^{page 991 note 1} Specimens in the MS. of Taufīq Ḥabīb, pp. 116–18.

^{page 991 note 2} Khalīl Muṭrān rejects as the original of the name “Othello” on the grounds that this name is never used by Moroccans. He suggests as an affectionate diminutive from ( “Unadorned”), suitable to a dark-skinned Moroccan whose mother, at any rate, was probably a negro slave, “al Akhbᾱr,” 26th April, 1916.

^{page 992 note 1} The following translations have appeared in a series published under the auspices of the Ministry of Education (1932–3). Shakespeare “Al Malik Līr,” translated by Ibrāhĩm Ramzī; “Tarwīd an Namira” (Taming of the Shrew), translated by Ibrāhīm Ramzī; Moliére, “Tartiif”; Ibsen, Ghosts and An Enemy of the People; Corneille, Cinna, translated by Khalīl Mutran; Victor Hugo, Hernani; Banville, Gringoire.

^{page 992 note 2} Programme of Ramses Theatre, undated. I have been told that the phrase “from the pen of” should be regarded as an indication that the piece is not original; but it seems unlikely that the ordinary playgoer would so understand it.

^{page 993 note 1} An abbreviated and unsatisfactory version of Kismet in the classical language has also been played, e.g. by a touring company under ‘Abdullah ‘Ukāsha.

^{page 993 note 2} Kismet, Knoblauch, E., Methuen, 1912, pp. 42–3.Google Scholar

^{page 994 note 1}

^{page 994 note 2} for future tense.

^{page 994 note 3}

^{page 995 note 1}

^{page 995 note 2} From MS. kindly lent by Mme Fāṭima Rushdī.

^{page 996 note 1} “Al Masraḥ al Miṣr¯ ” (vol. iii, Mu'allafāt Muḥammad Taimūr). Cairo, 1341, pp. 255–352.

^{page 996 note 2} Colloquial.

^{page 998 note 1} Maṭba ‘at as Saqūr, 1922 (classical). Ibrāhĩm Ramzī is author of “al Hākim bi’amri-llah ”, “Abṭāl Manṣüra,” and various other adaptations; and also of an amusing sketch in the colloquial, “Dukhul al Ḥammᾱm mush zai Khurūju,” produced in 1917 and printed in 1924, al Maṭba ‘at as Salafiyya.

^{page 998 note 2} There also exist in print several romantic plays, apparently adaptations, by Jamīl al Baḥri, e.g. “Sajīn al Qaṣr”, “Qātil Akhīhi” Matba ‘at az Zahra, Haifa, 1927.

^{page 998 note 3} Printed in Cairo, 1931 (classical).

^{page 999 note 1} Printed in Cairo, 1933 (classical).

^{page 999 note 2} Maṭba ‘at al Ma‘ārif, Cairo, undated (classical).

^{page 999 note 3} Aḥmus al Awwal au Ṭard arRu ‘āt. al Maṭba ‘at al ‘Aṣriyya, Cairo, 1933 (classical).

^{page 1000 note 1} Maṭba ‘a Jarīdat aṣ Ṣabāh, Cairo, undated (colloquial).

^{page 1000 note 2} Maṭba ‘at as Siyāsa and Maṭba ‘at aṣ Sabaḥ. Both Cairo, undated (classical).

^{page 1000 note 3} Printed in “al Adab al Ḥayy”, Cairo, 1930 (classical).

^{page 1000 note 4} Printed in “al Fikr wal ‘Ālam’, Cairo, 1933 (classical).

^{page 1001 note 1} Shirka Matbū ‘āt al Qirtās, Cairo, undated (colloquial).

^{page 1001 note 2} “Al MasraḤ al Miṣrī” (vol. iii, Mu’ allafāt Muḥammad Taimūr), Cairo, 1341, pp. 1–254.

^{page 1001 note 3} “Ḥayatuna at Tamthīliyya” (vol. ii, Mu'allafāt Muḥammad Taimūr), Cairo, 1340, pp. 327–452.

^{page 1002 note 1} The theme is thus the same as that of Le Père Lebonnard, but the treatment is entirely different so that there is no question of imitation.

^{page 1005 note 1} al Masraḥ al Miṣrī, pp. 171–3.

^{page 1006 note 1} “Jamīl Buthaina” by ‘Abdurraḥmān Aḥmad as Sā‘ātī (Cairo, undated), seems a mere imitation. There is also a verse drama entitled Fatḥ al Andalus by Fū’ād al Khatīb, Cairo, 1931.

^{page 1006 note 2} Cairo, 1932.

^{page 1006 note 3} Cairo, 1929.

^{page 1006 note 4} Cairo, undated. An English translation of this play made by Mr. A. J. Arberry was published in Cairo in 1933.

^{page 1006 note 5} Cairo, 1931.

^{page 1006 note 6} Cairo, 1932.

^{page 1006 note 7} Cairo, 1932.

^{page 1008 note 1} Riwāyat Qambīz fil Mīzān. ‘Abbās Haḥmud al ‘Aqqād, Cairo, 1931 (?).