NOTES ON THE NILE.

BY AN AMERICAN.

"Nile Notes, by an Howadji" (the Eastern name for traveler) is the title of a new book, by a young American, soon to be issued from the press of Messrs. Harper and Brothers. It is written with great vivacity, and will compare favorably with "Eōthen," or the best books of the day on the East. The following extracts will be found attractive.

THE MUSIC OF THE EAST.

While the Hadji Hamed fluttered about the deck, and the commander served his kara kooseh, the crew gathered around the bow and sang.

The stillness of early evening had spelled the river, nor was the strangeness dissolved by that singing. The men crouched in a circle upon the deck, and the reis, or captain, thrummed the tarabuka, or Arab drum, made of a fish-skin stretched upon a gourd. Raising their hands, the crew clapped them above their heads, in perfect time, not ringingly, but with a dead, dull thump of the palms—moving the whole arm to bring them together. They swung their heads from side to side, and one clanked a chain in unison. So did these people long before the Ibis nestled to this bank, long before there were Americans to listen.

For when Diana was divine, and thousands of men and women came floating down the Nile in barges to celebrate her festival, they sang and clapped, played the castanets and flute, stifling the voices of Arabian and Lybian echoes with a wild roar of revelry. They, too, sang a song that came to them from an unknown antiquity, Linus, their first and only song, the dirge of the son of the first king of Egypt.

This might have been that dirge that the crew sang in a mournful minor. Suddenly, one rose and led the song, in sharp, jagged sounds, formless as lightning. "He fills me the glass full, and gives me to drink," sang the leader, and the low-measured chorus throbbed after him, "Hummeleager malooshee." The sounds were not a tune, but a kind of measured recitative. It went on constantly faster and faster, exciting them, as the Shakers excite themselves, until a tall, gaunt Nubian rose in the moonlight and danced in the centre of the circle, like a gay ghoul among his fellows.

The dancing was monotonous, like the singing, a simple jerking of the muscles. He shook his arms from the elbows, like a Shaker, and raised himself alternately upon both feet. Often the leader repeated the song as a solo, then the voices died away, the ghoul crouched again, and the hollow throb of the tarabuka continued as an accompaniment to the distant singing of Nero's crew, that came in fitful gusts through the little grove of sharp, slim masts:

The melancholy monotony of this singing in unison, harmonized with the vague feelings of that first Nile night. The simplicity of the words became the perpetual childishness of the men, so that it was not ludicrous. It was clearly the music and words of a race just better than the brutes. If a poet could translate into sound the expression of a fine dog's face, or that of a meditative cow, the Howadji would fancy that he heard Nile music. For, after all, that placid and perfect animal expression would be melancholy humanity. And with the crew only, the sound was sad; they smiled, and grinned, and shook their heads with intense satisfaction. The evening and the scene were like a chapter of Mungo Park. I heard the African mother sing to him as he lay sick upon her mats, and the world and history forgotten, those strange, sad sounds drew me deep into the dumb mystery of Africa.

But the musical Howadji will find a fearful void in his Eastern life. The Asiatic has no ear, and no soul for music. Like other savages and children, he loves a noise, and he plays on shrill pipes—on the tarabuka, on the tár, or tambourine, and a sharp, one-stringed fiddle, or rabáb. Of course, in your first Oriental days, you will decline no invitation, but you will grow gradually deaf to all entreaties of friends, or dragomen, to sally forth and hear music. You will remind him that you did not come to the East to go to Bedlam.

This want of music is not strange, for silence is natural to the East and the tropics. When, sitting quietly at home, in midsummer, sweeping ever sunward in the growing heats, we at length reach the tropics in the fixed fervor of a July noon, the day is rapt, the birds are still, the wind swoons, and the burning sun glares silence on the world.

The Orient is that primeval and perpetual noon. That very heat explains to you the voluptuous elaboration of its architecture, the brilliance of its costume, the picturesqueness of its life. But no Mozart was needed to sow Persian gardens with roses breathing love and beauty, no Beethoven to build mighty Himmalayas, no Rossini to sparkle and sing with the birds and streams. Those realities are there, of which the composers are the poets to Western imaginations. In the East, you feel and see music, but hear it never.

