full gamelan and a group of singers, in the same bright court livery, squatted in rows facing us at the far front of the hall, awaiting the signal to begin. The artists of the previous night, all the singers and musicians of the full topeng troupe, lifted up their voices to the tinkling, softly booming, sonorous airs of the gamelan and delighted us with a succession of chants throughout our stay. The young princes led us "down front," for the whole strange scene in which we found ourselves was very like a theater,—and, in the strong glare of the footlights of daylight, explained the several instruments of the native orchestra. Then in from the wings—"enter right," as the play-books would say—came a procession of servants, swinging racks of decanters and glasses, and bearing bowls of ice, trays of fruits, wafers, and sweets. Abject minions sidled over the floor, and mutely offered us iced wines or aërated waters, moving awkwardly about in the ignominious attitude of the dodok, like so many land-crabs. "Light-boys" crouched and crawled behind each smoker, handing cigars, holding burning punk-sticks, or extending trays to receive the ashes, maintaining their abject position during all our stay. One never gets used to this abasement of the dodok, often as he may see it; and after the first absurdity and humor of it wears off, it is irritating and humiliating to see one human being thus belittle himself before another. One suspects that there was more of fear than reverence in its first observance, and that it comes from centuries of tyranny and oppression rather than from any spontaneous expressions of humility and admiration. This group of household retainers, sidling
