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siAM.
small bits of^wood, extend from one end of the instrument
to the other, and are tuned by means of long
pegs. The performer, pressing his left hand on the
cords, strikes them at proper distances with the fore-
finger of the right. There is another instrument,
called khong-nong, the music of which is also very
pleasant. It consists of a series of small cymbals of
different sizes, suspended horizontally in a bamboo
frame, forming a large segment of a circle. It is
sometimes so large, that the performer may sit within
the circle of the instrument, his back being then
turned to the vacant space. The tones of this instrument
are very pleasing. It is usually accompanied by
the instrument called ran-nan; this is formed of flat
bars of wood, about a foot in length, and an inch in
breadth, placed by the side of each other, and disposed
so as to form an arch, the convexity of which is down-
wards. Both this and the last-mentioned instrument
are struck with a light piece of wood, or a small
mallet. In conclusion, we may observe, that there is
a very remarkable difference between the character of
their vocal and of their instrumental music, the former
being as plaintive and melancholy,
as the latter is
lively and playful."
The Siamese or T'bay language contains a great
variety of compositions. Their poems and songs are
numerous, as are their cheritras or romantic fictions,
which, in their general characteristics, resemble those
of the Birman, Rukheng, and Malaya tribes.* Many
of the Siamese princes have been celebrated for their
poetical powers. Their books of medicine are reckoned
* Dr. Leyden has given the titles of forty-one of the most popular
cheritras, The Rama-kien seems, he says, to be a version
of the Ramayana, and the greater part are obviously derived from
the Sanscrit through the Pali. Asiat. Ret., vol. x. p. 248.