot of men admirably disguised as skeletons. All those sorties were calculated and prearranged, and every one of them had its particular significance. The cortège of dancers gave way to the skeletons, who advanced with measured steps, in silence, to the masts, where they stopped and made a concerted clicking with pieces of wood hanging at their sides, simulating perfectly the rattling of dry bones and gnashing of teeth. Twice they went in a circle around the masts, marching in time to low taps on the drums, and then joined in a lugubrious religious chant. Having once more made the concerted rattling of their artificial bones and jaws, they executed some contortions painful to witness and together stopped.

Then they seized upon an image of the Enemy of Man—made of some sort of brittle paste—which had been placed at the foot of one of the masts. This they broke in pieces and scattered, and the oldest men among the spectators, rising from their places, picked up the fragments which they handed to the skeletons—an action supposed to signify that they would soon be ready to join the bony crew in the cemetery.

The chief lama, approaching me, tendered an invitation to accompany him to the principal terrace and partake of the festal "tchang"; which I accepted with pleasure, for my head was dizzy from the long spectacle.

We crossed the court and climbed a staircase—obstructed with prayer-wheels, as usual—passed two rooms where there were many images of gods, and came out upon the terrace, where I seated myself upon a bench opposite the venerable lama, whose eyes sparkled with spirit.

Three lamas brought pitchers of tchang, which they poured into small copper cups, that were offered first to the chief lama, then to me and my servants.

"Did you enjoy our little festival?" the lama asked me.

"I found it very enjoyable and am still impressed by the spectacle I have witnessed. But, to tell the truth, I never suspected for a moment that Buddhism, in these religious ceremonies, could display such a visible, not to say noisy, exterior form."

"There is no religion, the ceremonies of which are not surrounded with more theatrical forms," the lama answered. "This is a ritualistic phase which does not by any means violate the fundamental principles of Buddhism. It is a practical means for maintaining in the ignorant mass obedience to and love for the one Creator, just as a child is beguiled by toys to do the will of its parents. The ignorant mass is the child of The Father."

"But what is the meaning," I said to him, "of all those masks, costumes, bells, dances, and, generally, of this entire performance, which seems to be executed after a prescribed programme?"

"We have many similar festivals in the year," answered the lama, "and we arrange particular ones to represent 'mysteries,' susceptible of pantomimic presentation, in which each actor is allowed considerable latitude of action, in the movements and jests he likes, conforming, nevertheless, to the circumstances and to the leading idea. Our mysteries are simply pantomimes calculated to show the veneration offered to the gods, which veneration sustains and cheers the soul of man, who is prone to anxious contemplation of inevitable death and the life to come. The actors receive the dresses from the cloister and they play according to general indications, which leave them much liberty of individual action. The general effect produced is, no doubt, very beautiful, but it is a matter for the spectators themselves to divine the signification of one or another action. You, too, have recourse sometimes to similar devices, which, however, do not in the least violate the principle of monotheism."

"Pardon me," I remarked, "but this multitude of idols with which your gonpas abound, is a flagrant violation of that principle."

"As I have told you," replied the lama to my interruption, "man will always be in childhood. He sees and feels the grandeur of nature and understands everything presented to his senses, but he neither sees nor divines the Great Soul which created and animates all things. Man has always sought for tangible things. It was not possible for him to believe long in that which escaped his material senses. He has racked his brain for any means for contemplating the Creator; has endeavored to enter into direct relations with him who has done him so much good, and also, as he erroneously believes, so much evil. For this reason he began to adore every phase of nature from which he received benefits. We see a striking example of this in the ancient Egyptians, who adored animals, trees, stones, the winds and the rain. Other peoples, who were more sunk in ignorance, seeing that the results of the wind were not always beneficent, and that the rain did not inevitably bring good harvests, and that the animals were not willingly subservient to man, began to seek for direct intermediaries between themselves and the great mysterious and unfathomable power of the Creator. Therefore they made for themselves idols, which they regarded as indifferent to things concerning them, but to whose interposition in their behalf, they might always recur. From remotest antiquity to our own days, man was ever inclined only to tangible realities.

"While seeking a route to lead their feet to the Creator, the Assyrians turned their eyes toward the stars, which they contemplated without the power of attaining them. The Guebers have conserved the same belief to our days. In their nullity and spiritual blindness, men are incapable of conceiving the invisible spiritual bond which unites them to the great Divinity, and this explains why they have always sought for palpable things, which were in the domain of the senses, and by doing which they minimized the divine principle. Nevertheless, they have dared to attribute to their visible and man-made images a divine and eternal existence. We can see the same fact in Brahminism, where man, given to his inclination for exterior forms, has created, little by little, and not all at once, an army of gods and demigods. The Israelites may be said to have demonstrated, in the most flagrant way, the love of man for everything which is concrete. In spite of a series of striking miracles accomplished by the great Creator, who is the same for all the peoples, the Jewish people could not help making a god of metal in the very minute when their prophet Mossa spoke to them of the Creator! Buddhism has passed through the same modifications. Our great reformer, Sakya-Muni, inspired by the Supreme Judge, understood truly the one and indivisible Brahma, and forbade his disciples attempting to manufacture images in imaginary semblance of him. He had openly broken from the polytheistic Brahmins, and appreciated the purity, oneness and immortality of Brahma. The success he achieved by his teachings in making disciples among the people, brought upon him persecution by the Brahmins, who, in the creation of new gods, had found a source of personal revenue, and who, contrary to the law of God, treated the people in a despotic manner. Our first sacred teachers, to whom we give the name of buddhas—which means, learned men or saints—because the great Creator has incarnated in them, settled in different countries of the globe. As their teachings attacked especially the tyranny of the Brahmins and the misuse they made of the idea of God—of which they indeed made a veritable business—almost all the Buddhistic converts, they who followed the doctrines of those great teachers, were among the common people of China and India. Among those teachers, particular reverence is felt for the Buddha, Sakya-Muni, known in China also under the name of Fô, who lived three thousand years ago, and whose teachings brought all China back into the path of the true God; and the Buddha, Gautama, who lived two thousand five hundred years ago, and converted almost half the Hindus to the knowledge of the impersonal, indivisible and only God, besides whom there is none.

"Buddhism is divided into many sects which, by the way, differ only in certain religious ceremonies, the basis of the doctrine being everywhere the same. The Thibetan Buddhists, who are called 'lamaists,' separated themselves from the Fô-ists fifteen hundred years ago. Until that time we had formed part of the worshippers of the Buddha, Fô-Sakya-Muni, who was the first to collect all the laws compiled by the various buddhas