The Project Gutenberg eBook of The spoiled Buddha
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this eBook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.
Title: The spoiled Buddha
A play in two acts
Author: Helen Waddell
Release date: September 18, 2026 [eBook #79608]
Language: English
Original publication: London: T. Fisher Unwin, 1919
Other information and formats: www.gutenberg.org/ebooks/79608
Credits: Mairi, Gísli Valgeirsson and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK THE SPOILED BUDDHA ***
THE SPOILED BUDDHA
A PLAY IN TWO ACTS
BY HELEN WADDELL
[Illustration: Logo of the Talbot Press]
DUBLIN │ LONDON
The Talbot Press │ T. Fisher Unwin
(LTD.) │ (LTD.)
89 Talbot Street │ 1 Adelphi Terrace
1919
------------------------------------------------------------------------
THE SPOILED BUDDHA.
This play was produced at the Grand Opera House,
Belfast, by the Ulster Theatre in February, 1915.
All Acting Rights are reserved by the Author.
---------------------------------------------------------
PROLOGUE.
(Spoken by a Buddhist Priest.)
The play is about the Buddha, in the days before he became a god: and
about Binzuru, who was his favourite disciple, and who might have become
even as the Buddha, only that he saw a woman passing by, and desired her
beauty, and so fell from grace. The scene of the first Act is the Sacred
Grove of Buddha, and the time is five hundred years before Christ was
born. The scene of the second Act is the outer court of the Temple at
Asakusa, which is a great temple in Japan, and the time is the present
day. Though the interval between the first Act and the second is only so
long as the actors shall be painting their faces, remember when the
curtain rises again that two thousand four hundred years have gone by:
that the Buddha is a great god worshipped in his temple, and the image
of Binzuru has grown old outside the holy place.
For the rest, we leave it to our actors and your patience.
---------------------------------------------------------
CHARACTERS.
ACT I.
THE BUDDHA
BINZURU His favourite disciple
DARUMA Binzuru’s rival
FOURTEEN RAKKAN The other disciples
THREE WOMEN FROM THE VILLAGE
A BEAUTIFUL WOMAN
ACT II.
THE BUDDHA
BINZURU
DARUMA
RAKKAN
PRIESTS
THE SELLER OF INCENSE-STICKS
THE SELLER OF HOT BEANS
TWO KURUMAYASANS (JINRICKSHA-MEN)
TWO YOUNG GIRLS
Time. Act I. THE SIXTH CENTURY BEFORE CHRIST.
Act II. THE PRESENT.
------------------------------------------------------------------------
THE SPOILED BUDDHA.
-------
ACT I.
TIME: The Sixth Century B.C.
SCENE: The Sacred Grove of Buddha. A broad pathway crosses the
stage, disappearing among the trees. In the background, a
clear space and a low broad stone. Sunlight on the road.
There is a sound of far-off chanting and at intervals the
boom of the Buddhist gong. The sound comes nearer.
Enter the sixteen Rakkan in procession, chanting, the Buddha
alone and last. They sit in a semi-circle, the Buddha on the
stone of Enlightenment, cross-legged in the traditional
attitude, the finger of exhortation raised. Binzuru and
Daruma are on either hand. Silence.
_Buddha._ Hear, O Rakkan. To live is to desire.
_Binzuru_ (groaning). O Master, it is true.
_Daruma_ (sharply). What saidst thou?
_Buddha._ To live is to desire. Is it not so, O Daruma?
_Daruma._ I have not found it so.
_Binzuru_ (cheerfully). This also is true. Daruma is a fish. Never in
his life hath he desired anything, save the confounding of me. Is it not
so, O Daruma?
_Buddha._ Peace, Binzuru. If Daruma were born a Buddha, jape not.
_One of the Rakkan._ Master, what is it to be born a Buddha?
_Buddha._ I know not. At a great cost obtained I this freedom.
_One of the Rakkan._ Master, how?
_Buddha._ Hear, O Rakkan. I dug out desire by the roots, as a man digs
to uproot the bamboo. I cut the thongs of hunger and delight. So was my
soul set free. So I achieved Nirvana.
_Another of the Rakkan._ Master, what is Nirvana?
