The English Governess at the Siamese Court Part 24

The monkeys are building the stone bridge over the sea. Rama is seen imploring the aid of the celestial protector, who sits on high, in grand and dreamy contemplation. Rama's father is challenging the enemy, while Rawana is engaged in combat with the leader of the many-wheeled chariots. There are many other figures of eight-handed deities; and all are represented with marvellous skill in grouping and action.

[Ill.u.s.tration: Ruins of the Naghkon Watt.]

The entire structure is roofed with tiers of hewn stone, which is also sculptured; and remains of a ceiling may still be traced. The symmetrical wings terminate in three s.p.a.cious pavilions and this imposing colonnade, which, by its great length, height, and harmonious proportions, is conspicuous from a great distance, and forms an appropriate vestibule to so grand a temple.

Traversing the building, we cross another and finer causeway, formed of great blocks of stone carefully joined, and bordered with a handsome bal.u.s.trade, partly in ruins, very ma.s.sive, and covered with sculptures.

On either side are six great platforms, with flights of steps; and on each we find remains of the seven-headed serpent,--in some parts mutilated, but on the whole sufficiently preserved to show distinctly the several heads, some erect as if guarding the entrance, others drawn back in a threatening att.i.tude. A smaller specimen is nearly perfect and very beautiful.

We pa.s.sed into an adytum, wardered by gigantic effigies whose mystic forms we could hardly trace; above us that ponderous roof, tier on tier of solid stone, upheld by enormous columns, and incrusted with strange carvings. Everywhere we found fresh objects of wonder, and each new spot, as we explored it, seemed the greatest wonder of all.

In the centre of the causeway are two elegant pavilions with porticos; and at the foot of the terrace we come upon two artificial lakes, which in the dry season must be supplied either by means of a subterranean aqueduct or by everlasting springs.

A bal.u.s.trade not unlike that of the causeway, erected upon a sculptured bas.e.m.e.nt, starts from the foot of the terrace and runs quite round the temple, with arms, or branches, descending at regular intervals.

The terrace opens into a grand court, crowded with a forest of magnificent columns with capitals, each hewn from a single block of stone. The bas.e.m.e.nt, like every other part of the building, is ornamented in varied and animated styles; and every slab of the vast pile is covered with exquisite carvings representing the lotos, the lily, and the rose, with arabesques wrought with the chisel with astonis.h.i.+ng taste and skill. The porticos are supported by sculptured columns; and the terraces, which form a cross, have three flights of steps, at each of which are four colossal lions, reclining upon pedestals.

The temple is thus seen to consist of three distinct parts, raised in terraces one above the other. The central tower of the five within the inner circle forms an octagon, with four larger and four smaller sides.

On each of the four larger faces is a colossal figure of Buddha, which overlooks from its eminence the surrounding country.

This combination of four Buddhas occurs frequently among the ruins of Cambodia. The natives call it _P'hra Mook Bulu_ ("Lord of Four Faces"), though not only the face, but the whole body, is fourfold.

A four-faced G.o.d of majestic proportions presides over the princ.i.p.al entrance to the temple, and is called Bhrama, or, by corruption, _Phram_, signifying divine protection.

As the four cardinal points of the horizon naturally form a cross, called "phram," so we invariably find the cross in the plan of these religious monuments of ancient Cambodia, and even in the corridors, intersecting each other at right angles. [Footnote: The cross is the distinctive character and sign for the Doctors of Reason in the primitive Buddhism of Kasyapa.] These corridors are roofed with great blocks of stone, projecting over each other so as to form an arch, and, though laid without cement, so accurately adjusted as to leave scarcely a trace of the joinings. The galleries of the temple also form a rectangle. The ceilings are vaulted, and the roofs supported by double rows of columns, cut from a single block.

There are five staircases on the west side, five on the east, and three on each of the remaining sides. Each of the porticos has three distinct roofs raised one above the other, thus n.o.bly contributing to the monumental effect of the architecture.

In some of the compartments the entire s.p.a.ce is occupied with representations of the struggle between angels and giants for possession of the snake-G.o.d, Sarpa-deva, more commonly called _Phya Naghk_. The angels are seen dragging the seven-headed monster by the tail, while the giants hold fast by the heads. In the midst is Vishnu, riding on the world-supporting turtle.

The most interesting of all the sculptures at Naghkon Watt are those that appear to represent a procession of warriors, some on foot, others mounted on horses, tigers, birds, and nondescript creatures, each chief on an elephant at the head of his followers. I counted more than a thousand figures in one compartment, and observed with admiration that the artist had succeeded in portraying the different races in all their physical characteristics, from the flat-nosed savage, and the short-haired and broad-faced Laotian, to the more cla.s.sic profile of the Rajpoot, armed with sword and s.h.i.+eld, and the bearded Moor. A panorama in life-size of the diverse nationalities, it yet displays, in the physical conformation of each race, a remarkable predominance of the h.e.l.lenic type--not in the features and profiles alone, but equally in the fine att.i.tudes of the warriors and hors.e.m.e.n.