Yet, in Cairo and Damascus the poets sit at the cafés, surrounded by the forms and colors of their songs, and recite the romances of the Arabian Nights, or of Aboo Zeyd, or of Antar, with no other accompaniment than the tár, or the rabáb, then called the "Poet's Viol," and in the same monotonous strain. Sometimes the single strain is touching, as when on our way to Jerusalem, the too-enamored camel-driver, leading the litter of the fair Armenian, saddened the silence of the desert noon with a Syrian song. The high, shrill notes trembled and rang on the air. The words said little, but the sound was a lyric of sorrow. The fair Armenian listened silently as the caravan wound slowly along, her eyes musingly fixed upon the East, where the flower-fringed Euphrates flows through Bagdad to the sea. The fair Armenian had her thoughts, and the camel-driver his; also the accompanying Howadji listened and had theirs.

The Syrian songs of the desert are very sad. They harmonize with the burning monotony of the landscape in their long recitative and shrill wail. The camel steps more willingly to that music, but the Howadji, swaying upon his back, is tranced in the sound, so naturally born of silence.

Meanwhile our crew are singing, although we have slid upon their music, and the moonlight, far forward into the desert. But these are the forms and feelings that their singing suggested. While they sang I wandered over Sahara, and was lost in the lonely Libyan hills—a thousand simple stories, a thousand ballads of love and woe trooped like drooping birds through the sky-like vagueness of my mind. Rosamond Grey, and the child of Elle passed phantom-like with vailed faces—for love, and sorrow, and delight, are cosmopolitan, building bowers indiscriminately of palm-trees or of pines.

The voices died away like the Muezzins', whose cry is the sweetest and most striking of all Eastern sounds. It trembles in long-rising and falling cadences from the balcony of the minaret, more humanly alluring than bells, and more respectful of the warm stillness of Syrian and Egyptian days. Heard in Jerusalem it has especial power. You sit upon your house-top reading the history whose profoundest significance is simple and natural in that inspiring clime; and as your eye wanders from the aerial dome of Omar, beautiful enough to have been a dome of Solomon's Temple, and over the olives of Gethsemane climbs the Mount of Olives—the balmy air is suddenly filled with a murmurous cry, like a cheek suddenly rose-suffused—a sound near, and far, and every where, but soft and vibrating, and alluring, until you would fain don turban, kaftan, and slippers, and kneeling in the shadow of a cypress on the sun-flooded marble court of Omar, would be the mediator of those faiths, nor feel yourself a recreant Christian.

Once I heard the Muezzin cry from a little village on the edge of the desert, in the starlight before the dawn: it was only a wailing voice in the air. The spirits of the desert were addressed in their own language—or was it themselves lamenting, like water-spirits to the green boughs overhanging them, that they could never know the gladness of the green world, but were forever demons and denizens of the desert? But the tones trembled away, without echo or response, into the starry solitude. Al-lá-hu Ak-bar, Al-lá-hu Ak-bar!

So with songs and pictures, with musings, and the dinner of a Mecca pilgrim, passed the first evening upon the Nile.

A CHARACTER.

Verde Giovane was joyous and gay. He had already been to the pyramids, and had slept in a tomb, and had his pockets picked as he wandered through their disagreeable darkness. He had come freshly and fast from England, to see the world, omitting Paris and Western Europe on his way, as he embarked at Southampton for Alexandria. Being in Cairo, he felt himself abroad. Sternhold and Hopkins were his Laureates, for perpetually on all kinds of wings of mighty winds he came flying all abroad. He lost a great deal of money at billiards to "jolly" fellows whom he afterward regaled with cold punch and choice cigars. He wrangled wildly with a dragoman of very imperfect English powers, and packed his tea for the voyage in brown paper parcels. He was perpetually on the point of leaving. At breakfast, he would take a loud leave of the "jolly" fellows, and if there were ladies in the room, he slung his gun in a very abandoned manner over his shoulder, and while he adjusted his shot-pouch with careless heroism, as if the enemy were in ambush on the stairs, as who should say, "I'll do their business easily enough," he would remark with a meaning smile, that he should stop a day or two at Esne, probably, and then go off humming a song from the Favorita—or an air whose words were well known to the jolly fellows, but would scarcely bear female criticism.

