THE MEANINGS OF THE meanings also exist in Thai sayings, in HORSE-FACED MASK IN some literary works, and in the context of the story itself. This horse-faced mask THE STORY OF KAEO NA enables the heroine to present her ‘self’ in 1 MA three different guises and personalities, namely the character of a comedian in the 2 figure of Nang Kaeo; a heroine in the Cholada Ruengruglikit figure of Nang Mani; and a hero in the figure of Manop, an unnamed man. Abstract Compared to the abstract meaning of wearing many masks at the same time, This paper aims to study the meanings of Nang Kaeo is very efficient in performing the heroine’s horse-faced mask in the story several duties at the same time. She takes of Kaeo Na Ma. The two versions good care of her family and society. It can investigated here are the version composed be said that she is really the first warrior by Prince Phuwanetnarinrit and that of the heroine in Thai literature and has much Ratcharoen written by Nai But and influence on other warrior heroines in Thai influenced by the former version. Since tales. Nonetheless, as beauty is a typical Prince Phuwanetnarinrit’s version firstly characteristic of Thai heroines, the hero in indicates that the heroine’s horse face can this story has to remove Nang Kaeo’s horse be removed, it is considered as a mask in face before appointing her his queen — the this paper. Like other masks in Khon or act that proves the denial of an ugly masked drama, the horse face controls the heroine in Thai tales. behavior and personality of the wearer. This horse face not only signifies the Introduction heroine’s tomboyish manners as stated in other studies, but also communicates The story of Kaeo Na Ma is one of the most various hidden meanings complying with well-known Thai folktales. It is popular her other characteristics and behaviors. among Thais because its heroine is strange Five meanings are discussed here including and different from other heroines in Thai the heroine’s unrefined behavior, self tales. Unlike others, she is a laughable girl hiding, protective gear, ugliness and whose face is ugly. Some versions of this peculiarity, and masculinity. All of these story clearly indicate that her ugly face is like that of a horse. Her horse face is outstanding because she is the only one 1 Revised from the paper entitled ‘The among all heroines in Thai tales who owns Significance of the Horse-faced Mask in the this kind of face. Her face is also interesting Story of Kaeo Na Ma’, presented at The Ninth because it can be removed. The wearer can International Conference on Thai Studies held take it off and put it back on according to by Northern Illinois University, DeKalb, her will. Thus I consider her face as a mask. Chicago, USA, 3-6 April 2005 This mask enables her to appear in various guises and different roles. The meanings of 2 Associate Professor, Department of Thai; Director, Research Center of Thai Language this horse-faced mask calls for careful and Literature, Faculty of Arts, Chulalongkorn study. University, Bangkok, Thailand. Downloaded from Brill.com09/30/2021 09:56:25AM via free access MANUSYA: Journal of Humanities (Special Issue No.10 2005) This paper aims to study the meanings of influenced by Sunthorn Phu’s works. These the heroine’s horse-faced mask in the story points will be discussed later. of Kaeo Na Ma. The work of Prince Phuwanetnarinrit, the folk dance-drama The story of Kaeo Na Ma is very popular version, is used as a main text. throughout the country except in the Additionally, the Ratcharoen version northern area. One reason may be that the known as Wat Koh is also used at times to story is so unconventional that it is not support my ideas. The hypothesis for the suitable for the northern poets or monks to study is that the heroine’s horse-faced mask use it in their moral teachings. Besides, in the story of Kaeo Na Ma has several Nang Kaeo, the heroine, breaks some social hidden meanings related to the character norms, so she is not a good archetype in the and behavior of the heroine. This paper is eyes of northern poets or monks. divided into three main sections. The first section is the background to the story of This story is known by different titles Kaeo Na Ma and its narrative. The second is depending on the emphasis given to the the background to the masks in Thai society hero or heroine. It should be noted here also and performance. The third is the meanings that even the hero’s and heroine’s names of the horse-faced mask in the story of Kaeo vary. Their different titles include Pinthong Na Ma. Klonsuat, Sappadon Khamkap, Bot