A profound silence reigned among the many spectators present. All awaited anxiously the commencement of a religious "mystery," which was about to be presented. We took up a position near the verandah. Almost immediately, the musicians drew from their long trumpets soft and monotonous tones, marking the time by measured beats upon an odd-looking drum, broad and shallow, upreared upon a stick planted in the ground. At the first sounds of the strange music, in which joined the voices of the lamas in a melancholy chant, the doors along the wall opened simultaneously, giving entrance to about twenty masked persons, disguised as animals, birds, devils and imaginary monsters. On their breasts they bore representations of fantastic dragons, demons and skulls, embroidered with Chinese silk of various colors. From the conical hats they wore, depended to their breasts long multicolored ribbons, covered with inscriptions. Their masks were white death's-heads. Slowly they marched about the masts, stretching out their arms from time to time and flourishing with their left hands spoon-shaped objects, the bowl portions of which were said to be fragments of human crania, with ribbons attached, having affixed to their ends human hair, which, I was assured, had been taken from scalped enemies. Their promenade, in gradually narrowing circles about the masts, soon became merely a confused jostling of each other; when the rolling of the drum grew more accentuated, the performers for an instant stopped, then started again, swinging above their heads yellow sticks, ribbon-decked, which with their right hands they brandished in menacing attitudes.
After making a salute to the chief lama, they approached the door leading to the temple, which at this instant opened, and from it another band came forth, whose heads were covered by copper masks. Their dresses were of 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.