The next morning, that is, of the sixth day, called “Follag,” the men begin by again revelling in “kus-kus” and meat dishes; they require to be well fed and strengthened, for in the evening after sunset they must sally out to collect wood for fuel. They return in the early morning, and then the women’s turn comes, when they will make their last and greatest effort to render the bridal banquet worthy of the occasion, and to do credit to themselves and to the Khalifa. Many oxen and some score of sheep are slaughtered, for no festive occasion passes without every man gorging until he is almost unfit to move.
The seventh day, “El Kesuar,” is appointed for the presentation to the bride of her dresses and ornaments. In this case this honourable commission was entrusted to Amor, the Khalifa’s second son.
Soon after midday he swung himself into his saddle and led the way, followed by some ten horsemen and a number of men on foot. The latter led mules laden with the bridal gifts. On the way the riders galloped in wildest “fantasia,” riding gallantly as they proceeded towards the bride’s home on the other side of the mountains, whilst muskets were discharged, and the smoke of the gunpowder rose amongst the hills. The negro musicians, who accompanied them, played on their flutes and beat their drums to warn the Uled Sliman of the approach of the people from Hadeij.
These are expected, and a festal welcome prepared in the village; for there also, during many days, great preparations have been made, the tribe being proud that little Mena should go to Hadeij as bride to the Khalifa’s son.
What a crowd there was the other evening, when, after sunset, she stepped from the cave into the open court, shy and timid, to allow herself to be seen by the men of her homestead, who had gathered on the top of the bank, whence they could see down into the deep courtyard to where the light flickered from the candle she carried, and where her shadow wavered on the perpendicular walls. For the last time they looked on her maiden form and beautiful features, and could not but acknowledge that little Mena was a fitting bride for Mohammed, son of the Khalifa of Hadeij.
The previous day the village women of the Uled Sliman sang the live-long day—morning, noon, and night their joyful songs arose from the caves.
There was no more work to be done. Enough food was provided for their own tribesmen, and for the strangers who were to come and fetch the bride.
After Amor and his men have done honour to the Uled Sliman by the “fantasia” on horseback, they are led into a cave, the residence of the bride’s father. Here they hand over the lovely clothes, and are regaled with roast and stewed meats.
Before leaving, they pass into another room, where the women have ranged themselves along the walls, each seated on her own “senduk” (chest). On the head of every woman they place pieces of money, intended for the negress who will adorn the bride, for she must have encouragement and be paid in ringing coin to embellish the bride, that she may prove attractive in the eyes of her future husband.
Not until after sunset does Amor return to Hadeij, where again the musket shots re-echo and the negroes dance and play, richly rewarded by the spectators.