Lakhon Rueang Phinthong, Kaeo Sappadon, and Background to the Story of Kaeo Na Kaeo Na Ma. Ma and Its Narrative This story is written into two forms: prose The story of Kaeo Na Ma is a Thai folktale and poetry. It is noticeable that some prose originating in central Thailand. Some versions include some poetry from other scholars, notably Akhavit Ruengrong, say poetry versions. For example, So Phlainoi’s that this story was composed in the form of a work is a prose narrative inserted with some Klonsuat called Pinthong Klonsuat in the poetry drawn from the Ratcharoen version. late Ayutthaya period (Akhavit Ruengrong, 1996:30). He presents his idea by The poetry group itself can be subdivided considering some words that are similar to into two small classifications: reading and those in the works of the late Ayutthaya performing. Pinthong Klonsuat, Sappadon period and also on some prosody he has Khamkap, Nithan Khamklon Rueang Kaeo misunderstood that it is a kind of Ayutthaya Na Ma composed by Nai But, and versification. In my opinion, similar words Khamklon Rueang Kaeo Na Ma of Isan are not enough evidence to indicate it as a created by O. Kawiwong, are in the reading work of the late Ayutthaya period and this poetry classification (Akhavit Ruengrong; similarity can easily be imitated from the old 1996:2-3). Bot Lakhon Rueang Phinthong works. Other scholars such as Udom and Bot Lakhon Nok Rueang Kaeo Na Ma Rungruengsri shares the same idea (Udom or the folk dance-drama version of the story Rungruengsri, interviewed, 1994: June 6, of Kaeo Na Ma are good examples of the cited in Akhavit Ruengrong, 1996:8). I think latter classification. that this work was written in the early Bangkok period because of its very modern Focusing on the outstanding face of the heroine and some elements that were heroine, the story can be divided into two categories. Firstly, the story in which the 64 Downloaded from Brill.com09/30/2021 09:56:25AM via free access The Meanings of the Horse-Faced Mask in Kaeo Na Ma heroine has an ugly face. Secondly, the convenience to remove the heroine’s horse story in which the heroine has a horse-faced face in performance and using this horse mask. For this study, the story in second face to color the story. However, there are category is paramount. Two versions in this still other reasons that call for discussion. category are discussed. The folk dance- The horse face is also used as an important drama version composed by Prince literary technique to symbolize the Phuwanetnarinrit is used as a main text. heroine’s several equine characteristics and The Ratcharoen version is used at times to behavior. This point will be discussed later. support my ideas. The other version, the Ratcharoen known The folk dance-drama version of Prince as Wat Koh and titled Nithan Khamklon Phuwanetnarinrit, one of the most well- Rueang Kaeo Na Ma was written by Nai known playwrights in the early Bangkok But in the reign of King Rama V. He was period, is well regarded among readers and an expert and famous poet who composed audiences. He is one of King Rama II’s many Nithan Khamklon for the Ratcharoen. sons. He was born in the reign of King His works were very popular in that period Rama I in 1801 (So Phlainoi, 1990:38). He though his biography is not yet well- started his works in the reign of King Rama known. II and continued until the next two reigns (So Phlainoi, 1990:39-42). He died at the Regarding the content of the story, Prince age of fifty-six in the reign of King Rama Phuwanetnarinrit’s work is an unfinished IV. During the periods of King Rama III version. The story ends at a quarrel scene and King Rama IV, Thai performances, between Nang Mani Sri Mueang and especially folk-dance drama or Lakhon Princess Thatsamali who came to call Nok, grew widely (Tamnan Lakhon Inao, Phinthong back to her city. The Ratcharoen 1964: 154-55; Phraya Chaiwichit (Phueak), version follows the episodes in the former 1975: 33). Many aristocrats and officials version and also adds some details. Nai But usually had their followers practice folk- furthers events including the love and dance drama. Some even owned the groups adventures of Nang Kaeo’s children and of actors. Consider Prince grandchildren. In this version, Pinkaeo, Phuwanetnarinrit, like his two brothers, Nang Kaeo’s son, wears the horse-faced Prince Phiphitphokphuben and Prince mask of his mother in order to hide during Phithakthewet, established a group of his adventures. These two folk dance- actors to play a folk-dance drama (Tamnan drama and the Ratcharoen versions are the Lakhon Inao, 1964:159).