_Buddha._ It is the Death of Death. It is the vision of the Infinite.
It is peace.
_Binzuru._ Master, this Infinite—is it in great grey rings that sway
... so (he balances his hands) ... and the affairs of the world go by
like duckweed in a river?
_Buddha._ Even so.
_Binzuru_ (triumphantly). Then have I seen the Infinite.
_Buddha._ When, Binzuru?
_Binzuru._ Years ago. Before I set my feet upon the Way of the
Buddhas. O Master, it is a stony way.
_Buddha_ (indulgently). And what was thy way?
_Binzuru._ See you, O Master, it is like this. One must first be well
drunken. (Daruma half rises, but the Buddha motions him down.) One fixes
the eye upon an object. A small object, a round object. And
contemplates. And the world falls into rings ... that sway. Twice have I
done it. Once it was the brim of my _saké_ cup ... and once the rim of
my pipe bowl. But (ruefully) when I entered on the Way, I renounced
these things. And Master, the Infinite has gone with them.
_Daruma_ (angrily). Master, wilt thou suffer him?
_Buddha._ Peace, Daruma. Binzuru, I fear thy jest is dearer to thee
than was thy _saké_. Nevertheless thou hast done well to renounce the
last. For hear, O Rakkan. There be three desires, the desire of life,
the desire of wine——
(The Rakkan on the outer edge of the semi-circle has a view of
the pathway from the village. He holds up a warning hand.
Women’s voices and laughter and the tinkle of a samisen.)
_Rakkan._ Master, there be women from the village approaching.
_Buddha._ Thou didst well to stay me. It is not good that the words of
the Law should be spoken in the hearing of women.
(He lapses into the immemorial attitude, the eyes heavy-lidded
and down-cast. All the Rakkan copy him, save Binzuru, who
twirls his thumbs and looks down the road, and Daruma, who
furtively watches Binzuru. Three women pass, laughing and
talking among themselves. They tinkle the samisen
provocatively as they go by. They eye the Buddhas, and the
girl with the samisen looks back over her shoulder, and
strikes three of the laughing notes as they disappear. The
Rakkan stir again, and Binzuru sighs.)
_Binzuru._ Master, why is the Law forbidden them? Have they not souls
to be saved?
_Buddha._ Yea, Binzuru. But it hath happened that in the saving of
their souls a man hath lost his own. Hear, O Rakkan. There be three
desires, and of them is she the deadliest. The Disturber of Integrity is
she, the Entangler of the Upright, the Snare of the World. Let not the
Buddhas look upon a woman——
_Daruma_ (leaning forward, that he may see the Buddha’s face). Master,
what then of Kwannon?
(The Buddha starts slightly, then recovering himself gazes
before him, darkened and lowering. Binzuru scowls at
Daruma.)
_Daruma_ (smoothly). Not for myself, Most August, would I ask it. But
there are evil-minded persons—— In my hearing it hath been said that in
the matter of Kwannon the Buddha did not practise as he preaches. And I
would have wherewith to stop the mouth of the adversary.
_Binzuru_ (truculently). Stop it with——
_Buddha_ (raising his head and speaking haltingly). Peace, Binzuru. It
may be that Daruma hath wisely spoken. It is an old tale and an evil. Of
that which was Kwannon’s life it is not mine to speak. It has naught to
do with me—or you. But this I know, that when for the sins of the flesh
and her spirit she was cast into Hell, darkness became light about
her—her beauty was very great—and Hell paradise. And the devils were
wroth, and they took her, and bound her hand and foot, and flung her
into the great slough that is between Hell and earth, deep mire where
there is no standing; and the filth received her, and Hell was Hell
again, and the light darkness. But after many months, on the side of it
nearest the earth ... I saw a lotus growing in the mire ... and one
morning, as I passed that way, I saw the cup was opened. And in it ...
her body.... (His voice dies into silence. The Rakkan sit forward
straining. Binzuru has forgotten even Daruma.)
_Binzuru_ (breathlessly). And?
_Buddha_ (rousing himself). I found her ... and made plain to her the
Way ... the Way of the Buddhas. And already has she reached Nirvana.
