by Ameen Rihani
The Medium, nevertheless, withholds from him the secret of her art. If he desires, he can attend the séances like every other stranger. Once Khalid, who would not leave anything unprobed, insisted, importuned; he could not see any reason for her conduct. Why should they not work together in Tiptology, as in Physiology and Metaphysics? And one morning, dervish-like, he wraps himself in his aba, and, calling upon Allah to witness, takes a rose from the vase on the table, angrily plucks its petals, and strews them on the carpet. Which portentous sign the Medium understands and hastens to minister her palliatives.
“No, Child, you shall not go,” she begs and supplicates; “listen to me, are we not together all the time? Why not leave me alone then with the spirits? One day you shall know all, believe me. Come, sit here,” stroking her palm on her lap, “and listen. I shall give up this tiptology business very soon; you and I shall overturn the table. Yes, Child, I am on the point of succumbing under an awful something. So, don’t ask me about the spooks any more. Promise not to torment me thus any more. And one day we shall travel together in the Orient; we shall visit the ruins of vanished kingdoms and creeds. Ah, to be in Palmyra with you! Do you know, Child, I am destined to be a Beduin queen. The throne of Zenobia is mine, and yours too, if you will be good. We shall resuscitate the glory of the kingdom of the desert.”
To all of which Khalid acquiesces by referring as is his wont to the infinite wisdom of Allah, in whose all-seeing eye nothing is impossible.
And thus, apparently satisfied, he takes the cigarette which she had lighted for him, and lights for her another from his own. But the smoke of two cigarettes dispels not the threatening cloud; it only conceals it from view. For they dine together at a Bohemian Club that evening, where Khalid meets a woman of rare charms. And she invites him to her studio. The Medium, who is at first indifferent, finally warns her callow child. “That woman is a writer,” she explains, “and writers are always in search of what they call ‘copy.’ She in particular is a huntress of male curiosities, originales, whom she takes into her favour and ultimately surrenders them to the reading public. So be careful.” But Khalid hearkens not. For the writer, whom he afterwards calls a flighter, since she, too, “like the van of the brewer only skims the surface of things,” is, in fact, younger than the Medium. Ay, this woman is even beautiful—to behold, at least. So the Dervish, a captive of her charms, knocks at the door of her studio one evening and enters. Ah, this then is a studio! “I am destined to know everything, and to see everything,” he says to himself, smiling in his heart.
The charming hostess, in a Japanese kimono receives him somewhat orientally, offering him the divan, which he occupies alone for a spell. He is then laden with a huge scrap-book containing press notices and reviews of her many novels. These, he is asked to go through while she prepares the tea. Which is a mortal task for the Dervish in the presence of the Enchantress. Alas, the tea is long in the making, and when the scrap-book is laid aside, she reinforces him with a lot of magazines adorned with stories of the short and long and middling size, from her fertile pen. “These are beautiful,” says he, in glancing over a few pages, “but no matter how you try, you can not with your pen surpass your own beauty. The charm of your literary style can not hold a candle to the charm of your—permit me to read your hand.” And laying down the magazine, he takes up her hand and presses it to his lips. In like manner, he tries to read somewhat in the face, but the Enchantress protests and smiles. In which case the smile renders the protest null and void.
Henceforth, the situation shall be trying even to the Dervish who can eat live coals. He oscillates for some while between the Medium and the Enchantress, but finds the effort rather straining. The first climax, however, is reached, and our Scribe thinks it too sad for words. He himself sheds a few rheums with the fair-looking, fair-spoken Dame, and dedicates to her a few rhymes. Her magnanimity, he tells us, is unexampled, and her fatalism pathetic. For when Khalid severs himself from the Spiritual Household, she kisses him thrice, saying, “Go, Child; Allah brought you to me, and Allah will bring you again.” Khalid refers, as usual, to the infinite wisdom of the Almighty, and, taking his handkerchief from his pocket, wipes the tears that fell—from her eyes over his. He passes out of the vestibule, silent and sad, musing on the time he first stood there as a beggar.
