Medea charmed the dragon by the melody of her voice. Herodotus mentions snakes being soothed by harmony; and Virgil, in the Æneid, says (translated by Dryden),
“His wand and holy words the viper’s rage
And venom’d wound of serpents could assuage.”
Even our own island, although serpents do not exist in it—a blessing for which, if we are to put faith in legendary lore, we have to thank St Patrick—has numberless legends and tales of crocks of treasure at the bottom of deep, deep lakes, or in dark and gloomy caves, in inaccessible and rocky mountains, guarded by a fierce and wakeful snake, a sleepless serpent, whose eyes are never closed, and who never for a second abated of his watchful care of the treasure-crock, of which he had originally been appointed guardian;[1] and, further, we are told how the daring and inventive genius of the son of Erin has often found out a mode of putting a “comether” on the “big sarpint, the villain,” and haply closing his eyes in slumber, while he succeeded in possessing himself of the hoard which by his cunning and bravery he had so fairly won; in other words, charming the snake and possessing himself of the spoil.
Having thus glanced at the antiquity and wide spread of serpent-charming, I shall proceed to lay before you a short description of the mode in which the spell is cast over the animals by the modern jugglers of Arabia and India.
Of all the Indian serpents, next to the Cobra Minelle, the Cobra Capella, or hooded snake (Coluber Naja), called in India the “Naig,” and also “spectacle snake,” is the most venomous. It derives its names of hooded and spectacle snake from a fold of skin resembling a hood near the head, which it possesses a power of enlarging or contracting at pleasure; and in the centre of this hood are seen, when it is distended, black and white markings, bearing no distant or fanciful likeness to a pair of spectacles. The mode of charming, or, at all events, all that is to be seen or understood by the spectators, consists in the juggler playing upon a flute or fife near the hole which a snake has been seen to enter, or which his employers have otherwise reason to suppose the reptile inhabits. The serpent will presently put forth his head, a portion of his body will shortly follow, and in a few minutes he will creep forth from his retreat, and, approaching the musician, rear himself on his tail, and by moving his head and neck up and down or from side to side, keep tolerably accurate time to the tune with which his ears are ravished.
After having played for a short period, and apparently soothed the reptile into a state of dreamy unconsciousness of all that is passing, save only the harmony which delights him, the juggler will gradually bring himself within grasp of the snake, and by a sudden snatch seize him by the tail, and hold him out at arms’ length. On the cessation of the music, and on finding himself thus roughly assailed, the reptile becomes fearfully enraged, and exerts all his energies to turn upwards, and bite the arm of his aggressor. His efforts are however fruitless; while held in that position, he is utterly incapable of doing any injury; and is, after having been held thus for a few minutes before the gaze of the admiring crowd, dropped into a basket ready to receive him, and laid aside until the juggler has leisure and privacy to complete the subjugation which his wonder-working melody had begun.
When charmed serpents are exhibited dancing to the sound of music, the spectators should not crowd too closely around the seat of the juggler, for, no matter how well trained they may be, there is great danger attending the cessation of the sweet sounds; and if from any cause the flute or fife suddenly stops or is checked, it not unfrequently happens that the snake will spring upon some one of the company, and bite him. I think that it will not be amiss if I quote the description of Indian snake-charming, furnished by a gentleman in the Honourable Company’s civil service at Madras, to the writer, who vouches for its veracity:—
“One morning,” says he, “as I sat at breakfast, I heard a loud noise and shouting among my palankeen bearers. On inquiry I learned that they had seen a large hooded snake (or Cobra Capella), and were trying to kill it. I immediately went out, and saw the snake climbing up a very high green mound, whence it escaped into a hole in an old wall of an ancient fortification. The men were armed with their sticks, which they always carry in their hands, and had attempted in vain to kill the reptile, which had eluded their pursuit, and in his hole he had coiled himself up secure, while we could see his bright eyes shining. I had often desired to ascertain the truth of the report as to the effect of music upon snakes: I therefore inquired for a snake catcher. I was told there was no person of the kind in the village, but, after a little inquiry I heard there was one in a village distant three miles. I accordingly sent for him, keeping a strict watch over the snake, which never attempted to escape whilst we his enemies were in sight. About an hour elapsed, when my messenger returned, bringing the snake catcher. This man wore no covering on his head, nor any on his person, excepting a small piece of cloth round his loins: he had in his hands two baskets, one containing tame snakes, one empty: these and his musical pipe were the only things he had with him. I made the snake catcher leave his two baskets on the ground at some distance, while he ascended the mound with his pipe alone. He began to play: at the sound of the music the snake came gradually and slowly out of his hole. When he was entirely within reach, the snake catcher seized him dexterously by the tail, and held him thus at arms’ length, whilst the enraged snake darted his head in all directions, but in vain: thus suspended, he has not the power to round himself so as to seize hold of his tormentor. He exhausted himself in vain exertions, when the snake catcher descended the bank, dropped him into the empty basket, and closed the lid: he then began to play, and after a short time raised the lid of the basket, when the snake darted about wildly, and attempted to escape; the lid was shut down again quickly, the music always playing. This was repeated two or three times; and in a very short interval, the lid being raised, the snake sat on his tail, opened his hood, and danced quite as quietly as the tame snakes in the other basket, nor did he again attempt to escape. This, having witnessed it with my own eyes, I can assert as a fact.”
I particularly request the attention of my readers to the foregoing account, as, from the circumstance of its having been furnished by an eye-witness, and a man whose public station and known character were sufficient to command belief in his veracity, it will prove serviceable to me by and bye, when I shall endeavour to disprove the ridiculous assertions of Abbé Dubois[2] and others, who hold that serpent-charming is a mere imposition, and assert, certainly without a shade of warranty for so doing, that the serpents are in these cases always previously tamed, and deprived of their poison bags and fangs, when they are let loose in certain situations for the purpose of being artfully caught again, and represented as wild snakes, subdued by the charms of their pipe. I shall, however, say no more at present of Dubois, Denon, or others who are sceptical on this subject, but shall leave the refutation of their fanciful opinions to another opportunity—my present purpose being the establishment of facts, ere I venture to advance a theory.