Suddenly, however, at a signal from Cyrus, all the slaves simultaneously snuffed out the lamps along the walls, to the consternation of the always tense Clearchus and his captains. The callipygian beauties then danced wildly with flaming torches, threatening constantly to set the tent or the Spartans' long hair afire, but never failing to complete their intricate steps in perfect precision. The cheering for their performance was deafening. On their way out, they stepped delicately among the diners, seeking spare coins, pausing here and there to good-naturedly slap a wayward hand that had accidentally worked its way too high up a slender, brown thigh.
To the surprise of all, Clearchus then stood up with a serious expression, pounding the table with the flat of his hand for attention until all were silent. He expressed his thanks to Cyrus in a gravelly voice, and swaying slightly on his feet, moved seamlessly into what we soon perceived with dismay was a military harangue.
"Fellow officers: These girls have proven that they have no less natural ability than men, but lack only judgment and physical strength. No one who witnesses these amazing feats of swordplay and fire can deny that courage is a trait that can be taught, when these fragile girls throw themselves so daringly onto the sharp blades. Just so, we Spartans must also teach our troops, by rote if necessary, to heed the call to arms and to exhibit such courage that…"
Cyrus, exasperated at this unexpected and unwarranted interruption of his celebration, tossed a hunk of hard bread at Clearchus, striking him in the throat and stopping him in mid-harangue. The Spartan looked up, shocked at this violation of protocol and military solemnity, and peered fiercely through the darkness and haze of the tent in an attempt to see the source of the offense. Cyrus' cheerful voice rang out through the silence.
"Sit down, Clearchus, and shut up. Tonight I don't give a damn whether you are a Spartan general or my old grandmother. There is a time to show courage, and a time to be merry. No one questions your superiority in matters of war. But if you persist in demonstrating your inferiority in matters of sociability, I will not hesitate to throw you bodily out of the tent!" With this he clapped twice and two enormous Ethiopians stepped to his side, all but invisible in the dim light of the tent but for the whites of their eyes and gleaming teeth, who stared avidly at the astonished Clearchus. The men roared at this unprecedented slap to the fierce general, and he sat back down on his couch with a sheepish expression. The Spartan captains, unused to the quantities of wine they had been drinking, spontaneously broke out in a Spartan victory song, clumsily attempting to make up for Clearchus' awkward digression, and the musicians gamely accompanied them as the other officers joined in.
As the dancers and flute girls drifted back toward the rear entrance, Cyrus began looking expectantly toward the front, barely able to maintain his concentration. The officers' table conversation had resumed, and the tent was again filled with raucous laughter, the boasts and taunts of happy men. Finally, the prince was rewarded as the tent flap was pulled aside and Asteria stepped into the room, looking for all the world like Artemis or golden Aphrodite, her small lyre under one arm, her eyes cast demurely down to her feet, a shy smile on her face. She wore a diaphanous gown that allowed fleeting glimpses of her girlish profile as she passed in front of the lamps. Her waist-length black hair had been elaborately braided and coiled about her head, with an assortment of colorful feathers threaded through the locks, forming a lovely contrast to her bare, unadorned neck and arms. She was barefoot and wore only the lightest of rouge on her cheeks, for her naturally olive complexion already lent her a radiant glow in the lamplight. She was heart-breakingly young and beautiful, though the gentle swell and quiver of her breasts visible through the thin fabric of her backlit gown betrayed the fact that she was a grown woman, and one who was fully aware of the enervating effect she was having on the room.
A eunuch silently drew a low chair onto the carpet in the middle of the tent, gleaming in the torchlight with its inlaid whorls of silver and ivory. The master craftsman who had made it for Cyrus' ancestors centuries ago had added a low footrest under the seat, mortised into the very frame, a perfect design for a musician to rest a foot while plucking the lyre. Over it all was draped a heavy fleece for comfort. Asteria gently sat down on the magnificent chair, and the room went silent.
From the first, single pluck of the lyre's string she held the men captive and breathless, entranced by her beauty and by the sweet, crystalline purity of her voice. She fingered the instrument's strings almost randomly at first, as if searching for a motif or attempting to identify mood and pattern, then suddenly seemed to be completely absorbed by the music she was playing. Her fingers tumbled over the strings like a vessel floating down a current, pausing here and there to explore eddies and avoid shoals, picking up speed along the straight rapids and then vacillating over the still waters of a heavenly lake shimmering in the moonlight. The girl sang in flawless Greek, a love ode set to a melody undoubtedly of her own device, for it had elements of Persian intervals quite unlike what one might have heard sung in Athens, which were in striking counterpoint to the song's utterly Grecian mood and lyrics. Her face assumed an expression of such utter concentration as to be almost unbearable, like one of those ambiguous masks used in the theater, on which pleasure and anguish meet and coexist, seeming to break over each other alternately like waves against the outgoing tide. I was astonished to find, or perhaps I merely imagined, that as Asteria's gaze swept calmly about the room from man to man while she sang, it seemed to linger on me, so that I felt as if she were addressing me alone. No doubt every man felt the same, for she was trained in the ways of pleasing an audience, and what better measure of success than for each man to feel as if he had been the recipient of a private performance? Still, I was certain her gaze had stayed on mine longer than her childhood music instructors might have dictated.
There is an ancient Greek word, a strange and lovely word rarely used anymore in its earliest sense, which describes the gradual return of a vibrating lyre string to its point of rest and equilibrium after the instrument has ceased to sound. In modern times, a more sinister meaning has overtaken the original. As Asteria's last, sweet note died slowly into silence, calling this ancient word to mind, every man, slave and general alike, held his breath. Then looking up at us, she smiled shyly, stood quickly with a deferential nod to Cyrus, and skipped out the rear of the tent to join her companions. The men's conversation again began filling the room, though more subdued this time, as the raucous mood had been broken and reverie had taken its place. Once touched by the gods, it is difficult for a mortal to return so soon to the toils of the earth. The banquet broke up shortly afterwards, as each man excused himself, thanking the prince and pledging his own assistance in the forthcoming venture. Xenophon and I walked slowly back to our camp, each in our own silent thoughts, each undoubtedly thinking the same thing.
The word, my Muses prod; what is the ancient word I mentioned, with the two-faced meaning? A word connoting aspects of both art and brutality, life and death, beauty and terror, a strange word in its ability to encompass such things simultaneously, a word tragic in the loss of its benign significance in favor of one more searing. Such a word, so fitting in many ways to my own little tale, this word I gingerly lift and expose from its grave one last time, in the hope that its earlier meaning, that of a peaceful resolution of a gently sounding chord, might thereby not be forgotten without at least a wake.