Wherefore, Binzuru (he turns, indulgent and whimsical), have patience,
and thou too shalt some day ... if the spirit be but willing. (He rises,
followed by the Rakkan.)
_Binzuru_ (ruefully). The spirit, Master, yea! But the flesh!
(The Rakkan form in procession, and the chant is about to
begin when Daruma turns to the Buddha.)
_Daruma._ Master, I would stay that I may meditate alone.
(The Buddha nods in silence. Exit the Rakkan in procession.
Daruma settles himself under a tree by the roadside, and
sits motionless, gazing before him. The chanting dies away.
There is a great stillness. Enter Binzuru. He saunters up
the road in the glare of the sun. He stops before Daruma,
surveying him. Daruma is in shadow.)
_Binzuru_ (approvingly). Nice little spot. Cool. Very.
(Daruma withers him, without moving.)
_Binzuru._ Contemplating? The Infinite? (He mops his forehead.)
_Daruma_ (hollowly). Trouble me not.
_Binzuru_ (earnestly). Not for the world. (He sits down beside him,
and waits until Daruma is again composed.) Got it again, Daruma?
_Daruma._ What?
_Binzuru._ The Infinite.
(Daruma ignores him.)
_Binzuru_ (pleasantly). Because I would give you counsel, Daruma. Good
counsel. Next time you get your eye on the Infinite, keep it there, and
(with sudden belligerence) leave the Buddha alone.
_Daruma_ (stirring uneasily). There are evil-minded persons——
_Binzuru_ (genially). There are. Minds like a carrion-crow. Like
yours, Daruma. (He settles himself more comfortably.) Never take
exercise, Daruma?
_Daruma_ (loftily). For months together I have not flickered an eyelid
nor uncrossed my legs.
_Binzuru._ Bad for you, Daruma. Bad for you. That explains it, O man
of bile. Bad for your legs, too. They’ll wither up. Wither up and drop
off. (He stretches his own legs before him and surveys them tenderly.
They are good legs.)
_Daruma._ It matters little how soon my legs, or I with them, are
absorbed into the Infinite Negation.
_Binzuru_ (eyeing the legs of Daruma critically). You may be right,
Daruma. You may be right.
(He crosses his own in the canonical attitude, folds his hands
on his stomach and looks straight before him. The drollery
vanishes from the eyes and the lines of the mouth. Slowly
his face becomes rapt. Silence.
(Women’s voices and laughter and the tinkle of a samisen, very
far off. Binzuru does not hear. He is so placed that his
eyes are on the unseen stretches of the road, but there is
no consciousness in them. Again silence.
(Binzuru’s face changes. Some one is approaching not yet seen
by the audience. It is the same absorption with which he
looked on the Infinite, but more rapturous. A woman comes in
sight. She is beautiful, and she sways as she comes. She is
carrying a jar on her head, and one arm is raised to steady
it. Binzuru leans forward, devouring her, but she does not
lift her eyes. All this while Daruma has sat motionless,
unseeing. She passes, and Binzuru turns sideways, still
following her with his eyes. He has risen on his knees, his
arms outstretched.)
_Binzuru_ (brokenly). Thy beauty——(He sinks back.)
(Daruma sits up with a jerk. His face livens with scandalised
malevolence. He turns and looks at the unconscious Binzuru,
bends forward, and looks quickly down the road. Then he nods
his head twice, gathers his garments from touching his
brother, and is about to hurry off when the boom of
the returning gong strikes on his ear. He nods with
satisfaction, and stands listening. Binzuru winces at the
sound like a man struck in his sleep; he rises and goes
slowly across the stage, his eyes wide open and fixed, like
one unwilling to break a dream. Daruma watches him till he
disappears. The sound of the gong comes very near. Enter the
Rakkan in procession, the Buddha at their head. Daruma
springs forward.)
_Daruma._ Master! Master! That such things should be! Our sainted
brother—overtaken—of mortal sin!
(He is gesticulating. Intense and pleased interest on the
faces of the Rakkan. The Buddha motions him aside, paces
forward to the daïs, and sits down deliberately. The Rakkan
follow him.)
_Buddha._ Now, Daruma, thou mayst unburden thyself.
