a nobleman's daughter, shall not we enjoy the pleasures attending upon rank and wealth?" Payta, on hearing this, considering that it would be wise to follow her advice, replied, "Women are by nature fertile in devices for the accomplishment of their ends; they are full of deceit, and their minds disposed to treachery. My life is like water in the hollow of the hand of this woman.* Therefore I will do as you desire.” "If you agree to my plan," answered she, "we must elope together, and live in some other part of the country; on this condition only will I trust you." To this also he consented, and she desired him to return to his place.

After this she sent for the rich man's daughter, and thus examined her. "My sister, the circumstances of your husband are humble, whilst the position and means of happiness enjoyed by this rich man's son are great. If you were to live with him, you would know no sorrow during the rest of your life; why then do you refuse?" She replied, "You, lady, are a woman, and so also am I; the nature of woman is like fruit upon a tree, and her husband is like the tree itself. The nature of fruit is this; first a shoot sprouts out, which gives forth

* His paramour,—either because she was his accomplice, and he feared that she might betray him, or because it occurred to him, that as she had suggested the means by which she had rid herself of her husband, she would not be wanting in an expedient to put himself out of the way hereafter, should she entertain the wish to do so, and would not scruple to use violent means, if necessary, to effect her purpose.

one or two leaves, and then grows into a branch; on the branch is formed a bud; this in time expands into a blossom, which changes into fruit; the fruit ripens, and then falls off, and is cast away among the refuse. Can the fruit be re-attached to the stalk from which it has fallen? or can a child, after it has once been born, re-enter its mother's womb from which it came forth?"*

When the nobleman's daughter had heard this she exclaimed, "Now I comprehend the treachery of which this woman has been guilty." So saying, she dismissed them all three, and having dictated to the secretaries all that each of them had said, and caused them to record it, she had it read to her father. He, rejoicing exceedingly, took the three parties to the suit before the King, and on questioning them [they confessed the truth].

The King thus passed sentence : "The servant Payta, not being the true husband, deserves to suffer death; nevertheless, I spare his life. The rich man's son turned merchant, who, although he had acquired vast wealth, would not break his troth, is the original husband. The rich man's daughter is also worthy of death, because she denied her husband; but, in consideration of her having indicated the truth, by the

* An elegant and touching picture of the lost and fallen state of a wife, who by her unfaithfulness has forfeited the love and respect of her husband, to which she feels her too late repentance can never hope to restore her.

metaphor of the ripe fruit, which after it has fallen from its stalk cannot be united to it again, and of the child, which having once been born, cannot re-enter its mother's womb, she is cautioned and released."

Then the nat's daughter, the guardian of the white umbrella, testified her approval, and the King made the nobleman's daughter his Queen.

Therefore let wise judges carefully consider and inquire into all cases of fraud, deceit, and treachery, before they pass a decision.

Another of their romances, called “Apau-radzabon," treats of the principles of political science, and shows peculiar shrewdness in many of its precepts. I will quote one of these precepts, and which may yet be applicable to the present great war raging between Russia and Turkey.

"Once upon a time two Kings, whose territories bordered on Burma, declared war against each other, and both had recourse for assistance to the Burmese monarch, who sent for the Minister, in whom he placed much confidence, for advice as to what he was to do under the circumstances; and which was given in the following manner :

In the presence of a countryman, who was working in his field, two cocks ran out of the jungle and commenced fighting together, and after continuing the combat for some time with great bravery and determination, they became so over

come with their exertions, that they became exhausted and could fight no longer, when he sprang upon them and seized them both. Do you therefore, O King! do likewise. Remain quiet. Let these two Kings fight with each other until their resources are exhausted, and then dictate peace to them, and annex such portions of their territories as your Majesty may desire.”

The drama in Burma is a national institution, exercising a wide-spread and powerful influence on the minds of the population: and one of the first impressions which strike a stranger is the universal passion that exists among the people for dramatic performances. It is a strange and curious sight to see the large crowds of Burmese assembled for the night to witness the performance of a pooay, or play, and the delight and perfect good order which they manifest. Their attention appears wholly absorbed by the performance, and the sympathy shown for distressed virtue, and rattling peals of laughter caused by the comic parts of the play, are very natural.

Except for the dresses of the actors and actresses, which appear rich and handsome, the mise-en-scène and stage accompaniments are rude and simple. A structure of bamboos, supporting a roof of trellis work, lightly thatched with grass, and picturesquely draped with bright-coloured silks and cloths, suffice

for a theatre. The stage is in the centre, and in its midst, around a green bough unhesitatingly accepted as a substitute for a wood scene, are grouped the footlights, consisting of earthen bowls placed on plantain stems, and fed with petroleum oil. Raised bamboo platforms, on one or more sides for distinguished visitors, supply the place of boxes; and pit and gallery are represented by the orderly crowd seated close together in a circle on the ground. At the back is the orchestra, and behind it the corps dramatique, surrounded with dragon wings, masks, and other stage properties, change their dresses, and have their "exits and their entrances."

The plots of the different plays bear a great resemblance to each other. The dramatis personae generally representing the adventures of a prince, first in quest of, and then in the courtship of a princess, a "heavy father" in the shape of a king, oppressively wise ministers, humble courtiers, and maids-of-honour for the princess. There are court receptions, processions, and dances as interludes. The prince is invariably accompanied by a servant, a loo-byet, or "sort of Shakespearian Lance," whose jokes with the maids-of-honour and others, often improvised, and bearing on matters of local gossip and scandal, give rise to peals of laughter. The tones and cadences of the Burmese language, giving a different meaning to words whose alphabetic