[451]. A friend (a native of Egypt) has observed to me, since the first edition of this work was printed, that “rabáb” would be a more proper term for this instrument, being the general Arabic name for a viol; but I never heard it called in Egypt by any other name than “kemengeh.” It is also thus called in Syria.
[452]. The mouth-piece (A B) of the zummárah is movable.
[453]. The arghool has three movable pieces to lengthen the longer tube (A B, B C, and C D); and is sometimes used with only one or two of these; and sometimes with none of them.
[454]. Here, in accordance with a rule observed in most modern Arab songs, the masculine gender is applied to the beloved object, who is, nevertheless, a female, as will be seen in several subsequent verses. In translation, I therefore substitute the feminine gender in every case where our language distinguishes gender. Some words occur, bearing double meanings, which I leave unexplained. I write the Arabic words as they are generally pronounced in Cairo, excepting in the case of one letter, which I represent by “k,” to express the sound which persons of education give to it instead of the more usual hiatus.
[455]. The Arabs find it impossible to utter three consonants together without a pause between the second and third: hence the introduction of the short vowel which terminates this word: it is a single letter that is represented by sh.
[456]. Or pace, or strut.
[457]. “Yá lellee,” which is thus translated, is a common ejaculation indicative of joy synonymous with “yá farhatee.” It is difficult to render this and other cant terms.
[458]. This line and the first of the next stanza require an additional note, which is the same as the last note of these lines, to be added at the commencement
[459]. This and some other lines require that the note which should be the last if they were of more correct measure be transferred to the commencement of the next line.
[460]. The famous saint Es-seyyid Ahmad El-Bedawee, who is buried at Tanta, in the Delta.