of such a frankly unflattering nature. ↑
188
This is hardly an accurate description of the temporary shed in which ma’iong people perform.
Seven among the Malays, as with other Orientals, is the mystic number. ↑
189
Selangor Journal, vol. ii. No. 26, pp. 423–429. ↑
190
If the performance is to last for more than one or two nights, a proper shed (bangsal) may be
erected. ↑
191
The third is for the Jin Puteh, or “White Genie,” and the fourth for the Jin Hitam, or “Black
(Earth) Genie.” ↑
192
The Malay account of this ceremony with the text of the charms used will be found in App.
ccxxiv. seqq. ↑
193
Vide J.R.A.S., S.B., No. 2, p. 163. ↑
194
J. D. Vaughan in J.I.A., quoted in Denys, Desc. Dict. of Brit. Mal., s.v. Puppet Shows. ↑
195
Vide App. ccxxxi. ↑
196
Even wild beasts, it is said, can be stopped in this way; see Beast Charms, p. 156, supra. ↑
197
Vide Eagle-wood tree, Camphor, Fishing, etc., supra. ↑
198
Defiance is intimated by a war-dance on the ramparts (pĕnglima bĕrsilat or bĕrentak di-atas
kubu). Cp. Begbie, Malayan Peninsula, p. 170. ↑
199
This legendary war of Tan Saban with the second king of Perak owes its origin probably to
mythological accounts of the wars of Salivahana and Vikramaditya, which Hindu settlers, not
improbably, brought to Malay countries. Saban is a natural corruption of Salivahana.
—J.R.A.S., S.B., No. 9, p. 94. ↑