Presently the plaintive notes of the gingras, a small flute of Phoenician origin, replaced the tinkling bells. The attitudes of the dancing nymph now denoted overpowering lassitude. Her bosom heaved with sighs, and her whole being expressed profound languor, although it was not clear whether she sighed for an absent swain or was expiring of love in his embrace. With half-closed eyes and quivering form, she caused mysterious undulations to flow downward over her whole body, like rippling waves, while her face remained impassive and her twinkling feet still moved in their intricate steps.
Vitellius compared her to Mnester, the famous pantomimist. Aulus was overcome with faintness. The tetrarch watched her, lost in a voluptuous reverie, and thought no more of the real Herodias. In fancy he saw her again as she appeared when she had dwelt among the Sadducees. Then the vision faded.
But this beautiful thing before him was no vision. The dancer was Salome, the daughter of Herodias, who for many months her mother had caused to be instructed in dancing, and other arts of pleasing, with the sole idea of bringing her to Machaerus and presenting her to the tetrarch, so that he should fall in love with her fresh young beauty and feminine wiles. The plan had proved successful, it seemed; he was evidently fascinated, and Herodias felt that at last she was sure of retaining her power over him!
And now the graceful dancer appeared transported with the very delirium of love and passion. She danced like the priestesses of India, like the Nubians of the cataracts, or like the Bacchantes of Lydia. She whirled about like a flower blown by the tempest. The jewels in her ears sparkled, her swift movements made the colours of her draperies appear to run into one another. Her arms, her feet, her clothing even, seemed to emit streams of magnetism, that set the spectators’ blood on fire.
Suddenly the thrilling chords of a harp rang through the hall, and the throng burst into loud acclamations. All eyes were fixed on Salome, who paused in her rhythmic dance, placed her feet wide apart, and without bending the knees, suddenly swayed her lithe body downward, so that her chin touched the floor; and her whole audience—the nomads, accustomed to a life of privation and abstinence, the Roman soldiers, expert in debaucheries, the avaricious publicans, and even the crabbed, elderly priests—gazed upon her with dilated nostrils.
Next she began to whirl frantically around the table where Antipas the tetrarch was seated. He leaned towards the flying figure, and in a voice half choked with the voluptuous sighs of a mad desire, he sighed: “Come to me! Come!” But she whirled on, while the music of dulcimers swelled louder and the excited spectators roared their applause.
The tetrarch called again, louder than before: “Come to me! Come! Thou shalt have Capernaum, the plains of Tiberias! my citadels! yea, the half of my kingdom!”
Again the dancer paused; then, like a flash, she threw herself upon the palms of her hands, while her feet rose straight up into the air. In this bizarre pose she moved about upon the floor like a gigantic beetle; then stood motionless.
The nape of her neck formed a right angle with her vertebrae. The full silken skirts of pale hues that enveloped her limbs when she stood erect, now fell to her shoulders and surrounded her face like a rainbow. Her lips were tinted a deep crimson, her arched eyebrows were black as jet, her glowing eyes had an almost terrible radiance; and the tiny drops of perspiration on her forehead looked like dew upon white marble.
She made no sound; and the burning gaze of that multitude of men was concentrated upon her.
A sound like the snapping of fingers came from the gallery over the pavilion. Instantly, with one of her movements of birdlike swiftness, Salome stood erect. The next moment she rapidly passed up a flight of steps leading to the gallery, and coming to the front of it she leaned over, smiled upon the tetrarch, and, with an air of almost childlike naivete, pronounced these words:
“I ask my lord to give me, placed upon a charger, the head of—” She hesitated, as if not certain of the name; then said: “The head of Iaokanann!”
The tetrarch sank back in his chair as if stunned.
He had bound himself by his promise to her; and the people awaited his next movement. But the death that night of some conspicuous man that had been predicted to him by Phanuel—what if, by bringing it upon another, he could avert it from himself, thought Antipas. If Iaokanann was in very truth the Elias so much talked of, he would have power to protect himself; and if he were only an ordinary man, his murder was of no importance.
Mannaeus stood beside his chair, and read his master’s thoughts. Vitellius beckoned him to his side and gave him an order for the execution, to be transmitted to the soldiers placed on guard over the dungeon. This execution would be a relief, he thought. In a few moments all would be over!
But for once Mannaeus did not perform a commission satisfactorily. He left the hall but soon returned, in a state of great perturbation.
During forty years he had exercised the functions of the public executioner. It was he that had drowned Aristobulus, strangled Alexander, burned Mattathias alive, beheaded Zozimus, Pappus, Josephus, and Antipater; but he dared not kill Iaokanann! His teeth chattered and his whole body trembled.
He declared that he had seen, standing before the dungeon, the Angel of the Samaritans, covered with eyes and brandishing a great sword, glowing and quivering like a flame. He appealed to two of the guards, who had entered the hall with him, to corroborate his words. But they said they had seen nothing except a Jewish captain who had attacked them, and whom they had killed.
The fury of Herodias poured forth in a torrent of
