Note [30.] "Ṭabareeyeh" is the modern name for Tiberias.

Note [31.]—Description of Kháns, or Wekálehs. A Khán is a building chiefly designed for the accommodation of merchants, and for the reception of their goods. In Egypt, a building of this kind is generally called a Wekáleh. I have described it, in a former work, as surrounding a square or oblong court, and having, on the ground-floor, vaulted magazines for merchandise, which face the court, and are sometimes used as shops. Above these are generally lodgings, which are entered from a gallery extending along each of the four sides of the court; or, in the place of these lodgings, there are other magazines: and in many kháns or wekálehs which have apartments designed as lodgings, these apartments are used as magazines. In general, the building has only one common entrance; the door of which is closed at night, and kept by a porter.

Note [32.] It is customary for a guest or visiter to ask permission of the host, or master of the house, before taking his departure. A common form of speech used on this occasion is, "With your permission, I rise."

Note [33.] Many Muslims perform the pilgrimage with the view of expiating their offences, and, at the Kaạbeh, or at the tomb of the Prophet, make a vow to abstain from any glaring infringement of the law of which they may before have been guilty.

Note [34.] I learn, from a marginal note in my copy of the original, by the sheykh Moḥammad Eṭ-Tanṭáwee, that these verses are the composition of Ibn-Sahl El-Ishbee-lee. Three concluding verses of the same ode, and a second poetical quotation immediately following, I have passed over.

Note [35.] In the original there are some errors in this part of the story, which the sequel requires me to correct. The cateress is described as having sung three successive songs, accompanying them with her lute. After the first song, the mistress of the house is said to have been affected in the manner described in the translation, and to have exposed to view the marks of beating. The second lady (namely, the portress) is represented as similarly excited by the second song; and the third lady (the cateress herself), by the third song. The last also is said to have exhibited upon her person those marks which, as the sequel shews, were borne by the second.

Note [36.] The "miḳra'ah," vulgarly called "maḳra'ah," is a portion of the thicker end of a palm-branch stripped of the leaves. It is often used to beat a person in sport; but in this case, two or three splits are usually made in the thicker part of it, to increase the sound of the blows.

Note [37.] In the original, "the portress." See Note 35, above.

Note [38.] Perhaps it is needless to explain that the wish here expressed, for a protractive trial on the day of judgment, is occasioned by the longing for reunion, and the fear of separation after that day. The Muslims usually pray for an easy (and, consequently, a short) reckoning.