MUSIC.
The Egyptians in general are excessively fond of music; and yet they
regard the study of this fascinating art (like dancing) as unworthy to
employ any portion of the time of a man of sense; and as exercising too
powerful an effect upon the passions, and leading a man into gaiety and
dissipation and vice. Hence it was condemned by the Prophet: but it is
used, notwithstanding, even in religious ceremonies; especially by the
darweeshes. The Egyptians have very few books on music; and these are
not understood by their modern musicians. The natural liking of the
Egyptians for music is shown by their habit of regulating their motions,
and relieving the dulness of their occupations, in various labours, by
songs or chants. Thus do the boatmen, in rowing, etc.; the peasants in
raising water; the porters in carrying heavy weights with poles; men,
boys, and girls, in assisting builders, by bringing bricks, stones, and
mortar, and removing rubbish: so also, the sawyers, reapers, and many
other labourers. Though the music of the Egyptians is of a style very
difficult for foreigners to acquire or imitate, the children very easily
and early attain it. The practice of chanting the Kur-án, which is
taught in all their schools, contributes to increase their natural
fondness for music.
How science was cherished by the Arabs when all the nations of Europe
were involved in the grossest ignorance, and how much the former
profited by the works of ancient Greek writers, is well known. It
appears that they formed the system of music which has prevailed among
them for many centuries partly from Greek, and partly from Persian and
Indian treatises. From the Greek language are derived the most general
Arabic term for music, namely, “mooseeka,” and the names of some of the
Arab musical instruments; but most of the technical terms used by the
Arab musicians are borrowed from the Persian and Indian languages. There
is a striking degree of similarity between many of the airs which I have
heard in Egypt and some of the popular melodies of Spain;[449] and it is
not surprising that this is the case: for music was much cultivated
among the Arabs of Spain; and the library of the Escurial contains many
Arabic treatises on this art.
The most remarkable peculiarity in the Arab system of music is the
division of tones into thirds. Hence I have heard Egyptian musicians
urge against the European systems of music that they are deficient in
the number of sounds. These small and delicate gradations of sound give
a peculiar softness to the performances of the Arab musicians, which are
generally of a plaintive character: but they are difficult to
discriminate with exactness, and are therefore seldom observed in the
vocal and instrumental music of those persons who have not made a
regular study of the art. Most of the popular airs of the Egyptians,
though of a similar character, in most respects, to the music of their
professional performers, are very simple; consisting of only a few
notes, which serve for every one or two lines of a song, and which are
therefore repeated many times. I must confess that I generally take
great delight in the more refined kind of music which I occasionally
hear in Egypt; and the more I become habituated to the style, the more I
am pleased with it; though, at the same time, I must state that I have
not met with many Europeans who enjoy it in the same degree as myself.
The natives of Egypt are generally enraptured with the performances of
their vocal and instrumental musicians: they applaud with frequent
exclamations of “Allah!”[450] and “God approve thee!” “God preserve thy
voice!” and similar expressions.
The male professional musicians are called “A′láteeyeh;” in the
singular, “A′látee,” which properly signifies “a player upon an
instrument;” but they are generally both instrumental and vocal
performers. They are people of very dissolute habits; and are regarded
as scarcely less disreputable characters than the public dancers. They
are, however, hired at most grand entertainments, to amuse the company;
and on these occasions they are usually supplied with brandy, or other
spirituous liquors, which they sometimes drink until they can neither
sing nor strike a chord. The sum commonly paid to each of them for one
night’s performance is equal to about two or three shillings; but they
often receive considerably more. The guests generally contribute the
sum.
