The performance ends with a prayer to Bhagavati, that she will shower every prosperity. Following close upon this, a variety entertainment is sometimes given by the Yatrakali Nambutiris. This old institution is still in great favour in British Malabar, and, as it has a religious aspect intertwined with it, it is not likely to be swept away by the unsparing broom of the so-called parishkarakalam or reforming age of modern India. "The Kathakali, or national drama of Malabar, is held in great esteem and favour by the Nambutiris. Most of them are conversant with the songs and shows relating to it, and severely criticise the slightest fault or failure. The Kathakali is more than three centuries old in Malabar, and is said to have been first brought into existence by a member of the ancient ruling house of Kottarakkara. As the earliest theme represented was the Ramayana, the Kathakali is also known as Ramanattam. A single play lasts for eight and even ten hours in the night. Kshatriyas, Asuras, Rakshasas, Kiratas (hunting tribes), monkeys, birds, etc., each has an appropriate make-up. The play is in dumb-show, and no character is permitted to speak on the stage. The songs are sung by the Bhagavatar or songster, and the actors literally act, and do nothing more. The Nambutiris love this antiquated form of theatrical performance, and patronise it to a remarkable extent. "There are a number of other recreations of an entirely non-religious character. The chief of these are called respectively seven dogs and the leopard, fifteen dogs and the leopard, and twenty-eight dogs and the leopard. Success in these games consists in so arranging the dogs as to form a thick phalanx, two abreast, round the leopard. Stones of two sizes are employed to represent the dogs and leopards, and the field is drawn on the ground. "The ezahmattukali, or seventh amusement, is said to have been so called from the fact of its being introduced by the seventh Nambutiri gramam of Kerala. It is a miniature form of Yatrakali, but without its quasi-religious character, and is intended to serve merely as a social pastime. The players need not all be Brahmans; nor is fasting or any religious discipline part of the preliminary programme. Sitting round the lamp as at the Yatrakali, and reciting songs in praise of Siva, the players proceed to the characteristic portion of the recreation, which is a kind of competition in quick-wittedness and memory held between two yogas or parties. One among them calls himself the Kallur Nayar and is the presiding judge. There is interrogation and answering by two persons, and a third proclaims the mistakes in the answers. There are two others, who serve as bailiffs to execute the judge's orders. Humorous scenes are then introduced, such as Ittikkantappan Nayar, Prakkal, Mutti or old woman, Pattar or Paradesa Brahman, and other characters, who appear on the stage and amuse the assembly."