strikes him with horror. The others—that is bad enough, and like to be paid for dearly if discovery—he trembles at the thought—should ensue. But the Sultana, his master’s wedded wife.... Panic seizes him, and with a frantic effort to assert the authority he has boasted, he refuses.
The fires of passion smouldering in the breast of Zobéide leap forth on the instant. A woman scorned or a woman denied—her fury is a thing few men, and least of all an emasculate poltroon, can face. A frightful paroxysm shakes the panting queen. Like a tigress baulked of her prey, she turns upon the grovelling creature who dares to thwart her thus, hardly restrained from flinging herself upon him. To a contest of wills so unequal one ending only is possible. The wretched eunuch cringes before this awful apparition of his royal mistress, all other terrors swamped by the urgency of present fear. The long crescendo of the music rises to a blaring climax as he flings wide the remaining door.
Palpitating with the vehemence of her expectant desires, Zobéide stands before the open portal, clutching her breasts, with eyes glued to the dim recesses beyond. There is a pause, which adds a new delicious torture to her thirsty cravings; then with agile bound, light-footed, there comes leaping towards her a young negro. Round his naked chest he wears a broad, gem-studded band of gold, that enhances the smooth and supple beauty of his dusky arms and neck. Great pearls are pendant from his ears, a golden turban is twisted round his head. His flowing pantaloons cover, but do not hide, despite voluminous folds, his perfect symmetry and grace.
Zobéide feasts her gloating eyes upon her favourite, holding herself back, as children with a box of sweets reserve the most coveted tit-bit to the last. But when he turns towards her she can contain herself no longer. She springs upon him, and clutching his head in both her hands, peers fiercely into his face. The slave, with lascivious grin, submits unresistingly; though he is the queen’s paramour, he is not the less her slave, her chattel. It is she who is the lover, and the slave knows his place. The episode has no savour of romance.
Full length upon the divan Zobéide flings herself, the dusky favourite usurping the place of her rightful lord. The hour for revelry has come, for reckless abandon to the impulse of the moment. Enters a retinue of youths and girls bearing fruits and other dainties upon gorgeous salvers. They pair among themselves, they dance, they bring a riotous infection into the atmosphere of languorous dalliance. The negroes and their fond mistresses are moved to join them, the silver and the copper ornaments gleaming amidst the whirl of multi-coloured draperies, as the fever of the dance increases. Springing from the couch, Zobéide’s favourite precipitates himself into the moving throng. Before his wild élan the utmost efforts of the others pale; with one accord they pause to watch with ecstasy the frenzied leaping of the peerless dancer. From her cushions Zobéide, too, is watching, the fierceness of her momentary restraint giving place of a sudden to an equal fierceness of abandon as she darts upon the object of her desires, and submits herself with him to the music’s intoxicating rhythm.
At length exhausted, they decline once more upon the silken cushions. The slave, emboldened, ventures now upon solicitations. But he is wary in the liberties he takes, fearful lest he go too far ere he has rightly gauged the mood of his imperious mistress. Cunning tells him there is peril in presumption.
One may interrupt the narrative here, perhaps, to comment on the subtlety of Nijinsky’s impersonation of the negro favourite. This is not a rôle in which his distinction as a dancer is revealed to its fullest, but in no other ballet is his genius as a mime more strikingly exhibited. One expects from Nijinsky originality in all
