I may possibly have been unfortunate in my personal experiences of Indian jugglers, but I have never seen them perform any trick that was difficult of explanation. For instance, the greatly over-rated Mango trick, as I have seen it, was an almost childish performance. Having made his heap of sand, inserted the mango-stone, and watered it, the juggler covered it with a large basket, and put his hands under the basket. He did this between each stage of the growth of the tree. The plants in their various stages of growth were, of course, twisted round the inside of the basket, and he merely substituted one for another.
Colonel Barnard, at one time Chief of Police in Calcutta, told me a most curious story. We have all heard of the Indian "rope-trick," but none of us have met a person who actually saw it with his own eyes: the story never reaches us at first-hand, but always at second- or third-hand, exactly like the accounts one heard from credulous people in 1914 of the passage of the 75,000 Russian soldiers through England. No one had actually seen them, but every one knew somebody else whose wife's cousin had actually conversed with these mysterious Muscovites, or had seen trains with closely veiled windows rushing at dead of night towards London, crammed to overflowing with Russian warriors.
In the same way Colonel Barnard had never met an eye-witness of the rope-trick, but his policemen had received orders to report to him the arrival in Calcutta of any juggler professing to do it. At length one of the police informed him that a man able to perform the trick had reached Calcutta. He would show it on one condition: that Colonel Barnard should be accompanied by one friend only. The Colonel took with him one of his English subordinates; he also took with him his Kodak, into which he had inserted a new roll of films. They arrived at a poor house in the native quarter, where they were ushered into a small courtyard thick with the dense smoke arising from two braziers burning mysterious compounds. The juggler, naked except for his loin-cloth, appeared and commenced salaaming profoundly, continuing his exaggerated salaams for some little while. Eventually he produced a long coil of rope. To Colonel Barnard's inexpressible surprise, the rope began paying away, as sailors would say, out of the juggler's hand of its own accord, and went straight up into the air. Colonel Barnard kodaked it. It went up and up, till their eyes could no longer follow it. Colonel Barnard kodaked it again. Then a small boy, standing by the juggler, commenced climbing up this rope, suspended to nothing, supported by nothing. He was kodaked. The boy went up and up, till he disappeared from view. The smoke from the herbs smouldering in the braziers seemed almost to blot out the courtyard from view. The juggler, professing himself angry with the boy for his dilatoriness, started in pursuit of him up this rope, hanging on nothing. He was kodaked, too. Finally the man descended the rope, and wiped a blood-stained knife, explaining that he had killed the boy for disobeying his orders. He then pulled the rope down and coiled it up, and suddenly the boy reappeared, and together with his master, began salaaming profoundly. The trick was over.
The two Europeans returned home absolutely mystified. With their own eyes they had seen the impossible, the incredible. Then Colonel Barnard went into his dark room and developed his negatives, with an astounding result. Neither the juggler, nor the boy, nor the rope had moved at all. The photographs of the ascending rope, of the boy climbing it, and of the man following him, were simply blanks, showing the details of the courtyard and nothing else. Nothing whatever had happened, but how, in the name of all that is wonderful had the impression been conveyed to two hard-headed, matter-of-fact Englishmen? Possibly the braziers contained cunning preparations of hemp or opium, unknown to European science, or may have been burning some more subtle brain-stealer; possibly the deep salaams of the juggler masked hypnotic passes, but somehow he had forced two Europeans to see what he wished them to see.
On one occasion in Colombo, in Ceylon, there was an unrehearsed episode in a juggler's performance. I was seated on the verandah of the Grand Oriental Hotel which was crowded with French passengers from an outward-bound Messageries boat which had arrived that morning. A snake-charmer was showing off his tricks and reaping a rich harvest. The juggler went round with his collecting bowl, leaving his performing cobras in their basket. One cobra, probably devoid of the artistic temperament, or finding stage-life uncongenial to him, hungered for freedom, and, leaving his basket, glided swiftly on to the crowded verandah. He certainly occupied the middle of the stage at that moment and had the "spot-light" full on him, for every eye was riveted on the snake, and never was such a scene of consternation witnessed. Every one jumped on to the tables, women fainted and screamed, and the Frenchmen, for some unknown reason, all drew their revolvers. It turned out afterwards that the performing cobras had all had their poison-fangs drawn, and were consequently harmless.
Its inhabitants declare that Ceylon is the most beautiful island in the world. Those who have seen Jamaica will, I think, dispute this claim, though Kandy, nestling round its pretty little lake, and surrounded by low hills, is one of the loveliest spots imaginable. It is also the most snake-infested spot I ever set foot in.
The Colonial Secretary, Sir Hugh Clifford, whom I had previously met in Trinidad, had succeeded with some difficulty in persuading a band of "Devil Dancers" to leave their jungle fastnesses, and to give an exhibition of their uncanny dances in his garden; for, as a rule, these people dislike any Europeans seeing them engaged in their mysterious rites. The Colonial Secretary's dining-room was as picturesque in its setting as any stage scene. The room was surrounded with open arches, through which peeped the blue-velvet night sky and dim silhouettes of unfamiliar tropical growths; in the place of electric or mechanical punkahs, a tall red-and-gold clad Cingalee stood behind every guest waving continuously a long-handled, painted palm-leaf fan. The simultaneous rhythmic motion of the fans recalled the temple scene at the end of the first Act of Aida. We found the "Devil Dancers" grouped in the garden, some thirty in number. The men were all short and very dark-skinned; they wore a species of kilt made of narrow strips of some white metal, which clashed furiously when they moved. Their legs and chests were naked except for festoons of white shells worn necklace-wise. On their heads they had curious helmets of white metal, branching into antlers, and these headdresses were covered with loose, jangling, metallic strips. The men had their faces, limbs, and bodies painted in white arabesques, which, against the dark skins, effectually destroyed any likeness to human beings. It would be difficult to conceive of anything more uncanny and less human than the appearance of these Devil Dancers as they stood against a background of palms in the black night, their painted faces lit up by the flickering glare of smoky torches. As soon as the raucous horns blared out and the tom-toms began throbbing in their maddening, syncopated rhythm, the pandemonium that ensued, when thirty men, whirling themselves in circles with a prodigious clatter of metals, began shrieking like devils possessed, as they leaped into the air, was quite sufficient to account for the terror of the Cingalee servants, who ran and hid themselves, convinced that they were face to face with real demons escaped from the Pit.
Like all Oriental performances it was far too long. The dancers shrieked and whirled themselves into a state of hysteria, and would have continued dancing all night, had they not been summarily dismissed. As far as I could make out, this was less of an attempt to propitiate local devils than an endeavour to frighten them away by sheer terror. It was unquestionably a horribly uncanny performance, what with the white streaked faces and limbs, and the clang of the metal dresses; the surroundings, too, added to the weird, unearthly effect, the dark moonless night, the dim masses of forest closing in on the garden, and the uncertain flare of the resinous torches.
Amongst others invited to see the Devil Dancers was a French traveller, a M. Des Etangs, a singularly cultivated man, who had just made a tour of all the French possessions in India. M. Des Etangs was full of curiosity about the so-called "Sacred Tooth" of Buddha, which is enshrined in the "Temple of the Tooth," and makes Kandy a peculiarly sacred place to the Buddhist world.
The temple, a small but very picturesque building, overhangs the lake, and is surrounded by a moat, full of the fattest carp and tortoises I ever saw. Every pilgrim to the shrine throws rice to these carp, and the unfortunate fish have grown to such aldermanic amplitude of outline that they can only just waddle, rather than swim, through the water.