light. When singers are available the chorus is massed round the arena cleared for the dancers, and the added numbers greatly enhance the general effect.
A long-drawn chant is the signal for the beginning of the dance, in which a troupe of slave girls, splendidly attired, first perform. They presently seat themselves, and are joined by a group of warriors. To these more are added, and at the head of the band their captain places himself.
A tall, stalwart figure, the captain shakes his bow aloft and leads his men in the dance with all the furious bravura with which, one fancies, he would lead them into battle. There is first an amorous passage—a simulated courtship (or at least abduction!) when the braves steal softly up behind the expectant damsels, seize them, and lift them shoulder high in their arms. Then the Tartar girls mingle with the warriors, and as the dance proceeds it grows more fierce and animated, spurred on by the exultant war song defiantly chanted by the chorus of onlookers.
The appetite for vehemence increases, and a knot of young men dash impetuously forward, slapping their thighs resoundingly as they hurl themselves about with all the skill and daring of a practised acrobat. After them the bowmen dart once more into the fray—for fray by this time it has almost become. Their captain leaps and bounds before them, tossing his bow high into the air, catching it as it falls in mid-career, making as if to loose an arrow from the twanging string. The chanted chorus swells in a triumphant crescendo. The warriors, in strenuous emulation of their leader, goad themselves to still fiercer transports, until with a succession of mad rushes, rank upon rank of prancing legs and brandished arms, this wild barbaric display is brought to its terminating climax.
