then to my feet, and watched him. He
gathered his feet as though to spring; he roared; his eyes flashed green
fire; his tail ceased to work laterally; it rose straight up over his
back and fell again. He was moving; he would charge. I screamed, turned
to fly--and fainted.

[Illustration: "They were playing with me as though I were a big
mouse."]

When I recovered, Thomson was kneeling at my side, explaining that he
had heard a lion roaring, and wondered whether I was in trouble. He had
started out in search of me, and presently, uncertain where to look for
me, providentially heard my first scream. He had hastened in the
direction of my call for help, and, as it seemed, arrived just in time.

'Have they gone?' I gasped. 'Where are the lions?'

'How many were there?' he laughed. 'There's one, anyway!'

It was his majesty, dead as a stone. What became of his royal consort
and her cubs I know not; we may meet them one of these days.

THE MUSIC OF THE NATIONS.

III.--MORE CURIOUS MUSICAL INSTRUMENTS OF INDIA.

[Illustration]

The 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.

[Illustration: The Taus, or Peacock.]

[Illustration: The Pungi or Jinagooi.]

Tying on the bells for the first time is quite a solemn funct