_Daruma._ Master, we sat thus by the road, he and I; I perceiving the
Infinite, he twirling his thumbs. And behold, a woman passed down the
road, swaying as she went——
_Buddha._ How comes it that thou didst see her, if thine eyes were on
the Infinite?
_Daruma._ Master, I did not see her, then. My soul was as a kite,
tossing among grey clouds. But the voice of my brother in speech with
her grappled me, and the lewdness thereof was as a rough hand on the
string that jerked me back to the world.
_Buddha._ Of what then dost thou accuse thy brother?
_Daruma_ (drawing himself up). He, a Buddha, has looked upon a woman
and found her fair. He is sinner of mortal sin. (He raises his arm.
Stridently,) Let him be cast out!
_All the Rakkan_ (rising, and with the same gesture). Let him be cast
out!
(The Buddha gazes sombrely before him. There is a rustle and
nudging among the Rakkan. They crane forward. Binzuru is
coming down the road, rapt, unseeing, swaying as he comes,
his hands balancing up and down before him, smiling a little
foolishly. He appears to see no one, is still walking in a
dream. The Buddha watches him, then turns upon the Rakkan.)
_Buddha._ Go.
(They rise mutinously, looking at one another and at the
Buddha. He sits unmoved. They form sullenly and march out,
Daruma alone and last. Meanwhile Binzuru continues his
progress. The Buddha watches him sadly.)
_Buddha._ Binzuru.
(Binzuru comes to himself, somewhat dazed. He turns to the
Buddha, rapturous.)
_Binzuru._ Master, I have perceived the Infinite.
_Buddha._ Thou hast perceived a woman.
(Binzuru stops short. Slow realisation dawns upon his face. He
is puzzled and piteous.)
_Binzuru._ Master, what have I done?
_Buddha._ Thou hast looked upon a woman to lust after her. It is
Daruma who says it. Is this thing true?
_Binzuru_ (stands thinking). Master ... I know not. It was this way.
We sat together, in the shadow, he and I. But I forgot him. Master, I
saw the Infinite. It was grey ... but with the greyness of a pearl. Then
she came ... afar off ... and I saw her not, but the greyness was
suffused ... it glowed ... like a pearl when it lies on a woman’s flesh.
(The Buddha raises a warning hand. Binzuru nods hastily.) She came
nearer, and the grey waves slipped back. And nearer.... And at last
there was nothing but herself in all the world. She passed by, and I
looked before me, and saw nothing, and heard nothing, and of what befell
thereafter I can tell nothing. Of myself I had no knowledge, until ...
until your voice brought back my soul.
(There is silence for a long while.)
_Buddha_ (slowly). Thou hast seen the Infinite. It is true, Binzuru,
and I would it were not. For to have seen the Infinite, and to be
distracted from it by the Finite, by a woman, is to sin against light.
_Binzuru._ But, Master, she glorified the Infinite.
_Buddha._ For how long?
(Silence.)
_Binzuru_ (unwillingly). Until she drew near.
(He stands, his head sunk on his breast. The Buddha gazes
before him. At last he turns and looks down the road by
which the Rakkan departed.)
_Buddha._ They, thy brethren, demand that thou be cast out.
_Binzuru_ (falling on his knees). Master, not that! I will go down
many degrees in the Scale of Virtue. I will humble myself—even to the
feet of Daruma. Let me not be cast out!
_Buddha._ Thou didst see, and didst look away. Thyself shall judge
whether thou art of the Buddhas or no. It is not I who give or take
away.
_Binzuru_ (desperately). Did not Kwannon the harlot——
_Buddha._ Kwannon!
(It is almost a cry. Binzuru checks himself at the sound of
it. He gazes at the Buddha, wonderingly. At last the Buddha
recovers himself, but he does not look at Binzuru.)
_Buddha._ If ... Kwannon ... sinned, it was before her feet were set
upon the way.
(Binzuru watches him, with dawning comprehension. He gets
slowly to his feet.)
_Binzuru_ (heavily). It is enough. I will go.
(He walks to the path, the Buddha watching him drearily. Just
as he is turning down the road, the Buddha’s face lightens.)
