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.