After this departure, he had a pleasant way of reappearing at the dinner-table, for the pale ale was not yet aboard, or the cook was ill, or there had been another explosion with the dragoman. Verde Giovane found the Cairene evenings "slow." It was astonishing how much execution he accomplished with those words of very moderate calibre, "slow," "jolly," and "stunning." The universe arraying itself in Verde Giovane's mind, under those three heads. Presently it was easy to predicate his criticisms in any department. He had lofty views of travel. Verde Giovane had come forth to see the world, and vainly might the world seek to be unseen. He wished to push on to Sennaar and Ethiopia. It was very slow to go only to the cataracts. Ordinary travel, and places already beheld of men, were not for Verde. But if there were any Chinese wall to be scaled, or the English standard were to be planted upon any vague and awful Himmalayan height, or a new oasis were to be revealed in the desert of Sahara, here was the heaven-appointed Verde Giovane, only awaiting his pale ale, and determined to dally a little at Esne. After subduing the East by travel, he proposed to enter the Caucasian Mountains, and serve as a Russian officer. These things were pleasant to hear, as to behold at Christmas those terrible beheadings of giants by Tom Thumb, for you enjoyed a sweet sense of security and a consciousness that no harm was done. They were wild Arabian romances, attributable to the inspiration of the climate, in the city he found so slow. The Cairenes were listening elsewhere to their poets, Verde Giovane was ours; and we knew very well that he would go quietly up to the first cataract, and then returning to Alexandria, would steam to Jaffa, and thence donkey placidly to Jerusalem, moaning in his sleep of Cheapside and St. Paul's.

PROSPECTS OF THE EAST.

That the East will never regenerate itself, contemporary history shows; nor has any nation of history culminated twice. The spent summer reblooms no more—the Indian summer is but a memory and a delusion. The sole hope of the East is Western inoculation. The child must suckle the age of the parent, and even "Medea's wondrous alchemy" will not restore its peculiar prime. If the East awakens, it will be no longer in the turban and red slippers, but in hat and boots. The West is the sea that advances forever upon the shore, the shore can not stay it, but becomes the bottom of the ocean. The Western, who lives in the Orient, does not assume the kaftan and the baggy breeches, and those of his Muslim neighbors shrink and disappear before his coat and pantaloons. The Turkish army is clothed, like the armies of Europe. The grand Turk himself, Mohammad's vicar, the Commander of the Faithful, has laid away the magnificence of Haroun Alrashid, and wears the simple red Tarboosh, and a stiff suit of military blue. Cairo is an English station to India, and the Howadji does not drink sherbert upon the pyramids, but champagne. The choice Cairo of our Eastern imagination is contaminated with carriages. They are showing the secrets of the streets to the sun. Their silence is no longer murmurous, but rattling. The "Uzbeekeeyah," public garden of Cairo, is a tea garden, of a Sunday afternoon crowded with ungainly Franks, listening to bad music. Ichabod, Ichabod! steam has towed the Mediterranean up the Nile to Boulak, and as you move on to Cairo, through the still surviving masquerade of the Orient, the cry of the melon-merchant seems the sadly significant cry of each sad-eyed Oriental, "Consoler of the embarrassed, O Pips!"

The century has seen the failure of the Eastern experiment, headed as it is not likely to be headed again, by an able and wise leader. Mohammad Alee had Egypt and Syria, and was mounting the steps of the sultan's throne. Then he would have marched to Bagdad, and sat down in Haroun Alrashid's seat, to draw again broader and more deeply the lines of the old Eastern empire. But the West would not suffer it. Even had it done so, the world of Mohammad Alee would have crumbled to chaos again when he died, for it existed only by his imperial will, and not by the perception of the people.

At this moment the East is the El Dorado of European political hope. No single power dares to grasp it, but at last England and Russia will meet there, face to face, and the lion and the polar bear will shiver the desert silence with the roar of their struggle. It will be the return of the children to claim the birth-place. They may quarrel among themselves, but whoever wins, will introduce the life of the children and not of the parent. A possession and a province it may be, but no more an independent empire. Father Ishmael shall be a sheikh of honor, but of dominion no longer, and sit turbaned in the chimney corner, while his hatted heirs rule the house. The children will cluster around him, fascinated with his beautiful traditions, and curiously compare their little black shoes with his red slippers.

THE DANCING WOMEN OF THE EAST.