There are also female professional singers. These are called “’Awálim;”
in the singular, “’A′l’meh,” or “’A′limeh;” an appellation literally
signifying “a learned female.” The ’Awálim are often hired on the
occasion of a fête in the hareem of a person of wealth. There is
generally a small, elevated apartment, called a “tukeyseh,” or
“mughanna,” adjoining the principal saloon of the hareem, from which it
is separated only by a screen of wooden lattice-work; or there is some
other convenient place in which the female singers may be concealed from
the sight of the master of the house, should he be present with his
women. But when there is a party of male guests, they generally sit in
the court, or in a lower apartment, to hear the songs of the ’Awálim,
who, in this case, usually sit at a window of the hareem, concealed by
the lattice-work. Some of them are also instrumental performers. I have
heard the most celebrated ’Awálim in Cairo, and have been more charmed
with their songs than with the best performances of the A′láteeyeh, and
more so, I think I may truly add, than with any other music that I have
ever enjoyed. They are often very highly paid. I have known instances of
sums equal to more than fifty guineas being collected for a single
’A’l’meh from the guests at an entertainment in the house of a merchant,
where none of the contributors were persons of much wealth. So powerful
is the effect of the singing of a very accomplished ’A′l’meh, that her
audience, in the height of their excitement, often lavish upon her sums
which they can ill afford to lose. There are, among the ’Awálim in
Cairo, a few who are not altogether unworthy of the appellation of
“learned females;” having some literary accomplishments. There are also
many of an inferior class, who sometimes dance in the hareem: hence,
travellers have often misapplied the name of “almé,” meaning “’ál’meh,”
to the common dancing-girls, of whom an account will be given in another
chapter of this work.
The Egyptians have a great variety of musical instruments. Those which
are generally used at private concerts are the “kemengeh,” “kánoon,”
“’ood,” and “náy.”
[Illustration: KEMENGEH.]
The “kemengeh”[451] is a kind of viol. Its name, which is Persian, and
more properly written “kemángeh,” signifies “a bow-instrument.” This
instrument, and all the others of which I insert engravings, I have
drawn with the camera-lucida. The total length of the kemengeh which is
here represented is thirty-eight inches. The sounding-body is a
cocoa-nut, of which about a fourth part has been cut off. It is pierced
with many small holes. Over the front of it is strained a piece of the
skin of a fish of the genus “silurus,” called “bayád;” and upon this
rests the bridge. The neck is of ebony inlaid with ivory; and of a
cylindrical form. At the bottom of it is a piece of ivory; and the head,
in which the pegs are inserted, is also of ivory. The pegs are of beech;
and their heads, of ivory. The foot is of iron: it passes through the
sounding-body, and is inserted into the neck, to the depth of four or
five inches. Each of the two chords consists of about sixty horse-hairs:
at the lower end, they are attached to an iron ring, just below the
sounding-body: towards the other extremity, each is lengthened with a
piece of lamb’s gut, by which it is attached to its peg. Over the
chords, a little below their junction with the gut-strings, a double
band of leather is tied, passing round the neck of the instrument. The
bow is thirty-four inches and a half in length. Its form is shown by the
engraving. The stick is generally of ash. The horse-hairs, passed
through a hole at the head of the bow-stick and secured by a knot, and
attached at the other end to an iron ring, are tightened or slackened by
a band of leather which passes through the ring just mentioned and
through another ring at the foot of the bow. A performer on the
kemengeh, in passing the bow from one chord to the other, turns the
kemengeh about sixty degrees round. The sketches introduced, are from
drawings which I have made with the camera-lucida. Together, they
represent an ordinary Egyptian band, such as is generally seen at a
private entertainment. The performer on the kemengeh usually sits on the
right hand of him who performs on the kánoon, or opposite (that is,
facing) the latter, on the left hand of whom sits the performer on the
’ood; and next to this last is the performer on the náy. Sometimes there
are other musicians, whose instruments will be mentioned hereafter; and
often two singers.
[Illustration:
KÁNOON.
No. 1 is the key; 2, the ring, or thimble; 3, the plectrum.
]
The “kánoon” is a kind of dulcimer. Its name is from the Greek κανὼν, or
from the same origin; and has the same signification; that is, “rule,”
“law,” “custom.” The instrument from which the engraving here given was
taken is, perhaps, an inch or two longer than some others which I have
seen. Its greatest length is thirty-nine inches and three-quarters; and
its breadth, sixteen inches: its depth is two inches and one-tenth. The
kánoon is sometimes made entirely of walnut-wood, with the exception of
some ornamental parts. In the instrument which I have drawn, the face
and the back are of a fine kind of deal: the sides are of beech. The
piece in which the pegs are inserted is of beech: and so also is the
ridge along its interior edge, through which the cords are passed. The
pegs are of poplar-wood. The bridge is of fine deal. In the central part
of the face of the instrument is a circular piece of wood of a reddish
colour, pierced with holes; and towards the acute angle of the face is
another piece of similar wood, likewise pierced with holes. In that part
of the face upon which the bridge rests are five oblong apertures,
corresponding with the five feet of the bridge. A piece of fishes’ skin
nine inches wide is glued over this part; and the five feet of the
bridge rest upon those parts of the skin which cover the five apertures
above mentioned; slightly depressing the skin. The chords are of lamb’s
gut. There are three chords to each note; and, altogether, twenty-four
treble chords. The shortest side of the instrument is veneered with
walnut-wood, inlaid with mother-of-pearl. The instrument is played with
two plectra; one plectrum attached to the fore-finger of each hand. Each
plectrum is a small, thin piece of buffalo’s horn; and is placed between
the finger and a ring, or thimble, formed of a flat piece of brass or
silver, in the manner represented in the sketch.—The instrument is
placed on the knees of the performer. Under the hands of a skilful
player, the kánoon pleases me more than any other Egyptian instrument
without an accompaniment; and to a band it is an important accession.
