In China the Taoists alone have religious processions, which is logical enough, as it is their custom to represent their gods in human figures. To mention only the principal ceremonies, I may allude to the procession of the god Tai-Tchang, of the god Tcheng-Houang, of the gods of epidemic diseases, and the goddesses who protect women in labour and little children.

Tai-Tchang is the god of the mountain of the same name, a function which he combines with that of seventh high judge in Hades, which has ten such judges.

The processions of Tai-Tchang take place during the third moon. The terrible figure is brought on the appointed day, surrounded by an imperial pomp. He deserves all these splendours, seeing that his title is that of sovereign of the mountain.

He is preceded by his colleagues, the other grand judges, his sons and godchildren, who are all reputed princes of his family. Each of these divinities has its special escort, with two large lanterns and a number of tablets, on which are inscribed the various titles of the god.

Next come the orchestra and the followers, all dressed in gala clothes. Some carry a vase full of flowers, others a smoking incense-bowl.

Besides these, the procession is followed by numbers of private individuals, carrying in their hands reduced models of the various instruments of torture—handcuffs, chains, hooks, &c. They hope by this means to draw down on their devoted heads the punishments which the god may be intending to inflict on those dear to them.

At Fou-Tcheou young girls also take part in this manifestation, but in the other cities women are forbidden to do so.

The procession takes its way to a vast building situated on the outskirts of the town, which is called the Prison of the Ghosts. There is such a prison near every city. The object of this visit is to release from their captivity the spiritual captives, so that during the Feast of the Dead they may be able to take part in their family celebrations, and perform the sacrifices which are expected of children to their ancestors.

The same procession is repeated on a smaller scale a few days later. This time its object is to bring back to their prison the ghost who had been temporarily released.

All along the way down which the procession passes, the faithful place before the door of their houses tables on which lighted candles and incense are burning, with flowers and fruits. Everybody comes out of the house to admire the immense march past, which is, moreover, a kind of walking exhibition, as the members of the different societies which take part in it, and which all belong to different trades, carry with them all the new productions of the year. The crowd covers at least from two to four kilomÈtres with its long moving column; for each god has his subalterns, and each of these subalterns has the right to a magnificent escort. Toy and sweet merchants profit by the occasion to display their wares in the streets, offering their goods to the children, who always take a very large share in festivities of this sort.

At Fou-Tcheou there is a peculiarity which is particularly interesting. The feast lasts two days, and the second day’s ceremony is an exact repetition of the first. However, on the second day an excursion is made out to the suburbs of the town, where Tai-Tchang’s mother-in-law is supposed to live, the god being brought as a respectful son-in-law to pay his respects to the good lady. Happy god, happy mother-in-law!

Legend relates that a young peasant-girl, daughter of a butcher, having witnessed the procession, went home and died immediately. During her short agony she told her parents that the god, only recently having become a widower, had noticed her great beauty, and had chosen her for his wife. She was an only daughter. Her death threw her family into despair, and in their rage her parents set out to revenge themselves on the god by setting fire to his temple. Tai-Tchang, however, taking human shape, appeared to them, and pacified them by saying that he had married their daughter, and that he owed her parents all the respect due from a good son-in-law. As a proof of this, he gave orders that a procession should take him every year to the house where the butcher’s wife, the mother of his divine companion and queen, lived. This shows that Tai-Tchang was a very sensible god, free from all aristocratic prejudices, and the very type of the cunning son-in-law, diplomatic enough to be able to soften down the anger of a mother-in-law, who in her rage had nearly become an incendiary.

In the summer, similar processions take place in honour of the gods of the epidemical diseases. We enjoy in China the sad privilege of owning five epidemics, which are local and indigenous. The figures of these gods, which never vary in appearance, can be seen in every street, and in every quarter there is a temple consecrated to these terrible divinities. The processions in their honour are, in consequence, daily occurrences, as each part of the town performs this ceremony in turn.

Although the procession is less imposing than the one that follows Tai-Tchang, it is nevertheless of great richness in the larger quarters. At the head come the five gods, each preceded by his subalterns. Behind them is carried an immense paper-boat, very skilfully made. It is mounted by the same gods, also in paper, who are placed in the cabin in the centre, whilst in another cabin are shut up paper-images of all the other demons. A man walks at the side of this boat, carrying on his shoulder, by means of a water-carrier’s pole, two buckets filled with dÉbris of meats and offal of all kinds that are known to engender disease. These buckets are called ironically the buckets of happiness. The procession goes straight to the sea-shore, or to the banks of the river. Once there, the buckets are flung into the water, and the ship and its passengers are set fire to and burnt. The epidemics are then supposed to have been driven right out of the town. Mutual congratulation and a banquet terminate the fÊte. This is doubtless doubly symbolical. The buckets represent hygienic measures, the boat and its gods and demons figure the expulsion of all diseases, carried away by the river or destroyed by the fire.

Tcheng-Houang is the god of the provinces. His image may be seen everywhere, just as in Paris we see on the Place de la Concorde the statues of the chief citizens of France. The difference is that Tcheng-Houang is a real personage, not merely a personification. His ceremony is about identical with that of Tai-Tchang, except for the fact that Tchang-Houang has only right to the title of Governor.

The procession of the goddesses who protect women in labour and children usually takes place at the beginning of the year. The chair on which the statue is seated is all covered over with flowers, and as it is carried round by its bearers all the childless women of the town come crowding round imploring the divinity to give them children. The women take from the chair the first flower that comes into their fingers. If it is a red flower, they may hope to have a daughter; if it is a white flower, that means that they will have a boy. At the same time, the would-be mothers make vows to present the goddess with tapestry or clothes, or some decorative object, should she hear their prayer.

Rich people often invite the goddess into their houses as she passes their doors. Fireworks are then let off, and flowers are added to those on the chair. Then tea and cakes are handed round to the members of the procession, and after this the Chinese Lucina is allowed to resume her peregrinations, to visit other houses if she be so disposed. Throughout the month women crowd into the sanctuary of the goddess in an unceasing stream, some to fulfil their vows and bring their votive offerings, and others to implore, in their turns, the intervention of the Chinese Genitrix goddess.