"They don't have ten children," Mrs. Rao explained. "They don't have ten children where I come from," said Will. "In spite of which . . . 'Marks of weakness marks of woe.' " He halted for a moment to watch a middle-aged market woman weighing out slices of sun-dried breadfruit for a very young mother with a baby in a carrying bag on her back. "There's a kind of radiance," he concluded.

"Thanks to maithuna," said Mrs. Rao triumphantly. "Thanks to the yoga of love." Her face shone with a mixture of religious fervor and professional pride.

They walked out from under the shade of the banyan, across a stretch of fierce sunlight, up a flight of worn steps, and into the gloom of the temple. A golden Bodhisattva loomed, gigantic, out of the darkness. There was a smell of incense and fading flowers, and from somewhere behind the statue the voice of an unseen worshiper was muttering an endless litany. Noiselessly, on bare feet, a little girl came hurrying in from a side door. Paying no attention to the grown-ups she climbed with the agility of a cat onto the altar and laid a spray of white orchids on the statue's upturned palm. Then, looking up into the huge golden face, she murmured a few words, shut her eyes for a moment, murmured again, then turned, scrambled down and, softly singing to herself, went out by the door through which she had entered.

"Charming," said Will, as he watched her go. "Couldn't be prettier. But precisely what does a child like that think she's doing? What kind of religion is she supposed to be practicing?"

"She's practicing," Vijaya explained, "the local brand of Mahayana Buddhism, with a bit of Shivaism, probably, on the side."

"And do you highbrows encourage this kind of thing?"

"We neither encourage nor discourage. We accept it. Accept it as we accept that spider web up there on the cornice. Given the nature of spiders, webs are inevitable. And given the nature of human beings, so are religions. Spiders can't help making flytraps, and men can't help making symbols. That's what the human brain is there for-to turn the chaos of given experience into a set of manageable symbols. Sometimes the symbols correspond fairly closely to some of the aspects of the external reality behind our experience; then you have science and common sense. Sometimes, on the contrary, the symbols have almost no connection with external reality; then you have paranoia and delirium. More often there's a mixture, part realistic and part fantastic; that's religion. Good religion or bad religion-it depends on the blending of the cocktail. For example, in the kind of Calvinism that Dr. Andrew was brought up in, you're given only the tiniest jigger of realism to a whole jugful of malignant fancy. In other cases the mixture is more wholesome. Fifty-fifty, or even sixty-forty, even seventy-thirty in favor of truth and decency. Our local Old-Fashioned contains a remarkably small admixture of poison."

Will nodded. "Offerings of white orchids to an image of compassion and enlightenment-it certainly seems harmless enough. And after what I saw yesterday, I'd be prepared to put in a good word for cosmic dancing and divine copulation."

"And remember," said Vijaya, "this sort of thing isn't compulsory. Everybody's given a chance to go further. You asked what that child thinks she's doing. I'll tell you. With one part of her mind, she thinks she's talking to a person-an enormous, divine person who can be cajoled with orchids into giving her what she wants. But she's already old enough to have been told about the profounder symbols behind Amitabha's statue and about the experiences that give birth to those profounder symbols. Consequently with another part of her mind she knows perfectly well that Amitabha isn't a person. She even knows, because it's been explained to her, that if prayers are sometimes answered it's because, in this very odd psychophysical world of ours, ideas have a tendency, if you concentrate your mind on them, to get themselves realized. She knows too that this temple isn't what she still likes to think it is-the house of Buddha. She knows it's just a diagram of her own unconscious mind-a dark little cubbyhole with lizards crawling upside down on the ceiling and cockroaches in all the crevices. But at the heart of the verminous darkness sits Enlightenment. And that's another thing the child is doing-she's unconsciously learning a lesson about herself, she's being told that if she'd only stop giving herself suggestions to the contrary, she might discover that her own busy little mind is also Mind with a large M."

"And how soon will the lesson be learned? When will she stop giving herself those suggestions?"

"She may never learn. A lot of people don't. On the other hand, a lot of people do."

He took Will's arm and led him into the deeper darkness behind the image of Enlightenment. The chanting grew more distinct, and there, hardly visible in the shadows, sat the chanter-a very old man, naked to the waist and, except for his moving lips, as rigidly still as Amitabha's golden statue. "What's he intoning?" Will asked. "Something in Sanskrit."

Seven incomprehensible syllables, again and again. "Good old vain repetition!"

"Not necessarily vain," Mrs. Rao objected. "Sometimes it really gets you somewhere."

"It gets you somewhere," Vijaya elaborated, "not because of what the words mean or suggest, but simply because they're being repeated. You could repeat Hey Diddle Diddle and it would work just as well as Om or Kyrie Eleison or La ila ilia 'llah. It works because when you're busy with the repetition of Hey Diddle Diddle or the name of God, you can't be entirely preoccupied with yourself. The only trouble is that you can hey-diddle-diddle yourself downwards as well as upwards-down into the not-thought of idiocy as well as up into the not-thought of pure awareness."

"So, I take it, you wouldn't recommend this kind of thing," said Will, "to our little friend with the orchids?"

"Not unless she were unusually jittery or anxious. Which she isn't. I know her very well; she plays with my children."

"Then what would you do in her case?"

"Among other things," said Vijaya, "I'd take her, in another year or so, to the place we're going to now."

"What place?"

"The meditation room."

Will followed him through an archway and along a short corridor. Heavy curtains were parted and they stepped into a large whitewashed room with a long window, to their left, that opened onto a little garden planted with banana and breadfruit trees. There was no furniture, only a scattering on the floor of small square cushions. On the wall opposite the window hung a large oil painting. Will gave it a glance, then approached to look into it more closely.

"My word!" he said at last. "Who is it by?"

"Gobind Singh."

"And who's Gobind Singh?"

"The best landscape painter Pala ever produced. He died in 'forty-eight."

"Why haven't we ever seen anything by him?"

"Because we like his work too well to export any of it."

"Good for you," said Will. "But bad for us." He looked again at the picture. "Did this man ever go to China?"

"No; but he studied with a Cantonese painter who was living in Pala. And of course he'd seen plenty of reproductions of Sung landscapes."

"A Sung master," said Will, "who chose to paint in oils and was interested in chiaroscuro."

"Only after he went to Paris. That was in 1910. He struck up a friendship with Vuillard."

Will nodded. "One might have guessed as much from this extraordinary richness of texture." He went on looking at the picture in silence. "Why do you hang it in the meditation room?" he asked at last.

"Why do you suppose?" Vijaya countered.

"Is it because this thing is what you call a diagram of the mind?"

"The temple was a diagram. This is something much better. It's an actual manifestation. A manifestation of Mind with a large M in an individual mind in relation to a landscape, to canvas and to the experience of painting. It's a picture, incidentally, of the next valley to the west. Painted from the place where the power lines disappear over the ridge."