[Illustration: EGYPTIAN MUSICAL INSTRUMENTS, PIPE, ORNAMENTS, ETC.]
The “’ood” is a lute, which is played with a plectrum. This has been for
many centuries the instrument most commonly used by the best Arab
musicians, and is celebrated by numerous poets. Its name (the original
signification of which is “wood”), with the article _el_ prefixed to it,
is the source whence are derived the terms _liuto_ in Italian, _luth_ in
French, _lute_ in English, etc. The length of the ’ood, as represented
in the middle of the accompanying engraving, measuring from the button,
or angle of the neck, is twenty-five inches and a half. The body of it
is composed of fine deal, with edges, etc., of ebony: the neck of ebony,
faced with box and an ebony edge. On the face of the body of the
instrument, in which are one large and two small shemsehs of ebony, is
glued a piece of fishes’ skin, under that part of the chords to which
the plectrum is applied, to prevent the wood from being worn away by the
plectrum. The instrument has seven double strings; two to each note.
They are of lamb’s gut. The order of these double chords is singular:
the double chord of the lowest note is that which corresponds to the
chord of the highest note in our violins, etc.: next in the scale above
this is the fifth (that is, counting the former as the first): then the
seventh, second, fourth, sixth, and third. The plectrum is a slip of a
vulture’s feather.
The “náy,” which is the fourth and last of the instruments which I have
mentioned as most commonly used at private concerts, is a kind of flute.
There are several kinds of náy, differing from each other in dimensions,
but in little else. The most common is that here represented. It has
been called the darweesh’s flute; because often used at the zikrs of
darweeshes to accompany the songs of the “munshids.” It is a simple
reed, about eighteen inches in length, seven-eighths of an inch in
diameter at the upper extremity, and three-quarters of an inch at the
lower. It is pierced with six holes in front, and generally with another
hole at the back. The sounds are produced by blowing, through a very
small aperture of the lips, against the edge of the orifice of the tube,
and directing the wind chiefly within the tube. By blowing with more or
less force, sounds are produced an octave higher or lower. In the hands
of a good performer, the náy yields fine, mellow tones; but it requires
much practice to sound it well. A náy is sometimes made of a portion of
a gun-barrel.
[Illustration: NÁY]
Another instrument often used at private concerts is a small tambourine
called “rikk,” similar to one of which an engraving will be found in
this chapter, page 330, but rather smaller.
A kind of mandoline, called “tamboor,” is also used at concerts in
Egypt; but mostly by Greeks and other foreigners. These musicians
likewise use a dulcimer, called “santeer,” which resembles the kánoon,
excepting that it has two sides oblique, instead of one (the two
opposite sides equally inclining together), has double chords of wire,
instead of treble chords of lamb’s gut, and is beaten with two sticks
instead of the little plectra.
[Illustration: RABÁB ESH-SHÁ’ER.]
A curious kind of viol, called “rabáb,” is much used by poor singers, as
an accompaniment to the voice. There are two kinds of viol which bear
this name; the “rabáb el-mughannee” (or singers’ viol), and the “rabáb
esh-shá’er” (or poet’s viol); which differ from each other only in this,
that the former has two chords, and the latter but one. The latter is
that of which I give an engraving; but it will be observed that it is
convertible into the former kind, having two pegs. It is thirty-two
inches in length. The body of it is a frame of wood, of which the front
is covered with parchment, and the back uncovered. The foot is of iron:
the chord of horse-hairs, like those of the kemengeh. The bow, which is
twenty-eight inches long, is similar to that of the kemengeh. This
instrument is always used by the public reciters of the romance of
Aboo-Zeyd, in chanting the poetry. The reciter of this romance is called
“Shá’er” (or poet); and hence the instrument is called “the poet’s
viol,” and “the Aboo-Zeydee viol.” The Shá’er himself uses this
instrument; and another performer on the same kind of rabáb generally
accompanies him.