The Howadji entered the bower of the Ghazeeyah. A damsel admitted us at the gate, closely vailed, as if women's faces were to be seen no more forever. Across a clean little court, up stone steps that once were steadier, and we emerged upon a small, inclosed stone terrace, the sky-vaulted ante-chamber of that bower. Through a little door that made us stoop to enter, we passed into the peculiar retreat of the Ghazeeyah. It was a small, white, oblong room, with but one window, opposite the door, and that closed. On three sides there were small holes to admit light, as in dungeons, but too lofty for the eye to look through, like the oriel windows of sacristies. Under these openings were small glass vases holding oil, on which floated wicks. These were the means of illumination.

A divan of honor filled the end of the room; on the side was another, less honorable, as is usual in all Egyptian houses; on the floor a carpet, partly covering it. A straw matting extended beyond the carpet toward the door, and between the matting and the door was a bare space of stone floor, whereon to shed the slippers.

Hadji Hamed, the long cook, had been ill, but hearing of music and dancing and Ghawazee, he had turned out for the nonce, and accompanied us to the house, not all unmindful possibly, of the delectations of the Mecca pilgrimage. He stood upon the stone terrace afterward, looking in with huge delight! The solemn, long tomb-pilgrim! The merriest lunges of life were not lost upon him, notwithstanding.

The Howadji seated themselves orientally upon the divan of honor. To sit as Westerns sit is impossible upon a divan. There is some mysterious necessity for crossing the legs; and this Howadji never sees a tailor now in lands civilized, but the dimness of Eastern rooms and bazaars, the flowingness of robe, and the coiled splendor of the turban, and a world reclining leisurely at ease, rise distinct and dear in his mind—like that Sicilian mirage seen on divine days from Naples—but fleet as fair. To most men a tailor is the most unsuggestive of mortals; to the remembering Howadji he sits a poet.

The chibouque and nargileh and coffee belong to the divan, as the parts of harmony to each other. I seized the flowing tube of a brilliant amber-hued nargileh, such as Hafiz might have smoked, and prayed Isis that some stray Persian might chance along to complete our company. The Pacha inhaled at times a more sedate nargileh, at times the chibouque of the Commander, who reclined upon the divan below.

A tall Egyptian female, filially related, I am sure, to a gentle giraffe who had been indiscreet with a hippopotamus, moved heavily about, lighting the lamps, and looking as if her bright eyes were feeding upon the flame, as the giraffes might browse upon lofty autumn leaves. There was something awful in this figure. She was the type of those tall, angular, Chinese-eyed, semi-smiling, wholly homely and bewitched beings who sit in eternal profile in the sculptures of the temples. She was mystic, like the cow-horned Isis. I gradually feared that she had come off the wall of a tomb, probably in Thebes hard by, and that our Ghawazee delights would end in a sudden embalming, and laying away in the bowels of the hills with a perpetual prospect of her upon the walls.

Avaunt, Spectre! The Fay approaches, and Kushuk Arnem entered her bower. A bud no longer, yet a flower not too fully blown. Large laughing eyes, red pulpy lips, white teeth, arching nose, generous-featured, lazy, carelessly self-possessed, she came dancing in, addressing the Howadji in Arabic—words whose honey they would not have distilled through interpretation. Be content with the aroma of sound, if you can not catch the flavor of sense—and flavor can you never have through another mouth. Smiling and pantomime were our talking, and one choice Italian word she knew—buono. Ah! how much was buono that choice evening. Eyes, lips, hair, form, dress, every thing that the strangers had or wore, was endlessly buono. Dancing, singing, smoking, coffee—buono, buono, buonissimo! How much work one word will do!

The Ghazeeyah entered—not mazed in that azure mist of gauze and muslin wherein Cerito floats fascinating across the scene, nor in the peacock plumage of sprightly Lucille Grahn, nor yet in that June cloudiness of airy apparel which Carlotta affects, nor in that sumptuous Spanishness of dark drapery wherein Fanny is most Fanny.

The glory of a butterfly is the starred brilliance of its wings. There are who declare that dress is divine—who aver that an untoileted woman is not wholly a woman, and that you may as well paint a saint without his halo, as describe a woman without detailing her dress. Therefore, while the coarser sex vails longing eyes, will we tell the story of the Ghazeeyah's apparel.

