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."