When a man is bitten, his body becomes deadly cold, and every sign of life disappears. His breathing and pulse cannot be perceived at all. He loses consciousness and feeling and cannot even swallow. With judicious treatment the small spark of life still left may be preserved. For about ten days, however, the invalid remains very feeble, and then a slow improvement sets in. But as a rule the man dies, for in the Indian jungle help is seldom at hand, and the end soon comes. If the victim lies for two whole days as though dead, and yet does not actually die, it may be hoped that his body is throwing off the effect of the poison.
There are many extraordinary men in India. In Benares especially, but also in any other town, the shrivelled self-torturers called "fakirs" may be seen in the streets. They are stark naked save for a small loin-cloth. They are miserable and thin as skeletons, and their whole bodies are smeared with ashes. They sit motionless at the street corners of Benares, always in the same posture. One sits cross-legged with his arms stretched up. Try to hold your arms straight up only for five minutes, and you will feel that they gradually grow numb. But this man always sits thus. His arms seem to become fixed in this unnatural position. As he never uses them they wither away in time. Compared with his large head they might belong to a child. Another purposely extinguishes the light of his eyes by staring day after day straight at the sun with wide-open eyes.
Among the curiosities of India are also the snake-charmers. There are several varieties of them, and it seems difficult to distinguish exactly between them. Some appear to be themselves afraid of the snakes they exhibit, while others handle them with a remarkable contempt of danger. Some pull out the snake's poison fangs so that they may always be safe, while others leave them in, and then everything depends on the charmer's skill and dexterity and the quickness with which he avoids the bite of the snake. It frequently happens that the charmer is bitten and killed by his own snakes.
It is not true, as was formerly believed, that the snake-charmer can entice snakes out of their holes by the soothing tones of his flute and make them dance to his piping. The dancing is a much simpler affair. When the captured snake rears up and sways the upper part of his body to and fro, the charmer holds out some hard object, perhaps a fragment of brick. The snake bites, but hurts himself, and after a while gives up biting. Then the charmer can put his hand in front of the snake's head without being bitten. But when the snake is irritated he still assumes the same attitude of defence, swaying to and fro, and thus he seems to be dancing to the sound of the flute.
There are, however, some daring charmers who, by the strains of their instrument and the movements of their hands, seem to exercise a certain power over the cobra. They seem to throw the snake into a short faint or stupor, a kind of hypnotic sleep. The charmer takes his place in a courtyard, and the spectators gather round him at a safe distance. He has his cobra in a round, flat basket. The basket he places on the ground and raises the cover. Then he rouses and provokes the snake to make it lift up the upper part of its body and expand its hood with the spectacles. All the time he plays his flute with one hand. With the other he makes waving, mesmeric passes. The snake gradually becomes quiet and calm, and the charmer can press his lips against the scales of its forehead. Then the charmer throws it on one side with a sudden movement, for the snake may have waked up again and be just on the point of biting.
All depends on the charmer's quickness and his knowledge of the snake's disposition. The slightest movement of its muscles and the expression of its eyes is sufficient to indicate the snake's intentions to the charmer. It is said that an expert charmer can play with a freshly caught snake as easily as with an old one. The art consists in lulling the snake to sleep and perceiving when the dangerous moment is coming. During the whole exhibition the monotonous squeak of the flute never ceases. Courage and presence of mind are necessary for such a dangerous game.
Europeans who have seen these snake-men catch cobras say that their skilfulness and boldness are remarkable. They seize the snake with bare hands as it glides through the grass. This is a trick of legerdemain in which everything depends on the dexterity of the fingers and a quickness greater than that of the snake itself. The snake-catcher seizes the tail with his left hand and passes the right with lightning rapidity along the body up to the head, which he grips with the thumb and forefinger so that the snake is held as in a vice. Probably the trick consists in depriving the snake of support to its body with the left hand and producing undulations which annul those of the reptile itself.
When charmers go out to catch snakes they are always in parties of two or three. Some of them take with them antidotes to snake bites. If a man is bitten, a bandage is wound tightly above the wound and the poison is sucked out. Then a small black stone, as large as an almond, is laid on the wound. This absorbs blood and some at least of the poison. Adhering fast to the wound, it does not fall off until it has finished its work. That so many men die of snake bites is, of course, because assistance comes too late.
When the charmer begins to play with a cobra he fixes his eyes on it and never removes them for a second. And the same is true of the cobra, which keeps its eyes constantly on the charmer. It is like a duel in which one of the combatants is liable to be killed if he does not parry at the right moment. Still more watchful is a cobra when he fights with a mongoose. The mongoose is a small beast of prey of the Viverridæ family. It is barely as large as a cat, has a long body and short legs, and is the deadly enemy of the cobra. There is a splendid story in Mr. Kipling's Jungle Book of how a pet mongoose—"Rikki-tikki-tavi"—killed two large cobras.