_PROCESSIONS_
In China the Taoists alone have religious processions, which is logical
enough, as it is their custom to represent their gods in human figures.
To mention only the principal ceremonies, I may allude to the procession
of the god Tai-Tchang, of the god Tcheng-Houang, of the gods of epidemic
diseases, and the goddesses who protect women in labour and little
children.
Tai-Tchang is the god of the mountain of the same name, a function which
he combines with that of seventh high judge in Hades, which has ten such
judges.
The processions of Tai-Tchang take place during the third moon. The
terrible figure is brought on the appointed day, surrounded by an
imperial pomp. He deserves all these splendours, seeing that his title is
that of sovereign of the mountain.
He is preceded by his colleagues, the other grand judges, his sons and
godchildren, who are all reputed princes of his family. Each of these
divinities has its special escort, with two large lanterns and a number
of tablets, on which are inscribed the various titles of the god.
Next come the orchestra and the followers, all dressed in gala clothes.
Some carry a vase full of flowers, others a smoking incense-bowl.
Besides these, the procession is followed by numbers of private
individuals, carrying in their hands reduced models of the various
instruments of torture—handcuffs, chains, hooks, &c. They hope by this
means to draw down on their devoted heads the punishments which the god
may be intending to inflict on those dear to them.
At Fou-Tcheou young girls also take part in this manifestation, but in
the other cities women are forbidden to do so.
The procession takes its way to a vast building situated on the outskirts
of the town, which is called the Prison of the Ghosts. There is such a
prison near every city. The object of this visit is to release from their
captivity the spiritual captives, so that during the Feast of the Dead
they may be able to take part in their family celebrations, and perform
the sacrifices which are expected of children to their ancestors.
The same procession is repeated on a smaller scale a few days later. This
time its object is to bring back to their prison the ghost who had been
temporarily released.
All along the way down which the procession passes, the faithful place
before the door of their houses tables on which lighted candles and
incense are burning, with flowers and fruits. Everybody comes out of the
house to admire the immense march past, which is, moreover, a kind of
walking exhibition, as the members of the different societies which take
part in it, and which all belong to different trades, carry with them
all the new productions of the year. The crowd covers at least from two
to four kilomètres with its long moving column; for each god has his
subalterns, and each of these subalterns has the right to a magnificent
escort. Toy and sweet merchants profit by the occasion to display their
wares in the streets, offering their goods to the children, who always
take a very large share in festivities of this sort.
At Fou-Tcheou there is a peculiarity which is particularly interesting.
The feast lasts two days, and the second day’s ceremony is an exact
repetition of the first. However, on the second day an excursion is made
out to the suburbs of the town, where Tai-Tchang’s mother-in-law is
supposed to live, the god being brought as a respectful son-in-law to pay
his respects to the good lady. Happy god, happy mother-in-law!
Legend relates that a young peasant-girl, daughter of a butcher, having
witnessed the procession, went home and died immediately. During her
short agony she told her parents that the god, only recently having
become a widower, had noticed her great beauty, and had chosen her for
his wife. She was an only daughter. Her death threw her family into
despair, and in their rage her parents set out to revenge themselves
on the god by setting fire to his temple. Tai-Tchang, however, taking
human shape, appeared to them, and pacified them by saying that he had
married their daughter, and that he owed her parents all the respect
due from a good son-in-law. As a proof of this, he gave orders that a
procession should take him every year to the house where the butcher’s
wife, the mother of his divine companion and queen, lived. This shows
that Tai-Tchang was a very sensible god, free from all aristocratic
prejudices, and the very type of the cunning son-in-law, diplomatic
enough to be able to soften down the anger of a mother-in-law, who in her
rage had nearly become an incendiary.
In the summer, similar processions take place in honour of the gods of
the epidemical diseases. We enjoy in China the sad privilege of owning
five epidemics, which are local and indigenous. The figures of these
gods, which never vary in appearance, can be seen in every street, and in
every quarter there is a temple consecrated to these terrible divinities.
The processions in their honour are, in consequence, daily occurrences,
as each part of the town performs this ceremony in turn.
Although the procession is less imposing than the one that follows
Tai-Tchang, it is nevertheless of great richness in the larger quarters.
At the head come the five gods, each preceded by his subalterns. Behind
them is carried an immense paper-boat, very skilfully made. It is
mounted by the same gods, also in paper, who are placed in the cabin
in the centre, whilst in another cabin are shut up paper-images of all
the other demons. A man walks at the side of this boat, carrying on
his shoulder, by means of a water-carrier’s pole, two buckets filled
with débris of meats and offal of all kinds that are known to engender
disease. These buckets are called ironically the buckets of happiness.
The procession goes straight to the sea-shore, or to the banks of the
river. Once there, the buckets are flung into the water, and the ship and
its passengers are set fire to and burnt. The epidemics are then supposed
to have been driven right out of the town. Mutual congratulation and a
banquet terminate the fête. This is doubtless doubly symbolical. The
buckets represent hygienic measures, the boat and its gods and demons
figure the expulsion of all diseases, carried away by the river or
destroyed by the fire.
Tcheng-Houang is the god of the provinces. His image may be seen
everywhere, just as in Paris we see on the Place de la Concorde the
statues of the chief citizens of France. The difference is that
Tcheng-Houang is a real personage, not merely a personification. His
ceremony is about identical with that of Tai-Tchang, except for the fact
that Tchang-Houang has only right to the title of Governor.
The procession of the goddesses who protect women in labour and children
usually takes place at the beginning of the year. The chair on which the
statue is seated is all covered over with flowers, and as it is carried
round by its bearers all the childless women of the town come crowding
round imploring the divinity to give them children. The women take from
the chair the first flower that comes into their fingers. If it is a red
flower, they may hope to have a daughter; if it is a white flower, that
means that they will have a boy. At the same time, the would-be mothers
make vows to present the goddess with tapestry or clothes, or some
decorative object, should she hear their prayer.
Rich people often invite the goddess into their houses as she passes
their doors. Fireworks are then let off, and flowers are added to those
on the chair. Then tea and cakes are handed round to the members of the
procession, and after this the Chinese Lucina is allowed to resume her
peregrinations, to visit other houses if she be so disposed. Throughout
the month women crowd into the sanctuary of the goddess in an unceasing
stream, some to fulfil their vows and bring their votive offerings,
and others to implore, in their turns, the intervention of the Chinese
Genitrix goddess.
[Illustration]
[Illustration]