University of Virginia Library

THE `SUKHWAN' TEXTS AND THE SACRED WORDS

Text of `sukhwan' for marriage

The text pictures the marriage as a `royal occasion', a magnificent mythological
event in which deities and nobility are present and great wealth
is displayed. Those familiar with Indian ceremonial will recognize this
tradition of viewing marriage as an auspicious and grand event. The text
is peppered with Pali words meaning `auspicious', `power', `excellence',
`splendour' and `success'.

The sequence of the text may be summarized as follows: the phakhwan,
the tiered structure made of fragrant flowers to which the khwan of the
couple will come, is described as made by royal persons; and around it
are heaped in abundance gifts not only of food but also of necklaces
and rings. The occasion for the ritual—marriage—is mentioned. Hindu

brahmanical ideas are perhaps evident in the reference to the founders
of gotra (lineage) and the virtue of giving a daughter in marriage (which
is reminiscent of the concept of kanya dana—`gift of a virgin'). A significant
point in the recitation is that the elders of parental and grandparental
generations are assembled to marry the couple, who are supported by
their young friends. (This describes faithfully the actual assembly of
persons at a village marriage.)

The attention then focuses on the couple, who are described as beautiful
persons: the khwan of beauty is called upon to sit with them and royal
persons are said to admire them. The khwan of the legs and shins (the
lower extremity of the body) of the couple is called first.

The words which follow state that the marriage is divinely sanctioned
and that the marriage procession was led by the mythical Garuda with
Naga at the rear. The legitimation by divine agents of the marriage
reinforces the previous declaration that the marriage has been sanctioned
by parents and elders.

Now the words focus even more specifically on the individual persons
of the bridegroom and the bride. The bridegroom was sent by God Indra
to live with the bride; he is handsome and fabulously wealthy. The bride
is described as waiting for him in a bed-chamber sumptuously decorated
with silk and lace. The khwan of the bride and groom should forsake old
lovers and come together to be married. The khwan that are recalled at
this stage are those of the eyes, eyebrows and other parts of the face, and
the breast, that is, the upper extremity of the body.

The next idea suggested by the words is that of sexual intercourse,
a blissful union, and material plenty (a barn full of grain and gifts from
well-wishers). Then follows the instruction given to the groom as a
son-in-law, emphasizing the proper behaviour towards his parents-in-law.
The wife in turn is instructed to behave properly as a daughter-in-law,
and she is given a discourse about her relationship to her parents and
her siblings—attitudes of love and respect, and acts of sharing of food
are recommended. Her duties to her husband also are elaborated: she
should not roam at night, she should be constant, and assiduous in her
domestic duties. The couple are exhorted to make merit at the temple on
the Sabbath. The text ends with the traditional blessing that the couple
may love each other, live long, enjoy good complexion (which echoes the
Indian colour preoccupation), and have happiness and power.

Text of the `sukhwan nag' ceremony

This text, collected in the field, is shorter than the one used in marriage
ritual; the brevity corresponds to the fact that whereas in marriage the

ritual is built around sukhwan, in ordination the calling of the khwan
rite is one sequence in a series which culminates in the ordination ceremony
in the temple. Furthermore, the cultural definition of what the ordination
is is expressed in a number of sequences other than sukhwan. Nevertheless,
the sukhwan is a rite of formal instruction in which words explicitly
express certain ideas about kinship and community obligations.

The text begins with the statement that village elders and nobility are
assembled to conduct the ceremony for the nag, who is about to be
separated from his parents in order to receive the three Buddhist gems; it is
clearly indicated that the experience awaiting the monk is of a special sort.

