Burma . is theinvariable scene, and its inmates the characters. T\\e. pwk is the readiest illustra-tion of the ways of royalty, the traditions of which it adheres to more tenaciouslythan did royalty itself Hero and heroine are prince and princess, and their retinuecourtiers. The countryman figures as jester or clown. The king is consistentlyidealised, and his deputies travestied. The name/te/i is applied to any kind offestivity ; the distinctive term for play-acting is zappwk. The play may be pro-duced- by men and women actorsor marionettes {yotthi). Zdt sig-nifies the history of an incarnatio
Burma . is theinvariable scene, and its inmates the characters. T\\e. pwk is the readiest illustra-tion of the ways of royalty, the traditions of which it adheres to more tenaciouslythan did royalty itself Hero and heroine are prince and princess, and their retinuecourtiers. The countryman figures as jester or clown. The king is consistentlyidealised, and his deputies travestied. The name/te/i is applied to any kind offestivity ; the distinctive term for play-acting is zappwk. The play may be pro-duced- by men and women actorsor marionettes {yotthi). Zdt sig-nifies the history of an incarnationof the Buddha ; in various of hisbirths he is a prince, as, for in-stance, in Wethandaya, the mostpopular and poetical of the Zdt,which has been translated intoEnglish by Mr. L. A. Goss. Thelegend, or an episode from thesame, furnishes the thread onwhich the romance of the play isstrung. The central interest isthe love of prince and princess;the stories are brought up to ssg. the characters in the 174 BURMA
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Keywords: ., bookcentury1900, bookdecade1900, bookidcu31, booksubjectethnology