The instruments used in wedding-processions, and the processions of
darweeshes, etc., are chiefly a hautboy, called “zemr,” and several
kinds of drums, of which the most common kinds are the “tabl beledee”
(or country drum, that is Egyptian drum), and the “tabl Shámee” (or
Syrian drum). The former is of a similar kind to our common military
drum; but not so deep. It is hung obliquely. The latter is a kind of
kettle-drum, of tin-copper, with a parchment face. It is generally about
sixteen inches in diameter, and not more than four in depth in the
centre; and is beaten with two slender sticks. The performer suspends it
to his neck, by a string attached to two rings fixed to the edge of the
instrument. I have represented these drums in the sketch of a bridal
procession, and in another engraving opposite page 48.
A pair of large kettle-drums, called “nakákeer” (in the singular,
“nakkárah”), are generally seen in most of the great religious
processions connected with the pilgrimage, etc., in Cairo. They are both
of copper, and similar in form; each about two-thirds of a sphere; but
are of unequal dimensions: the flat surface, or face, of the larger is
about two feet, or more, in diameter; and that of the latter, nearly a
foot and a half. They are placed upon a camel, attached to the fore part
of the saddle, upon which the person who beats them rides. The larger is
placed on the right.
Darweeshes, in religious processions, etc., and in begging, often make
use of a little tabl, or kettle-drum, called “báz,” six or seven inches
in diameter; which is held in the left hand, by a little projection in
the centre of the back; and beaten by the right hand, with a short
leather strap, or a stick. They also use cymbals, which are called
“kás,” on similar occasions. The báz is used by the Musahhir, to attract
attention to his cry in the nights of Ramadán. Castanets of brass,
called “ságát,” are used by the public female and male dancers. Each
dancer has two pairs of these instruments. They are attached, each by a
loop of string, to the thumb and second finger; and have a more pleasing
sound than castanets of wood or ivory.
[Illustration: 1. SÁGÁT. 2. TÁR. 3. DARABUKKEH.]
There are two instruments which are generally found in the hareem of a
person of moderate wealth, and which the women often use for their
diversion. One of these is a tambourine, called “tár,” of which I insert
an engraving. It is eleven inches in diameter. The hoop is overlaid with
mother-of-pearl, tortoise-shell, and white bone, or ivory, both without
and within; and has ten double circular plates of brass attached to it;
each two pairs having a wire passing through their centres. The tár is
held by the left or right hand, and beaten with the fingers of that
hand, and by the other hand. The fingers of the hand which holds the
instrument, striking only near the hoop, produce higher sounds than the
other hand, which strikes in the centre.—A tambourine of a larger and
more simple kind than that here described, without the metal plates, is
often used by the lower orders.—The other instrument alluded to in the
commencement of this paragraph is a kind of drum, called “darabukkeh.”
The best kind is made of wood, covered with mother-of-pearl and
tortoise-shell, etc. One of this description is here represented with
the tár. It is fifteen inches in length; covered with a piece of fishes’
skin at the larger extremity, and open at the smaller. It is placed
under the left arm; generally suspended by a string that passes over the
left shoulder; and is beaten with both hands. Like the tár, it yields
different sounds when beaten near the edge and in the middle. A more
common kind of darabukkeh is made of earth, and differs a little in form
from that just described. An engraving of it is here given.
[Illustration]
1 AND 2. EARTHEN DARABUKKEH.
5. MOUTH-PIECE OF THE LATTER.
3 AND 4. ZUMMÁRAH.
6. ARGHOOL.
The Zummárah is 14 inches long; the Arghool, 3 feet 2½ inches.
