and they were equally mirth-provoking when they broke into a rough song and dance peculiar to chucklers (leather-workers) when more than usually intoxicated. When Kāma had finally declared his unalterable determination to engage in his contest with Siva — a point which was only reached after discussion almost as interminable as a dialogue of Euripides — the performers, and part of the audience, moved off in a procession, which slowly perambulated the town, and halted for prayer before the village temple. The 'stage wait' was filled up by some simple playing and singing by a few local amateurs. This brought on the climax of the tragedy. The Kāma stake, to give it an appropriate English name, was now ready. This was a slight stake or pole, a little above a man's height, planted among a few bricks, and made inflammable by a thatching or coating of cholum straw bound round it. The top of this straw pillar was composed of a separate sheaf. When all was ready, and the chorus had sung a strain expressive of grief at Kāma's doom, a rocket, representing Siva's fiery glance, shot along a string, and (with some external assistance) lighted the Kāma stake, thus closely following the procedure in an Italian church festival. The player who represented Kāma now retired into the background, as he was supposed to be dead, and the rest, hopping and dancing, circled slowly round the fire wailing for his fate. It seemed to be a matter of special import to the audience that the stake should be completely consumed. This was an omen of prosperity in the coming year. The funeral dance round the fire continued for a long while, and, when it was but a short time to sunrise, the mummers were still beating their breasts round the smouldering ashes. It seemed that, though some of the songs were composed for the occasion,
