possibly on that account, there is in it; a subtle attraction.
.Here ¿the golden mass of the pagoda is seen in unbroken
unity, through an avenue bf dark Palmyra, palms. , The
steps that climb up.'to it are; seldom trodden., Quiet;
is their charm ; and on many' a. day when the heart.13
he^vy and little .able; to. face, the pageantry^ of ;life— of
the life that ; ever .streams up the pathway from the
white dragons to the southern tazoungs— one is: glad
to come up this way and rest in silence in the comforting
beauty and stateliness of the great'temple.
On the West there is nothing but a dead wall, the
limit of arsenals and barracks.^
THE ARCHITECTURE OF THE PAGODA
I do not propose here to give any complete account
of the architectural incidents of the pagoda. Not only
is there a wealth of minute detail, the description of
which would involve something like , a dissertation on
Buddhism and Burmese mythology; but there.is the
fact that the buildings at the base and on the platform
of the pagoda are for ever changing. A description
of-the pagoda as it was ten years ago would be incomplete;
to-day. This is due as much to the ephemeral
nature of the wooden buildings as to the progressive
character of Burmese art. For Burmese art is essentially
alive. It is charged with vitality, it is ever
receptive of new ideas. The spirit of,the people is
buoyant and full of élan, and the rapidity. with-which
new developments begin and advance towards fruition
is amazing. Thus of late years a great advance has