seem scarcely indeed to rise beyond the rank
of those of the tribes of the Indian islands ;
and judging from a few translations of what
were said to be their best works, I have no
hesitation in pronouncing them singularly puerile
and jejune.
Siamese literature is naturally divided hi to
two classes—a profane and a sacred ; the one
written in the vernacular language, and the
other in the Bali. All composition in the vernacular
language is metrical, with the exception
of ordinary epistolary writing—a fact from
which it may be seen, that it is not utility or
instruction that is aimed at, but mere amusement
; and this, indeed, is a matter openly
avowed by the Siamese. A great variety of
different measures .are sai4 to be in use, and
even to be used in the same composition,—the
metre being varied so as to adapt itself to the
subject which is from time to time introduced.
The style of Siamese composition is simple,
and destitute of those strong metaphors and hyperbolical
forms of expression which are commonly
ascribed to Eastern languages. Brevity
is affected oy the Siamese in their compositions,
but by no means precision or perspicuity ; on the
contrary, they hint obscurely at, rather than express
their full meaning, and to a stranger, at
least, superficially examining their language,
there appears a studied ambiguity in all their
forms of expression. Their ambition, in fact,
is to mystify their ideas. I was told that our
downright, plain, and unmasked style, either in
speaking or writing, was viewed by them as
harsh, rustic, and undignified. This style is of
course derived from the manners and habits of
the people.
Siamese compositions consist of songs, romances,
and a few histories, or chronicles. The
first are usually in the form of a dialogue between
persons of opposite sexes, in which quaint
allusions are made, amusing to those who are
intimately acquainted with the idiom of the language.
The usual subject of them is love, or,
more corrdctly, intrigue. Some of them that are
sung in public, are said to be highly licentious ;
while their recitation is accompanied by gestures
which set modesty at defiance. Many of these
were sung in our hearing, during the festivities
which accompanied the tonsure of the Phra-
klang’s son; and, as already mentioned, were
followed by or alternated with the incantations
of the Brahmins, the hymns of the Talapoins,
the feats of tumblers and dancers, profane music,
and dramatic exhibitions.
The romances are stated to be upon an equality
with the other efforts of the Siamese intellect,
destitute of ingenuity, and crowded with
extravagant, supernatural, and incredible fictions.
The subject is usually the adventures in love