An Arab who has given his protection to another, whether formally, or by an act which confers the privilege of Dakheel, is bound to protect his Dakhal under all circumstances, even to the risk of his own property and life. I could relate many instances of the greatest sacrifices having been made by individuals, and even of whole tribes having been involved in war with powerful enemies by whom they have been almost utterly destroyed, in defence of this most sacred obligation. Even the Turkish rulers respect a law to which they may one day owe their safety, and more than one haughty Pasha of Baghdad has found refuge and protection in the tent of a poor Arab Sheikh, whom, during the days of his prosperity, he had subjected to every injury and wrong, and yet who would then defy the government itself, and risk his very life, rather than surrender his guest. The essence of Arab virtue is a respect for the laws of hospitality, of which the Dakheel in all its various forms is but a part. Amongst the Bedouins who watched our camels was one Saoud, a poet of renown amongst the tribes. With the exception of a few ballads that he had formerly composed in honor of Sofuk, and other celebrated Shammar Sheikhs, he chiefly recited extemporary stanzas on passing events, or on persons who were present. He would sit in my tent of an evening, and sing his verses in a wild, though plaintive, strain, to the great delight of the assembled guests, and particularly of Mijwell, who, like a true Bedouin, was easily affected by poetry, especially with such as might touch his own passion for the unknown lady. When the bard improvised an amatory ditty, the young chief's excitement was almost beyond control. The other Bedouins were scarcely less moved by these rude measures, which have the same kind of effect on the wild tribes of the Persian mountains. Such verses, chanted by their self-taught poets, or by the girls of their encampment, will drive warriors to the combat, fearless of death, or prove an ample reward on their return from the dangers of the _ghazou_ or the fight. The excitement they produce exceeds that of the grape. He who would understand the influence of the Homeric ballads in the heroic ages, should witness the effect which similar compositions have upon the wild nomades of the East. The art of improvising seems innate in the Bedouin. Although his metre and mode of recitation are rude to European ears, his rich and sonorous language lends itself to this species of poetry, whilst his exuberant imagination furnishes him with endless beautiful and appropriate allegories. The wars between the tribes, the _ghazou_, and their struggles with the Turks, are inexhaustible themes for verse, and in an Arab tent there is little else to afford excitement or amusement. The Bedouins have no books; even a Koran is seldom seen amongst them: it is equally rare to find a wandering Arab who can read. They have no written literature, and