The spoiled Buddha
Date: 2026-09-18T00:00:00+00:00

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

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.

back

Table of Contents

- THE SPOILED BUDDHA

- PROLOGUE.

- CHARACTERS.

- Act I.

- ACT II.

- THE FULL PROJECT GUTENBERG™ LICENSE