of black hair, a red rose behind the left ear, is thrown back. The eyes
flash, there is a snakelike movement of the limbs, the music hastens
slowly in unison with the quickening pulse, the body palpitates, seems to
flash invitation like the eyes, it turns, it twists, the neck is thrust
forward, it is drawn in, while the limbs move still slowly, tentatively;
suddenly the body from the waist up seems to twist round, with the waist
as a pivot, in a flash of athletic vigor, the music quickens, the arms
move more rapidly to the click of the heated castenets, the steps are
more pronounced, the whole woman is agitated, bounding, pulsing with
physical excitement. It is a Maenad in an access of gymnastic energy.
Yes, it is gymnastics; it is not grace; it is scarcely alluring. Yet it
is a physical triumph. While the spectators are breathless, the fury
ceases, the music dies, and the Spaniard sinks into a chair, panting with
triumph, and inclines her dark head to the clapping of hands and the
bravos. The kneelers rise; the spectators break into chattering groups;
the ladies look at the dancer with curious eyes; a young gentleman with
the elevated Oxford shoulders leans upon the arm of her chair and fans
her. The pose is correct; it is the somewhat awkward tribute of culture
to physical beauty.

To be on speaking terms with the phenomenon was for the moment a
distinction. The young ladies wondered if it would be proper to go
forward and talk with her.

"Why not?" said a wit. "The Duke of Donnycastle always shakes hands with
the pugilists at a mill."

"It is not so bad"--the speaker was a Washington beauty in an evening
dress that she would have condemned as indecorous for the dancer it is
not so bad as I--"