[323]. i.e., she found him good at the to-and-fro movement; our corresponding phrase is “basket-making.”
[324]. Arab. “Mu’arris”: in vol. i. 338, I derived the word from ’Ars marriage, like the Germ. Kupplerin. This was a mere mistake; the root is ’Ars (with a Sád not a Sín) and means a pimp who shows off or displays his wares.
[325]. Arab. “Akhmitu Ghazla-há” lit. = thicken her yarn or thread.
[326]. I must again warn the reader that the negative, which to us appears unnecessary, is emphatic in Arabic.
[327]. i.e. By removing the goods from the “but” to the “ben.” Pilgrimage i. 99.
[328]. Arab. “Tannúr,” here the large earthern jar with a cover of the same material, round which the fire is built.
[329]. Being a musician the hero of the tale was also a pederast.
[330]. Here Mr. Payne supplies “Then they returned and sat down (apparently changing places).” He is quite correct in characterising the Bresl. Edit. as corrupt and “fearfully incoherent.” All we can make certain of in this passage is that the singer mistook the Persian for his white slave (Mameluke).
[331]. Arab. “Bazaka,” normally used in the sense of spitting: here the saliva might be applied for facilitating insertion.
[332]. In Persian “Áward o burd,” = brought and bore away, gen. applied to the movement of the man as in the couplet,