On the wedding-day Alexander feasted the eighty bridegrooms in a magnificent hall prepared for the purpose.  Eighty separate couches were placed for the guests, and on each a magnificent wedding-robe for every individual.  At the conclusion of the banquet, and while the wine and the dessert were on the table, the eighty brides were introduced; Alexander first rose, received the princess, took her by the hand, kissed her, and placed her on the couch close to himself.  This example was followed by all, till every lady was seated by her betrothed.  This formed the whole of the Persian ceremony—­the salute being regarded as the seal of appropriation.  The Macedonian form was still more simple and symbolical.  The bridegroom, dividing a small loaf with his sword, presented one-half to the bride; wine was then poured as a libation on both portions, and the contracting parties tasted of the bread.  Cake and wine, as nuptial refreshments, may thus claim a venerable antiquity.  In due time the bridegrooms conducted their respective brides to chambers prepared for them within the precincts of the royal palace.

The festivities continued for five days, and all the amusements of the age were put into requisition for the entertainment of the company.  Athenaeus has quoted from Charas, a list of the chief performers, which I transcribe more for the sake of the performances and of the states where these lighter arts were brought to the greatest perfection, than of the names, which are now unmeaning sounds.  Scymnus from Tarentum, Philistides from Syracuse, and Heracleitus from Mytylene, were the great jugglers, or as the Greek word intimates, the wonder-workers of the day.  After them, Alexis, the Tarentine, displayed his excellence as a rhapsodist, or repeater, to appropriate music, of the soul-stirring poetry of Homer.  Cratinus the Methymnoean, Aristonymus the Athenian, Athenodorus the Teian, played on the harp—­without being accompanied by the voice.  On the contrary, Heracleitus the Tarentine, and Aristocrates the Theban, accompanied their harps with lyric songs.  The performers on wind instruments were divided on a similar, although it could not be on the same principle.  Dionysius from Heracleia, and Hyperbolus from Cyzicum, sang to the flute, or some such instrument; while Timotheus, Phrynichus, Scaphisius, Diophantus, and Evius, the Chalcidian, first performed the Pythian overture, and then, accompanied by chorusses, displayed the full power of wind instruments in masterly hands.  There was also a peculiar class called eulogists of Bacchus; these acquitted themselves so well on this occasion, applying to Alexander those praises which in their extemporaneous effusions had hitherto been confined to the god, that they acquired the name of Eulogists of Alexander.  Nor did their reward fail them.  The stage, of course, was not without its representatives:—­Thessalus, Athenodorus, Aristocritus, in tragedy—­Lycon, Phormion, and Ariston, in comedy—­exerted their utmost skill, and contended for the prize of superior excellence.  Phasimelus, the dancer was also present.