Camps, Quarters, and Casual Places | Page 8

ushered us into the "state-box" of the improvised theatre. There is very little labour required to construct a theatre in Burmah. Over a framework of bamboo poles stretch a number of squares of matting as a protection from the sun. Lay some more down in the centre as a flooring for the performers. Tie a few branches round the central bamboo to represent a forest, the perpetual set-scene of a Burmese drama; and the house is ready. The performers act and dance in the central square laid with matting. A little space on one side is reserved as a dressing and green room for the actresses; a similar space on the other side serves the turn of the actors; and then come the spectators crowding in on all four sides of the square. It is an orderly and easily managed audience; it may be added an easily amused audience. The youngsters are put or put themselves in front and squat down; the grown people kneel or stand behind. Our "state-box" was merely a raised platform laid with carpets and cushions, from which as we sat we looked over the heads of the throng squatting under and in front of us. Of the drama I cannot say that I carried away with me particularly clear impressions. True, I only saw a part of it--it was to last till the following morning; but long before I left the plot to me had become bewilderingly involved. The opening was a ballet; of that at least I am certain. There were six lady dancers and six gentlemen ditto. The ladies were arrayed in splendour, with tinsel tiaras, necklaces, and bracelets, gauzy jackets and waving scarfs; and with long, light clinging silken robes, of which there was at least a couple of yards on the "boards" about their feet. They were old, they were ugly, they leered fiendishly; their faces were plastered with powder in a ghastly fashion, and their coquetry behind their fans was the acme of caricature. But my pen halts when I would describe the gentlemen dancers. I believe that in reality they were not meant to represent fallen humanity at all; but were intended to personify _nats,_ the spirits or princes of the air of Burmese mythology. They carried on their heads pagodas of tinsel and coloured glass that towered imposingly aloft. They were arrayed in tight-bodiced coats with aprons before and behind of fantastic outline, resembling the wings of dragons and griffins, and these coats were an incrusted mass of spangles and pieces of coloured glass. Underneath a skirt of tartan silk was fitfully visible. Their brown legs and feet were bare. The expression of their faces was solemn, not to say lugubrious--one performer had a most whimsical resemblance to Mr. Toole when he is sunk in an abyss of dramatic woe. They realised the responsibilities of their position, and there were moments when these seemed too many for them. The orchestra, taken as a whole, was rather noisy; but it comprised one instrument, the "bamboo harmonicon," which deserves to be known out of Burmah because of its sweetness and range of tone. There were lots of "go" in the music, and every now and then one detected a kind of echo of a tune not unfamiliar in other climes. One's ear seemed to assure one that Madame Angot had been laid under contribution to tickle the ears of a Mandalay audience, yet how could this be? The explanation was that the instrumentalists, occasionally visiting Thayet-myo or Rangoon, had listened there to the strains of our military bands, and had adapted these to the Burmese orchestra in some deft inscrutable manner, written music being unknown in the musical world of Burmah.
Next day the Kingwoon Menghyi took the wholly unprecedented step of inviting to dinner the British Resident, his suite, and his visitor-- myself. Mr. Shaw accepted the invitation, and I considered myself specially fortunate in being a participator in a species of intercourse at once so novel, and to all seeming so auspicious.
About sundown the Residency party, joined en route by Dr. Williams, rode down to the entrance to the gardens. Here we were warmly received by the English-speaking secretary, and by the jovial bow-windowed minister who so much resembled the late Pio Nono. We were escorted to the verandah of the pavilion, where the Menghyi himself stood waiting to greet us, and were ushered up to the broad, raised, carpeted platform which may be styled the drawing-room. Here was a semicircle of chairs. On our way to these, a long row of squatting Burmans was passed. As the Resident approached, the Menghyi gave the word, and they promptly stood erect in line. He explained that they were the superior officers of the army quartered in the capital-- generals, he