Glou! glou! glou! the crystal trumpets slowly repeat their notes, the powerful sonority of which has a labored and smothered sound, as though they came from under water; they mingle with the jingling of rattles and the noise of castanets. We also have the impression of being carried away in the irresistible swing of this incomprehensible gayety, composed in proportions we can scarcely measure, of elements mystic, puerile and even ghastly. A sort of religious terror is diffused by the hidden idols divined in the temple behind us; by the mumbled prayers, confusedly heard; above all, by the horrible heads in lacquered wood, representing foxes, which, as they pass, hide human faces,--hideous livid masks. In the gardens and outbuildings of the temple the most inconceivable mountebanks have taken up their quarters, their black streamers, painted with white letters, looking like funereal trappings as they float in the wind from the top of their tall flagstaffs. Hither we turn out steps, as soon as our mousmés have ended their orisons and bestowed their alms. In one of the booths a man stretched on a table, flat on his back, is alone on the stage; puppets of almost human size, with horribly grinning masks, spring out of his body; they speak, gesticulate, then fall back like empty rags; with a sudden spring, they start up again, change their costumes, change their faces, tearing about in one continual frenzy. Suddenly three, even four appear at the same time; they are nothing more than the four limbs of the outstretched man, whose legs and arms, raised on high, are each one dressed up, and capped with a wig under which peers a mask; between these phantoms tremendous fighting and battling take place, and many a sword-thrust is exchanged. The most fearful of all is a certain puppet representing an hag; every time she appears, with her weird head and ghastly grin, the lights burn low, the music of the accompanying orchestra moans forth a sinister strain given by the flutes, mingled with a rattling tremolo which sounds like the clatter of bones. This creature evidently plays an ugly part in the piece,--that of a horrible old ghoul, spiteful and famished. Still more appalling than her person is her shadow, which, projected upon a white screen, is abnormally and vividly distinct; by means of some unknown process this shadow, which nevertheless follows all her movements, assumes the aspect of a wolf. At a given moment the hag turns round and presents the profile of her distorted snub nose as she accepts the bowl of rice which is offered to her; on the screen at the very same instant appears the elongated outline of the wolf, with its pointed ears, its muzzle and chops, its great teeth and hanging tongue. The orchestra grinds, wails, quivers; then suddenly bursts out into funereal shrieks, like a concert of owls; the hag is now eating, and her wolfish shadow is eating also, greedily moving its jaws and nibbling at another shadow easy to