which the drumming has no sort of connection, for it increases and
diminishes in rapidity according to the pleasure or strength of the
player. I am sure a concert, such as I witnessed nightly, would cause a
sensation in New York, though I do not believe it would prove a lasting
attraction to cultivated audiences. I frequently got very weary of it,
and often slept during the performance without giving offence to my
hosts by my lack of appreciation. One night the entertainment was
varied by a dramatic performance that was exceedingly interesting.
There were three players, who walked about the arena and conversed,
occasionally passing off the stage, not by the right and left, but
stooping down and darting in and out of the door of the igloo, an
entrance two feet high and about the same width. As nearly as I could
understand, while outside in the dark the players saw some supernatural
horror, which on entering they would endeavor to explain to the
audience; but words failing to convey all they felt, they resorted to
pantomime, until at last one, who was more affected than the others,
came in and expired in the arms of his comrades. I was intensely
interested during this novel performance, and imagined I recognized
considerable histrionic ability on the part of the players.

[Illustration: ESQUIMAU PLAYING THE KI-LOWTY.]

During the daytime those men who were not out hunting engaged
in playing a game somewhat allied to gambling, which they call
"nu-glew-tar." A small piece of bone is suspended from the
roof by a line made of walrus hide, and a heavy weight dangles below
it to keep it from swinging. The bone is pierced with four small holes,
and the players, as many as choose to engage, stand around, armed with
sharp sticks, with which they jab at the bone, endeavoring to pierce
one of the holes. Some one starts the game by offering a prize, which