Again verses were read or dialogues listened to in which extravagance
took the place of wit. After that Paris, the celebrated mime,
represented the adventures of Io, the daughter of Inachus. To the
guests, and especially to Lygia, unaccustomed to such scenes, it seemed
that they were gazing at miracles and enchantment. Paris, with motions
of his hands and body, was able to express things apparently impossible
in a dance. His hands dimmed the air, creating a cloud, bright, living,
quivering, voluptuous, surrounding the half-fainting form of a maiden
shaken by a spasm of delight. That was a picture, not a dance; an
expressive picture, disclosing the secrets of love, bewitching and
shameless; and when at the end of it Corybantes rushed in and began a
bacchic dance with girls of Syria to the sounds of cithara, lutes,
drums, and cymbals,--a dance filled with wild shouts and still wilder
license,--it seemed to Lygia that living fire was burning her, and that
a thunderbolt ought to strike that house, or the ceiling fall on the
heads of those feasting there.

But from the golden net fastened to the ceiling only roses fell, and the
now half-drunken Vinicius said to her,--"I saw thee in the house of
Aulus, at the fountain. It was daylight, and thou didst think that no
one saw thee; but I saw thee. And I see thee thus yet, though that
peplus hides thee. Cast aside the peplus, like Crispinilla. See, gods
and men seek love. There is nothing in the world but love. Lay thy
head on my breast and close thy eyes."

The pulse beat oppressively in Lygia's hands and temples. A feeling
seized her that she was flying into some abyss, and that Vinicius, who
before had seemed so near and so trustworthy, instead of saving was
drawing her toward it. And she felt sorry for him. She began again to
dread the feast and him and herself. Some voice, like that of Pomponia,