music of cornet, flute, harp, sackbut, psaltery, and dulcimer. Dark women with gold ornaments hang out from curtainless windows or lurk just inside doorways and dark passages, ready to coil snake-*like upon a prey. In the roadways a shouting, calling crowd. In the taverns they are singing "Tipperary" and "We won't go home till morning"; some men are standing on the tables, others are trying to put gawky Arab girls through the steps of a tango. The music jangles. The whole street has a collective voice, a strange tinkling and murmuring uproar.
A tall, lank, loose-jawed, genial Copt would show you the haunts of evil, and offers his services to procure you pleasure. You have said "No" to him; he stands there where you left him on the pavement in his long cotton rags, smiling gently and cogitatively—the same type as stood in the city of the Pharaohs in the old days of the Israelitish bondage. It is strange to reflect that they find in the mummies of those who lived so many thousands of years ago the marks of "the city's disease," and the sign of the impure strain. There is a community of sin. What was in ancient Egypt is in the world to-day and was not invented in any recent time but has been carried on from one human being to another, to many others, and from them to others still.
I look at the mummies of Egypt, at the bright pictures of the people, fresh as if painted yesterday.