The boatmen of the Nile very often use an earthen darabukkeh; but of a
larger size than that used in hareems: generally from a foot and a half
to two feet in length. This is also used by some low story-tellers and
others. The boatmen employ, as an accompaniment to their earthen drum, a
double reed pipe, called “zummárah.”[452] There is also another kind of
double reed pipe, called “arghool;” of which one of the reeds is much
longer than the other, and serves as a drone, or continuous bass.[453]
This, likewise, is used by boatmen; and sometimes it is employed,
instead of the náy, at zikrs. Both of these reed pipes produce harsh
sounds; and those of the latter much resemble the sounds of the
bag-pipe. A rude kind of bag-pipe (“zummárah bi-soan”) is sometimes, but
rarely, seen in Egypt: its bag is a small goat’s-skin.
I shall now close this chapter with a few specimens of Egyptian music;
chiefly popular songs. These I note in accordance with the manner in
which they are commonly sung; without any of the embellishments which
are added to them by the A′láteeyeh. The airs of these are not always
sung to the same words; but the words are generally similar in style to
those which I insert, or at least as silly; though often abounding with
indecent metaphors, or with plain ribaldry.—It should be added, that
distinct enunciation, and a quavering voice, are characteristics of the
Egyptian mode of singing.
SONGS.
No. 1.
[Stanza]
[Stanza]
[Stanza]
Doos yá lel - lee Doos yá le - l - lee.
Doos yá lel - lee Doos yá le - - - - l-
lee. ’Eshkë mah - boo - bee fe - te - n - nee.
“Doos[454] yá lellee. Doos yá lellee (three times).
’Eshkë[455] mahboobee fetennee.”
Tread![456] O my joy![457] Tread! O my joy! (three times).
Ardent desire of my beloved hath involved me in trouble.
(The preceding lines are repeated after each of the following stanzas,
sometimes as a chorus.)
“Má[458] kullu men námet ’oyoonuh
Yahsib el-’áshik yenám.[459]
Wa-lláh ana mughram sabábeh.
Lem ’ala-l-’áshik melám.”
Let not every one whose eyes sleep
Imagine that the lover sleepeth.
By Allah! I am inflamed with intense love.
The lover is not obnoxious to blame.
“Yá Sheykh el-’Arab: Yá Seyyid:
Tegmaanee ’a-l-khilli leyleh.
Wa-n gánee habeebë kalbee
La-amal lu-l Kashmeer dulleyleh.”
O Sheykh of the Arabs! O Seyyid![460]
Unite me to the true love one night!
And if the beloved of my heart come to me
I will make the Kashmeer shawl her canopy.
“Kámil el-owsáf fetennee
Wa-l-’oyoon es-sood ramoonee
Min häwáhum sirt aghannee
Wa-l-häwa zowwad gunoonee.”
The perfect in attributes hath involved me in trouble,
And the black eyes have o’erthrown me.
From love of them I began to sing,
And the air[461] increased my madness.
“Gema’om gem’ al-’awázil
’An habeebee yemna’oonee.
Wa-lláh ana má afoot háwáhum
Bi-s-suyoof low katta’oonee.”
The crew of reproachers leagued together
To debar me from my beloved.
By Allah! I will not relinquish the love of them,[462]
Though they should cut me in pieces with swords.
“Kum bi-në yá khillë neskar
Tahta dill el-yásameeneh:
Nektuf el-khókh min ’ala ummuh
Wa-l-’awázil gháfileenë.”
Up with us! O true love! Let us intoxicate ourselves[463]
Under the shade of the jasmine:
We will pluck the peach from its mother [tree]
While the reproachers are unconscious.
“Yá benát goowa-l-medeeneh
’Andakum ashya temeeneh:
Telbisu-sh-sháteh bi-loolee
Wa-l-kiládeh ’a-n-nehdi zeeneh.”
O ye damsels in the city![464]
Ye have things of value:
Ye wear the sháteh[465] with pearls,
And the kiládeh,[466] an ornament over the bosom.
“Yá benát Iskendereeyeh
Meshyukum ’a-l-farshi gheeyeh:
Telbisu-l-Kashmeer bi-tellee
Wa-sh-shefáif sukkareeyeh.”
O ye damsels of Alexandria!
Your walk over the furniture[467] is alluring:
Ye wear the Kashmeer shawl, with lama,
And your lips are sweet as sugar.
“Yá miláh kháfoo min Allah
Wa-rhamu-l-’áshik li-llah.
