The second style of modern Arabic poetry is the "Kelamel hazel." It comprises the pieces which treat of wine, women, and pleasures; and, in general, on all subjects considered light and unworthy of a serious mind. One may find an example in the piece of "Said and Hyza," and in different works of Mr. Stemme cited above. It is particularly among the nomad Arabs that this style is found, even more than the dwellers in cities, on whom rests the reproach of composing verses where the study and sometimes the singularity of expression cannot replace the inspiration, the energy, and even the delicacy of sentiment often found among the nomads: "The country remains a desert, the days of heat are ended, the trees of our land have borne the attack of Summer, that is my grief. After it was so magnificent to behold, its leaves are fallen, one by one, before my eyes. But I do not covet the verdure of a cypress; my sorrow has for its cause a woman, whose heart has captivated mine. I will describe her clearly; you will know who she is; since she has gone my heart fails me. Cheika of the eye constantly veiled, daughter of Mouloud, thy love has exhausted me. I have reached a point where I walk dizzily like one who has drunken and is drunk; still am I fasting; my heart has abandoned me. Thy thick hair is like the ostrich's plumes, the male ostrich, feeding in the depressions of the dunes; thy eyebrows are like two _nouns_ [Arab letters] of a Tlemcen writing. Thy eyes, my beautiful, are like two gleaming gun barrels, made at Stamboul, city defiant of Christians. The cheek of Cherikha is like the rose and the poppy when they open under the showers. Thy mouth insults the emerald and the diamond; thy saliva is a remedy against the malady; without doubt it is that which has cured me[1]." [1] Joly, Poesie Arnaduno chez les Nomades Algeriennes. Revue Africaine, XLV, pp. 217-219. Alger, 1901, 8vo. To finish with the modern literature of the northwest of Africa, I should mention a style of writings which played a grand rôle some five centuries ago, but that sort is too closely connected with those composing the poems on the Spanish Moors, and of them I shall speak later. It remains now to but enumerate the enigmas found in all popular literature, and the satiric sayings attributed to holy persons of the fifteenth century, who, for having been virtuous and having possessed the gift of miracles, were none the less men, and as such bore anger and spite. The most celebrated of all was Sidi Ahmed ben Yousuf, who was buried at Miliana. By reason of the axiom, "They lend but to the rich," they attributed to him all the satirical sayings which are heard in the villages and among the tribes of Algeria, of which, perhaps, he did pronounce some. Praises are rare: