Despite the ban placed upon them, Persian dancers are wonderfully skilful, and capable of performing prodigies in their particular line. They dance to the accompaniment of an air chanted by a woman or a boy. The rhythm is slow, the tune languorous, and the action pantomimic, being made up of certain poses and movements which, seconded by an eloquent play of feature, strive to tell a story of some sort. The most popular and best known is the Dance of the Bee. The dancer pretends to have been stung, and pursues the insect with a thousand graceful turns and bends, divesting herself of her garments as she does so. She first appears upon the scene in the all-enveloping mantle common to her countrywomen out of doors. This removed, she is seen to be wearing a short skirt, pulled well down on the hips, a long-sleeved jacket of white muslin, cut low at the neck and open nearly all the way from the throat, and a little coat of brightly coloured silk, satin, or velvet. Her hair hangs in plaits, surmounted by a tiny embroidered cap perched high on the head. Finally she discards both coat and inner jacket, and reveals a body covered with tattoo marks, huge serpents writhing about the legs, and flowers, birds, and palms standing out prominently on the white flesh. Her bust is supported by round shields joined together in front and attached by a narrow band behind, and in her hands she manipulates a scarf with marvellous grace and dexterity. The costume of a Turkish dancer allows less freedom of movement, being more cumbersome and elaborate. The skirt reaches to the ankles, where it terminates in a deep hem headed by a fringe, and the little sleeveless jacket is fastened at the throat only, and opens over a chemisette. About the waist a fringed shawl is arranged in such a way as to suggest a circular frill, while a belt, held by a large clasp, is drawn low on the hips. A white veil is thrown over the turban and pinned under the chin with a jewelled brooch, concealing the hair and ears but leaving the face exposed, and on the feet are yellow slippers sewn with seed pearls. The Sword Dance of Bonnie Scotland has its Oriental prototype in the Dance of the Scimitar. The latter inspires a charming costume. A veil of diaphanous gauze falls cloud-like over the hair and face, and the white muslin chemisette, with its sleeve to the elbow, is drawn in below the waist with a coloured sash, a necklace composed of rows of gilt coins glittering on the bare throat. The ankle-length skirt is of heavier texture, draped with a fringed shawl drawn round the hips, knotted in front, and hanging in a point behind; while a scimitar is balanced on the head, a second being held in the right hand, the left resting lightly on the hip.