Hobbukum mektoob min Allah:
Kaddaru-l-Mowla ’aleiya.”
O ye beauties! fear God,
And have mercy on the lover for the sake of God.
The love of you is ordained by God:
The Lord hath decreed it against me.
No. 2.
[Stanza]
[Stanza]
[Stanza]
Ya - bu - - l - ge - - l - - fee. Ya-
bu - l - ge l fee. Ráh e - l - mah-
boo - b má ’ád wi - l - fee.
“Ya-bu-l-gelfee. Ya-bu-l-gelfee.
Ráh el-mahboob: má ’ád wilfee.”
O thou in the long-sleeved yelek! O thou in the long-sleeved yelek!
The beloved is gone: my companion has not returned.
“Ráh el-mirsál wa-lem gáshee:
Wa-’eyn el-hobb bi-teráshee.
Ya-bu-l-gálif. Ya-bu-l-gelfee.
Yá reyt’në ma-nshebeknáshee.
Ya-bu-l-gelfee, etc.”
The messenger went, and has not returned:
And the eye of love is glancing.
O thou with the side-lock![468] O thou in the long-sleeved yelek!
Would that we had not been ensnared!
O thou in the long-sleeved yelek, etc.
“Wa-ley yá ’eyn shebekteenë
Wa-bi-l-alház garahteenë.
Ya-bu-l-gálif. Ya-bu-l-gelfee.
Bi-lláhi rikk wa-shfeenë.
Ya-bu-l-gelfee, etc.”
And why, O eye! hast thou ensnared us?
And with glances wounded us?
O thou with the side-lock! O thou in the long-sleeved yelek!
By Allah! have compassion, and heal us.
O thou in the long-sleeved yelek! etc.
“Askamten′ee yá habeebee:
Wa-má kasdee illa tibbak.
’Asák yá bedrë terhamnee:
Fa-inna kalbee yehebbak.
Ya-bu-l-wardee. Ya-bu-l-wardee.
Habeebë kalbee khaleek ’andee.”
Thou hast made me ill, O my beloved!
And my desire is for nothing but thy medicine.
Perhaps, O full moon! thou wilt have mercy upon me:
For verily my heart loveth thee.
O thou in the rose-coloured dress! O thou in the rose-coloured dress!
Beloved of my heart! remain with me.
“De-l-hobbë gánee yet’máyal:
Wa-sukrë hálee gufoonuh.
Meddeyt eedee akhud el-kás:
Sekirt ana min ’oyoonuh.
Ya-bu-l-wardee, etc.”
The beloved came to me with a vacillating gait;
And her eyelids were the cause of my intoxication.
I extended my hand to take the cup;
And was intoxicated by her eyes.
O thou in the rose-coloured dress! etc.
No. 3.
[Stanza]
[Stanza]
[Stanza]
Má marr wa - sa - ká - nee ha - bee - bee
suk - kar. Nusf el - la - yá - lee
’a-l - mu - dá - meh ne - s - kar.
“Má marr wa-sakánee habeebee sukkar.
Nusf el-läyálee ’a-l-mudámeh neskar.
Nedren ’aleiya wa-n ata mahboobee
La-amal ’amáyil má ’amilhásh ’Antar.”
My love passed not, but gave me sherbet of sugar to drink.
For half the nights we will intoxicate ourselves with wine.
I vow that, if my beloved come,
I will do deeds that ’Antar did not.
“Yá bintë melesik dáb wa-bent[469] eedeyke[470]
Wa-kháf ’aleykee min säwád ’eyneykee.
Kasdee ana askar wa-boos khaddeykee
Wa-amal ’amáyil mi ’amilhásh ’Antar.”
O damsel! thy silk shirt is worn out, and thine arms have become
visible,
And I fear for thee, on account of the blackness of thine eyes.
I desire to intoxicate myself, and kiss thy cheeks,
And do deeds that ’Antar did not.
“Fáïteh ’aleiya máliya-l-argeeleh:
Wa-meiyet[471] el-má-wardë fi-l-argeeleh.
Ata-bi-l-buneiyeh ’ámiláha heeleh.
Meta tekul-lee ta’ál yá geda neskar.”
She is passing by me, and filling the argeeleh;[472]
And there is rose-water in the argeeleh.
It seems to me the little lass is framing to herself some artifice.
