turban. "We must amuse his highness.
There are new Almas and Odalisques arrived. He will perhaps deign to
witness their performance."

And so saying, he approached the Caliph, for such was the high rank of
the personage whom the sitting Moslem was intended to represent, and
throwing himself prostrate on the ground, preferred his request.

A reply was returned in a sort of affirmative grunt, whereupon the
vizier arose in great joy, stepped back to his former place, and after
giving three distinct but not loud stamps upon the floor, retreated with
his companion into a corner of the room. Scarcely had he done so, when,
to the redoubled astonishment of the Mexican cavaliers, the
folding-doors again flew open, and four couples of dancers tripped in,
attired in costumes so rich and magnificent as to eclipse even that of
the Caliph. They were followed by four negroes, two of whom bore guitars
of Moorish make and appearance, the third the East Indian _tomtom_ or
drum, and the fourth the Persian flute.

For a brief space the eight dancers stood in mute expectation, awaiting
a signal to begin. This was given by a Brr! from the Sultan, who at the
same time vouchsafed to raise his head, and manifest an intention of
witnessing the entertainment offered him.

An adagio on the guitars, gradually increasing in volume, and in which
the tap of the tomtom mingled like the rolling of distant thunder,
opened the dance. Then came the sharp and yet mellow clack of the
dancers' castanets, and finally the soft tones of the flute, blending
the whole into harmony. The dancers seemed to follow and imitate by
their action each change of the music: at first, and with wonderful
grace and elegance, they fell into a group or _tableau_, their silken
scarfs, of transparent texture and bright and varied colours, floating
in the air like rainbows, behind which glanced the houri-like forms of
the 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 one
couple, every glance and movement of the performers seemed directed or
aimed at the Caliph. This couple consisted of the most sylph-like and
exquisitely formed of the four female dancers, and of a Persian warrior,
who was pursuing her, and from whom she strove coyly to escape. With
admirable grace and skill did these two figures detach themselves from
their c