"Faithful and gentle rayahs, impute it to no want of modesty that, for once, I sink the graceful bashfulness of the virgin, and assume the more forward deportment of the queen. When all appear to possess such merit, how can I slight all but one by my decision? Let me rather leave it to the immortal Vishnu to decide who is most worthy to reign over this our kingdom of Souffra. Let Vishnu prompt you to read your destiny; I have placed a flower in this unworthy bosom, which is shortly to call one of you its lord. Name then, the flower, and he who first shall name it, let him be proclaimed the lawful king of Souffra. Take then, your instruments, noble rayahs, and to their sounds, in measured verse, pour out the name of the hidden flower, and the reason for my choice. Thus shall fate decide the question, and no one say that his merits have been slighted." Having finished her address, the beauteous princess let fall her veil, and was silent. A shout of applause was followed by wild strummings and tunings of mandolins, and occasional scratching of heads or turbans, to remember all that Hafiz had ever written, or to aid their attempts at improviso versification. Time flew on, and no one of the young rayahs appeared inclined to begin. At last one stepped forward, and named the rose, in a borrowed couplet. He was dismissed with a graceful wave of the hand by the princess, and broke his mandolin in his vexation, as he quitted the hall of audience. And thus did they continue, one after another, to name flower after flower, and quit the hall of audience in despair. Then might these beautiful youths, as they all stood before the princess, be compared, themselves, to the most beauteous flowers, strong rooted in their hopes, and basking in the sun of her presence; and, as their hopes were cut off, what were they but the same flowers severed from their stalks, and drooping before the sunny beams, now too powerful to be borne, or loaded with the dew of tears, removed to fade away unheeded? There were but few left, when Mezrimbi, who had, as he thought, hit upon the right name, and who, watching the countenance of Acota, which had an air of impatient indifference upon it, which induced Mezrimbi to suppose that he had lighted upon the same idea, and might forestall him, stepped forward with his mandolin. Mezrimbi was considered one of the best poets in Souffra; in fact, he had every talent, but not one virtue. He bent forward in an elegant attitude, and sang as follows:-- "Who does the nightingale love? Alas! we Know. She sings of her love in the silence of Night, and never tells the name of her adored one. "What are flowers but the language of love? And does not the nightingale rest her breast Upon the thorn as she pours out her plaintive notes? "Take then out of thy bosom the sweet flower of May Which is hidden there, emblematical of thy love, And the pleasing pain that it has occasioned."