Passepartout made it a point, as he made his purchases, to take a good look at the city. It was formerly defended by a noble fort, which has since become a state prison; its commerce has dwindled away, and Passepartout in vain looked about him for such a bazaar as he used to frequent in Regent Street. At last he came upon an elderly, crusty Jew, who sold second-hand articles, and from whom he purchased a dress of Scotch stuff, a large mantle, and a fine otter-skin pelisse, for which he did not hesitate to pay seventy-five pounds. He then returned triumphantly to the station.
The influence to which the priests of Pillaji had subjected Aouda began gradually to yield, and she became more herself, so that her fine eyes resumed all their soft Indian expression.
When the poet-king, Ucaf Uddaul, celebrates the charms of the queen of Ahmehnagara, he speaks thus:
“Her shining tresses, divided in two parts, encircle the harmonious contour of her white and delicate cheeks, brilliant in their glow and freshness. Her ebony brows have the form and charm of the bow of Kama, the god of love, and beneath her long silken lashes the purest reflections and a celestial light swim, as in the sacred lakes of Himalaya, in the black pupils of her great clear eyes. Her teeth, fine, equal, and white, glitter between her smiling lips like dewdrops in a passion-flower’s half-enveloped breast. Her delicately formed ears, her vermilion hands, her little feet, curved and tender as the lotus-bud, glitter with the brilliancy of the loveliest pearls of Ceylon, the most dazzling diamonds of Golconda. Her narrow and supple waist, which a hand may clasp around, sets forth the outline of her rounded figure and the beauty of her bosom, where youth in its flower displays the wealth of its treasures; and beneath the silken folds of her tunic she seems to have been modelled in pure silver by the godlike hand of Vicvarcarma, the immortal sculptor.”1