Page:Christiaan Snouck Hurgronje - The Achehnese Vol II. - tr. Arthur Warren Swete O'Sullivan (1906).djvu/274

 specially appertaining to this performance, but most of the common weapons of the country (rinchōng, sikin and gliwang) are also employed. The performer begins by making various half-dancing movements in unison with the time of the recitation, which continues without a pause; meanwhile he draws his weapon, which he regards from time to time with tender looks and even kisses, in sundry different directions along his hands and arms.

Presently he begins to stab and smite these extremities with (to all appearance) a certain amount of force, and finally attacks other portions of his body, maintaining all the time the same rhythmic movements. The skilful tricksters among the brethren draw a little blood perhaps but generally confine themselves to causing deep depressions in their skin with point or blade, apparently using great force, and so giving the impression that their skin is impenetrable. But actual believers not unfrequently go so far as to inflict deep wounds on their arms, hands or stomachs, to knock holes in their heads or to cut pieces off their tongues.

A rapaʾi representation which includes the sawaʾ ranté i.e. "throwing (red-hot) chains round the shoulders " is regarded as particularly complete. The performers seldom escape without burns, but even in this case there appears to be no lack of artificial devices which increase the efficacy of the incantations. Such for instance is the preliminary moistening of the body with lime-juice.

In connection with those pastimes with which we have been dealing so far we have only met with very simple musical instruments such as the rude tambourines known as rapaʾi. We must now turn our attention to Achehnese music properly so called.

We need only give a passing notice to the instruments used by