Now, the horizon of the Enchantress is unobstructed. Khalid is there alone; and her free love can freely pass on from him to another. And such messages they exchange! Such evaporations of the insipidities of free love! Khalid again takes up with Shakib, from whom he does not conceal anything. The epistles are read by both, and sometimes replied to by both! And she, in an effort to seem Oriental, calls the Dervish, “My Syrian Rose,” “My Desert Flower,” “My Beduin Boy,” et cetera, always closing her message with either a strip of Syrian sky or a camel load of the narcissus. Ah, but not thus will the play close. True, Khalid alone adorns her studio for a time, or rather adores in it; he alone accompanies her to Bohemia. But the Dervish, who was always going wrong in Bohemia,—always at the door of the Devil,—ventures one night to escort another woman to her studio. Ah, those studios! The Enchantress on hearing of the crime lights the fire under her cauldron. “Double, double, toil and trouble!” She then goes to the telephone—g-r-r-r-r you swine—you Phoenician murex—she hangs up the receiver, and stirs the cauldron. “Double, double, toil and trouble!” But the Dervish writes her an extraordinary letter, in which we suspect the pen of our Scribe, and from which we can but transcribe the following:
“You found in me a vacant heart,” he pleads, “and you occupied it. The divan therein is yours, yours alone. Nor shall I ever permit a chance caller, an intruder, to exasperate you.… My breast is a stronghold in which you are well fortified. How then can any one disturb you? … How can I turn from myself against myself? Somewhat of you, the best of you, circulates with my blood; you are my breath of life. How can I then overcome you? How can I turn to another for the sustenance which you alone can give? … If I be thirst personified, you are the living, flowing brook, the everlasting fountain. O for a drink—”
And here follows a hectic uprush about pearly breasts, and honey-sources, and musk-scented arbours, closing with “Your Beduin Boy shall come to-night.”
Notwithstanding which, the Enchantress abandons the Syrian Dwelling: she no longer fancies the vacant Divan of which Khalid speaks. Fortress or no fortress, she gives up occupation and withdraws from the foreigner her favour. Not only that; but the fire is crackling under the cauldron, and the typewriter begins to click. Ay, these modern witches can make even a typewriter dance around the fire and join in the chorus. “Double, double, toil and trouble, Fire burn, and cauldron bubble!” and the performance was transformed from the studio to the magazine supplement of one of the Sunday newspapers. There, the Dervish is thrown into the cauldron along with the magic herbs. Bubble—bubble. The fire-eating Dervish, how can he now swallow this double-tongued flame of hate and love? The Enchantress had wrought her spell, had ministered her poison. Now, where can he find an antidote, who can teach him a healing formula? Bruno D’Ast was once bewitched by a sorceress, and by causing her to be burned he was immediately cured. Ah, that Khalid could do this! Like an ordinary pamphlet he would consign the Enchantress to the flames, and her scrap-books and novels to boot. He does well, however, to return to his benevolent friend, the Medium. The spell can be counteracted by another, though less potent. Ay, even witchcraft has its homeopathic remedies.
And the Medium, Shakib tells us, is delighted to welcome back her prodigal child. She opens to him her arms, and her heart; she slays the fatted calf. “I knew that Allah will bring you back to me,” she ejaculates; “my prevision is seldom wrong.” And kissing her hand, Khalid falters, “Forgiveness is for the sinner, and the good are for forgiveness.” Whereupon, they plunge again into the Unseen, and thence to Bohemia. The aftermath, however, does not come up to the expectations of the good Medium. For the rigmarole of the Enchantress about the
Dervish in New York had already done its evil work. And—double—double—wherever the Dervish goes. Especially in Bohemia, where many of its daughters set their caps for him.
And here, he is neither shy nor slow nor visionary. Nor shall his theory of immanent morality trouble him for the while. Reality is met with reality on solid, though sometimes slippery, ground. His animalism, long leashed and starved, is eager for prey. His Phœnician passion is awake. And fortunately, Khalid finds himself in Bohemia where the poison and the antidote are frequently offered together. Here the spell of one sorceress can straightway be offset by that of her sister. And we have our Scribe’s word for it, that the Dervish went as far and as deep with the huris, as the doctors eventually would permit him. That is why, we believe, in commenting upon his adventures there, he often quotes the couplet,
“In my sublunar paradise
There’s plenty of honey—and plenty of flies.”
