HE Taus, or Peacock, also called Esrar or Mohur, according to the language of the tribe which uses it, is met with chiefly in Upper India, and is a favourite instrument of the Nautch musicians. It is always made in the form of a peacock, supporting on its back a long, narrow stringed instrument. The body and neck of the bird is usually carved and coloured, and is further adorned with natural plumage, sometimes neck feathers being used, sometimes those of the tail, and often both. There is a very fine specimen of the Taus in the British Museum, in the gallery where boats, weapons, and curious articles of native arts and crafts are exhibited. The Nautch people are found all over India, and are a striking instance of the survival of native customs in the East, and although Europeans see little more of them than an occasional party of singers and dancers, great numbers of the profession exist. In native national life the Nautch play a large part, and legend has a great deal to say about them. In their way these performers have a strong religious element, and dancers, whether Hindoo or Mohommedan, never begin their performances without touching forehead and eyes with the strings of bells hung round their ankles, and saying a short prayer. The Yotl. The Pungi or Jinagooi. Tying on the bells for the first time is quite a solemn function, as it implies adopting for ever the career of a Nautch dancer, from which no withdrawal is possible. A popular Hindoo story called 'Chandra's Vengeance,' tells of a youth who, hearing from a long distance the music of the Nautch, is irresistibly drawn towards it. After twelve days' journey he approaches the camp of the mysterious people, and there a beautiful girl dances up to him and throws a garland of flowers around him. At once a spell is woven, which is completed by a charmed drink, with the result that he forgets friends, family and country, and enters for ever into the Nautch community. Another legend tells of a Rajah, who was so enchanted with the weird music of the wandering people, that he followed it from country to country, forgetful of wife, child, and kingdom, his whole interest being taken up in beating the drum at performances. In time his baby boy grew into manhood, and set himself to seek his father, and restore him to his throne. After endless journeyings and adventures he at last found his royal parent, ragged but picturesque, taking part in a Nautch festival, and after much difficulty persuaded him to return home. There the wisest physicians exerted their skill to restore his memory of his former position, and their efforts being successful, he re-ascended the throne of his ancestors, and reigned many years, his wanderings with the Nautch people fading from his mind entirely. The same kind of little bells which are hung round the ankles of the Nautch dancers are used for more practical purposes by Indian post-runners, who tie In ancient days the Aztecs and Teztucans of Central America were wont to hang clusters of similar tiny bells outside temples and towers, which, as they were swayed by the wind, kept up a musical sound. One of these, found in Mexico, may be seen in the British Museum; it bears the name of Yotl. The actual bells, which are nearly round, are very similar to the Schellen, or horsebells, used in Northern Europe when driving sledges over the silent snow. The Pungi or Jinagooi is used by jugglers and snake-charmers all over India. A bottle-shaped gourd is the chief feature in its construction and forms the centre and mouthpiece. Two pipes of cane are cut to form reeds and inserted into the large end of the gourd; one, pierced with finger-holes, takes the melody; it is accompanied by the other, which always sounds the key-note, and produces a curious droning sound not unlike that of the bagpipes. |