[FN#288] English “Prin’cess,” too often pronounced in French fashion Princess.
[FN#289] In dictionaries “Bán” (Anglice ben-tree) is the myrobalan which produces gum benzoin. It resembles the tamarisk. Mr. Lyall (p. 74 Translations of Ancient Arab Poetry, Williams and Norgate, 1885), calls it a species of Moringa, tall, with plentiful and intensely green foliage used for comparisons on account of its straightness and graceful shape of its branches. The nut supplies a medicinal oil.
[FN#290] A sign of extreme familiarity: the glooms are the hands and the full moons are the eyes.
[FN#291] Arab. “Khal’a al-‘izár”: lit.=stripping off jaws or side-beard.
[FN#292] Arab. “Shimál”=the north wind.
[FN#293] An operation well described by Juvenal—
Illa supercilium, modicâ fuligine tactum,
Obliquâ producit acu, pingitque, trementes
Attolens oculos.
Sonnini (Travels in Egypt, chapt. xvi.) justly remarks that this pencilling the angles of the eyes with Kohl, which the old Levant trade called alquifoux or arquifoux, makes them appear large and more oblong; and I have noted that the modern Egyptian (especially Coptic) eye, like that of the Sphinx and the old figures looks in profile as if it were seen in full. (Pilgrimage i. 214.)
[FN#294] The same traveller notes a singular property in the Henna-flower that when smelt closely it exhales a “very powerful spermatic odour,” hence it became a favourite with women as the tea-rose with us. He finds it on the nails of mummies, and identifies it with the Kupros of the ancient Greeks (the moderns call it Kene or Kena) and the {Bótrys tês kýproy} (Botrus cypri) of Solomon’s Song (i. 14). The Hebr. is “Copher,” a well-known word which the A. V. translates by “a cluster of camphire (?) in the vineyards of En-gedi”; and a note on iv. 13 ineptly adds, “or, cypress.” The Revised Edit. amends it to “a cluster of henna-flowers.” The Solomonic (?) description is very correct; the shrub affects vineyards, and about Bombay forms fine hedges which can be smelt from a distance.
[FN#295] Hardly the equivalent of the Arab. “Kataba” (which includes true tattooing with needles) and is applied to painting “patches” of blue or green colour, with sprigs and arabesques upon the arms and especially the breasts of women. “Kataba” would also be applied to striping the fingers with Henna which becomes a shining black under a paste of honey, lime and sal-ammoniac. This “patching” is alluded to by Strabo and Galen (Lane M. E. chapt. ii.); and we may note that savages and barbarians can leave nothing of beauty unadorned; they seem to hate a plain surface like the Hindu silversmith, whose art is shown only in chasing.