NOTE 32. It is customary for a guest or visiter to ask permission of the host, or master of the house, before taking his departure. A common form of speech used on this occasion is, "With your permission, I rise." NOTE 33. Many Muslims perform the pilgrimage with the view of expiating their offences, and, at the Kaạbeh, or at the tomb of the Prophet, make a vow to abstain from any glaring infringement of the law of which they may before have been guilty. NOTE 34. I learn, from a marginal note in my copy of the original, by the sheykh Moḥammad Eṭ-Tanṭáwee, that these verses are the composition of Ibn-Sahl El-Ishbee-lee. Three concluding verses of the same ode, and a second poetical quotation immediately following, I have passed over. NOTE 35. In the original there are some errors in this part of the story, which the sequel requires me to correct. The cateress is described as having sung three successive songs, accompanying them with her lute. After the first song, the mistress of the house is said to have been affected in the manner described in the translation, and to have exposed to view the marks of beating. The second lady (namely, the portress) is represented as similarly excited by the second song; and the third lady (the cateress herself), by the third song. The last also is said to have exhibited upon her person those marks which, as the sequel shews, were borne by the second. NOTE 36. The "miḳra'ah," vulgarly called "maḳra'ah," is a portion of the thicker end of a palm-branch stripped of the leaves. It is often used to beat a person in sport; but in this case, two or three splits are usually made in the thicker part of it, to increase the sound of the blows. NOTE 37. In the original, "the portress." See Note 35, above. NOTE 38. Perhaps it is needless to explain that the wish here expressed, for a protractive trial on the day of judgment, is occasioned by the longing for reunion, and the fear of separation after that day. The Muslims usually pray for an easy (and, consequently, a short) reckoning. NOTE 39. I have omitted the third song of the cateress, and the description of its effects, mentioned in Note 35. NOTE 40. See Note 47 to Chapter II. NOTE 41. It seems to be implied that the lady discovered her guests, notwithstanding their disguise, to be persons of rank. NOTE 42. I read "fuḳaráü aạjám" for "fuḳaráü-l-hojjám:" the former, carelessly written (in Arabic characters), might easily be mistaken for the latter. NOTE 43. This phrase is used to signify "Recover thy senses;" alluding to a person's drawing his hand over his head or face after a sleep or fit. NOTE 44. The burial-grounds of Eastern cities are generally so extensive, that, with the varied structures which they contain, they may aptly be called "Cities of the Dead." It was with difficulty that I recognised the tomb of the lamented Burckhardt, in the great cemetery on the north of Cairo, even after I had carefully noticed its place on a former visit.