|
Main
- books.jibble.org
My Books
- IRC Hacks
Misc. Articles
- Meaning of Jibble
- M4 Su Doku
- Computer Scrapbooking
- Setting up Java
- Bootable Java
- Cookies in Java
- Dynamic Graphs
- Social Shakespeare
External Links
- Paul Mutton
- Jibble Photo Gallery
- Jibble Forums
- Google Landmarks
- Jibble Shop
- Free Books
- Intershot Ltd
|
books.jibble.org
Previous Page
| Next Page
Page 60
Before three o'clock the large shed was invaded by the spectators,
comprising Europeans and natives, Chinese and Japanese, men, women
and children, who precipitated themselves upon the narrow benches
and into the boxes opposite the stage. The musicians took up a position
inside, and were vigorously performing on their gongs, tam-tams, flutes,
bones, tambourines, and immense drums.
The performance was much like all acrobatic displays; but it must be
confessed that the Japanese are the first equilibrists in the world.
One, with a fan and some bits of paper, performed the graceful
trick of the butterflies and the flowers; another traced in the air,
with the odorous smoke of his pipe, a series of blue words,
which composed a compliment to the audience; while a third juggled
with some lighted candles, which he extinguished successively
as they passed his lips, and relit again without interrupting
for an instant his juggling. Another reproduced the most singular
combinations with a spinning-top; in his hands the revolving tops
seemed to be animated with a life of their own in their
interminable whirling; they ran over pipe-stems, the edges of sabres,
wires and even hairs stretched across the stage; they turned around
on the edges of large glasses, crossed bamboo ladders, dispersed into
all the corners, and produced strange musical effects by the combination
of their various pitches of tone. The jugglers tossed them in the air,
threw them like shuttlecocks with wooden battledores, and yet they kept
on spinning; they put them into their pockets, and took them out
still whirling as before.
It is useless to describe the astonishing performances of the acrobats
and gymnasts. The turning on ladders, poles, balls, barrels, &c.,
was executed with wonderful precision.
But the principal attraction was the exhibition of the Long Noses,
a show to which Europe is as yet a stranger.
The Long Noses form a peculiar company, under the direct patronage
of the god Tingou. Attired after the fashion of the Middle Ages,
they bore upon their shoulders a splendid pair of wings;
but what especially distinguished them was the long noses
which were fastened to their faces, and the uses which they made of them.
These noses were made of bamboo, and were five, six, and even ten feet long,
some straight, others curved, some ribboned, and some having imitation warts
upon them. It was upon these appendages, fixed tightly on their real noses,
that they performed their gymnastic exercises. A dozen of these sectaries
of Tingou lay flat upon their backs, while others, dressed to represent
lightning-rods, came and frolicked on their noses, jumping from one to another,
and performing the most skilful leapings and somersaults.
As a last scene, a "human pyramid" had been announced, in which
fifty Long Noses were to represent the Car of Juggernaut.
But, instead of forming a pyramid by mounting each other's shoulders,
the artists were to group themselves on top of the noses.
It happened that the performer who had hitherto formed the base
of the Car had quitted the troupe, and as, to fill this part,
only strength and adroitness were necessary, Passepartout
had been chosen to take his place.
The poor fellow really felt sad when--melancholy reminiscence
of his youth!--he donned his costume, adorned with vari-coloured wings,
and fastened to his natural feature a false nose six feet long.
But he cheered up when he thought that this nose was winning
him something to eat.
He went upon the stage, and took his place beside the rest
who were to compose the base of the Car of Juggernaut.
They all stretched themselves on the floor, their noses pointing
to the ceiling. A second group of artists disposed themselves on
these long appendages, then a third above these, then a fourth,
until a human monument reaching to the very cornices of the theatre
soon arose on top of the noses. This elicited loud applause,
in the midst of which the orchestra was just striking up a deafening air,
when the pyramid tottered, the balance was lost, one of the lower
noses vanished from the pyramid, and the human monument was
shattered like a castle built of cards!
It was Passepartout's fault. Abandoning his position,
clearing the footlights without the aid of his wings, and,
clambering up to the right-hand gallery, he fell at the feet of
one of the spectators, crying, "Ah, my master! my master!"
Previous Page
| Next Page
|
|