Yezeed, the infidel king, and Shemr, the actual slayer of the saint, are clad in gay attire, booted and helmeted, and, with shirts of chain-mail on, rant as do the heroes of a Surrey melodrama; but the language is effective, the action rapid, and the speeches, though often long, accompanied by vigorous pantomime. There are no actual acts, no scenery, no curtain, but as each scene terminates the actors leave the stage; and a long procession of horses, camels, and litters and biers, on which are carried the kotol (dummies) of the dead saints, enters with much noise, music, shouting, and drumming; followed and preceded by the volunteer mourners and breast-beaters, shouting their cry of Hous-s-e-i-n H-a-s-san, Houss-e-i-n H-a-s-san, and a simultaneous blow is struck vigorously by hundreds of heavy hands on the bared breasts at the last syllable of each name. Continual flourishes are played by the band, and the noise is deafening, the excitement contagious. The actors are mostly well up in their _rôles_; many of those sustaining the principal characters have come from Ispahan, where the tradition of the tazzia is handed down from father to son; and year by year they have played the mournful tragedy, making it a business as well as a religious act. They are fed, dressed, and paid by the Governor. The numerous bands of well-drilled supernumeraries who combat on the stage are eager volunteers. Each speaking actor carries his part written out on a small scroll on the palm of his hand, and calmly reads it when memory fails him. Each act lasts from two to four hours. The drama itself goes on for from a week to twelve days, and various interludes and acts of it are performed; the most popular being the wedding of Kasim, from the great amount of spectacle, the death of Houssein, the death of Ali Akbar, and the Dar. [Illustration: A ROSEH KHANA, OR PRAYER-MEETING. (_From a Native Drawing._)] This latter is more than usually comic, and relates to the supposed conversion and immediate martyrdom of a Christian ambassador; the former of which is effected by the sight of the head of Houssein. The deaths of the various saints (imams) are portrayed with a ridiculous minuteness, but so excited are the audience that they do not appear to cause amusement. Thus, on the death of Ali Akbar, he enters wounded and thirsty, and beats off some thirty assailants, then after a long speech exits; then enter more assailants; re-enter Ali Akbar, covered with arrows sewn on his clothing to the number of sixty or so. He puts his assailants to flight, killing several, is wounded, exit. Re-enter Ali Akbar, long speech; he has now only one arm, puts assailants to flight, speech, exit; re-enter _armless_, his sword _in his mouth_. Enter a murderer. They fight. The murderer is slain. Enter thirty assailants. At last Ali Akbar, after rolling up and down the stage, is killed, to the immense relief of everybody.