"
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.
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