_Buddha._ Binzuru! (Binzuru turns, but makes no attempt to come back.)
It cannot be but that thou shouldst go. And yet ... I would not have
thee far from me. Binzuru, thou hast cast in thy lot with the flesh.
Always must thou cleave thereto. What and if I give thee power to cure
all fleshly ills?
_Binzuru._ Master, there is no ill.
_Buddha._ Thou hast rightly said. Thou and I, we know that it is but
part of the Great Illusion. But the multitude, Binzuru, that do not
know.... (Whimsically.) Toothache—it is a tenacious illusion.
_Binzuru_ (bewildered). O Master, it is true. But how shall I cure
toothache?
_Buddha_ (gaily). See you, Binzuru, thou shalt have efficacy in that
same stubborn flesh of thine. The small ones shall come, that have
burned their fingers in the fire, and rub thy fingers—so—and the
smarting shall be eased. Likewise a profound sciatica——
_Binzuru_ (dismayed). But, Master, they will rub me away!
_Buddha_ (more gravely). Even so. So shalt thou work out thy
salvation. Thou knowest, Binzuru, that they, the multitude, go about
even now to build us a temple. I and the Rakkan shall sit inside the
chancel. Thou, Binzuru, must sit without. But all day shall the faithful
throng thee. And behold, the touch of faith will do from without what
thyself couldst not from within. They will rub thee away, Binzuru, rid
thee of thy unruly flesh. And so, in the end of the ages, thou too shalt
achieve Nirvana. Till then—(he raises his hand in benediction and
farewell. Binzuru bows himself, and goes slowly out.)
(The Buddha watches him, long after he has disappeared. Then
rousing himself, he moves over to the gong which the Rakkan
have left standing, strikes a single note, and returns to
the old attitude. The Rakkan return, looking this way and
that, and whispering among themselves. They sit down, all
but Daruma, who stands uncertainly, eyeing the coveted seat
at the Buddha’s right hand. He walks a pace towards it,
stops, and eyes the Buddha.)
_Daruma_ (pointing). Master ... the seat on thy right hand ... is it
empty?
_Buddha._ Thou seest it.
_Daruma_ (hesitating and moving uneasily). Master ... is it thy will
that it remain empty?
_Buddha._ Thou hast said.
(Daruma, scowling and chagrined, takes his old seat. The
Rakkan stiffen into the Buddha’s rigid pose.)
CURTAIN.
---------------------------------------------------------
ACT II.
TIME: The present day.
SCENE: The outer court of the Temple at Asakusa. It is dusk in
the court, but inside the chancel screen one sees the gleam
of candle-light on the faces of the Buddha and the Rakkan,
and the gold and red of lacquer work. The bronze figure of
Binzuru is in the court, to the right of the chancel. He is
cross-legged, his hands folded on his stomach. A few
incense-sticks are smouldering before the chancel steps, and
from inside comes the intermittent chant of the priests.
Beside the low pedestal on which Binzuru sits a Kurumayasan
is squatting, and reading the “Jin Shimbun.” He is in dark
blue, with the “mon” of his craft in great white characters
on his back. Opposite him to the left of the court sits the
Seller of Incense-Sticks smoking, and beside him the Seller
of Hot Beans, who is blowing the charcoal in his brazier.
There are small bowls ranged before him.
_Seller of Incense._ The times are not good times.
_Seller of Hot Beans._ They are bad times.
_Seller of Incense._ What hast thou to grumble at, thou Seller of Hot
Beans? This people are swine. They will buy hot beans to fill
themselves, but they will not buy incense to fill the gods. Hardly a
stick of incense have I sold this day.
_Seller of Beans._ It is the hand of the gods on thee for thy bad
tongue. I told thee that the Buddhas would chastise it.
_Seller of Incense._ The Buddhas are asleep. They sleep loud. Hearken,
and thou wilt hear them——
_Seller of Beans._ Hold thy peace. Half afraid am I to sit beside
thee, lest the gods mistake me for thee.
_Seller of Incense._ They will not do that, O Man of Beans. Do not
flatter thyself. See, O Kurumayasan (he calls to the man behind the
paper as another Kurumayasan limps painfully into the court) here is thy
brother, nigh as light of foot as thou.
