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Their turns are always very slow and form an exquisite punctuation to their words and to the long smooth line of their progress round the stage. There is a curious rapid cadence of speech peculiar to the Inia in Ardja; her voice starting querulously high, slides down over more than an octave to end in a sort of indefinite flutter of sound, out of which it rises for the next phrase. The lady, who expresses herself only in singing, has a more level but equally distinctive cadence. From time to time, during their winding, balanced pattern, the lady will lean above her Inia weeping and lamentably wailing, wiping her eyes with the end of her stole, and dropping one arm along her bended knee with a despairing gesture.

She always has cause for despair or forebodings of disaster; she has had a bad dream, her lover is dead or has stolen away while she was asleep, she has been cast out into the forest, her little brother has mysteriously disappeared. They will confine themselves to generalized lamentations and poetic commonplaces, with much talk of flowers and gardens, for the particular story is probably still in doubt. They generally leave to gather more flowers.
An imposing male voice is now heard behind the curtain, and soon a superb apparition draws it aside and advances magnificent in a splendid robe of scarlet, purple and green, or other brilliant colors, covered with gold-leaf, and hung with glittering beaded collars. The Poenta and Widjil enter, like Dignity and impudence; soon we shall learn the subject of the pla

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