The language of flowers employed by the Turks does not exactly agree with the system illustrated in the story of 'Azeez and 'Azeezeh; for the former consists of a collection of words and phrases or sentences which rhyme with the names of the objects used as the signs.[373] This system is also employed by the Arabs; but I believe not so commonly as the other.

A remarkable faculty is displayed by some Arabs in catching the meaning of secret signs employed in written communications to them; such signs being often used in political and other intrigues. The following is a curious instance.—The celebrated poet El-Mutanebbee, having written some verses in dispraise of Káfoor El-Ikhsheedee the independent Governor of Egypt, was obliged to flee, and hide himself in a distant town. Káfoor was informed of his retreat, and desired his secretary to write to him a letter promising him pardon, and commanding him to return; but told the writer at the same time, that when the poet came he would punish him. The secretary was a friend of the poet, and, being obliged to read the letter to the Prince when he had written it, was perplexed how to convey to El-Mutanebbee some indication of the danger that awaited him: he could only venture to do so in the exterior address; and having written this in the usual form, commencing "In sháa-lláh" (If it be the will of God) "this shall arrive," &c., he put a small mark of reduplication over the "n" in the first word, which he thus converted into "Inna;" the filial vowel being understood. The poet read the letter, and was rejoiced to see a promise of pardon; but on looking a second time at the address, was surprised to observe the mark of reduplication over the "n." Knowing the writer to be his friend, he immediately suspected a secret meaning, and rightly conceived that the sign conveyed an allusion to a passage in the Ḳur-án commencing with the word "Inna," and this he divined to be the following:—"Verily the magistrates are deliberating concerning thee, to put thee to death."[374] Accordingly, he fled to another town.—Some authors add, that he wrote a reply, conveying, by a similar sign, to his friend, an allusion to another passage in the Ḳur-án:—"We will never enter the country while they remain therein."[375]—It is probable that signs thus employed were used by many persons to convey allusions to certain words; and such may have been the case in the above-mentioned instance: if not, the poet was indeed a wonderful guesser.

Note [19.] Perhaps it is unnecessary to explain that the actions here described are those of a dyer, dipping a piece of linen into a red dye, and then wringing it. The shop of the dyer is generally, like most other shops, a small chamber or recess open towards the street. Pans containing the different dyes are imbedded in its floor.

Note [20.] "Maḳ'ad" is a name generally given to a chamber in which male guests or visiters are received, having an open front with two or more arches, and looking into the court or garden of the house. Its floor is elevated about ten or more feet above the ground, and the front is usually towards the north, or nearly so.

Note [21.] I suppose it to be meant, that these designs were executed in a kind of mosaic work; for the pool of the fountain is generally ornamented with black and white marble, and pieces of fine red tile, inlaid in complicated and tasteful patterns. A view and plan of a fountain of this kind are inserted in the Introduction to my work on the Modern Egyptians.

Note [22.] "Baḳláweh," from the Turkish "baḳláva," is a name given to a kind of pastry, which is generally thus prepared:—A paste made of fine flour with clarified butter is rolled thin, and laid upon a tray: upon this paste is then spread a composition of clarified butter and blanched almonds (and sometimes walnuts and currants) beaten small; and over this is put another layer of paste. Eight of these double layers of paste with the composition above mentioned between them are placed one upon another, making the whole about an inch thick. It is baked in an oven; cut into lozenge-shaped pieces, about three inches long, and two inches wide; and after it is thus cut, some honey or treacle is poured over.

Note [23.] See Note 99 to Chapter v.

Note [24.] It is a general belief of the Muslims that the wicked will rise to judgment with their faces black; and hence the origin of the imprecation, "May God blacken thy face!" But it is often used to signify "May God disgrace thee!" for a person's face is said to be black when he is in any disgrace; and in the reverse case, it is said to be white.[376]

Note [25.] "Zardeh" (which is a Persian word) is a name given to rice dressed with honey and saffron; but here it appears to be applied to a sweet drink infused with saffron.

Note [26.] By the play-bone and the ṭáb-stick an allusion is conveyed to two games common among the Arabs. The play-bones are used in the same manner as dice, of which they are probably the origin; and both bear the same name in the Arabic, in the singular "kaạb" or "kaạbeh," that is, "a cube." Of the game of ṭáb I have given a full account in my work on the Modern Egyptians (vol. ii. ch. iv.). I need only mention here, that the ṭáb-stick is of a flat form, about a span (or eight inches) in length, and two-thirds of an inch in breadth, generally formed of a piece of a palm-branch; one side of which, being cut flat and smooth, is white; the other, green, or, if not fresh, of a dull yellow colour. Four such sticks are used in playing the game.