Yellow morocco slippers hid her feet, rosy and round; over these brooded a bewildering fullness of rainbow silk—Turkish trowsers we call them, but they are shintyan in Arabic. Like the sleeve of a clergyman's gown, the lower end is gathered somewhere, and the fullness gracefully over-falls. I say rainbow, although to the Howadji's little cognizant eye was the shintyan of more than the seven orthodox colors. In the bower of Kushuk, nargileh-clouded, coffee-scented, are eyes to be strictly trusted?

Yet we must not be entangled in this bewildering brilliance. A satin jacket, striped with velvet, and of open sleeves, wherefrom floated forth a fleecy cloud of under-sleeve, rolling adown the rosy arms, as June clouds down the western rosiness of the sky, inclosed the bust. A shawl, twisted of many folds, cinctured the waist, confining the silken shintyan. A golden necklace of charms girdled the throat, and the hair, much unctuated, as is the custom of the land, was adorned with a pendent fringe of black silk, tipped with gold, which hung upon the neck behind.

Let us confess to a dreamy, vaporous vail, overspreading, rather suffusing with color, the upper part of the arms and the lower limits of the neck. That rosiness is known as tób to the Arabians—a mystery whereof the merely masculine mind is not cognizant. Beneath the tób, truth allows a beautiful bud-burstiness of bosom; yet I swear, by John Bunyan, nothing so aggravating as the Howadji beholds in saloons unnamable nearer the Hudson than the Nile. This brilliant cloud, whose spirit was Kushuk Arnem, our gay Ghazeeyah, gathered itself upon a divan, and she inhaled vigorously a nargileh. A damsel in tób and shintyan exhaling azure clouds of aromatic smoke, had not been displeasing to that Persian poet, for whose coming I had prayed too late.

But more welcome than he, came the still-eyed Xenobi. She entered timidly like a bird. The Howadji had seen doves less gracefully sitting upon palm-boughs in the sunset, than she nestled upon the lower divan. A very dove of a Ghazeeyah—a quiet child, the last born of Terpsichore. Blow it from Mount Atlas, a modest dancing-girl. She sat near this Howadji, and handed him, O Haroun Alrashid! the tube of his nargileh. Its serpentine sinuosity flowed through her fingers, as if the golden gayety of her costume were gliding from her alive. It was an electric chain of communication, and never until some Xenobi of a houri hands the Howadji the nargileh of Paradise, will the smoke of the weed of Shiraz float so lightly, or so sweetly taste.

Xenobi was a mere bud, of most flexile and graceful form, ripe and round as the spring fruit of the tropics. Kushuk had the air of a woman for whom no surprises survive; Xenobi saw in every new day a surprise, haply in every Howadji a lover.

She was more richly dressed than Kushuk. There were gay gold bands and clasps upon her jacket; various necklaces of stamped gold and metallic charms clustered around her neck, and upon her head a bright silken web, as if a sun-suffused cloud were lingering there, and, dissolving, showered down her neck in a golden rain of pendants. Then, O Venus! more azure still—that delicious gauziness of tób, whereof more than to dream is delirium. Wonderful the witchery of a tób! Nor can the Howadji deem a maiden quite just to nature, who glides through the world unshintyaned and untóbed.

Xenobi was perhaps sixteen years old, and a fully developed woman; Kushuk Arnem, of some half-dozen summers more. Kushuk was unhennaed; but the younger, as younger maidens may, graced herself with the genial gifts of nature. Her delicate filbert nails were rosily tinted on the tips with henna, and those peddler poets meeting her in Paradise would have felt the reason of their chant, "Odors of Paradise, O flowers of the henna!" But she had no kohl upon the eyelashes, nor like Fatima of Damascus, whom the Howadji later saw, were her eyebrows shaved and replaced by thick, black arches of kohl. Yet fascinating are the almond-eyes of Egyptian women, bordered black with the kohl, whose intensity accords with the sumptuous passion that mingles moist and languid with their light. Eastern eyes are full of moonlight—Eastern beauty is a dream of passionate possibility, which the Howadji would fain awaken by the same spell with which the prince of Faery dissolved the enchanted sleep of the princess. Yet kohl and henna are only beautiful for the beautiful. In a coffee-shop at Esne, bold-faced among the men, sat a coarse courtesan sipping coffee and smoking a nargileh, whose kohled eyebrows and eyelashes made her a houri of hell.

