The eagerness and keen enthusiasm with which the spectators receive all these primitive methods of dramatic representation, are conclusive proof that they are endowed with strong imaginations.
The "yeegai" is of a different character entirely. It is Malay in origin. The performers are all men or boys, and belong generally to the lower classes. Chorus and orchestra are not considered indispensable, the former being always absent, and the latter generally consisting of seven large drums. There is no posturing and fantastic dancing, but genuine acting. The old legends give way to more modern and original works of a strictly farcical character. The buffoonery is excellent, but the language is nearly always coarse. Current events are burlesqued, and foreign residents with pronounced mannerisms get caricatured.
Whatever be the play or wherever it be performed, luxuriously upholstered boxes and special incidental music are not required, for the story itself is of sufficient interest to the people to capture their hearts and minds without the assistance of any expensive and elaborate furniture.
[CHAPTER IX.]
OUTSIDE THE CAPITAL.
Within the limits of the crowded capital one can easily study closely the superstitions, the customs, and the ceremonies of the people. But if any idea is to be gained of the industries of the country, it is necessary to pass from the busy canals and the crowded highways into the wide plains beyond. In the busy city the Siamese are shopkeepers, policemen, postmen, soldiers and government officials. The mechanics and artisans are Chinese. There is no sign of any native industry, no weaving of cloth, tanning of leather or manufacture of anything beautiful or useful. The city is the mart; the goods that are sold therein are made or grown in other localities. Travel into the jungle or the field, and then you may find the native at work, earning his living, and spending his life in the most primitive manner. It may here be stated that it is not an easy matter to travel even a short distance in Siam, and very few of the foreign residents ever make a trip except for business purposes.
The journey to every place must be commenced by water, either in a house-boat or in a steamer. The house-boat is about eighteen feet long and four feet beam, and is rowed by a number of strong skilful boatmen. The number of men varies from two to eight according to the size of the boat. The man at the stern manages the rudder with his foot while he rows with his hands. All the men stand to their work, and row after the native fashion. In the centre of the boat is a small hut or cabin, which is about three feet high, so that its occupant can only lie therein. Standing or sitting is impossible, and the operations of dressing, washing and eating are performed under trying conditions. The deck planks are all removable, and under these must be stowed away sufficient clothing and provisions to last the traveller during the whole of his trip, for no matter where he travels, he can never replenish his larder or his wardrobe. The Chinese cook, who is an indispensable part of every expedition, sleeps and cooks at the back of the boat, in a space about three feet square. He shelters himself during the heat of the day with a big paper umbrella, and sleeps at night on the floor of his kitchen. He prepares his master's meals just as though he were surrounded with all the ordinary utensils supposed necessary in the practice of culinary art, and when they are ready, he acts as waiter and hands them into the cabin through a small window in the back. The traveller's limbs get very sore with constantly lying on a hard mattress; but he has little opportunity of taking exercise, for the jungle comes down to the water's edge in most places that are uninhabited. These house-boats are only used for inland journeys as they would soon be capsized in a rough sea.