Then begins the most important message to be transmitted to the
ordinand. As monk he will make merit and transfer it to his parents, and
the justification for this obligation is enacted by recreating the life experience
of the ordinand, beginning with his existence in his mother's womb. The
ordinand is informed in minute detail of the trials faced by his mother
when she was pregnant, how she fed and bathed him as a child, sheltered
and embraced him, and put him to sleep. This evocation of childhood
dependency on the mother is interesting, in that a woman, who according
to Buddhism has inferior chances of salvation, can rely on her son to
transfer to her some of his merit. The period of adolescence, when a youth
becomes a novice, is briefly referred to and the recitation then focuses
on the immediate situation: that when the nag was ready to be ordained,
he went and informed his relatives, who have now got ready for him the
eight articles which will enable him to become a monk.

Next the khwan of the nag is called: this calling is characterized by
emphasizing that his khwan has been enticed away by the animals of the
forest and other pleasures that are found in the mountains, caves and
ponds. Finally, the hoped-for `pay off' for the youth who gets ordained
is mentioned: that he may be a prosperous and powerful person with
servants and a retinue, blessed with fame and victory over Mara (death).
The image evoked is that of a feudal lord or royal personage.

Text of the `sukhwan maemarn' ceremony

Keeping in mind that this text is recited for a pregnant woman, who it is
said is anxious about childbirth and for whom the ceremony will ensure
easy childbirth, let us look at the sequence of ideas and their content.

The sukhwan maemarn text begins in a manner that we are by this
time familiar with: the day chosen for the ceremony is declared to be an
auspicious one, and this theme of auspiciousness is given grandiose
elaboration. The gods and astrologers and monks and thirty village elders
have declared the day to be auspicious; the day is appropriate for the

enthronement of a king; for the birds to build their nests; for divorced
and separated women to go up the mountain; for the Buddha to shave
his head; etc.

The text then calls the khwan. The khwan of the legs, eyes, and flesh,
that is, the entire body, are requested to return. The distinctiveness of
this text, however, lies in the fact that the khwan of the pregnant woman
is asked not to stay and linger with a young man of the city in heaven, not
to aspire to enjoy heavenly pleasures, but to return to her earthly husband
who is described as slender and handsome and as shedding tears and
waiting for her. (We note that these words echo some of the words in the
marriage ritual: there the husband, who is described as being handsome,
is asked to join the wife who is awaiting him in the bed-chamber; here,
however, it is he who is anxiously awaiting her. Thus these words attempt
to focus the pregnant woman's attention on her husband, who is described
as desirable and as desiring her.)

The text next focuses on the immediate ritual situation. It describes
the phakhwan and the food set out, and mentions that elders, children,
young unmarried or divorced or separated women, and the midwife
await the return of the khwan. (This mention of all kinds of females once
again differs from the other texts described: pregnancy and childbirth
are presented as desired by all females, apart from its interest for the
elders; children are appropriately assimilated to this interest of females.)

The words shift now to describing the situation before and after childbirth
and appear to be addressed to the baby that is to be born. In other
words, the pregnant woman is given a precise account of her present
condition, an anticipatory picture of childbirth successfully accomplished,
and the details of the care of the baby. Let us follow the successive images
presented because they contain the core message from the point of view
of the stated intention of the ceremony.

First is mentioned the physical discomfort and labour pains of the
mother who carries the unborn child. Then the birth of the baby and
the cutting of its umbilical cord, as well as the manner of birth of a female
child (flat on its back) and a male baby (flat on its face) are referred to.
After the baby is recognized as a `human', the mother's solicitude for it
and the manner in which it is cared for (feedings, bathing, sleeping, etc.)
are described. The village belief that a male child is more difficult to
bring up than a female child is mentioned, and also the cultural preference
for a male child, who it is hoped will become a wealthy and powerful
man, riding in a procession seated on an elephant.

The text shifts its focus again to make a long, compelling calling of
the khwan. If the khwan is in the jungle, or by the pond or river, or up

the mountain or in a cave, it is asked to return, it is urged not to follow
the tracks of wild animals. If it is engaged in cultivation in the upland
(forest) fields, or if it is keeping a tryst with a lover in the jungle, it is
recalled. It is enticed to come and enter the house, where women await
it, where the baby in the cradle awaits it, where elderly relatives of the
parental generation, both paternal and maternal, await it.