He was clad in a fantastic costume of ribbons and dried grasses, not unlike the traditional Hawaiian dress. As he pirouetted, his skirts flared out about him; he carried an enormous tambourine, and upon his head he wore a conical hat of reeds, reminiscent of Robinson Crusoe in the pantomime. Leaping into the clear space in the centre of the room, he began a wild and noisy czardas, in time to the monotonous clapping of the audience.
De Richleau looked at him for a moment, and then away with a slight shrug. “This fellow will keep going for hours,” he said, impatiently. “He is, or would pretend to be, a Shamman from the Alti — that is, a sort of witch-doctor from the desolate Russian lands north of Mongolia, where the Tartar tribes still worship the spirits of their ancestors. I think we had better go — there is nothing for us here.”
But Simon was not listening; his shrewd eyes were riveted on the gyrating dancer. He was careful not to look at the Duke, not even to appear to speak to him, but he nudged him slightly, and, placing his hand casually before his mouth, whispered:
“Don’t you see? This is Jack Straw!!!”
VI — The Secret of the Mine
“You are right, my friend, you are right!” the Duke breathed back. “I am thankful you are with me; I should have missed this altogether!”
For a long time they sat in silence while the dancer leaped and spun, crashing his tambourine, and making his grass skirts swirl around him. They could not see his features, since he wore a hideous mask. He was a big, powerful man, but even so the terrific exertion caused little rivulets of perspiration to run down his neck and arms, and such parts of his body as were naked soon glistened with sweat.
Meanwhile the stale smoke collected and hung in stratus clouds beneath the rough-hewn beams of the low ceiling. No breath of air was allowed to penetrate from outside, and the atmosphere of the overheated room became almost unbearable.
At last, with a final leap and a crash of the tambourine, the dance was over; De Richleau threw some kopecks on the floor, and, catching the fellow’s eye, beckoned. The dancer picked up the money and came over to the table. The Duke said five words only, in Russian: “You will drink — sit down.”
It was not only the words he chose, but the accent which he put upon them, which made the man regard him with a sudden narrowing of the eyes; but De Richleau knew what he was about. He had purposely chosen the words and tone which a Russian aristocrat would have used in addressing an artiste who had pleased him in the days before the revolution; not the cordial invitation from one worker to another, in a state where all men are equal.