there were frequent glimpses of a totally leafless tree upon whose innumerable twigs and branches a cloud of crimson butterflies had lighted—apparently. In fact these brilliant red butterflies were flowers, but the illusion was good. Afterward in South Africa, I saw another splendid effect made by red flowers. This flower was probably called the torchplant—should have been so named, anyway. It had a slender stem several feet high, and from its top stood up a single tongue of flame, an intensely red flower of the size and shape of a small corn-cob. The stems stood three or four feet apart all over a great hill-slope that was a mile long, and make one think of what the Place de la Concorde would be if its myriad lights were red instead of white and yellow.
A few miles down the mountain we stopped half an hour to see a Thibetan dramatic performance. It was in the open air on the hillside. The audience was composed of Thibetans, Ghurkas, and other unusual people. The costumes of the actors were in the last degree outlandish, and the performance was in keeping with the clothes. To an accompaniment of barbarous noises the actors stepped out one after another and began to spin around with immense swiftness and vigor and violence, chanting the while, and soon the whole troupe would be spinning and chanting and raising the dust. They were performing an ancient and celebrated historical play, and a Chinaman explained it to me in pidjin English as it went along. The play was obscure enough without the explanation; with the explanation added, it was opake. As a drama this ancient historical work of art was defective, I thought, but as a wild and barbarous spectacle the representation was beyond criticism.
Far down the mountain we got out to look at a piece of remarkable loop-engineering—a spiral where the road curves upon itself with such abruptness that when the regular train