(The lame Kurumayasan smiles broadly.)
_Kurumayasan._ Greeting, O my brother. Greeting, O Man of Incense.
Greeting, O Man of Beans.
_Seller of Incense._ What aileth thee, O Runner? Wouldst thou be taken
for the Sacred Tortoise?
_Kurumayasan._ Thy tongue is as sharp as the edge of the bamboo grass.
Yesterday I strained myself pulling a fat pig of a foreigner up the
Tori-i-zaka. And to-day I was two hours crawling hither. A—ah! (He sits
down with a grunt before Binzuru, and applies himself vigorously to
rubbing the thigh of Binzuru alternately with his own.)
_Seller of Beans._ There was a young man from the University. He said
there was no virtue in Binzuru. That it was a lie of the priests. That a
man might as well rub himself upon his own mats. What sayest thou, O
Runner!
_Kurumayasan._ I say that the young man was a fool. It was but last
week that the _akambo_ had the colic, was swollen even as a paper
lantern, and his mother brought him—Aha!
(Two young girls pass into the court. The Seller of the
Incense-Sticks and the Seller of Hot Beans and the two
Kurumayasans eye them with satisfaction. They stop before
the Seller of Incense shyly.)
_One of the Young Girls._ How much?
_Seller of Incense_ (bowing). Five _sen_.
(They buy half-a-dozen. The Seller of Incense touches the
pavement with his head, and they pass on. The Kurumayasan
behind the paper grunts with appreciation.)
_Seller of Beans._ Will that be for the Buddha now?
_Seller of Incense_ (derisively). Nay, nor Binzuru either. They go to
Kwannon—to pray for their lovers. The Buddha maketh no account of women.
What, O Runner (the lame Kurumayasan is on his feet and stepping
gingerly) art on thy legs again? May the devil possess me if thou art
not as nimble as—Daruma! (The Kurumayasan makes towards him
threateningly.) Peace, and I will tell thee a joke about Daruma. I
thought on it last night in my bed.
(The Seller of Hot Beans inclines to listen, and with him the
appeased Kurumayasan. The Seller of Incense-Sticks speaks
rapidly, with snorts of laughter. They fall apart into the
diverse attitudes of a savoured jest. On their laughter
breaks the deep booming of the temple gong, a single stroke,
dominant and mournful. A priest, robed in yellow and with
shaven crown, appears in the opening of the chancel screens.
He makes the gesture of dismissal. The Sellers collect their
wares, the Kurumayasan rises, leaving his paper on the
ground, the young girls come hurrying from the farther
shrine. In a little while the court is empty. The priests
march chanting in procession from the chancel, round the
court to the outer gates. There is a clash, as of their
closing. The sound of chanting grows fainter. Silence. The
incense-sticks before the chancel burn with a faint blue
smoke; the twilight has deepened, but there is a glimmer of
moonlight on the motionless figure of Binzuru. The silence
is broken by a deep breath of relief. The rigidity of the
bronze figure relaxes. He stretches his arms above his head
with a luxurious yawn, and settles down to twirl his thumbs,
contemplating them the while he smiles to himself. In a
little while he chuckles, a reminiscent chuckle. He is so
intent upon his thumbs that he does not see a figure
advancing from inside the chancel. It is the Buddha himself,
cumbrous and magnificent and stately, the gold boss of
wisdom between his brows. He pauses for a moment in the
opening of the chancel screens, moves slowly forward, and
stands before Binzuru, watching him.)
_Buddha._ Binzuru!
_Binzuru_ (starting violently). Master! (He struggles to get up.)
_Buddha._ It is enough, Binzuru; we are no longer young.
_Binzuru._ It is not that. It is my back. Sciatica. They have me
nearly hollow. But, Master (he looks round, anxious to do the honours of
the outer court), where is there a—would you not sit down?
_Buddha._ In truth, Binzuru, I am tired sitting. (He glances at the
dim chancel.)
_Binzuru_ (confidentially). I wouldn’t wonder. Exercise—nothing like
it. Told Daruma so. Years ago. Centuries ago.
