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He sings perpetually with a loud sweet wailing voice, while his servants relate the action and fit in their brisk evolutions among his endless curves, always ready to sustain him when he falls afresh in tears. A marvellous scene of this kind was the grief of Abhimanyu in the graveyard, when he ha fled from Sundari's bedroom. The scene was a very long one, but with many dynamic variations and effective groupings; sometimes becoming almost crowded when Durga, her servants, and his own lift him up and lead him round. A small flute accompanied his windings and droppings, which were punctuated by violent dramatic events; the assault on Abhimanyu with a kris by Durga, dressed as the Limboer, her vehement dance as Rangda, and their final reconciliation, after he has proved that he is Arjuna's son by dancing before her. His dance was merely a slow grave posturing to the rhythmic imitation of a gamelan by the Poenta and Widjil. In the European ballet what pains would be taken about this dance!

All crouch, and kneeling continue the flapping movement with loud cries. They move uneasily from side to side, bend and rise with wings outspread; then lay their batiks on the ground and lift one arm and then another, gazing upwards with wild eyes. They turn continually in f.1heir crouched posture, uneasily wriggling; perhaps they are the hens laying eggs. Now they divide in two, and all face to the right, leaving a wide space in the middle, so that one group faces towards it and the other from it

A voice chants, and soon a penasar appears between the umbrellas, which are brought in with him and set up by the gateway. The kartala dances in rapid whirls between them and chases the penasar; there is the usual comic business between the clowns.

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