We went by invitation, on the sixth of March, to the house of the praklang’s brother, to attend the celebration of the feats given, in consequence of cutting the tuft of hair on his son’s head, which is done between the ages of ten and fifteen. The principal part of this evening’s entertainment was comic acting and posture dancing, which consists in graceful attitudes of the body, and in slow movements of the arms and legs, particularly of the former, even to the distinct motions of the hands and fingers. The actors consisted of a king and queen, and male and female attendants, amounting to a dozen, all glittering in gold and tinsel, barefooted and barelegged, their faces painted white, and having silver guards to their nails, not less than six inches long, pointed at the end, and recurvated: singing in rather a melancholy strain, not altogether unmusical. There were about a hundred beating sticks on a long board, which were changed occasionally for another stick, which, when struck, sounded like castanets: two drums beaten by the hands, trumpets, small horns, and an instrument called a ranat: it is made in Lao or Laos, of graduated pieces of bamboo, which give a sweet sound when struck with a sort of wooden hammer covered with pieces of coarse cotton thread: it has eighteen keys or bars, each fifteen inches long, two inches broad, strung together, and suspended over a wooden boat-shaped box; the top part being left open. There was another instrument also, the khong-nong; being a series of small cymbals in a bamboo-frame, forming a large segment of a circle. [Sidenote: THE PRIMA DONNA.]