The flies in his cup, however, can not be detected with the naked eye. They are microbes rather—microbes which even the physicians can not manage with satisfaction. For it must be acknowledged that Khalid’s immanent morality and intel-lectualism suffered an interregnum with the huris. Reckless, thoughtless, heartless, he plunges headlong again. It is said in Al-Hadith that he who guards himself against the three cardinal evils, namely, of the tongue (laklaka), of the stomach (kabkaba), and of the sex (zabzaba), will have guarded himself against all evil. But Khalid reads not in the Hadith of the Prophet. And that he became audacious, edacious, and loquacious, is evident from such wit and flippancy as he here likes to display. “Some women,” says he, “might be likened to whiskey, others to seltzer water; and many are those who, like myself, care neither for the soda or the whiskey straight. A ‘high-ball’ I will have.”
Nay, he even takes to punch; for in his cup of amour there is a subtle and multifarious mixture. With him, he himself avows, one woman complemented another. What the svelte brunette, for instance, lacked, the steatopygous blonde amply supplied. Delicacy and intensity, effervescence and depth, these he would have in a woman, or a hareem, as in anything else. But these excellences, though found in a hareem, will not fuse, as in a poem or a picture. Even thy bones, thou scented high-lacquered Dervish, are likely to melt away before they melt into one.
It is written in the K. L. MS. that women either bore, or inspire, or excite. “The first and the last are to be met with anywhere; but the second? Ah, well you have heard the story of Diogenes. So take up your lamp and come along. But remember, when you do meet the woman that inspires, you will begin to yearn for the woman that excites.”
And here, the hospitality of the Dervish does not belie his Arab blood. In Bohemia, the bonfire of his heart was never extinguished, and the wayfarers stopping before his tent, be they of those who bored, or excited, or inspired, were welcome guests for at least three days and nights. And in this he follows the rule of hospitality among his people.
BOOK THE SECOND
IN THE TEMPLE
TO NATURE
O Mother eternal, divine, satanic, all encompassing, all-nourishing, all-absorbing, O star-diademed, pearl-sandaled Goddess, I am thine forever and ever: whether as a child of thy womb, or an embodiment of a spirit-wave of thy light, or a dumb blind personification of thy smiles and tears, or an ignis-fatuus of the intelligence that is in thee or beyond thee, I am thine forever and ever: I come to thee, I prostrate my face before thee, I surrender myself wholly to thee. O touch me with thy wand divine again; stir me once more in thy mysterious alembics; remake me to suit the majestic silence of thy hills, the supernal purity of thy sky, the mystic austerity of thy groves, the modesty of thy slow-swelling, soft-rolling streams, the imperious pride of thy pines, the wild beauty and constancy of thy mountain rivulets. Take me in thine arms, and whisper to me of thy secrets; fill my senses with thy breath divine; show me the bottom of thy terrible spirit; buffet me in thy storms, infusing in me of thy ruggedness and strength, thy power and grandeur; lull me in thine autumn sun-downs to teach me in the arts that enrapture, exalt, supernaturalise. Sing me a lullaby, O Mother eternal! Give me to drink of thy love, divine and diabolic; thy cruelty and thy kindness, I accept both, if thou wilt but whisper to me the secret of both. Anoint me with the chrism of spontaneity that I may be ever worthy of thee.—Withdraw not from me thy hand, lest universal love and sympathy die in my breast.—I implore thee, O Mother eternal, O sea-throned, heaven-canopied Goddess, I prostrate my face before thee, I surrender myself wholly to thee. And whether I be to-morrow the censer in the hand of thy High Priest, or the incense in the censer,—whether I become a star-gem in thy cestus or a sun in thy diadem or even a firefly in thy fane, I am content. For I am certain that it shall be for the best. —KHALID.
CHAPTER I
THE DOWRY OF DEMOCRACY
OLD ARABIC BOOKS, PRINTED IN BULAQ, generally have a broad margin wherein a separate work, independent of the text, adds gloom to the page. We have before us one of these tomes in which the text treats of the ethics of life and religion, and the margins are darkened with certain adventures which Shahrazad might have added to her famous Nights. The similarity between Khalid’s life in its present stage and some such book, is evident. Nay, he has been so assiduous in writing the marginal Work, that ever since he set fire to his peddling-box, we have had little in the Text worth transcribing. Nothing, in fact; for many pages back are as blank as the evil genius of Bohemia could wish them. And how could one with that mara upon him, write of the ethics of life and religion?
