green and gold and purple. They are carved to their
summits and laden with numberless figures, each of
which is alive with action.
Between these tazoungs, fixed at one end in the
mass of the pagoda itself, and a vast outer circle of
lesser pagodas and shrines, there is an open space,
narrowing unhappily every year, which is flagged with
rich flesh-coloured stone. It is upon these stones that
the worshippers kneel in paying their devotions. O f
the outer group of buildings there are many of great
interest and charm ; amongst them stand the htis of
a bygone day, and upon the edge of the platform the
tagdn-daings, which are perhaps the most graceful
objects ever invented by Burmese art. Their lofty
columns, inlaid with rich mosaic, are supported at the
foot by striking figures of nats, and they are surmounted
at their summits by effigies of the galon bird and the
sacred Hansa of Pegu. Streamers of coloured gauze
flutter from them, upheld by the passing winds.
O f .such is the architecture of the pagoda. Great
as it is, it is surpassed in interest by the life that
animates it. Year after year for more than ten years,
I, who write this, have visited the Shway Dagon
Pagoda. Upon countless occasions I have climbed
up its dark stairs ; I have walked in wonder and delight
upon its platform ; I have mingled with its silken
throngs; I have seen the men and the women and the
little children at prayer ; I have looked upon the great
drama of worship as it has unfolded itself before my
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ON TH E W EST PLATFO RM