When will she say to me, “O youth! come, and let us intoxicate
ourselves”?
“Tool el-layálee lem yenkat′a’ noohee
’Ala ghazal mufrad wa-khad roohee.
Nedren ’aleiya wa-n ata mahboobee
La-amal ’amáyil má ’amilhásh ’Antar.”
Every night long my moaning ceaseth not
For a solitary gazelle that hath taken away my soul.
I vow that, if my beloved come,
I will do deeds that ’Antar did not.
“Yá dema ’eynee ’a-l-khudeyd men hallak:
Kal-lee bi-zeedak shok ’ala bo’ádi khillak.
Irham muteiyam yá gemeel mashghul-bak.
Taama ’oyoon ellee má yehebbak ya-smar.”
O tear of my eye! who drew thee forth over the cheek?
It saith, “Thy desire increaseth on account of thy true-love’s absence.”
Have mercy upon one enslaved, O beautiful! and intent upon thee:
Blinded be the eyes of him who loves thee not, O dark complexioned!
“Asmar wa-háwi-l-wardeteyni-l-beedi.
Hobbee takhallak fee läyáli-l-’eedi.
Nedren ’aleiya wa-n atánee seedee
La-amal ’amáyil má ’amilhásh ’Antar.”
Dark-complexioned, and with two white roses![473]
My love hath perfumed herself on the nights of the festival.
I vow that, if my mistress come to me,
I will do deeds that ’Antar did not.
No. 4.
[Stanza]
[Stanza]
[Stanza]
A’ - shik ra - a mub - te - lee - -
ka - - - l-lu - - - - - h enta
rá - - - - - - - - -ye - h feyn.
“’A′shik ra-a mubtel′ee: kal-luh enta ráyeh feyn.
Wakaf kara kissatuh: bekyum sawa-l-itneyn.
Ráhom le-kádi-l-häwa-l-itneyn säwa yeshkum.
Bekyu-t-teláteh wa-káloo hobbena ráh feyn.
El-leyl. El-leyl. Yá helw el-ayádee: háwi-l-khókh en-nádee.
Entum min eyn wa-hna min eyn lemma shebektoonë.”
A lover saw another afflicted [in like manner]: he said to him, “Whither
art thou going?”
He stopped and told his story: they both wept together.
They went to the kádee of love, both together to complain.
The three wept, and said, “Whither is our love gone?”
The night! The night! O thou with sweet hands! Gatherer[474] of the dewy
peach!
Whence were ye, and whence were we, when ye ensnared us?
“A’shik yekul li-l-hamám hát lee genáhak yóm.
Kál el-hamám amrak bátil: kultu gheyr el-yóm:
Hatta ateer fi-l-gó wa-nzur wegh el-mahboob;
A′khud widád ’am wa-rga’ yá hamám fee yóm.
El-leyl. El-leyl, etc.”
A lover says to the dove, “Lend me your wings for a day.”
The dove replied, “Thy affair is vain:” I said, “Some other day:
That I may soar through the sky, and see the face of the beloved:
I shall obtain love enough for a year, and will return, O dove, in a
day.”
The night! The night! etc.
-------
THE CALL TO PRAYER.
The call to prayer, repeated from the mád’nehs (or menarets) of the
mosques, I have already mentioned.[475] I have often heard this call, in
Cairo, chanted in the following manner; and in a style more or less
similar, it is chanted by most of the muëddins of this city.
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
Al _ lá _ hu ak _bar. Al-
lá _ hu ak _ bar. Al _ lá _ hu ak -
bar. Al _ lá - - - - - - - - - -
- - - - - - - - - hu ak - bar.
Ash - hadu an lá i - lá - ha il-la- l -
láh. Ash-hadu an lá i -
lá. ha il - la - l-lá - - - - - - -
- - - - - - - h. Ash - hadu
an - na Mo - ham - ma - dar ra - soolu - l -
láh Ash - hadu an - na Moham - ma-
dar ra - soolu-l - lá - - - - - - - - - - -
h. Hei - ya ’a - la-s - sa - láh.
Hei - ya ’ala-s-salá
- - - - - - - - - - - - - - - - h.
Hei - ya ’ala - l - fe - láh. Hei - ya ’a-la-l-fe-
lá - - - - - - - - - - — - - - -h
Al- - lá - - hu ak - - bar.