"There is no joy but calm," I said, as the moments, brimmed with beauty, melted in the starlight, and the small room became a bower of bloom and a Persian garden of delight. We reclined, breathing fragrant fumes, and interchanging, through the Golden-sleeved, airy nothings. The Howadji and the houris had little in common but looks. Soulless as Undine, and suddenly risen from a laughing life in watery dells of lotus, sat the houris; and, like the mariner, sea-driven upon the enchanted isle of Prospero, sat the Howadji, unknowing the graceful gossip of Faery. But there is a faery always folded away in our souls, like a bright butterfly chrysalized, and sailing eastward, layer after layer of propriety, moderation, deference to public opinion, safety of sentiment, and all the thick crusts of compromise and convention roll away, and bending southward up the Nile, you may feel the faery fairly flutter her wings. And if you pause at Esne, she will fly out, and lead you a will-o'-the-wisp dance across all the trim sharp hedges of accustomed proprieties, and over the barren flats of social decencies. Dumb is that faery, so long has she been secluded, and can not say much to her fellows. But she feels and sees and enjoys all the more exquisitely and profoundly for her long sequestration.

Presently an old woman came in with a tár, a kind of tambourine, and her husband, a grisly old sinner, with a rabáb, or one-stringed fiddle. Old Hecate was a gone Ghazeeyah—a rose-leaf utterly shriveled away from rosiness. No longer a dancer, she made music for dancing. And the husband, who played for her in her youth, now played with her in her age. Like two old votaries who feel when they can no longer see, they devoted all the force of life remaining to the great game of pleasure, whose born thralls they were.

There were two tarabukas and brass castanets, and when the old pair were seated upon the carpet near the door, they all smote their rude instruments, and a wild clang rang through the little chamber. Thereto they sang. Strange sounds—such music as the angular, carved figures upon the temples would make, had they been conversing with us—sounds to the ear like their gracelessness to the eye.

This was Egyptian Polyhymnia preluding Terpsichore.

TERPSICHORE.

Kushuk Arnem quaffed a goblet of hemp arrack. The beaker was passed to the upper divan, and the Howadji sipping, found it to smack of anniseed. It was strong enough for the Pharaohs to have imbibed—even for Herod before beholding Herodias, for these dances are the same. This dancing is more ancient than Aboo Simbel. In the land of the Pharaohs, the Howadji saw the dancing they saw, as uncouth as the temples they built. This dancing is to the ballet of civilized lands what the gracelessness of Egypt was to the grace of Greece. Had the angular figures of the temple sculptures preluded with that music, they had certainly followed with this dancing.

Kushuk Arnem rose and loosened her shawl girdle in such wise, that I feared she was about to shed the frivolity of dress, as Venus shed the sea-foam, and stood opposite the divan, holding her brass castanets. Old Hecate beat the tár into a thunderous roar. Old husband drew sounds from his horrible rabáb, sharper than the sting of remorse, and Xenobi and the Giraffe each thrummed a tarabuka until thought the plaster would peel from the wall. Kushuk stood motionless, while this din deepened around her, the arrack aerializing her feet, the Howadji hoped, and not her brain. The sharp surges of sound swept around the room, dashing in regular measure against her movelessness, until suddenly the whole surface of her frame quivered in measure with the music. Her hands were raised, clapping the castanets, and she slowly turned upon herself, her right leg the pivot, marvelously convulsing all the muscles of her body. When she had completed the circuit of the spot on which she stood, she advanced slowly, all the muscles jerking in time to the music, and in solid, substantial spasms.

It was a curious and a wonderful gymnastic. There was no graceful dancing—once only there was the movement of dancing when she advanced, throwing one leg before the other as gipsies dance. But the rest was most voluptuous motion—not the lithe wooing of languid passion, but the soul of passion starting through every sense, and quivering in every limb. It was the very intensity of motion, concentrated and constant. The music still swelled savagely in maddened monotony of measure. Hecate and the old husband, fascinated with the Ghazeeyah's fire, threw their hands and arms excitedly above their instruments, and an occasional cry of enthusiasm and satisfaction burst from their lips. Suddenly stooping, still muscularly moving, Kushuk fell upon her knees, and writhing with body, arms and head upon the floor, still in measure—still clanking the castanets, and arose in the same manner. It was profoundly dramatic. The scenery of the dance was like that of a characteristic song. It was a lyric of love which words can not tell—profound, oriental, intense, and terrible. Still she retreated, until the constantly down-slipping shawl seemed only just clinging to her hips, and making the same circuit upon herself, she sat down, and after this violent and extravagant exertion was marbly cold.

