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THE INDIAN ANTIQUARY.
[DECEMBER, 1893.
Burmese transliteration to identify place names. Dôngyin appears to be a Karen name according to Mason, who takes the opportunity, 28 usual, to record the local folk-etymology thereof as the true one!
The Kògun Cave. The American Missionary, Malcom, travelled about the rivers which oentre at Moulmein in 1835 with Judson, and gives an account, somewhat confused in its outlines, of the caves visited by myself. He says that he went to the three most remarkable - one on the Dah Gyieng and two on the Salween." I gather from his description that these were respectively the D'ammabá on the Jain and the P agat and Kogun on the Salween. Of the last he gives an account in his Travels, Vol. II. p. 61f., which is sufficiently graphic to be worth repeating. “The entrance is at the bottom of a perpendicular, but uneven, face of the mountain, inclosed in a strong brick wall, which forms a large vestibule. The entrance to this enclosure is by & path, winding along the foot of the mountain, and nothing remarkable strikes the eye, till one passes the gate, where the attention is at once powerfully arrested. Not only is the space within the wall filled with images of Gaudama of every size, but the whole face of the mountain, to the height of 80 or 90 (P 50) feet, is covered with them. On every jutting crag stands some marble image covered with gold, and spreading its uncouth proportions to the setting ( rising) sun. Every recess is converted into shrines for others. The smooth surfaces are covered by small flat images of burnt clay and set in stacco. Of these last there are literally thousands. In some places they have fallen off with the plaster in which they were set, and left spots of naked rock, against which bees have built their hives undisturbed. Nowhere in the country have I seen such & display of wealth, ingenuity, and industry. Bnt imposing as is this spectacle, it shrinks to insignificance, compared to the scene which opens on entering the cavern itself. It is of vast size, chiefly in one apartment, which needs po human art to render it sublime. The eye is confused, and the heart appalled, at the prodigious exhibition of infatuation and folly (scil., religions zeal of a different kind to the writer's). Everywhere on the floor, overhead, in the jutting points, and on the stalactite festoops on the roof, are crowded together images of Gaudama, the offerings of successive ages. Some are perfectly gilded, others incrusted with calcareous matter, some fallen, yet sound, others monldered, others just erected. Some of these are of stupendous size, some not larger than one's finger, and some of all the intermediate sizes; marble, stone, wood, brick, and clay. Some, even of marble, are so time-worn, though sheltered of course from changes of temperature, that the face and fingers are obliterated. In some dark recesses, bats were heard, and seemed numerous, but could not be seen. Here and there are models of temples, kyoungs, &c., some not larger than half > bashel, and some 10 or 15 feet square, absolutely filled with small idols, heaped promiscuously one on the other. As we followed the paths which wound among the group of figures and models, every new aspeot of the cave presented new multitudes of images. A ship of 500 tons could not carry away the half of them."
