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MICHAEL was held before the Emir's throne, at the foot of the terrace, his hands bound behind his back. His mother overcome at last by mental and physical torture, had sunk to the ground, daring neither to look nor listen.
"Look while you may," exclaimed Feofar-Kahn, stretching his arm towards Michael in a threatening manner. Doubtless Ivan Ogareff, being well acquainted with Tartar customs, had taken in the full meaning of these words, for his lips curled for an instant in a cruel smile; he then took his place by Feofar-Khan.
A trumpet call was heard. This was the signal for the amusements to begin. "Here comes the ballet," said Alcide to Blount; "but, contrary to our customs, these barbarians give it before the drama."
Michael had been commanded to look at everything. He looked. A troop of dancers poured into the open space before the Emir's tent. Different Tartar instruments, the "doutare," a long-handled guitar, the "kobize," a kind of violoncello, the "tschibyzga," a long reed flute; wind instruments, tom-toms, tambourines, united with the deep voices of the singers, formed a strange harmony. Added to this were the strains of an aerial orchestra, composed of a dozen kites, which, fastened by strings to their centers, resounded in the breeze like AEolian harps.
Then the dancers began. The performers were all of Persian origin; they were no longer slaves, but exercised their profession at liberty. Formerly they figured officially in the ceremonies at the court of Teheran, but since the accession of the reigning family, banished or treated with contempt, they had been compelled to seek their fortune elsewhere. They wore the national costume, and were adorned with a profusion of jewels. Little triangles of gold, studded with jewels, glittered in their ears. Circles of silver, marked with black, surrounded their necks and legs.
These performers gracefully executed various dances, sometimes alone, sometimes in groups. Their faces were uncovered, but from time to time they threw a light veil over their heads, and a gauze cloud passed over their bright eyes as smoke over a starry sky. Some of these Persians wore leathern belts embroidered with pearls, from which hung little triangular bags. From these bags, embroidered with golden filigree, they drew long narrow bands of scarlet silk, on which were braided verses of the Koran. These bands, which they held between them, formed a belt under which the other dancers darted; and, as they passed each verse, following the precept it contained, they either prostrated themselves on the earth or lightly bounded upwards, as though to take a place among the houris of Mohammed's heaven.
But what was remarkable, and what struck Alcide, was that the Persians appeared rather indolent than fiery. Their passion had deserted them, and, by the kind of dances as well as by their execution, they recalled rather the calm and self-possessed nauch girls of India than the impassioned dancers of Egypt.
When this was over, a stern voice was heard saying:
"Look while you may!"
The man who repeated the Emir's words--a tall spare Tartar-- was he who carried out the sentences of Feofar-Khan against offenders. He had taken his place behind Michael, holding in his hand a broad curved saber, one of those Damascene blades which are forged by the celebrated armorers of Karschi or Hissar.
Behind him guards were carrying a tripod supporting a chafing-dish filled with live coals. No smoke arose from this, but a light vapor surrounded it, due to the incineration of a certain aromatic and resinous substance which he had thrown on the surface.
The Persians were succeeded by another party of dancers, whom Michael recognized. The journalists also appeared to recognize them, for Blount said to his companion, "These are the Tsiganes of Nijni-Novgorod."
"No doubt of it," cried Alcide. "Their eyes, I imagine, bring more money to these spies than their legs."
In putting them down as agents in the Emir's service, Alcide Jolivet was, by all accounts, not mistaken.
In the first rank of the Tsiganes, Sangarre appeared, superb in her strange and picturesque costume, which set off still further her remarkable beauty.
Sangarre did not dance, but she stood as a statue in the midst of the performers, whose style of dancing was a combination of that of all those countries through which their race had passed--Turkey, Bohemia, Egypt, Italy, and Spain. They were enlivened by the sound of cymbals, which clashed on their arms, and by the hollow sounds of the "daires"--a sort of tambourine played with the fingers.
Sangarre, holding one of those daires, which she played between her hands, encouraged this troupe of veritable corybantes. A young Tsigane, of about fifteen years of age, then advanced. He held in his hand a "doutare," strings of which he made to vibrate by a simple movement of the nails. He sung. During the singing of each couplet, of very peculiar rhythm, a dancer took her position by him and remained there immovable, listening to him, but each time that the burden came from the lips of the young singer, she resumed her dance, dinning in his ears with her daire, and deafening him with the clashing of her cymbals. Then, after the last chorus, the remainder surrounded the Tsigane in the windings of their dance.
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Michael Strogoff -by- Jules VerneBottom Content goes here. Wikipedia content requires these links..... Wikipedia content is licensed under the GNU Free Documentation License.