But when professed jugglers happened to be present, gentlemen were not long abandoned to their own resources for amusement. Trick followed trick in rapid succession. To the pantomimic dances, and the sword circle, succeeded the exhibition of the potter’s wheel, in which a young girl seated on this machine, like a little Nubian at a cow’s-tail in a _sakia_, was whirled round with great velocity,[770] but retained so much self-possession as to be able both to write and to read. These, however, were merely sources of momentary wonder. Other amusements succeeded capable of exciting superior delight, such for example, as the mimetic dance, which, like that of the ghawazi, could tell a whole story of love, of adventure, of war, of religious frenzy and enthusiasm, transporting by vivid representations the fancy of the spectators to warmer or wilder scenes, calling up images and reminiscences of times long past, or steeping the thoughts in poetical dreams, filled with the caverned nymphs, the merry Seileni, the frisking satyrs, Bacchos, Pan, the Hours, the Graces, sporting by moonlit fountains, through antique woods, or on the shelled and sand-ribbed margin of the ocean.[771] ----- Footnote 770: Xen. Conviv. vii. 3. Footnote 771: Plat. de Legg. vii. t. viii. p. 55. Bekk. Xen. Conv. vii. 5. ----- On some occasions a slight dramatic scene was represented. Clearing the centre of the banqueting hall, the guests ranged themselves in order as at the theatre. A throne was then set up in the open space, and a female actor, representing Ariadne, entering, took her seat upon it, decked and habited like a bride, and supposed to be in her Thalamos at Naxos. Dionysos, who has been dining with Zeus, comes flushed with Olympian nectar into the harem to the sound of the Bacchic flute, while the nymph who has heard his approaching footsteps makes it manifest by her behaviour that her soul is filled with joy, though she neither advances nor rises to meet him, but restrains her feelings with difficulty, and remains apparently tranquil. The god, drawing near with impassioned looks, and dancing all the while, now seats himself, and places the fair one on his knee. Then, in imitation of mortal lovers, he embraces and kisses her, nothing loth; for, though she hangs down her head, and would wish to appear out of countenance, her arms find their way round his neck and return his embrace. At this the company, we may be sure, clapped and shouted. The god, encouraged by their plaudits, then stood up with his bride, and going through the whole pantomime of courtship, not coldly and insipidly, but as one whose heart was touched, at length demanded of Ariadne if in truth she loved him. Sometimes the mimic scene concealed beneath it all the reality of passion. From personating enamoured characters, the youthful actor and his partner learned in reality to love; and what was amusement to others contained a deep and serious meaning for them.