The Complete Works. George OrwellЧитать онлайн книгу.
then a cold putrid stench of dung or decay from the huts opposite Dr Veraswami’s bungalow. Drums were throbbing a little distance away.
As he heard the drums Flory remembered that a pwe was being acted a little further down the road, opposite U Po Kyin’s house; in fact, it was U Po Kyin who had made arrangements for the pwe, though someone else had paid for it. A daring thought occurred to Flory. He would take Elizabeth to the pwe! She would love it—she must; no one with eyes in his head could resist a pwe-dance. Probably there would be a scandal when they came back to the Club together after a long absence; but damn it! what did it matter? She was different from that herd of fools at the Club. And it would be such fun to go to the pwe together! At this moment the music burst out with a fearful pandemonium—a strident squeal of pipes, a rattle like castanets and the hoarse thump of drums, above which a man’s voice was brassily squalling.
‘Whatever is that noise?’ said Elizabeth, stopping. ‘It sounds just like a jazz band!’
‘Native music. They’re having a pwe—that’s a kind of Burmese play; a cross between a historical drama and a revue, if you can imagine that. It’ll interest you, I think. Just round the bend of the road here.’
‘Oh,’ she said rather doubtfully.
They came round the bend into a glare of light. The whole road for thirty yards was blocked by the audience watching the pwe. At the back there was a raised stage, under humming petrol lamps, with the orchestra squalling and banging in front of it; on the stage two men dressed in clothes that reminded Elizabeth of Chinese pagodas were posturing with curved swords in their hands. All down the roadway it was a sea of white muslin backs of women, pink scarves flung round their shoulders and black hair-cylinders. A few sprawled on their mats, fast asleep. An old Chinese with a tray of peanuts was threading his way through the crowd, intoning mournfully, ‘Myaypè! Myaypè!’
‘We’ll stop and watch a few minutes if you like,’ Flory said.
The blaze of lights and the appalling din of the orchestra had almost dazed Elizabeth, but what startled her most of all was the sight of this crowd of people sitting in the road as though it had been the pit of a theatre.
‘Do they always have their plays in the middle of the road?’ she said.
‘As a rule. They put up a rough stage and take it down in the morning. The show lasts all night.’
‘But are they allowed to—blocking up the whole roadway?’
‘Oh yes. There are no traffic regulations here. No traffic to regulate, you see.’
It struck her as very queer. By this time almost the entire audience had turned round on their mats to stare at the ‘Ingaleikma’. There were half a dozen chairs in the middle of the crowd, where some clerks and officials were sitting. U Po Kyin was among them, and he was making efforts to twist his elephantine body round and greet the Europeans. As the music stopped the pock-marked Ba Taik came hastening through the crowd and shikoed low to Flory, with his timorous air.
‘Most holy one, my master U Po Kyin asks whether you and the young white lady will not come and watch our pwe for a few minutes. He has chairs ready for you.’
‘They’re asking us to come and sit down,’ Flory said to Elizabeth. ‘Would you like to? It’s rather fun. Those two fellows will clear off in a moment and there’ll be some dancing. If it wouldn’t bore you for a few minutes?’
Elizabeth felt very doubtful. Somehow it did not seem right or even safe to go in among that smelly native crowd. However, she trusted Flory, who presumably knew what was proper, and allowed him to lead her to the chairs. The Burmans made way on their mats, gazing after her and chattering; her shins brushed against warm muslin-clad bodies, there was a feral reek of sweat. U Po Kyin leaned over towards her, bowing as well as he could and saying nasally:
‘Kindly to sit down, madam! I am most honoured to make your acquaintance. Good evening, Mr Flory, sir! A most unexpected pleasure. Had we known that you were to honour us with your company, we would have provided whiskies and other European refreshments. Ha ha!’
He laughed, and his betel-reddened teeth gleamed in the lamplight like red tinfoil. He was so vast and so hideous that Elizabeth could not help shrinking from him. A slender youth in a purple longyi was bowing to her and holding out a tray with two glasses of yellow sherbet, iced. U Po Kyin clapped his hands sharply, ‘Hey kaung galay!’ he called to a boy beside him. He gave some instructions in Burmese, and the boy pushed his way to the edge of the stage.
‘He’s telling them to bring on their best dancer in our honour,’ Flory said. ‘Look, here she comes.’
A girl who had been squatting at the back of the stage, smoking, stepped forward into the lamplight. She was very young, slim-shouldered, breastless, dressed in a pale blue satin longyi that hid her feet. The skirts of her ingyi curved outwards above her hips in little panniers, according to the ancient Burmese fashion. They were like the petals of a downward-pointing flower. She threw her cigar languidly to one of the men in the orchestra, and then, holding out one slender arm, writhed it as though to shake the muscles loose.
The orchestra burst into a sudden loud squalling. There were pipes like bagpipes, a strange instrument consisting of plaques of bamboo which a man struck with a little hammer, and in the middle there was a man surrounded by twelve tall drums of different sizes. He reached rapidly from one to another, thumping them with the heel of his hand. In a moment the girl began to dance. But at first it was not a dance, it was a rhythmic nodding, posturing and twisting of the elbows, like the movements of one of those jointed wooden figures on an old-fashioned roundabout. The way her neck and elbows rotated was precisely like a jointed doll, and yet incredibly sinuous. Her hands, twisting like snakeheads with the fingers close together, could lie back until they were almost along her forearms. By degrees her movements quickened. She began to leap from side to side, flinging herself down in a kind of curtsy and springing up again with extraordinary agility, in spite of the long longyi that imprisoned her feet. Then she danced in a grotesque posture as though sitting down, knees bent, body leaned forward, with her arms extended and writhing, her head also moving to the beat of the drums. The music quickened to a climax. The girl rose upright and whirled round as swiftly as a top, the panniers of her ingyi flying out about her like the petals of a snowdrop. Then the music stopped as abruptly as it had begun, and the girl sank again into a curtsy, amid raucous shouting from the audience.
Elizabeth watched the dance with a mixture of amazement, boredom and something approaching horror. She had sipped her drink and found that it tasted like hair oil. On a mat by her feet three Burmese girls lay fast asleep with their heads on the same pillow, their small oval faces side by side like the faces of kittens. Under cover of the music Flory was speaking in a low voice into Elizabeth’s ear, commenting on the dance.
‘I knew this would interest you; that’s why I brought you here. You’ve read books and been in civilised places, you’re not like the rest of us miserable savages here. Don’t you think this is worth watching, in its queer way? Just look at that girl’s movements—look at that strange, bent-forward pose like a marionette, and the way her arms twist from the elbow like a cobra rising to strike. It’s grotesque, it’s even ugly, with a sort of wilful ugliness. And there’s something sinister in it too. There’s a touch of the diabolical in all Mongols. And yet when you look closely, what art, what centuries of culture you can see behind it! Every movement that girl makes has been studied and handed down through innumerable generations. Whenever you look closely at the art of these Eastern peoples you can see that—a civilisation stretching back and back, practically the same, into times when we were dressed in woad. In some way that I can’t define to you, the whole life and spirit of Burma is summed up in the way that girl twists her arms. When you see her you can see the rice-fields, the villages under the teak trees, the pagodas, the priests in their yellow robes, the buffaloes swimming the rivers in the early morning, Thibaw’s palace——’
His voice stopped abruptly as the music stopped. There were certain things, and a pwe-dance was one of them, that pricked him to talk discursively and incautiously; but now he realised that he had only been talking like a character in