The Project Gutenberg eBook of Kwan-yin, by Stella Benson.

⁌ THE TEMPLE OF KWAN-YIN, GODDESS OF MERCY. A wide altar occupies the whole of the back of the stage; a long fringe of strips of yellow brocade hangs from the ceiling to within 3 feet of the floor at either end of the altar. In the centre of the altar the seated figure of the goddess is vaguely visible in the dimness; only the face is definitely seen—a golden face; the expression is passionless and aloof. A long table about 12 inches lower than the altar stands in front of it, right across the stage. On the table, before the feet of Kwan-yin, is her carved tablet with her name in golden characters on a red lacquer ground. In front of the tablet is a large brass bowl full of joss-sticks the smoke of which wavers in the air & occasionally obscures the face of Kwan-yin. There are several plates of waxen looking fruit & cakes on the table & two horn lanterns—these are the only light in the scene. On either side of Kwan-yin, between the table and the altar, there is a pillar with a gilded wooden dragon twisted round it, head downward. To the left, forward, is a large barrel-shaped drum slung on a carved blackwood stand.

Four priests & two acolytes are seen like shadows before this palely lit background. One acolyte to the[Pg 4] right of the table beats a little hoarse bell. This he does during the course of the whole scene, in the following rhythm:—7-8-20-7-8-20. He should reach the 105th beat at the end of the second hymn to Kwan-yin. The other acolyte stands by the drum and beats it softly at irregular intervals as indicated. The acolytes are little boys in long blue coats. The four priests stand at the table with their faces toward Kwan-yin; their robes are pale dull pink silk with a length of deeper apricot pink draped about the shoulders.

At this point the smoke of the joss-sticks veils the face of Kwan-yin. A woman's voice sings:

The smoke quivers across Kwan-yin's face again, and the same woman's voice sings:

Still the voice is unheard by the worshippers. First priest sings, and while he sings the acolyte beats the drum softly at quick irregular intervals.

Kwan-yin shall come, shall come,
Surely she shall come,
To bring content and a new diamond day to the desolate,
To bring the touch of hands & the song of birds
To those who walk terribly alone.
To part the russet earth and the fingers of the leaves in the spring
That they may give up their treasure.
To those who faint for lack of such treasure
To listen to the long complaining of the old and the unwanted.
To bring lover to lover across the world,
Thrusting the stars aside and cleaving the seas and the mountains.
To hold up the high paths beneath the feet of travellers.
To keep the persuading roar of waters from the ears of the broken-hearted.
To bring a smile to the narrow lips of death,
To make beautiful the eyes of death.
[Pg 10]

The golden face of Kwan-yin above the altar changes suddenly and terribly, and becomes like a masque of fear. The lanterns flare spasmodically. The voice can now be identified as Kwan-yin's, but still the priests stand unhearing with their heads bowed, and still the passionless bell rings.

There is an abrupt moment of silence as the light becomes dim again & Kwan-yin's face is frozen still. Then the first priest sings.

The bell is rung slowly three times. Then there is absolute silence. There is now a tenseness in the attitudes of all the worshippers, they lean forward and look with suspense into Kwan-yin's quite impassive golden face.

One hundred copies printed by
Edwin Grabhorn, San Francisco, in April, 1922.
Bound by Florence Grabhorn.

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The Project Gutenberg eBook of Kwan-yin

Kwan-yin

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