the topeng is the highest, the most classic and refined presentation, a lyric drama very like the No dance of Japan, and doubtless, like the No dance, had a religious origin. A topeng troupe has its dalang, or manager, who prompts, sometimes explains, and often delivers all the lines for the masked actors; and there is a gamelan, or orchestra, of four or more musicians, and a chorus which chants accompanying and explanatory verses as the action proceeds. Great princes maintain their own private topeng troupes, and in their palace presentations, and always in the presence of native royalties, the actors go without masks. The topeng's gamelan consists of two sets of the circles of tiny gongs (gong or agong, a pure Javanese word and instrument), that are struck with wooden sticks, and two wood and two metal gambang kayu (wood and metal bars of different length and thickness mounted on a boat-shaped frame), or native xylophones, to which single instrument the name "gamelan" is so often given in the West.
The common wayang-wayang of the people is a modification of the same masked or puppet drama that was in vogue long before the Mohammedan conquest. As the religion of Islam forbade the representation of the human figure, the susunhan ordered the puppets to be so distorted that the priests could not call them images of human beings, and that even then only their shadows, thrown on a curtain, should be seen. Hence the exaggerated heads, the beaks and noses, of the cardboard jumping-jacks which, pulled by unseen strings, serve to maintain an interest in the national history and legends, and by preludes and lines, chanted
