278 ON THE FEONTIEE. 



was no attempt at part-singing, but the natural difference 

 between the male and female voice had a good effect. 



The whole scene was bathed in a flood of tropical 

 moonlight; and the plaintive wail of the chant as it rose 

 and fell, the four lines of dusky figures swaying and undu- 

 lating to and fro, the dark solemn forest-trees framing in 

 the scene, and excepting the chant the complete still- 

 ness, sensibly affected the mind of the beholder. As the 

 dance continued, both it and the music increased in speed ; 

 the step forward and backward became longer and longer, 

 and the accompanying swayings of the body more de- 

 cided. By-and-by, the speed still increasing, two steps to 

 the front and as many back were taken; then more, and 

 still more, ultimately becoming a short run forward until 

 the two lines of women nearly met the two of men, with a 

 backward run of the same distance. The slight inclina- 

 tions forward and backward became almost prostrations, 

 and the still joined hands of the dancers were raised as 

 high as possible into the air, and then depressed almost to 

 the ground. 



The dance had slowly, gradually, and steadily increased 

 in rapidity and energy, from being a slight, quiet, dignified 

 motion to a wild bewildering rush a glancing kaleide- 

 scope of moving arms, legs, and swaying bodies. The effect 

 of the scene, even on a quiet spectator only there from 

 motives of curiosity, was like that of being under a spell. 

 One felt as if enchanted, under the influence of a narcotic, 

 or in a nightmare. The sure, steady, inevitable as it 

 seemed way in which accompaniment, chant, and moving 

 figures had imperceptibly progressed from placid slowness 

 to maddening speed, was absolutely fascinating. Continu- 