Al - - lá - - - hu ak - - bar.
Lá i - lá - ha i-l - la - l-l-áh
THE CHANTING OF THE KUR-ÁN.
The following is inserted with the view of conveying some notion of the
mode in which the Kur-án is commonly chanted in Egypt. The portion here
selected is that which is most frequently repeated, namely, the
“Fát’hah,” or first chapter.
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
[Stanza]
Bi - smi-l - - lá - hi-r-rah - má - ni-r - ra-
heem. El - - hamdu li-l - lá - hi
rab - - bil - ’á - - la - - mee - - na-r - rah-
má - ni-r - ra - hee - mi má - li - ki yow - mi-d-
deen. Ee - yá - - ka naa - bu - doo - wa-
ee - yá - ka nesta - ’een. Ihdi - na-s - si - rá - ta-l-
mus - ta - kee - ma si - rá - ta-l - le zee - na an-
’am - ta ’a - lei - him ghei - ri-l-maghdoo - bi ’a-
lei - him wa-la-d - dá - - - -lleen. A’-meen.
-----
Footnote 449:
This is most remarkable in the more refined Egyptian music; but it is
also observable in the airs of some common ballads and chants.
Footnote 450:
Often, in such cases, pronounced in an unusually broad manner, and the
last syllable drawled out, thus—“Allauh!”
Footnote 451:
A friend (a native of Egypt) has observed to me, since the first
edition of this work was printed, that “rabáb” would be a more proper
term for this instrument, being the general Arabic name for a viol;
but I never heard it called in Egypt by any other name than
“kemengeh.” It is also thus called in Syria.
Footnote 452:
The mouth-piece (A B) of the zummárah is movable.
Footnote 453:
The arghool has three movable pieces to lengthen the longer tube (A B,
B C, and C D); and is sometimes used with only one or two of these;
and sometimes with none of them.
Footnote 454:
Here, in accordance with a rule observed in most modern Arab songs,
the masculine gender is applied to the beloved object, who is,
nevertheless, a female, as will be seen in several subsequent verses.
In translation, I therefore substitute the feminine gender in every
case where our language distinguishes gender. Some words occur,
bearing double meanings, which I leave unexplained. I write the Arabic
words as they are generally pronounced in Cairo, excepting in the case
of one letter, which I represent by “k,” to express the sound which
persons of education give to it instead of the more usual hiatus.
Footnote 455:
The Arabs find it impossible to utter three consonants together
without a pause between the second and third: hence the introduction
of the short vowel which terminates this word: it is a single letter
that is represented by _sh_.
Footnote 456:
Or pace, or strut.
Footnote 457:
“Yá lellee,” which is thus translated, is a common ejaculation
indicative of joy synonymous with “yá farhatee.” It is difficult to
render this and other cant terms.
Footnote 458:
This line and the first of the next stanza require an additional note,
which is the same as the last note of these lines, to be added at the
commencement
Footnote 459:
This and some other lines require that the note which should be the
last if they were of more correct measure be transferred to the
commencement of the next line.
Footnote 460:
The famous saint Es-seyyid Ahmad El-Bedawee, who is buried at Tanta,
in the Delta.
Footnote 461:
That is, the air of the song.
Footnote 462:
Namely, the black eyes.
Footnote 463:
The intoxication here meant is that of love, as is generally the case
when this expression is used in Arab songs.
Footnote 464:
Cairo.
Footnote 465:
An ornament described in the Appendix, resembling a necklace of
pearls, etc., attached on each side of the head-dress.
Footnote 466:
A kind of long necklace, reaching to the girdle.
Footnote 467:
The furniture consists of carpets, etc., spread upon the floor.
Footnote 468:
The lock of hair which hangs over the temple, commonly called
“maksoos.”
Footnote 469:
“Bent” is a vulgar contraction of “bánet.”
Footnote 470:
Dual of “eed,” vulg. for “yed;” meaning “arm” as well as “hand.”
Footnote 471:
A vulgar diminutive of “má,” water.
Footnote 472:
More commonly called “nárgeeleh:” the Persian pipe.
Footnote 473:
The dark-complexioned girl has two _white_ roses on her cheeks,
instead of red.
Footnote 474:
Or, thou who hast.
Footnote 475:
In the chapter on religion and laws.
----------------------------