The ba.s.s-reliefs of another peristyle represent a combat between the king of apes and the king of angels, and if not the death, at least the defeat, of the former. On an adjoining slab is a boat filled with stalwart rowers with long beards,--a group very admirable in att.i.tude and expression. In fact, it is in these ba.s.s-reliefs that the greatest delicacy of touch and the finest finish are manifest.

On the south side we found representations of an ancient military procession. The natives interpret these as three connected allegories, symbolizing heaven, earth, and h.e.l.l; but it is more probable that they record the history of the methods by which the savage tribes were reclaimed by the colonizing foreigners, and that they have an intimate connection with the founding of these monuments.

One compartment represents an ovation: certain personages are seen seated on a dais, surrounded by many women, with caskets and fans in their hands, while the men bring flowers and bear children in their arms.

In another place, those who have rejected the new religion and its priests are precipitated into a pit of perdition, in the midst of which sits the judge, with his executioners, with swords in their hands, while the guilty are dragged before him by the hair and feet. In the distance is a furnace, and another crowd of "infidels" under punishment. But the converted (the "born again") are conducted into palaces, which are represented on the upper compartments. In these happier figures the features as well as the att.i.tudes denote profound repose, and in the faces of many of the women and children one may trace lines of beauty and tender grace.

[Ill.u.s.tration: Sculptures of the Naghkon Watt.]

On the east side a number of men, in groups on either hand, are in the act of dragging in contrary directions the great seven-headed dragon.

One mighty angel watches the struggle with interest, while many lesser angels float overhead. Below is a great lake or ocean, in which are fishes, aquatic animals, and sea-monsters.

On another panel an angel is seated on a mountain (probably Mount Meru), and other angels, with several heads, a.s.sist or encourage those who are contending for possession of the serpent. To the right are another triumphal procession and a battle scene, with warriors mounted on elephants, unicorns, griffins, eagles with peac.o.c.ks' tails, and other fabulous creatures, while winged dragons draw the chariots.

On the north side is another battle-piece, the most conspicuous figure being that of a chief mounted on the shoulders of a giant, who holds in each hand the foot of another fighting giant. Near the middle of this peristyle is a n.o.ble effigy of a royal conqueror, with long flowing beard, attended by courtiers with hands clasped on their b.r.e.a.s.t.s. These figures are all in _alto relievo_, and well executed.

The greater galleries are connected with two smaller ones, which in turn communicate with two colonnades in the form of a cross; the roofs of these are vaulted. Four rows of square columns, each still hewn from a single block, extend along the sides of the temple. These are covered with statues and ba.s.s-reliefs, many of the former being in a state of dilapidation which, considering the extreme hardness of the stone, indicates great age, while others are true _chefs-d'oeuvre_.

The entire structure forms a square, and every part is admirable both in general effect and detail. There are twelve superb staircases, the four in the middle having from fifty to sixty steps, each step a single slab.

At each angle is a tower. The central tower, larger and higher than the others, communicates with the lateral galleries by colonnades, covered, like the galleries themselves with a double roof. Opposite each of the twelve staircases is a portico with windows resembling in form and dimensions those described above.

In front of each colonnade connected with the tower is a dark, narrow chapel, to which there is an ascent of eight steps; each of these chapels (which do not communicate with each other) contains a gigantic idol, carved in the solid wall, and at its feet another, of the same proportions, sleeping.

This mighty pile, the wondrous Naghkon Watt, is nearly three miles in circ.u.mference; the walls are from seventy to eighty feet high, and twenty feet thick.

We wandered in astonishment, and almost with awe, through labyrinths of courts, cloisters, and chambers, encountering at every turn some new marvel, unheard of, undreamed of, until then. Even the walls of the outer courts were sculptured with whole histories of wars and conquests, in forms that seemed to live and fight again. Prodigious in size and number are the blocks of stone piled in those walls and towers. We counted five thousand and three hundred _solid_ columns. What a mighty host of builders must that have been! And what could have been their engines and their means of transport, seeing that the mountains from which the stone was quarried are nearly two days' journey from the temple?

All the mouldings, sculptures, and ba.s.s-reliefs seem to to have been executed after the walls and pillars were in their places; and everywhere the stones are fitted together in a manner so perfect that the joinings are not easy to find. There is neither mortar nor mark of the chisel; the surfaces are as smooth as polished marble.

