impassioned beholders sit in long rows regarding the performance on the stage. The interior decoration of these theatres is sometimes very gorgeous. Each takeah has a patron, who takes care, for the sake of his own reputation, that the interior be suitably arranged. The one whose patron is the Shah, is, as might be supposed, the most magnificent of all. His Majesty assigns to the merchants of Tehran the honourable task of decorating the different portions of the royal takeah, and the merchants gladly respond, at their own cost, to the invitation.
His majesty and all the court are present at the different representations, and no cost is spared for the dresses of the actors or the illumination of the stage. So dear is this performance to the Persians that all classes contribute willingly of their wealth or their labour to render it successful. The experienced moollahs who are employed as stage managers may be seen hurrying through the town on their mules, going from one takeah to another to give the benefit of their experience. Singers lend their voices to swell the mournful chant. Little children are brought on the stage, and repeat their parts with surprising correctness, and with much feeling. The owners of the finest armour lend their glittering helmets and burnished coats of mail to deck the warriors of Yezeed. Carpenters work for nothing in constructing the tiers of seats for the audience, and soldiers come forward gladly to represent the contending hosts on the Arabian plain. If by any accident a man be killed during the performance of the Tazeeah it is considered that his soul goes directly to the regions of eternal bliss. If anything go wrong during the representation it is
