The Collected Works of Ambrose Bierce, Volume 8

o see in the dance a civilizing art, it can not be wholly unprofitable to glance at this polite accomplishment as it existed among the ancient

preacher-was accompanied by dancers male and dancers female. From the sculptures on some of the oldest tombs of Thebes it is seen that the dances there depicted did not greatly differ from those in present favor in the same region; although it seems a fair inference from the higher culture and refinement of the elder period that they were distinguished by grace

sing the while, and make a clapping with their hands. When they arrive opposite to any town on the banks of the stream they approach the shore, and while some of the women continue to play and sing, others call aloud to the females o

f dim conjecture; but from the hints that have come down to us like significant shrugs and whispers from a discreet past, w

nd women; sometimes together, more frequently in separate parties. The men seem to have confined themselves mostly to exercises requiring strength of leg and arm. The figures on the tombs represent men in lively and vigorous postures, some in attitude preliminary to leaping, others in the air. This feature of agility would be a novelty in the oriental dances of to-day; the indolent male spectator being sa

ire professionals to perform before him and his female and young. The she dancer usually habited herself in a loose, flowing robe, falling to the ankles and bound at the waist, while about the hips was fastened a narrow, ornate girdle. This costume-in

lanced on one foot, the arms and hands waving slowly in time to the music. In another dance, the pirouette and other figures dear to the bald-headed beaux of the modern play-house, were practiced in the familiar way. Four thousand years ago, the senses of the you

were commonly of the softer sex. Some of the attitudes were similar to those which drew from Socrates the ungallant remark that women were capable of learning anything which you will that they should know. The figures in this pas de deux appear frequently to have terminat

, herself, on the double-pipes, the guitar or the tambourine, while the familiar hand-clapping was done by attendants. A step not unlike that of the abominable clog dance of the "variety" stage and "music hall" of the present day consisted in striking the he

lative Punishing the tambourine or dara booka drum, and bearing branches of palm or other symbolic vegetables, these sprightly mourners passed through the streets with songs and