In the middle of March, the final burial rites were paid to the late King Chulalongkorn, Princes and other Siamese subjects returning from abroad for the occasion. The final ceremony took place on the 16th March on the Pramane Ground, when after a whole week's services and special rites, the final ceremony was performed at a magnificent Phra Meru of a Sovereeign, specially prepared for the occasion. It was mentioned that, though Siam had adopted the Western custom of wearing black for mourning, yet white was still the official wear.It is impossible in a work of this size to give full prominence to the great ceremony which accompanied the final funeral rites,so we must select only that portion which is specially descriptive of the momentous occasion.
For the details we are indebted to the local Press of the 17th March. In the course of its vivid Descriptions, we find the following with regard to the concluding phase of the proceedings
"It was a quarter to three when the head of the military part of the procession reached the Saranrom Palace, and the troops took quite an hour to pass that point. First came the Royal Body-guard band, followed by regiments of cavalry, artillery with guns, engineers and infantry. There were five bands in this part of the procession playing either Chopin's Marche Fun?bre or the Dead March in saul. Very well did the men march; slow, steady, in keeping with the music. The continuous wail of the Dead Marches for an hour on end, and the seemingly endless filing past of the troops made a deep impression, and was a fitting prelude to the progress of the body of the dead King through his sorrowing people to the pyrs."
Then we have the following , from the same sources "Important as the military display undoubtedly was, still more impressive was the part of the procession to follow. Behind the last of the troops came the Tamruet Band, clad in scarlet with their musical instruments. They were several hundred strong, and as one looked down the Sananm Chai Rond at the approaching cortege, they presented a perfect blaze of colour, made impressive and wonderful by the view in the distance of the towering priests' car and still loftier funeral car, glittering in gold, and surrounded by a forest of royal emblems. Haunting and melancholy the funeral music of the Tamruet Band? Certainly is, and most appropriate for such an occasion. The dirge was played by one man, and two drummers, whose instruments were at a higher note than the rest, gave the signal for the majority to beat their instruments at a given time, this latter sound being like that produced on the muted strings of a violin. The musicians were heralded by four players on metal gongs of
wondrously soft and pleasing tone, played with two small sticks. Following the drummers came another body of men similarly attired and carrying silver trumpets not unlike trombones. These are employed to make that shrill blast which harmonises so well with the sound made by the conchshell musicians, who followed them. The appearance of high officials carrying jewelled swords, spears, and old gold vessels told of the near approach of the central object of the procession. They were succeeded by men carrying the insignia of royalty in the shape of five-tiered umbrellas and fans. These belonged to the Holy Prince, (presiding over the ceremonies, Ed.), who, seated on his lofty car, recited passages from the sacred books as he passed along. Then came the Urn itself. The huge state car?, drawn by two hundred and twenty scarlet-clad pullers moved easily along the street, pausing only at the Queen Mother's pavilion. The car is solidly built, but withal of graceful design, design, rising tier on tier till the small platform is reached where glittered the Urn. It may be remarked that the car was the same as used at King Mongkut's cremation, but the understructure had been entirely renovated and replaced, and the whole set on springs. This accounted for the steadiness with which the car was moved along. The question of suing horses for this work had been considered, but owing to the slow nature of the procession, it was finally decided to adhere to the old custom.
"On both sides of the funeral car walked the Chao Phyas, and some leading Phyas, and high above were carried the royal umbrella and fans. Seated on the first tier were men carried large clusters of peacocks' feathers, and they were succeeded by the Brahmin priests, with there hair unbound, who led two richly-carparisoned poines." The first of the royal mourners walked His Majesty the King in Field-Marshal's uniform, and wearing the sash of the order of the House of Maha Chakri. His Majesty, who was preceded by two standard-bearers, and followed by the members of his Household bearing royal insignia, acknowledged the respectful salutations of his own subjects and the other national assembled, by raising his baton. Of his own subjects and the other national assembled, by raising his baton.
"His Majesty then proceeded to the Royal pavilion, while the preparations for the cremation were made inside the Meru. The King took part in the ceremonies that followed. As sunset approached, the lights around the Meru were gradually switched on . At length, when everything was ready, the golden curtains were swung back and the doors thrown open. At 6.33 p.m. His Majesty ascended to the Meru by the southern entrance, and started the ceremonial lighting of the pyre. This was immediately followed by the National Anthem by the assembled bands.
"His Majesty was followed up the steps of the Meru by Prince Bhanurangsi and the other members of the Royal House. Later in the evening, the Queen Mother and Somdet Phra Nang Chao Phra Borom Raja Devi, together with the other Princesses and Ladies of the Palace, visited the Meru."
In the noble words of Longfellow, we can only repeat in conclusion "Lives of great men all remind us, We can make our lives sublime, And, departing, leave behind us Footprints in the sands of Time."
geovisit();
ไม่มีความคิดเห็น:
แสดงความคิดเห็น