ness and scope lie. For allusions and hints are a powerful source stimulating slumbering imaginings and by exciting their silent aspects, elicit praise and appreciation in the furthest corners of the heart. Yes, hints and allusions are for promenading and beholding the sides of the path; they are not for purposeful demanding and disposal. This means that the speaker is not answerable for them. If you wish, enter into the following lines, for they contain points worthy of note.

Behold the beard of an aged man who, seated on his high-spirited horse, wants to appear youthful to a coy young maid; you'll find numerous keys to rhetorical eloquence. Open the gates, and listen:

She said: "You're old and grey!" I replied: "I'm not! The white dust risen from beneath the pounding hooves of calamitous time has rested on my beard."

Then I said: "Fear not the shining white of my beard, for like beaming light, it is the smile of thought and fine art which, having melted in the brain, have found a channel in the beard and shown themselves."

Then, "Your eyes slumbered in the dark night of youth; You awoke only in the morn of old age."

"While seeking a javelin, morning struck my horse's brow with its white hand. To avenge itself, my horse caught up with the fleeing morn, struck it to the ground and stamped on it with its four hooves. My horse is high-spirited!"

Then: "Like my beloved's sash, my heart is heaving and rustling; but like her bracelet, her heart is as still and silent. This means that just as her waist is slender and wrist is thick, so my heart is eager while hers is unresponsive. Therefore, beauty has struck passion, remoteness, and eagerness with one stone."

Then, "Like the Yemeni merchant, the rainwater floods have swept their goods and loads to the thorny desert. It is like this: A merchant arrives at a village in the evening and that night the villagers buy his colourful wares, then in the morning they all emerge from their houses attired in various colours. The village shepherd,