or riders, who were frequently trodden under foot and killed on the spot; insomuch that they always took formal leave of their families before mounting for the hazardous encounter. In spite of their growing effeminacy, there was enough of the old savage Mughal blood in Aurangzíb's courtiers to make them delight in these dangerous and cruel exhibitions. Indeed, most of the spectacles that enlivened the Court were of a warlike character; and luxurious as were their habits, the petticoated Mughals could still be roused to valour, while no nation produced keener sportsmen.
In the jovial days of Jahángír and Sháh-Jahán, the blooming Kenchens or Nautch girls used to play a prominent part in the Court festivities, and would keep the jolly emperors awake half the night with their voluptuous dances and agile antics. But Aurangzíb was 'unco gude' and would as soon tolerate idolatry as a Nautch. He did his best to suppress music and dancing altogether, in accordance with the example of the Blessed Prophet, who was born without an ear for music and therefore hastily ascribed the invention of harmony to the Devil. The musicians of India were certainly noted for a manner of life which ill accorded with Aurangzíb's strict ideas, and their concerts were not celebrated for sobriety. The Emperor determined to destroy them, and a severe edict was issued. Raids of the police dissipated their harmonious meetings, and their instruments were burnt. One Friday, as
