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DRAMATIC AMUSEMENTS OF THE NATIVES OF INDIA.

STRANGERS, upon their arrival in Bengal, usually attend one, at least, of the nautches given by the natives at their feasts and festivals; but, should they remain in Calcutta, they rarely, if ever, have an opportunity of witnessing any native performances, excepting the singing and dancing at these entertainments. The dramatic representations of the Hindoos are, at the present day, in a great measure confined to their religious festivals, and are consequently wholly of a religious character. The strange and somewhat clumsy legends relative to the deities who figure in their pantheon, are the subjects of the performances, which last for many days, the nearly interminable story continuing without intermission, or, at least, without interruption from other amusements, until it is completed. The actors employed upon these occasions are of various descriptions, and of various degrees of respectability. Even the nautch-women themselves, though usually of a very profligate character, are not in every instance considered as degraded beings, since those exclusively belonging to the temples, and who are merely the mistresses of the attendant Brahmins, are not looked upon with the same degree of horror and contempt bestowed upon others of the same class, who are indiscriminate regarding their paramours. Many of the first-named class of these women have been saved in infancy, by the priests, from sacrifices to which their parents, either in consequence of vows, or the difficulty of affording the means of maintenance, have devoted them. Many also have been dedicated to the principal Hindoo temples by their parents, who imagine that the presentation of a beautiful daughter to the deity is a praiseworthy act; the children they may have are brought up in the same profession, the girls as dancers, the boys as musicians, or the performers of the male characters in the religious dramas before-mentioned. The more celebrated of the Hindoo temples are as well endowed as the monastic institutions of Roman Catholic countries, and it is in these wealthy establishments that the principal corps dramatiques receive their early initiation into the mysteries of their craft. The fame of their celebrity goes forth, and they procure engagements at distant places during the period of the grand Hindoo festivals: being well paid for their performances by the maharajah, or other great person, who may employ them.

The car of Thespis still travels in a very unpretending manner in Hindostan, scenery being in a great measure dispensed with by the followers of the histrionic art, while their properties are conveyed in a small compass: a hall of audience, or open quadrangle of the house in which they are to perform, composes the theatre, and the attempt at creating illusion is neither very artful nor very successful. The actors, however, often display considerable skill in their representations of the favourite characters of the mythology, whence the drama is taken. After the festival, at which they have assisted, is over, they return to the temple to which they belong; in every large or well-endowed pagoda, there always being a sufficient number of detached apartments for the accommodation of the attendant Brahmins, and their various male and female auxiliaries. The descriptions given of the dancing-girls of India differ widely from each other; female travellers in the country can scarcely form an accurate judgment, because care is taken to prevent any improper exhibition in their presence; but while one male writer assures us that," although dedicated from infancy to their profession, they in general preserve a decency and modesty in their demeanour, which are more likely to allure, than the shameless effrontery of similar characters in other countries;" we are told by another, that many Asiat.Journ.N.S.VOL.22. No. 85. E

of these performances are too indelicate to be described. It is possible that some classes of dancers may be much more decorous, both in their public performances and private conduct, than others, and it requires a very long residence in India, and a very intimate acquaintance with all castes of its natives, both Hindoo and Mohammedan, to be enabled to make these nice distinctions, and to decide upon the different degrees of respectability of the public performers of the country. The pagodas before-mentioned, with rich endowments, have lands attached to them, for the express purpose of affording a maintenance for the dancing-girls, whose business it is to nautch before the goddess, and by that means assist in attracting visitors to the temple. Should these women be detected in any improper acquaintance with strangers, they are immediately deprived of the advantages accruing from the revenues of the pagoda, and as the Brahmins are both jealous and vigilant, they are obliged to be very circumspect; hence arises the difference in manner and deportment observable between them and others apparently following the same profession. These women are only seen to advantage in some rich Hindoo court or city, where they make their appearance alone, and do not mingle with dancers of a different description. In Calcutta, for instance, although very large sums are expended upon the festival in honour of the goddess Kali, the spectacle varies considerably from that afforded by the more orthodox Hindoo, in the strongholds of their superstition. In Calcutta, performers of every denomination are admitted, Mussulmanee women, as well as the real worshippers of the goddess; these people, it may be supposed, must be of a very low class and very loose morality, since they can thus lend themselves to the assistance of idolatrous worship, and they are so considered by the whole population. Some difference of opinion exists regarding the respective merits of the Moslem and Hindoo corps dramatiques; many aver that the latter excel, especially in singing, and that their musicians are very superior, the young men brought up in the temples by the Brahmins being very carefully instructed: the Moslems, nevertheless, can boast vocal and instrumental performers of great merit.

