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The Poenta and Widjil have a way of singing the words out of each other's mouth which is vocally very amusing, especially in the scenes where they listen enraptured to a voice from heaven and prepare adulatory, submissive gestures to receive their master. If he is of the crazy type who generally represents the rival of the hero-rakshasa, king, or rich, foolish young man their subservience will be tinged with a willful idiocy which matches his own woolly-headed irrelevancies. One particularly brilliant scene of this sort was in a performance of Toean We, where the rich young man's lack of mental equilibrium was acutely indicated by his disorganized relation to space and to other human beings. He was always trying to readjust himself, enjoying a brief complacency, then falling off his pre carious balance.

There were admirable scenes also between him and the heroin Djasiman and her Inia. Semaon's ludicrous pretensions, his helpless and ridiculous efforts to discover or preserve his self-esteem, formed an amusing pattern with comic accents against the smooth, still beauty of the heroine's evolutions in space and the indignant rapid fluttering of her maid, as she wheeled about with swift, stylized steps and vivid gestures. One had the impression of a complicated beautiful pattern imposed on the elementary verbal humor.
It may be some time before the hero winds his way into the story and on to the stage, a counterpart of the heroine whom he has lost, alternating agitation and passive sorrow; drooping by turns in every part of the stage to weep, among long lovely lines of movement and slow wheeling turn

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