Then timid but not tremulous, the young Xenobi arose bare-footed, and danced the same dance, not with the finished skill of Kushuk, but gracefully and well, and with her eyes fixed constantly upon the elder. With the same regular throb of the muscles she advanced and retreated, and the Paradise-pavilioned prophet could not have felt his heavenly harem complete, had he sat smoking and entranced with the Howadji.

Form so perfect was never yet carved in marble; not the Venus is so mellowly moulded. Her outline has not the voluptuous excess which is not too much—which is not perceptible to mere criticism, and is more a feeling flushing along the form, than a greater fullness of the form itself. The Greek Venus was sea-born, but our Egyptian is sun-born. The brown blood of the sun burned along her veins—the soul of the sun streamed shaded from her eyes. She was still, almost statuesquely still. When she danced it was only stillness intensely stirred, and followed that of Kushuk as moonlight succeeds sunshine. As she went on, Kushuk gradually rose, and joining her, they danced together. The Epicureans of Cairo indeed, the very young priests of Venus, assemble the Ghawazee in the most secluded adyta of their dwellings, and there eschewing the mystery of the shintyan, and the gauziness of the tób, they behold the unencumbered beauty of these beautiful women. At festivals so fair, arrack, raw brandy, and "depraved human nature," naturally improvise a ballet whereupon the curtain here falls.

Suddenly, as the clarion call awakens the long-slumbering spirit of the war-horse, old Hecate sprang to her feet, and loosening her girdle, seized the castanets, and, with the pure pride of power, advanced upon the floor, and danced incredibly. Crouching before like a wasting old willow, that merely shakes its drooping leaves to the tempest, she now shook her fibres with the vigor of a nascent elm, and moved up and down the room with a miraculous command of her frame.

In Venice I had heard a gray gondolier, dwindled into a ferryman, awakened in a moonlighted midnight, as we swept by with singers chanting Tasso, pour his swan-song of magnificent memory into the quick ear of night.

In the Champs Elysées I had heard a rheumy-eyed Invalide cry with the sonorous enthusiasm of Austerlitz, "Vive Napoleon!" as a new Napoleon rode by.

It was the Indian summer goldening the white winter—the Zodiacal light far flashing day into the twilight. And here was the same in dead old Egypt—in a Ghazeeyah who had brimmed her beaker with the threescore and ten drops of life. Not more strange, and unreal, and impressive in their way, the inscrutable remains of Egypt, sand-shrouded but undecayed, than in hers this strange spectacle of an efficient Coryphée of seventy.

Old Hecate! thou wast pure pomegranate also, and not banana, wonder most wonderful of all—words which must remain hieroglyphics upon these pages—and whose explication must be sought in Egypt, as they must come hither who would realize the freshness of Karnak.

Slow, sweet singing followed. The refrain was plaintive, like those of the boat songs—soothing, after the excitement of the dancing, as nursery lays to children after a tired day. "Buono," Kushuk Arnem! last of the Arnems, for so her name signified. Was it a remembering refrain of Palestine, whose daughter you are? "Taib," dove Xenobi! Fated, shall I say, or favored? Pledged life-long to pleasure! Who would dare to be? Who but a child so careless would dream that these placid ripples of youth will rock you stormless to El Dorado?

O Allah! and who cares? Refill the amber nargileh, Xenobi—another fingan of mellow mocha. Yet another strain more stirring. Hence, Hecate! shrivel into invisibility with the thundering tár, and the old husband with his diabolical rabáb. Waits not the one-eyed first officer below, with a linen lantern, to pilot as to the boat? And the beak of the Ibis points it not to Syene, Nubia, and a world unknown?

Farewell, Kushuk! Addio, still-eyed dove! Almost thou persuadest me to pleasure. O Wall-street, Wall-street! because you are virtuous, shall there be no more cakes and ale?