It was not customary for the upper orders of Egyptians to indulge in this amusement, either in public or private assemblies, and none appear to have practiced it but the lower ranks of society, and those who gained their livelihood by attending festive meetings. The Greeks, however, though they employed women who professed music and dancing, to entertain the guests, looked upon the dance as a recreation in which all classes might indulge, and an accomplishment becoming a gentleman; and it was also a Jewish custom for young ladies to dance at private entertainments, as it still is at Damascus and other Eastern towns. The Romans, on the contrary, were far from considering it worthy of a man of rank, or of a sensible person; and Cicero says: "No man who is sober dances, unless he is out of his mind, either _when alone_, or in any decent society; for dancing is the companion of wanton conviviality, dissoluteness, and luxury." Nor did the Greeks indulge in it to excess; and effeminate dances, or extraordinary gesticulation, were deemed indecent in men of character and wisdom. Indeed, Herodotus tells a story of Hippoclides, the Athenian, who had been preferred before all the nobles of Greece, as a husband for the daughter of Clisthenes, king of Argos, having been rejected on account of his extravagant gestures in the dance. Of all the Greeks, the Ionians were most noted for their fondness of this art; and, from the wanton and indecent tendency of their songs and gestures, dances of a voluptuous character (like those of the modern Almehs of the East) were styled by the Romans "Ionic movements." Moderate dancing was even deemed worthy of the gods themselves. Jupiter, "the father of gods and men," is represented dancing in the midst of the other deities; and Apollo is not only introduced by Homer thus engaged, but received the title of "the dancer," from his supposed excellence in the art. Grace in posture and movement was the chief object of those employed at the assemblies of the rich Egyptians; and the ridiculous gestures of the buffoon were permitted there, so long as they did not transgress the rules of decency and moderation. Music was always indispensable, whether at the festive meetings of the rich or poor; and they danced to the sound of the harp, lyre, guitar, pipe, tambourine, and other instruments, and, in the streets, even to the drum. Many of their postures resembled those of the modern ballet, and the _pirouette_ delighted an Egyptian party four thousand years ago.