Kite-flying, which in Europe and America is the amusement of children exclusively, is here, as in China and Birmah, the pastime of both sexes, and all ages and conditions of people. At the season when the south-wind prevails steadily, innumerable kites of diverse forms, many of them representing gigantic butterflies, may be seen sailing and darting over every quarter of the city, and most thickly over the palace and its appendages. Parties of young noblemen devote themselves with ardor to the sport, betting bravely on results of skill or luck; and it is most entertaining to observe how cleverly they manage the huge paper toys, entangling and capturing each other's kites, and dragging them disabled to the earth.
Combats of bulls and elephants, though very popular, are not commonly exhibited at court. At certain seasons fairs are held, where exhibitions of wrestling, boxing, fencing, and dancing are given by professional competitors.
The Siamese, naturally imaginative and gay, cultivate music with great zest. Every village has its orchestra, every prince and noble his band of musicians, and in every part of Bangkok the sound of strange instruments is heard continually. Their music is not in parts like ours, but there is always harmony with good expression, and an agreeable variety of movement and volume is derived from the diversity of instruments and the taste of the players.
The principal instrument, the khong-vong, is composed of a series of hemispherical metallic bells or cups inverted and suspended by cords to a wooden frame. The performer strikes the bells with two little hammers covered with soft leather, producing an agreeable harmony. The hautboy player (who is usually a professional juggler and snake-charmer also) commonly leads the band. Kneeling and swaying his body forward and backward, and from side to side, he keeps time to the movement of the music. His instrument has six holes, but no keys, and may be either rough or smoothly finished.
The ranat, or harmonicon, is a wooden instrument, with keys made of wood from the bashoo-nut tree. These, varying in size from six inches by one to fifteen by two, are connected by pieces of twine, and so fastened to a hollow case of wood about three feet in length and a foot high. The music is "conjured" by the aid of two small hammers corked with leather, like those of the khong-vong. The notes are clear and fine, and the instrument admits of much delicacy of touch.
Beside these the Siamese have the guitar, the violin, the flute, the cymbals, the trumpet, and the conch-shell. There is the luptima also, another very curious instrument, formed of a dozen long perforated reeds joined with bands and cemented at the joints with wax. The orifice at one end is applied to the lips, and a very moderate degree of skill produces notes so strong and sweet as to remind one of the swell of a church organ.
The Laos people have organs and tambourines of different forms; their guitar is almost as agreeable as that of Europe; and of their flutes of several kinds, one is played with the nostril instead of the lips. Another instrument, resembling the banjo of the American negroes, is made from a large long-necked gourd, cut in halves while green, cleaned, dried in the sun, covered with parchment, and strung with from four to six strings. Its notes are pleasing.
The takhè, a long guitar with metallic strings, is laid on the floor, and high-born ladies, with fingers armed with shields or nails of gold, draw from it the softest and sweetest sounds.
In their funeral ceremonies the chanting of the priests is usually accompanied by the lugubrious wailing music of a sort of clarionet.
The songs of Siam are either heroic or amatory; the former celebrating the martial exploits, the latter the more tender adventures, of heroes.