Alas! the charm of these sounds is soon exhausted, and you begin to feel that they cut like knives through your brain. A horrid fancy haunts our bewildered heads; we imagine that the invisible artists strain our own veins, and not the strings of imaginary violins; their cold breath freezes us, blowing their imaginary trumpets, shaking our nerves and impeding our breathing. "For God's sake stop this, Takur! This is really too much," shouted the colonel, at the end of his patience, and covering his ears with his hands. "Gulab-Sing, I tell you you must stop this." The three Hindus burst out laughing; and even the grave face of the Takur lit up with a merry smile. "Upon my word," said he, "do you really take me for the great Parabrahm? Do you think it is in my power to stop the wind, as if I were Marut, the lord of the storms, in person. Ask for something easier than the instantaneous uprooting of all these bamboos." "I beg your pardon; I thought these strange sounds also were some kind of psychologic influence." "So sorry to disappoint you, my dear colonel; but you really must think less of psychology and electrobiology. This develops into a mania with you. Don't you see that this wild music is a natural acoustic phenomenon? Each of the reeds around us--and there are thousands on this island--contains a natural musical instrument; and the musician, Wind, comes here daily to try his art after nightfall--especially during the last quarter of the moon." "The wind!" murmured the colonel. "Oh, yes! But this music begins to change into a dreadful roar. Is there no way out of it?" "I at least cannot help it. But keep up your patience, you will soon get accustomed to it. Besides, there will be intervals when the wind falls." We were told that there are many such natural orchestras in India. The Brahmans know well their wonderful properties, and calling this kind of reed vina-devi, the lute of the gods, keep up the popular superstition and say the sounds are divine oracles. The sirka grass and the bamboos always shelter a number of tiny beetles, which make considerable holes in the hollow reeds. The fakirs of the idol-worshipping sects add art to this natural beginning and work the plants into musical instruments. The islet we visited bore one of the most celebrated vina-devis, and so, of course, was proclaimed sacred. "Tomorrow morning," said the Takur, "you will see what deep knowledge of all the laws of acoustics was in the possession of the fakirs. They enlarged the holes made by the beetle according to the size of the reed, sometimes shaping it into a circle, sometimes into an oval. These reeds in their present state can be justly considered as the finest illustration of mechanism applied to acoustics. However, this is not to be wondered at, because some of the most ancient Sanskrit books about music minutely describe these laws, and mention many musical instruments which are not only forgotten, but totally incomprehensible in our days."