A voyage at sea is undertaken without ships. One of the players crosses the stage, having a pole in imitation of a mast fastened to his chest. From the top floats the national flag, while pieces of thin cord are fastened from the same point to the neck and shoulders of the player to represent rigging. The passengers then embark by arranging themselves in two long lines behind the man with the pole. When they are all safely aboard, the stern of the vessel arrives and forms the tail end of the procession. He also bears a pole, a flag, and a quantity of string rigging, and attached to his back is a wooden rudder, the cords of which are held by the passenger immediately in front of him. They then sail away, rolling their supple bodies in time to the music, in imitation of the rolling motion of a vessel at sea. They cross the stage, pass out at one side, and re-enter at the other, time after time, as though they were trying to impress the audience with the tedious and protracted nature of their journey. The possession of a tin sword is a sufficient indication of a warrior; while a tall tapering crown is the symbol of monarchial authority. Occasionally there is a villain in the piece, who after some wicked deed, finds it necessary to conceal his whereabouts. This appears at first sight to be a very difficult matter, for the stage is absolutely bare of everything that could possibly afford the slightest concealment. The difficulty is soon surmounted. If he needs a wall behind which to hide himself, a bamboo screen with a hole in the middle is at once pushed on the stage in full view of the audience. He retires behind it, and the spectators then enjoy the comical sight of a hero seeking and finding not, while the villain amuses himself by watching through the hole in the screen the fruitless efforts made to discover his hiding-place. If he is supposed to be concealed in a wood, a banana leaf or a branch of a tree is handed to him, and he holds it with his hands in front of his face. Again the hero is disappointed in his search, and when tired out with his long and unrewarded exertions, he plucks fruit from off the branch behind which the villain is in safe retirement, the audience roars with delight. The eagerness and keen enthusiasm with which the spectators receive all these primitive methods of dramatic representation, are conclusive proof that they are endowed with strong imaginations.