or ALMA, fingling and dancing girls in Egypt, who, like the Italian Improvvisatori, can occasionally pour forth "unpremeditated verse." They are called Almé, from having received a better education than other women. They form a celebrated society in that country. To be received into it, according to M. Savary, it is necessary to have a good voice, to understand the language well, to know the rules of poetry, and be able to compose and sing couplets on the spot, adapted to the circumstances. The Almé know by heart all the new songs. Their memory is furnished with the most beautiful tales. There is no festival without them; no entertainment of which they do not constitute the ornament. They are placed in a rostrum, from whence they sing during the repast. They then descend into the saloon, and form dances which have no resemblance to ours. They are pantomime ballets, in which they represent the usual occurrences of life. The mysteries of love, too, generally nerally furnish them with scenes. The suppleness of their bodies is inconceivable. One is astonished at the mobility of their features, to which they give at pleasure the impression suited to the characters they play. The indecency of their attitudes is often carried to excess. Their looks, their gestures, every thing speaks, but in so expressive a manner, that it is impossible to mistake them. At the beginning of the dance, they lay aside with their veils the modesty of their sex. A long robe of very thin silk goes down to their heels, which is slightly fastened with a rich girdle. Long black hair, plaited and perfumed, is flowing on their shoulders. A shift, transparent as gauze, featurally hides their bosom. As they put themselves in motion, the shapes, the contours of their bodies, seem to develop themselves succulently. Their steps are regulated by the sound of the flute, of castanets, the tambour de balque, and cymbals, which accelerates or retards the measure. They are still further animated by words adapted to such scenes. They appear in a state of intoxication. They are the bacchants in a delirium. It is when they are at this point, that throwing off all reserve, they abandon themselves totally to the disorder of their senses; it is then that a people far from delicate, and who like nothing hidden, redouble their applause.

These Almé are sent into all the harams. They teach the women the new airs; they amuse them with amorous tales, and recite in their presence poems, which are so much the more interesting, as they furnish a lively picture of their manners. They initiate them into the mysteries of their art, and teach them to contrive lascivious dances. These girls, who have a cultivated understanding, are very agreeable in conversation. They speak their language with purity. The habit of dedicating themselves to poetry renders the loftiest and most florid expressions familiar to them. They repeat with a great deal of grace. In singing, nature is their only guide. Sometimes two of them sing together, but always with the same voice. It is the same with an orchestra, where all the instruments playing in unison execute the same part.

The Almé assist at the marriage ceremonies, and march before the bride, playing on instruments. They make a figure likewise at funerals, and accompany the procession, singing sorrowful airs. They break forth into groans and lamentations, and give every sign of grief and despair. These women are paid very high, and seldom appear but amongst the grandees and rich men.

The common people have also their Almé. They are girls of the second class, who try to imitate the former; but they have neither their elegance, their graces, nor their knowledge. They are everywhere to be met with. The public places and the walks about Grand Cairo are full of them. As the populace require allusions still more strongly marked, decency will not permit the relation to what a pitch they carry the licentiousness of their gestures and attitudes.