_Buddha._ But not to profit, Binzuru. He has lost his legs. Nine
hundred years ago.
_Binzuru._ Told him so. Told him so. Atrophy, they call it. Not that
they were much loss. Said so himself. (Binzuru surveys his own legs.)
And my own—marvellous the Kurumayasans and the wrestlers that come. Come
here and rub me. Rub me away.
_Buddha_ (surveying him). I had hardly thought it would be so soon.
The stubborn flesh.... Only another thousand years, Binzuru, and you
shall sit with us again—yonder. (He looks again at the chancel.)
_Binzuru_ (terrified). You—you think so?
_Buddha_ (laughing softly). You are in no hurry, Binzuru?
_Binzuru_ (squirms. His voice lowers.) Master—your pardon—but—(in a
rush) dost never find it ... DULL?
(The Buddha eyes the chancel.)
_Buddha._ Speaking as one Buddha to another—(Binzuru bridles and
inclines his head). Speaking as one Buddha to another, Binzuru, it is
dull. (He eyes Binzuru very kindly.) How long is it since you and I
talked together, Binzuru?
_Binzuru_ (reflectively). With the Great Cold it will be two
thousand—two thousand four hundred years.
_Buddha._ I would have come before this, Binzuru. Many times. But
Daruma—he never sleeps.
_Binzuru._ A marvellous man, Daruma. Marvellous man. But, Master,
to-night?
_Buddha._ I discoursed, Binzuru——
_Binzuru._ I hear you sometimes. Snatches. Only snatches. Am getting
deaf. Earache. So many cases.
_Buddha._ It was on the first chapter of the eighth book of the
Vedas—you remember it, Binzuru?
_Binzuru_ (feelingly). I do.
_Buddha._ And at last even Daruma slept. (He looks round the court
with pleased interest, and stoops to pick up the “Jin Shimbun.”) What is
this, Binzuru? Is it a Sacred Writing?
_Binzuru_ (convulsed). It is not. The Kurumayasans—they read it aloud
to one another. I listen. I am always listening. I hear it all. The
divorce cases. And the news from the Front. And politics—the political
situation. (He says it proudly.)
_Buddha._ Politics? What are politics, Binzuru? Are they religious?
Religious ceremonies?
_Binzuru_ (again convulsed). They are not. Politics—Politics—(he
flounders). They pass the time. They pass the time. Master (eagerly),
take it, in your girdle, and read it. Tell Daruma it is a Sacred
Writing.
_Buddha_ (wistfully, looking from it to the chancel). The light is
bad, Binzuru. They burn so much incense. And my eyes——
_Binzuru._ Same with my own. And headache—(he draws his hand across
his forehead and shakes his head mournfully). Master, they have all the
good looks rubbed off me.
_Buddha._ See what it is to be popular, Binzuru.
_Binzuru_ (still grumbling, but affectionately). There was a small one
this morning burnt his tongue with the hot beans, yonder. He came and
stood on me and licked me. And then he gave me his bib. This is it. He
put it on me himself. (He tugs at a pink wisp under his left ear. The
Buddha stoops to inspect it. Then he straightens himself and looks down
at Binzuru with immense affection.)
_Buddha_ (teasingly). And the young girls, Binzuru?
_Binzuru_ (mournfully). Not for me. Not for me. I see them. But they
go past old Binzuru.
_Buddha_ (indulgently). Where, Binzuru? They do not come to us.
_Binzuru._ Yonder (he jerks his head to the darkness behind him), to
Kwannon—(he checks himself in confusion. The Buddha inclines his head
gravely, as one who acknowledges information. He is apparently unaware
of Binzuru’s embarrassment. He gazes again about the court, then turns
upon him with a gleam, as suddenly remembering.)
_Buddha._ Tell me, Binzuru, what was it was in your mind as I came
through the chancel?
_Binzuru_ (lighting up). It was a joke. The Seller of Incense-Sticks
told it to the Seller of Hot Beans. It was a good joke. I was for
shouting it over the screen to Daruma just as you came out.
_Buddha._ That was fortunate. It would have wakened him.
_Binzuru._ It would, in soul. (He rocks himself.)
_Buddha_ (eyeing him wistfully). Is it a good joke?
