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Here Rangda was convinced by a pause. In the same way, when Mantri Koripan, disguised by removing his head-dress, had to dance like Arjuna before the Galoeh Daha he merely moved as beautifully as Mantri Koripan. It was in his slightly parodied imitation of a Djanger that he gave his fancy scope.
A really good Ardja contains always some magnificent singing. Sometimes the grandest voice will be launched almost in an epilogue. Once when it seemed as if the last tear had been wept and the last joke cracked, and the covered platform where the actors sat before their entry had turned into a stage box filled with children, a new terrific voice broke upon us; the curtain was hastily drawn and withdrawn, the gamelan burst into life again with exciting drum accents, and a glorious figure made his slow wheeling entry with enormous, triumphant voice and gestures

The jaded spirits of the actors were let loose. A thunder of response rose from the stage, now damp with many split coconuts and trampled flowers; such a shouting at the rising sun can seldom have been heard. They burled their voices at each other like portents. What they said was: 'Who are you?' 'A man.' 'Whence come you?' 'From my house.' 'Where is your house?' 'Where it stands.' Sound and fury signifying nothing-except just the splendor of sound and fury.
It is only at Singaradja where Ardja must end at midnight that one can hope to have strength to sit through a whole performance. If one wants to get a general impression, and is familiar with a few Ardja stories, the best way is to watch two or three hours of the beginning one night, the middle of the play another, and to rise before the dawn to see daylight grow round the close of a thir

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