SPORTS OF THE BURMESE.
Shortly after our arrival at Prome we had an opportunity of witnessing some boxing and wrestling matches, exercises which the Burmahs are very fond of, and which they pride themselves much on excelling in. The challenge is given by stepping to the front, and with the right hand slapping the left shoulder, at the same time taunting the opponent in order to excite him; the struggle does not last long, and when ended, no animosity remains between the parties.
Another amusement of the Burman youth deserves mentioning on account of its singularity. This is a game at ball, played by six or eight young men, formed in a circle; the ball is hollow, and made of wicker work; and the art of the game consists in striking this upwards with the foot, or the leg below the knee. As may be conceived, no little skill is required to keep the ball constantly in motion; and I have often been much entertained in watching the efforts made by the players to send the ball high in the air, so that it should fall within the limits of the ring, when it is again tossed by the foot of another. The natives of Hindostan are not acquainted with this game, but it is said to be common amongst the Chinese, Japanese, and other nations east of the Ganges. But by far the most favourite amusements of the Burmahs are acting and dancing, accompanied by music, which to my ear appeared very discordant, although occasionally a few rather pleasing notes might be distinguished. The principal instrument used in the Burman bands of music is the kiezoop, which is formed of a number of small gongs, graduated in size and tone on the principle of the harmonica, and suspended in a circular frame about four feet high and five feet wide; within which the performer stands, and extracts a succession of soft tones, by striking on the gongs with two small sticks. Another circular instrument (the boundah) serves as a bass; it contains an equal number of different-sized drums, on which the musician strikes with violence, with a view perhaps to weaken the shrill, discordant notes of a very rude species of flageolet, and of an equally imperfect kind of trumpet, which are usually played with a total disregard of time, tune, or harmony. Two or three other instruments, similar in principle to the violin, complete the orchestra. To Europeans, there was not much to admire in the sounds produced by these instruments; neither did our music appear to have many charms for the Burmahs, whom I have seen present at the performance of some of Rossini's most beautiful airs, and of different martial pieces, by one of our best regimental bands, without expressing, either by their words or gestures, the least satisfaction at what they heard.
In condemning, however, the Bunnaa instrumental music generally, I would observe, that some of the vocal airs have a very pleasing effect when accompanied by the Patola. This is an instrument made in the fantastic shape of an alligator; the body of it is hollow, with openings at the back, and three strings only are used, which are supported by a bridge, as in a violin.
I chanced one day to meet with a young Burman who had been stone blind from his birth, but who, gifted with great talent for music, used to console himself for his misfortune by playing on this species of guitar, and accompanying his voice. When I expressed a wish to hear him perform, he immediately struck out a most brilliant prelude, and then commenced a song, in a bold tone, the subject of which was a prophecy that had been current at Rangoon before we arrived. It predicted the appearance of numerous strangers at that place, and that two-masted ships would sail up the Irrawaddy, when all trouble and sorrow would cease! Animated by his subject, his voice gradually became bolder and more spirited, as well as his performance, and without any hesitation he sung with much facility two or three stanzas composed extempore.
Changing suddenly from the enthusiastic tone, he commenced a soft plaintive love-song, and then, after striking the chords for some time in a wild but masterly manner, retired. I confess I felt much interested in this poor fellow's performance, he seemed so deeply to feel every note he uttered, particularly at one time, when he touched upon his own misfortune, that it appeared Providence, in ordaining he should never see, had endowed him with this "soul-speaking" talent in some measure to indemnify him.
The Burmahs, generally speaking, are fond of singing, and, in some instances, I have heard many very good songs. The war-boat song, for example, is remarkably striking. The recitative of the leading songster, and then the swell of voices when the boatmen join in chorus, keeping time with their oars, seemed very beautiful when wafted down the Irrawaddy by the breeze; and the approach of a war-boat might always be known by the sound of the well-known air.
I have sometimes heard a trio sung in parts by three young girls, with a correctness of ear and voice which would do credit to others than the self-taught Burmahs. Many little songs, amongst others that commencing "Tekien, Tekien," were composed and sung by the Burman fair in compliment to their new and welcome visiters, the white strangers; but these, of course, are long since consigned to oblivion, unless they recollect with pleasure
—"The grateful breath of song,
That once was heard in happier hours;"
for it is very certain that the Bunnahs considered themselves quite happy, when enjoying the transient glimpse of liberty, and the advantages of a just government which were offered them during the short stay of the British army at Prome.
The Burman plays do not appear to be remarkable for the number of their dramatis personæ. In most there is a prince, a confidant, a buffoon or two, and a due proportion of female characters, represented by boys dressed in female attire. The dresses are handsome; and in one which I attended, the dialogue appeared to be lively and well supported, as far as I can judge from the roars of laughter which resounded from the Burman part of the audience. One sentimental scene, in which the loving prince takes leave of his mistress, and another where, after much weeping and flirtation, she throws herself into his arms, were sufficiently intelligible to us; but some, in which the jokes of the clown formed the leading feature, were quite lost upon those who did not understand the language. The place chosen for the representation was a spot of ground outside of our houses, the heat being very great; and here a circle was formed of carpets and chairs, lighted by torches dipped in petroleum, which threw a brilliant flare around, though accompanied by a most unpleasant odour.
Dancing succeeded, and one or two young women were the performers; like the Hindostanee Nautch, it merely consisted in throwing the body and arms into numerous graceful and rather voluptuous postures; at the same time advancing slowly, with a short steady step, and occasionally changing it for a more lively figure.
All this time the drums, cymbals, and clarionets were unceasing in their discordant sounds, and, before long, fairly drove me from the field.
Two Years in Ava.