Al-Hamazani used to say that in Jorajan the man from Khorasan must open thrice his purse: first, to pay for the rent; second, for the food; and third, for his coffin. And so, in Khalid’s case, at least, is Bohemia. For though the purse be not his own, he was paying dear, and even in advance, in what is dearer than gold, for his experience. “O, that the Devil did not take such interest in the marginal work of our life! Why should we write it then, and for whom? And how will it fare with us when, chapfallen in the end and mortified, we stand before the great Task-Master like delinquent school boys with a blank text in our hands?” (Thus Shakib, who has caught the moralising evil from his Master.) And that we must stand, and fall, for thus standing, he is quite certain. At least, Khalid is. For he would not return to the Text to make up for the blank pages therein, if he were not.
“When he returned from his last sojourn in Bohemia,” writes our Scribe, “Khalid was pitiful to behold. Even Sindbad, had he seen him, would have been struck with wonder. The tears rushed to my eyes when we embraced; for instead of Khalid I had in my arms a phantom. And I could not but repeat the lines of Al-Mutanabbi,
“So phantom-like I am, and though so near,
If I spoke not, thou wouldst not know I’m here.”
“No more voyages, I trust, O thou Sindbad.” And he replied, “Yes, one more; but to our dear native land this time.” In fact, I, too, was beginning to suffer from nostalgia, and was much desirous of returning home.” But Shakib is in such a business tangle that he could not extricate himself in a day. So, they tarry another year in New York, the one meanwhile unravelling his affairs, settling with his creditors and collecting what few debts he had, the other brooding over the few blank pages in his Text.
One day he receives a letter from a fellow traveller, a distinguished citizen of Tammany Land, whom he had met and befriended in Bohemia, relating to an enterprise of great pith and moment. It was election time, we learn, and the high post of political canvasser of the Syrian District was offered to Khalid for a consideration of—but the letter which Shakib happily preserved, we give in full.
“Dear Khalid:
“I have succeeded in getting Mr. O’Donohue to appoint you a canvasser of the Syrian District. You must stir yourself, therefore, and try to do some good work, among the Syrian voters, for Democracy’s Candidate this campaign. Here is a chance which, with a little hustling on your part, will materialise. And I see no reason why you should not try to cash your influence among you
r people. This is no mean position, mind you. And if you will come up to the Wigwam to-morrow, I’ll give you a few suggestions on the business of manipulating votes.
“Yours truly,
“PATRICK HOOLIHAN.”
And the said Mr. Hoolihan, the letter shows, is Secretary to Mr. O’Donohue, who is first henchman to the Boss. Such a letter, if luckily misunderstood, will fire for a while the youthful imagination. No; not his Shamrag Majesty’s Tammany Agent to Syria, this Canvassership, you poor phantom-like zany! A high post, indeed, you fond and pitiful dreamer, on which you must hang the higher aspirations of your soul, together with your theory of immanent morality. You would not know this at first. You would still kiss the official notification of Mr. Hoolihan, and hug it fondly to your breast. Very well. At last—and the gods will not damn thee for musing—you will stand in the band-wagon before the corner groggery and be the object of the admiration of your fellow citizens—perhaps of missiles, too. Very well, Khalid; but you must shear that noddle of thine, and straightway, for the poets are potted in Tammany Land. We say this for your sake.
The orator-dream of youth, ye gods, shall it be realised in this heaven of a dray-cart with its kerosene torch and its drum, smelling and sounding rather of Juhannam? Surely, from the Table of Bohemia to the Stump in Tammany Land, is a far cry. But believe us, O Khalid, you will wish you were again in the gardens of Proserpine, when the silence and darkness extinguish the torch and the drum and the echoes of the shouting crowds. The headaches are certain to follow this inebriation. You did not believe Shakib; you would not be admonished; you would go to the Wigwam for your portfolio. “High post,” “political canvasser,” “manipulation of votes,” you will know the exact meaning of these esoteric terms, when, alas, you meet Mr. Hoolihan. For you must know that not every one you meet in Bohemia is not a Philistine. Indeed, many helots are there, who come from Philistia to spy out the Land.