But besides the music heard on these extraordinary occasions, the singing of ballads coupled with the telling of stories is the common entertainment of the Circassian winter evening. Then when the large logs of oak blaze on the hearth of the apartment reserved in every house for the reception of guests, and the door of which remains hospitably open throughout the day, a little company is assembled at nightfall to while away with song an hour or two before retiring to rest. The professional minstrel, who is capable of extemporizing both words and melodies, may not be present, but there will be some one, perhaps an aged blind man, or a lad skilled in music beyond his fellows, who can touch the lyre. Any person, however, happening to be present, furore dulci plenes, is at liberty to volunteer a song.
It may be a humorous one, pointed with quaint wit, barbed with sarcasm, seasoned with homely proverbs, and acted out with singular powers of mimicry and even of ventriloquism. But more frequently it will treat of the adventures of the hunter or the traveller, and the still graver themes of war and love. If a solo, it will often be a rapid recitative, varied at short intervals by a few tenor and bass notes thrown in by three or four other voices, and producing an effect like the swell and fall of the organ. If a trio or quartette, there will still be added from time to time a heavy bass accompaniment, a sort of fugue, and in war-songs often resembling the moaning of the sea in a storm, or the wailing over the dead brought home from the battle field. Other ballads again will be more gay and lively, with responses executed by three different parties alternately. Let whatever be the theme and whoever the performers, as the song proceeds, and the feelings of all become wrought up to the highest pitch of enthusiasm by the recital of the great deeds done in battle, or gallant sacrifices dared in love, the voices of one or more of the listeners will be sure to break into the strain; the whole audience will join in the cheerful chirrup of hai-hai-cha! or the dirge-like wail of wai-wai-wai! and at the finale some deli-kan, inspired perhaps by the sight of maiden faces cautiously peering in at door or window, will scarcely be able to refrain from firing his pistol up the chimney, or even through the ceiling.
How untrue the representation that a people in whose hearts lives the love of songs like these are a race of freebooters! Listening constantly to the praise of heroes, whether famous in the legends of antiquity or still living surrounded with the respect of their fellows, the soul of the young warrior is early inspired with a love for war and glory. He, too, will be a hero. He will be the first in his district, the chief of his tribe, the praise of the mountains, and the terror of the plains. He therefore goes forth to distinguish himself in the fight, and bring home trophies of his prowess. If theft is held in esteem by the Circassian, as formerly by the Spartan warrior, it is so mainly for its adroitness, a quality so necessary in circumventing the enemy; and if he exults in stripping the discomfited Muscovite and Cossack of their arms and clothing, these are the tokens of his valor, and chiefly as such are prized by him.
XIV.
DANCES.
Schamyl, though from boyhood exhibiting in manners and character a certain degree of thoughtful gravity beyond his years, was, like all his countrymen, a dancer. Nor does the Circassian dance require, for the most part, any levity of disposition in the performer; some varieties of it being practised as a martial exercise, and with a decorum bordering on seriousness. In the war-dance the Lesghian, more particularly, is imperious in look as well as animated in action. He carries himself haughtily through all the evolutions, moving with equal grace and rapidity, keeping perfect time in his complicated steps, exhibiting an elasticity of tread, a suppleness of limbs, and a vigor of body truly astonishing; while at the same time the fierce earnestness of his countenance and his noble bearing are, as it were, a challenge to his enemies. Among European dances this warlike figure most resembles the highland fling of Scotland.
The dancing of the women appears tame and monotonous in comparison. Theirs is a slow movement, the principal charm of which is in its grace, and which requires for its execution a certain undulating motion of the body rather than any extra exertion of the feet and legs.
At all public festivals the two sexes always dance together. Generally after supping on roasted sheep or sodden kid, together with cakes of pastry and the aromatic honey, followed on the part of the male portion of the company by brimming bowls of mead, they form a ring on the greensward for their favorite pastime and crowning pleasure of the feast. The circle is often a very large one, with a bonfire in the centre during the evening. The daughters unveiled, are led down from their tents, situated a little apart on the hill-side, by their carefully muffled mothers, who with a prudence characteristic of them in other lands, also generally select from the candidates for the estate of matrimony such partners as may best suit both the present proprieties and the future possibilities of the case. Without a trifle of coquetry there is no dancing even in Circassia. The pipers then having taken their places, strike up a merry measure, to which moves gracefully round the whole circle. The beaux are expected to look grave as judges or the council ring itself, but the movement allows of a good deal of jamming and squeezing; so much so, indeed, that the fair ones are not unfrequently taken off their feet and borne around for short distances by the force of the pressure. When they touch the ground, however, their robes being short and their trowsers tightly fastened above the ancle, the movement of their feet, which are almost always pretty, is shown off to advantage.