omes and presents
us to his friends. We can't understand all he says, for his English
at the best is not always intelligible, and he is now particularly
talkative and jolly: it is evident he has dined. There is a great
noise; every one is talking and laughing; and the talking is loud, for
it has to overcome the sounds made by sundry musicians seated at the
other end of the room, who are striking their tomtoms and singing a
most doleful chant. The baboo bustles about, and makes vacant for us
two sofas, the places of honor. Little marble tables are before them,
on which are placed wine, brandy and soda-water. The other guests
resume their seats along the two sides of the room on our right and
left. There are eight or ten men and two or three ladies; the ladies
very handsomely dressed. Lower down are several young girls in light
drapery, laughing, talking and smoking their hookahs. The fair sex
look rather scared and shyly at the foreigners, but some of the men
are evidently trying to reassure them. Order being at length restored,
our cheroots lighted and our iced brandy-pawnee made ready, the
performance recommences. The corps de ballet are not hired for the
occasion, but form part of the establishment of our friend the baboo.
One of the girls seated near the musician advances slowly, in time
with the music, to within a few feet of one of our sofas, and she
is followed by another, who places herself opposite the other sofa.
Others in the same way prepare to dance before the other guests. They
all stand for a moment in a languid and graceful attitude, the
music strikes up a fresh air, and each nautch-girl assumes the first
position of her dance. She stands with outstretched arm and hand,
quivering them, and allowing her body very slightly to partake of
the same movement. Her feet mark the time of the music, not by being
raised, but by merely pressing the floor with the toes. The action and
movement thus seem to run like a wave through the body, greatest where
it begins in the hand, and gradually diminishing as it dies away in
the foot. With a change of time in the accompaniment the girl drops
her arm, advances a step or two nearer the person before whom she is
dancing, and leans back, supporting her whole weight on one foot, with
the other put forward, and pressing against the floor the border of
her drapery.

In her hands she holds a little scarf, which serves to give a motive
to the action of the arms and head. The move