_As they gaze in silence_, CERVANTES _seeing_, COLUMBUS _understanding, the sun goes down in the sea. And over their shoulders to the east, the sky is suddenly aflame with sunrise._ FINIS 1921-1925 FOOTNOTES: [1] The so prevalent notion that in Mohammedanism women have no souls and cannot gain heaven is false. [2] To the west, sprawls another Fez which the old ruler would not know. This is Fez-el-Djidid--Fez the New--a Fez of the sixteenth century. It is a squat, chalk town filled with Bedouin types--Syrians, Arabs, Negroes, Spaniards, Jews: a conglomerate of squalid shops and _louche_ cafés. It is like Tangiers, the invaded and corrupted Moorland. Farther west, there is a third Fez--still stranger. Here are a railroad station, a wireless tower, and a _garnison_ for “Frankish” troops. Since 1911--this visitation of the wrath of Allah. [3] One of a family tracing descent from Mohammed. [4] Mohammed is generally supposed not to have been able to read; and his Chapters, brought to him haphazard by the angel Gabriel, were dictated to his disciples. These chapters (Suras) were not compiled until after the Prophet’s death. [5] As mathematics becomes non-Euclidean, it tends toward the religious. In place of the pagan straight-line, we have the geodesic-line which meets its source and completes a body for gravitational and inertial forces. [6] “The Iberians are the most warlike of all the barbarians.” Thucydides. [7] The native women of Seville. [8] Italian imitations of Tirso were innumerable. Doubtless through them Molière took his turn. Mozart, Byron, Zorrilla followed. Among the moderns who have rewritten him is Rostand. Tirso’s real name is Gabriel Téllez (1571?-1648). [9] The desire to conform with foreign notions has produced a Spanish export in which the true genius of the Spanish dance is lost. To see Seville or Córdoba, you must go to Andalusia. To see the Andalusian dance, you must do likewise. [10] Of the many explanations for this strange use of _flamenco_, that of Federico de Onís strikes me as plausible. He believes that _flamenco_ was first applied to the dress of Flemish courtiers of Carlos I. Nobles of Spain imitated these styles; the people of Andalusia finally adopted them, and so at last _flamenco_ was applied to the song and dance accompanying a style. [11] To the reader who fears the difficulty of the old Spanish, I recommend a modern Castilian version of this perennial poem in which none of the flavor is lost: it is by Alfonso Reyes, the Mexican poet, and is published in the _Collección Universal of Madrid_. [12] It must not be forgotten that the Jesuits of France who contributed so greatly to the creation of the Catholic strongholds of Canada were the instruments of a spirit and of a method born in Spain.