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An adagio on the guitars, gradually increasing in volume, and in whichthe tap of the tomtom mingled like the rolling of distant thunder,opened the dance. Then came the sharp and yet mellow clack of thedancers' castanets, and finally the soft tones of the flute, blendingthe whole into harmony. The dancers seemed to follow and imitate bytheir action each change of the music: at first, and with wonderfulgrace and elegance, they fell into a group or tableau, their silkenscarfs, of transparent texture and bright and varied colours, floatingin the air like rainbows, behind which glanced the houri-like forms ofthe women. Presently the music glided from the adagio into the allegro;the steps of the dancers became quicker, their gestures more animated,the play of their limbs more voluptuous. With the exception of onecouple, every glance and movement of the performers seemed directed oraimed at the Caliph. This couple consisted of the most sylph-like andexquisitely formed of the four female dancers, and of a Persian warrior,who was pursuing her, and from whom she strove coyly to escape. Withadmirable grace and skill did these two figures detach themselves fromtheir companions, in order to continue a while their simulated flightand pursuit. The fairy feet of the fugitive scarcely touched the ground,and such charm and fascination were in her movements that the Caliphseveral times raised his eyelids and gave a grunt of approval. At eachof these indications on the part of the despot, the anxiety of the poorPersian seemed to increase till it bordered on despair, and so naturallywas this despair portrayed as to draw a loud bravo from the spectators:only the Caliph appeared insensible to the refined play of these elegantdancers. Once or twice, indeed, his dull eyes seemed to emit a ray ofanimal delight, but this quickly faded away; and even the triumph of thePersian, when his mistress finally fell panting and yielding into hisarms, was insufficient to rekindle it. 59ce067264
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