In all parts of India, there are to be found tribes of vagabonds, under various denominations, who gain their living by the donations of an audience, whom their skill in amusing feats has attracted to their performances. The caste or tribe of Nhuts, known by the name of Bauzeegurs, are usually Mohammedans, that is, they affect to follow the doctrines of the Prophet, though in reality they have little or no religion at all; but there are others, supposed also to be of Gypsy origin, who, at least when they are amongst Hindoos, pretend to be guided by the dictates of Brahma, though it is said that they adopt any faith that may suit the peculiar occasion. These people sing, dance, tumble, and act occasionally in dramatic pieces; but there are a very superior set of performers to be found in the large native cities of the Upper Provinces, who are Mohammedans, and who go under the denomination of Bhááns. A company of these people will sometimes be attached to a regiment of the native irregular cavalry; Gardner's horse had one, and Colonel Skinner maintains a set at Hansi : they are often also in the pay of some rich nuwaub, who sends for them when he is either desirous of amusement himself, or has guests to entertain. The performances of these people seem to resemble very closely those of the old Italian pantomime, in which there were certain characters introduced, who improvised their parts. They are usually first-rate, as far as regards the talents necessary for their profession, or rather their double profession, of author and actor, being especially clever in hitting off peculiarities, either national or professional, of the people whose habits and manners they

have noted. The dialogue, though often exceedingly gross, is witty and pointed. The puns are innumerable, the Hindoostanee language being particularly adapted for ingenious plays upon words, double meaning, and droll associations, and to those who have made any progress in their study of the native dialects, these dramas afford instruction which it would be difficult to obtain by any other means. Sometimes two horse-dealers are brought upon the stage, who are at first very courteous to each other, but some awkward word dropping respecting the merits of their cattle, a dreadful quarrel arises, which is afterwards soothed down by a discovery that they are exposing themselves, and they part with the same politeness with which they met. Others of these extemporaneous pieces consist merely of intrigue, and they are fond of shewing their knowledge of the European character, and the style and conduct indulged in by the young civilians whom they have had an opportunity of caricaturing. These exhibitions are frequently ventured upon before the parties who are satirized, and if, as it is to be hoped, the picture is somewhat exaggerated, it is impossible not to admit that there is a good deal of truth and character in the delineation. The scene is a kutcherry, or hall, in which the European magistrates of India administer the law. One of the actors, dressed in the English costume, white jacket and trowsers, and a round hat, enters whistling and slapping his boots with a whip-methods of conducting themselves not uncommon with young men who enter the country with a thorough contempt for the natives, and have no idea of troubling themselves with the assumption of the gravity and dignified manner which would be more suitable to their office. A prisoner is brought in, charged with some crime; to which the judge pays no sort of attention, being occupied by a young girl, who appears as one of the witnesses. While the depositions are taking, he does nothing but ogle and make signs to this damsel, totally regardless of every thing else, and apparently indifferent as to the issue: at length, the principal servant of the judge comes in, and approaching his master with joined hands, and a countenance expressive of the most humble submission, whispers “ Sahib, Tiffin tiar hi." The judge immediately rises, and, as he is going away, the officers of the court enquire what is to be done with the prisoner. The dispenser of the law, turning round upon his heel, exclaims "Dhis eyes, hang him!" and then makes his exit, leaving the people in the greatest consternation. It will be seen from this description, how very sorry a figure the English gentleman is made to cut, and how exactly the actors of India have hit off the national vice, the disgusting habit of swearing, which, in all the countries visited by our brethren, has been brought against us as a characteristic. Joan of Arc declared that she would not sheath the sword until all the "God damns" (the name by which the English were commonly known) should be driven out of France; and in the last successful play, from the pen of a celebrated writer of the day, represented at Paris, the Prince Regent of England, who is one of the characters, enters with an exclamation of "God damn!" it is, therefore, but too certain that, wherever we go, we are distinguished and recognized by a habit which exposes us to the contempt of all those who have attained a state of civilization, while the more ignorant adopt the phraseology which has become so familiar to them: the negroes of the West-Indies and of Africa never speak two words of English without introducing an oath.

The Bhāāns, like all the other itinerant performers of India, are a depraved set of people, abandoning themselves to a dissolute life. They are the refuse of Mohammedanism, originally Hindoo slaves, who have been converted by

their masters, and who, having contracted matrimonial unions with the female children of the lower inmates of the zenana, have been adopted themselves into the families to which they are thus allied, and, therefore, claim to be called Moghuls, Patans, or Sheiks, the Syud being the only caste to which there can be no adoption, as a Syud must trace his lineage to the family of the Prophet. The natives take great delight in the dramatic entertainments represented by the Bhāāns, shewing, though in a covert manner, when Europeans are present, the enjoyment produced when these Christian strangers are made the subject of ridicule.

