Aurangzíb was going to the mosque, he saw an immense crowd of singers following a bier, and rending the air with their cries and lamentations. They seemed to be burying some great prince. The Emperor sent to inquire the cause of the demonstration, and was told it was the funeral of Music, slain by his orders, and wept by her children. 'I approve their piety,' said Aurangzíb gravely: let her be buried deep, and never be heard again[1].' Of course the concerts went on in the palaces of the nobles, but they were never heard at Court. The Emperor seriously endeavoured to convince the musicians of the error of their ways, and those who reformed were honoured with pensions.
Even on every day occasions, when there were no festivals in progress, the Hall of Audience presented an animated appearance. Not a day passed, but the Emperor held his levee from the jharukhá window, whilst the bevy of nobles stood beneath, and the common crowd surged in the court to lay their grievances and suits before the imperial judge. The ordinary levee lasted a couple of hours, and during this time the royal stud was brought from the stables opening out of the court, and passed in review before the Emperor, so many each day; and the household elephants, washed and painted black, with two red streaks on their foreheads, came in their embroidered caparisons and silver chains and bells, to be inspected
- ↑ Kháfí Khán, in Elliot and Dowson, vol. vii. pp. 283-4; Catrou, Histoire générale de l'Empire du Mogol, Troisième Partie (1715), p. 5.
