[146]. This couplet has repeatedly occurred: in the preceding volume, Night cdv. (Suppl. iv. 222); and in The Nights (proper), vol. vi. 246. Here I have quoted Lane (A. N. iii. 220), who has not offered a word of comment or of explanation concerning a somewhat difficult couplet.
[147]. The plur. masc. for the sing. fem.: see vol. vii. 140.
[148]. He speaks after the recognised conventional fashion, as if reporting the camp-shift of a Badawí tribe.
[149]. See vol. i. 25 for the parallel of these lines.
[150]. The text inserts here, “Saith the Reciter of this adventure and right joyous history strange as rare,” etc.
[151]. Scott, in the “Story of the Sultan, the Dirveshe, and the Barber’s son” (vi. 348), calls the King “Rammaud.” The tale is magical and Rosicrusian, laid somewhat upon the lines of “The Physician Dúbán”; i. 45.
[152]. This is the custom among Eastern Moslems: the barber, after his operations are over, presents his hand-mirror for the patient to see whether all be satisfactory, saying at the same time “Na’íman” = may it be pleasurable to thee! The customer answers “Allah bring thee pleasure,” places the fee upon the looking-glass and returns it to the shaver. For “Na’íman” see vol. ii. 5.
[153]. The least that honest Figaro expected to witness was an attempt upon the boy’s chastity.
[154]. In text “Tazaghzagha,” gen. = he spoke hesitatingly, he scoffed. [I read the words in the text: “Tazaghghara fíhi.” The Kámús gives “Zaghara-hu” = he seized it by force, he took hold of him with violence, and this present fifth form, although not given in the Dictionaries, has doubtlessly the same meaning. Popularly we may render it: he pitched into him.—St.]
[155]. In the text “Kazánát” (plur. of “Kázán”), afterwards written “Kázát” (a clerical error?). They are opposed to the “Kawálib” = moulds. [See note to p. 24.—St.]