A very different description of performers are, however, sometimes attached to the native regiments of the irregular horse; these are Patans by descent, and are called Kurkhyt. They chaunt solemn battle-hymns, taking up a position on the parade, and animating the evolutions of the troopers by their invigorating strains. It is said that the lungs of these men are so powerful, that they will make themselves heard during a charge of a thousand horse, while in full gallop. They go into action with the regiment, and their presence, and the exciting nature of their heroic songs, produce a wonderful effect upon the soldiers, who rush upon their enemies with ten-fold ardour. These songs are styled kurkha, and are too powerful to be heard in a room; at a little distance, even in an adjoining apartment, they become very pleasing, being by no means destitute of melody, and having a solemn effect, which is elevating to the mind. The tribe is becoming rare, perhaps not more than one or two regiments now being able to boast a band of so unique a nature; they are, however, to be found in great Mussulman cities, where they assist at the festivals, in chaunting, particularly the Murseah and Mortem at the Mohurrum, in which professional people, possessing strong lungs and great powers of endurance, are employed to beat their breasts, and to shout forth, "Hossein! Houssein!" until their auditors are stunned. The Bhááns are also in great request at Mussulman festivals, especially at the Buckra Eade, in which all sorts of entertainments are going on.

In some families, the females are rigidly excluded from any participation in pastimes, which certainly are not always of a nature sufficiently decorous to form fitting spectacles for the sex; this kind of particularity does not, however, extend to all the establishments of persons of rank, the ladies, if unseen themselves, being allowed to witness entertainments, which, to say the best of them, are of very questionable tendency.

Amongst the numerous anomalies which we find in Asiatic society, none can be greater than those which relate to the treatment of the women. It is in many cases only considered necessary to seclude them from the public view, and to prevent them from having any personal intercourse with those of the other sex, who are not connected with them by the relationship of father, husband, or brother. Little or no care is taken to preserve the mind from contamination; it is a generally received opinion, that women are so thoroughly depraved, so intuitively profligate, that the sole chance of preventing them from open violations of rectitude, is to keep them under bolt and bar. The delicacy and refinement of mind and manners, which are the result of education, are consequently almost unknown, and when European gentlemen have been admitted to their presence, they have been surprized by the freedom of their conversation, and the familiar manner with which they talk of circumstances which are never alluded to by European, or, at least, by English ladies. The songs, tales, histories, in fact every thing connected with Asiatic amusements and literature, are, with few exceptions, more or less licentious, and

there can be little hope of any striking improvement in the Asiatic character, until the importance of the influence extended over Christian countries by the women, shall be fully recognized. Secluded as the Hindoo and Mussulmanee females are, at present, and protected, as it would at first sight appear, from all participation in the gross amusements of the men, the style of entertainment in which the latter indulge may seem of little consequence, since female purity is not outraged by the display. Experience, however, proves that it is impossible for one sex to be depraved without injury to the other, and that it is essential for the preservation of public decency of manners, and for the purity of private life, that women should give the tone to society; and, if we are ever destined in this world to advance to a more desirable state of public and domestic decorum, the improvement will be achieved solely by the women, who, with increase of power, will exercise a stronger degree of influence over the public mind.

Many Moslem families of distinction indulge in what may be termed private theatricals, in which the performers are the slave girls and inferior female domestics. These persons receive regular instructions from their infancy from adepts in the art, the teacher being usually an old woman, who has followed the profession all her life, and who is very well equal to the allotted task. The girls take different parts, according to the peculiar nature of their talents; some being the singers and dancers, others the musicians, the instruments consisting generally of a small drum and the guitars or lutes of the country, of which there are several varieties. As the latter are usually performed by men, the public dancing-girls being always attended by musicians of the other sex, a turban is assumed when the instruments are taken up, women in India never wearing a turban except upon such occasions. In addition to the singing and dancing, which are sometimes very good, these girls occasionally perform little pieces, similar to those of the Bhaans, in which they mimic any thing ridiculous which has passed under their immediate observation. For instance, in one family, a venerable old man had been admitted, as a teacher of music; this personage possessed very considerable talent, and might indeed have been called the Paganini of the East; he would not only catch immediately any European air that might be played before him, but execute it on his own violin, with the most beautiful variations; he had been an excellent singer in his day, and understood perfectly the whole art and mystery of the science, as it is practised in Hindostan. This man, of course, entertained a sufficiently good opinion of himself, and shewed off upon his instrument, with all the airs and graces which suited so accomplished a performance: he became, therefore, a favourite subject for the wicked wit of one of his pupils. With a piece of white tow for a beard, a turban on her head, and a shawl twisted about her, in the manner in which he was accustomed to wear one, this girl would imitate every look and gesture so completely to the life, as to convulse her auditors with laughter.

These and similar exhibitions form the amusements of the zenana, the master of the family being usually the only male who is present. Occasionally, however, notwithstanding the great strictness of Indian society, the friends, or rather the friend, of the husband, in spite of the prohibition against his sex, is admitted to these entertainments. This is a privilege seldom extended to more than one person, and it is, of course, presumed that he is fully worthy of the confidence thus reposed in him. European gentlemen have, in this manner, become well acquainted with the interior of native establishments, and this is more frequently the case in those marriages which sometimes occur

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