The last party of sight-seers for the day call around near midnight, some time after I have retired to sleep; they awaken me with their garrulous observations concerning the bicycle, which they are critically examining close to my head with a classic lamp; but I readily forgive them their nocturnal intrusion, since they awaken me to the first opportunity of hearing women wailing for the dead. A dozen or so of women are wailing forth their lamentations in the silent night but a short distance from the khan; I can look out of a small opening in the wall near my shake-down, and see them moving about the house and premises by the flickering glare of torches. I could never have believed the female form divine capable of producing such doleful, unearthly music; but there is no telling what these shrouded forms are really capable of doing, since the opportunity of passing one’s judgment upon their accomplishments is confined solely to an occasional glimpse of a languishing eye. The kahvay-jee, who is acting the part of explanatory lecturer to these nocturnal visitors, explains the meaning of the wailing by pantomimically describing a corpse, and then goes on to explain that the smallest imaginable proportion of the lamentations that are making night hideous is genuine grief for the departed, most of the uproar being made by a body of professional mourners hired for the occasion. When I awake in the morning the unearthly wailing is still going vigorously forward, from which I infer they have been keeping it up all night. Though gradually becoming inured to all sorts of strange scenes and customs, the united wailing and lamentations of a houseful of women, awakening the echoes of the silent night, savor too much of things supernatural and unearthly not to jar unpleasantly on the senses; the custom is, however, on the eve of being relegated to the musty past by the Ottoman Government.