[223] Oriental poetry abounds in conceits of this kind. Thus Wásif, the celebrated Persian historian and poet, apostrophises his lady-love: “The impression of the happy moments passed in thy loved presence will never be obliterated from the tablet of my heart, whilst the world revolves and the stars continue their course. The pen of intense love has so vividly written Eternal Affection on the page of my soul, that if my body languish, nay, even if my life expire, that soft impress will remain.”—But our own poet Cowley is not a whit less extravagant when he declares:
“Let Nature, if she please, disperse
My atoms over all the universe;
At the last they easily shall
Themselves know, and together call;
For thy love, like a mark, is stampt on all—
ALL OVER LOVE!”
[224] The tika is a round piece of clay, paint, or tissue on the forehead of a Hindú, indicating his caste. Amongst Hindús generally it means the circular mark made with coloured earths, or unguents, on the forehead. It is curious that this purely Hindú term should have been retained by a Muslim writer; but it is another indication of the Indian origin of the romance.
[225] Although Bakáwalí and Rúh-afzá are supposed to be fairies, yet they act as real flesh-and-blood women. And how like is this charming little scene between the two affectionate girls to what has doubtless occurred thousands of times amongst ourselves! If there be, as that shrewd observer Sam Slick assures us, “a deal of human natur’ in man,” there is, as certainly, a deal of woman nature in woman all the world over.
[226] For descriptions of the marriage ceremonies among the Muhammedans of India see Herklots’ translation of the Qanoon-i Islám, p. 93 ff.; Observations on the Mussulmans of India, by Mrs. Meer Hasan Ali, vol. i, p. 352 ff.; and a paper on Hindú and Muhammedan marriage ceremonies, by Col. C. Mackenzie, in the Trans. of the Royal Asiatic Society, vol. iii, p. 170 ff.