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towards the people and sings a sermon in the same 
trembling and quivering voice, and with the same tones 
and dadenzas of certain Spanish songs, called Polo anda- 
tous. One part of the sermon varies, and the preacher 
sings it from his manuscript; the other part, which ne- 
ver changes, is recited by heart, and sung in the same 
tune with prayers, and other occasional formules. 
At the end of the sermon, the iman turns with affec- 
tation towards the mehereb or the box which is to his 
right hand, singing a prayer in a higher tone, after 
which he turns with the same affectation towards the 
the left side, and repeats the same prayer; he afterwards 
descends two or three stairs of the pulpit, and says some 
prayers for the pasha and for the people, to which the 
faithful say Amln. Finally, the iman goes down to the 
mehereb, and whilst the chorus is singing, he recites 
with the people the canonical prayer, which is the 
same as at Morocco. The cries from the minarets for 
the convocation of the people for prayers, are not so 
clamorous at Tripoli as they are at Morocco; for in some 
mosques children only are employed for the function of 
mueddens, and their shrill voices are not fit to excite 
devotion. 
During Ramadan the funeral trumpets are not used 
here as in Morocco; the steeples are illuminated every 
night, and the mueddens sing tedious prayers. The 
mosques are supported by funds consisting of houses 
and lands, which are the gifts of individuals. 
The mufti is the chief of the worship, and the inter- 
preter of the law. He has two cadis under his com- 
mand, the one for the individuals belonging to the 
Hhanefi rite, and the other for those of the Maleki rite. 
