510 Mr. S. Davis on the Religious and Social 



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was performed entirely by the gylongs in their quadrangle of the palace. 

 In one of the lower galleries or virandas an orchestra was partitioned off 

 with silk curtains, where sat, upon a raised seat, thirteen gylongs dressed in 

 satin robes, with large embroidered caps, such as are worn by the Lamas, in 

 shape resembling a mitre. Lam-keb sat in the middle, and led the band, 

 beating time with cymbals, while each of the others struck with a bent iron 

 upon a drum which was held by an attendant standing behind. The 

 galleries and the sides of the quadrangle were crowded with spectators, 

 among whom was the Rajah witli his principal officers. A silk curtain was 

 hung across before the chapel door, from whence, as from behind scenes, 

 came out twenty figures fantastically but uniformly dressed, with broad 

 brimmed hats, not unlike shields, tied upon the head, bordered with black 

 fur and adorned with a high ornament or plume rising from the crown, 

 and with tassels of handkerchiefs of different colours, tied to the crown, 

 and hanging down low behind. Over the shoulders was a tippet of gold 

 and silver embroidery on the borders, and hanging half before and half 

 behind. The gown or vest was of satin, girded round the waist, with a 

 white iiandkerchief tucked in on each side. The sleeves were large, 

 widening from the shoulder downwards to the hand. Round both the 

 skirts of the gown, and the middle of the sleeves, was a broad stripe of 

 red, broidered with a narrower one of yellow. Fourteen of these figures 

 formed a circle, and the other five a smaller one within it; each person 

 carried a tabret in the left hand, which he beat with a bent iron, touching 

 it lightly first on one side, then on the other, as he danced about. The 

 motions practised by these dancers were chiefly throwing themselves round 

 upon one leg, at the same time tossing up the head, and flourishing with 

 the arms, then sinking with an inclination of the body as they came to the 

 ground. Every dancer kept his place, and the whole circle moving round 

 with uniform gestures as they touched the tabrets togetiier, their plumes and 

 handkerchiefs or streamers flying loosely in the air, had a theatrical effect. 

 After entertaining the spectators about half an hour in this way, they 

 danced in one after the other to the chapel, and disappeared. Some 

 of the audience then struck up a devout song, much in the style of our 

 church psalms, the verses being given out by an old gylong. 



The next dance was in masquerade. First came out a figure representing 

 the destroying power, whose visage is grimly enraged and surrounded with 

 skulls. To the former music were added deeper toned drums, with gruff 



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