The green sward beneath our feet, as on all floors, prevents the unpleasant custom of stamping. Soon the walls moved in and out, portraying drama. A row of graded boys and girls also, carrying dolls in wickers that they stood up against the walls, bowed their heads and waved their hands in pantomime melody. Marching away, the boys carried the dolls.
We were quite diverted, laughed heartily, stamping on the sward floor, that produced no sound.
“We will tell Mae about this,” I remarked. “Let’s go home and send her here.”
We hurried to the palace to find her under a divan with her head out, though covered by the flowing robe of a doll (mother bunch) into which her hands had been made. Charley has to keep the people away, who are greatly mystified as interested, while he is asking questions, answered by bowing or head shaking of the sorceress.
Suddenly he answers for the doll in ventriloquism, from which they back in amazement.
When it is over and Mae released, so great is their awe of us, I seek to enhance it. I take my watch and convince them it is alive.
This quite overcomes them. I turn to see Charley, slowly at first, then swifter nod his head up and down, as tho’ some unusual resolve was engrossing his calculations, soon I find out. Coming around to me, he says: “I feel a call in my soul to initiate this people to serve our God. I will take this almighty dollar,” suiting in action, he goes through some wizard tricks.
We are tired before they. “Do tell us some more,” they ask.
The next day they are still curious, and keep us engaged in exhibit.
We advert to our railroads, telephones, etc., to their confusion, as we have no samples. Catching in their perplexity some similarity to their own achievements, they bring forward and strive to teach us how they move articles by a solution. Chairs and street cars in their wizard propulsion are solved.