_Binzuru_ (struggling for gravity). Master, it is a profane joke.
_Buddha._ Tell me, Binzuru.
(Their heads come close. Binzuru whispers amid splutters of
laughter behind his hand. Back goes the Buddha’s head in a
shout of laughter, stifled halfway by the sudden terror on
Binzuru’s face. They listen. Inside the chancel someone
yawns, a comprehensive, waking yawn.)
_Binzuru_ (hopelessly). It is Daruma.
(For a moment the Buddha stands stupefied. Then with a swing
of his great shoulders he turns his back on the chancel and
stands looking before him into the night. While one might
count ten he stands to make decision. Then with a long
breath he turns round and paces steadily toward the chancel,
the while he begins in the voice of intoning.)
_Buddha._ Now it is written in the first chapter of the eighth book of
the Vedas that whoso hath attained to the perception of the Infinite can
in no wise be ensnared——
(There is a snore, gentle, long-drawn, continuous. Binzuru,
who has been wagging his head in admiration, is silently
convulsed. The Buddha pauses on the first step of the
chancel, and turns to look at Binzuru. For a moment he
shares the jest. Then gravity falls on him. He stands gazing
at Binzuru. After a long pause he speaks, half to himself.)
_Buddha._ Two thousand—two thousand four hundred years. Binzuru, the
years are long years.
_Binzuru_ (gravely). They are long years.
(Again there is silence. The Buddha turns his eyes from
Binzuru, and looks into the night.)
_Buddha_ (haltingly). Binzuru—was she very beautiful?
(Binzuru eyes him.)
_Binzuru._ Beautiful? As Kwannon.
(The Buddha turns and looks at Binzuru. For a while the two
gaze at each other. It is the final comprehension. The
Buddha turns to climb the steps, and paces into the chancel.
Binzuru watches him till he disappears, then relapses into
the old attitude.)
CURTAIN.
------------------------------------------------------------------------
THE :: TALBOT :: PRESS
BOOKLETS
Paper :: :: One Shilling Net each
------------------------------------------------------------------------
=Some Poems of Roger Casement.= With an Introduction by Mrs.
GERTRUDE PARRY.
=Leaves on the Wind.= By S. MICHAEL CREVEQUER.
=Walled Gardens.= By T. B. RUDMOSE-BROWN.
=After Easter.= By SIBÉAL TUCAIG.
=Dark Days.= By LENNOX ROBINSON. (Prose.)
=Songs of the Island Queen.= By PEADAR MAC TOMAIS.
=The Spoiled Buddha.= A Play in 2 Acts. By HELEN WADDELL.
Others in Preparation.
------------------------------------------------------------------------
The Talbot Press Limited
Dublin: and all Booksellers
------------------------------------------------------------------------
Transcriber’s Notes
▪ Note: Printer’s errors and apparent misspellings have been silently
corrected.
▪ Note: Hyphenation has been silently standardized where there is a
predominant form in the text.
▪ Note: The text consistently has periods outside parentheses,
including after whole sentences and where whole paragraphs are
parenthesized. This has been silently changed in line with general
usage.
*** END OF THE PROJECT GUTENBERG EBOOK THE SPOILED BUDDHA ***
Updated editions will replace the previous one—the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG™ LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg
electronic works
1.A. By reading or using any part of this Project Gutenberg
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg mission of promoting
free access to electronic works by freely sharing Project Gutenberg
works in compliance with the terms of this agreement for keeping the
Project Gutenberg name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg License must appear
prominently whenever any copy of a Project Gutenberg work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg™ License included with this eBook or online
at www.gutenberg.org. If you
are not located in the United States, you will have to check the laws
of the country where you are located before using this eBook.
1.E.2. If an individual Project Gutenberg electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg electronic works
provided that:
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, “Information about donations to the Project Gutenberg
Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg™
works.
• You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg
Project Gutenberg is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg’s
goals and ensuring that the Project Gutenberg collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 41 Watchung Plaza #516,
Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg eBooks with only a loose network of
volunteer support.
Project Gutenberg eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our website which has the main PG search
facility: www.gutenberg.org.
This website includes information about Project Gutenberg,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
