A shout from above them attracted their attention to a merry company which was coming down the mountain. It was the procession of the Dodola. Drought threatened to destroy the scanty grain growing in the narrow valleys, and the vines on the terraces cut out of the steep hills. According to an ancient custom, a young maiden had been taken by her companions into the woods, stripped of her usual garments, and reclothed in the leaves and flowers of the endangered vegetation. Long grasses and stalks of grain were matted in many folds about her person, and served as a base for artistic decoration with every variety of floral beauty. Her feet were buskined in clover blossoms. A kilt of broad-leaved ferns hung from her waist, which was belted with a broad zone of wild roses. White and pink laurel blossoms made her bodice. An ivy wreath upon her brows was starred with white daisies, and plumed with the stems and hanging bells of the columbine.
The Dodola thus appeared as the impersonation of floral nature athirst for the vivifying rains. Her attendants, who led her in a leash of roses, chanted a hymn, the refrain of which was a prayer to Elijah, who, since he brought the rain at Carmel, is supposed by the peasants of Albania to be that saint to whom Providence has committed the shepherding of the clouds. As the procession wound down the terraced paths between the houses, the Dodola was welcomed by the matrons of the hamlet, who stood each in her own doorway, with hair gathered beneath a cap of coins, teeth enameled in black, fingers tipped brownish-red with henna. The maidens sung a verse of their hymn at each cottage; and, at the refrain, the housewife poured upon the head of the leaf-clad Dodola a cup of water; repeating the last line of the chorus, "Good Saint Elias, so send the rain!"
As the Dodola paused before the konak, Amesa said, quite enthusiastically, and designing to be overheard by the fair girl who took the part of thirsting nature, "If Elias can refuse the prayer of so much womanly beauty, I swear, by Jezebel, that I shall hereafter believe, with the Turks, that the austere old prophet has become bewitched with the houris in paradise, and so does not care to look into the faces of earthly damsels."
"You may still keep your Christian faith, for the Dodola has won the favor of the Thunderer,"[57] replied the stargeshina. "Listen to his love-making in response to the witchery of that wild dove! Do you hear it?"
The distant murmur of a coming shower confirmed the credulity of the peasants.
"Yes, soon the Holy Virgin will turn her bright glances upon us,"[58] said he looking at the sky.
"Who is that wild dove who acts the Dodola?" inquired Amesa.
"The one I told you of, who has come into our neighbor's cot," replied the old man. "But only the sharp eyes of the crows saw where she came from. Did she not speak our tongue and know our ways as well as any of us, I should say she was one of the Tsigani who were driven out of the morning land by Timour.[59] Yet it may be that her own story is true. She says she had two lovers in her village; and these two were brothers in God, who had taken the vow before heaven and St. John to help and never to hinder each other in whatever adventure of love or brigandage, at cost of limb or life. But as the hot blood of neither of these lovers could endure to see this nymph in the arms of the other, it was determined that she should be slain by the hand of both, rather than that the sacred brotherhood should be broken. By her own father's hearth the two daggers were struck together at her heart. But the strong arms of the slayers collided, and both blows glanced. She escaped and fled, and came hither."
"And you believe this story?" asked Amesa, with a look of incredulity mingled with triumph, as of one who knew more than the narrator.
"I believe her story, noble Amesa, because—because no one has told me any other. But—" He shook his head.