On a fallen column, under a lofty and most beautiful arch, we sat, and rested our weary, excited eyes on the wild but quiet landscape below; then slowly, reluctantly departed, feeling that the world contains no monument more impressive, more inspiring, than, in its desolation, and yet wondrous preservation, the temple of Maha Naghkon Watt.

Next morning our elephants bore us back to Siemrap through an avenue of colonnades similar to that by which we had come; and as we advanced we could still descry other gates and pillars far in the distance, marking the line of some ancient avenue to this amazing temple.

x.x.x. THE LEGEND OF THE MAHA NAUGKON

[Footnote: Translated from a MS. presented to the author by the Supreme King of Siam.]

Many hundreds of thousands of years ago, when P'hra Atheitt, the Sun-G.o.d, was nearer to earth than he is now, and the city of the G.o.ds could be seen with mortal eyes,--when the celestial sovereigns, P'hra Indara and P'hra Insawara, came down from Meru, the sacred mountain, to hold high converse with mortal kings, sages, and heroes,--when the moon and the stars brought tidings of good-will to men, and wisdom flourished, love and happiness were spread abroad, and sorrow, suffering, disease, old age, and death were almost banished,--there lived in Thaisiampois a mighty monarch whose years could hardly be numbered, so many were they and so long. And yet he was not old; such were the warmth and strength and vigor imparted by the near glories of the P'hra Atheitt, that the span of human life was lengthened unto a thousand, and even fifteen hundred years. The days of the King Sudarsana had been prolonged beyond those of the oldest of his predecessors, for the sake of his exceeding wisdom and goodness. But yet this King was troubled; he had no son, and the thought of dying without leaving behind him one worthy to represent his name and race was grievous to him. So, by the advice of the wise men of his kingdom, he caused prayers and offerings to be made in all the temples, and took to wife the beautiful Princess Thawadee.

At that very time P'hra Indara, ruler of the highest heaven, dreamed a dream; and behold! in his sleep a costly jewel fell from his mouth to the lower earth; whereat P'hra Indara was troubled. a.s.sembling all the hosts of heaven, the angels, and the genii, he showed them his dream, but they could not interpret it. Last of all, he told it to his seven sons; but from them likewise its meaning was hidden. A second time P'hra Indara dreamed, and yet a third time, that a more and more costly jewel had fallen from his lips; and at last, when he awoke, the interpretation was revealed to his own thought,--that one of his sons should condescend to the form of humanity, and dwell on the earth, and be a great teacher of men.

Then the King of Heaven imparted to the celestial princes the meaning of the threefold vision, and demanded which of them would consent to become man.

The divine princes heard, and answered not a word; till the youngest and best-beloved of Heaven opened his lips and spake, saying: "Hear, O my Lord and Father! I have yearned toward the race thou hast created out of the fire and flame of thy breast and the smoke of thy nostrils. Let me go unto them, that I may teach them the wisdom of truth."

Then P'hra Indara gave him leave to depart on his mission of love; and all the hosts of heaven, knowing that he should never more gladden their hearts with his presence, accompanied him, sorrowful, to the foot of Mount Meru; and immediately a blazing star shot from the mount, and burst over the palace of Thaisiampois.

That night the gracious Princess Thawadee conceived and became with child, and the P'hra Somanna.s.s was no longer a prince of the highest heaven.

The Princess Thawadee had been the only and darling daughter of a mighty king, and still mourned her separation from her beloved sire. Her only solace was to sit in the phrasat of the Grand Palace, and look with longing toward her early home. Here, day after day, she sat with her maidens, weaving flowers, and singing low the songs of her childhood.

When this became known abroad among the mult.i.tude, they gathered from every side to behold one so famed for her goodness and beauty.

Thus by degrees her interest was aroused. She became thoughtful for her people, and presently found happiness in dispensing food, raiment, and comfort to the poor who flocked to see her.

One day, as she was reposing in the porch after her customary benefactions, a cloud of birds, flying eastward, fell dead as they pa.s.sed over the phrasat. The sages and soothsayers of the court were terrified. What might the omen be? Long and anxious were their counsels, and grievous their perturbations one with another; until at last an aged warrior, who had conquered many armies and subjugated kingdoms, declaring that as faithful servants they should lay the weighty matter before their lord, bade all the court follow him, and approached his sovereign, saying:--

"Long live P'hra Chow P'hra Sudarsana, lord and king of our happy land, wherefrom sorrow and suffering and death are wellnigh banished! Let him investigate with a true spirit and a clear mind the matter we bring for judgment, even though it be to the tearing out of his own heart and casting it away from him."

"Speak," said the King, "and fear not! Has it ever been thought that evil is dearer unto me than good? Even to the tearing out of my heart and casting it to dogs shall justice be rendered in the land."

Then the sages, soothsayers, and warriors spake as with one voice: "It is well known unto the lord our King, that the Queen, our lovely lady Thawadee, is with child.