In reply to this amiable invitation we crossed an empty saloon surrounded with divans and passed out onto the loggia where the wool-merchant and his guests were seated. They were evidently persons of consequence: large bulky men wrapped in fresh muslins and reclining side by side on muslin-covered divans and cushions. Black slaves had placed before them brass trays with pots of mint-tea, glasses in filigree stands, and dishes of gazelles’ horns and sugar-plums, and they sat serenely absorbing these refreshments and gazing with large calm eyes upon the motionless water and the reflected trees.
So, we were told, they would probably spend the greater part of their holiday. The merchant’s cooks had taken possession of the kitchens, and toward sunset a sumptuous repast of many courses would be carried into the saloon on covered trays, and the guests would squat about it on rugs of Rabat, tearing with their fingers the tender chicken wings and small artichokes cooked in oil, plunging their fat white hands to the wrist into huge mounds of saffron and rice, and washing off the traces of each course in the brass basin of perfumed water carried about by a young black slave-girl with hoop-earrings and a green-and-gold scarf about her hips.
Then the singing-girls would come out from Marrakech, squat round-faced young women heavily hennaed and bejewelled, accompanied by gaunt musicians in bright caftans; and for hours they would sing sentimental or obscene ballads to the persistent maddening twang of violin and flute and drum. Meanwhile fiery brandy or sweet champagne would probably be passed around between the steaming glasses of mint-tea which the slaves perpetually refilled; or perhaps the sultry air, the heavy meal, the scent of the garden and the vertiginous repetition of the music would suffice to plunge these sedentary worthies into the delicious coma in which every festive evening in Morocco ends.
The next day would be spent in the same manner, except that probably the Chleuh boys with sidelong eyes and clean caftans would come instead of the singing-girls, and weave the arabesque of their dance in place of the runic pattern of the singing. But the result would always be the same: a prolonged state of obese ecstasy culminating in the collapse of huge heaps of snoring muslin on the divans against the wall. Finally at the week’s end the wool-merchant and his friends would all ride back with dignity to the bazaar.
V
ON THE ROOFS
“Should you like to see the Chleuh boys dance?” some one asked.
“There they are,” another of our companions added, pointing to a dense ring of spectators on one side of the immense dusty square at the entrance of the souks—the “Square of the Dead” as it is called, in memory of the executions that used to take place under one of its grim red gates.
It is the square of the living now, the centre of all the life, amusement and gossip of Marrakech, and the spectators are so thickly packed about the story-tellers, snake-charmers and dancers who frequent it that one can guess what is going on within each circle only by the wailing monologue or the persistent drum-beat that proceeds from it.
Ah, yes—we should indeed like to see the Chleuh boys dance, we who, since we had been in Morocco, had seen no dancing, heard no singing, caught no single glimpse of merry-making! But how were we to get within sight of them?
On one side of the “Square of the Dead” stands a large house, of European build, but modelled on Oriental lines: the office of the French municipal administration. The French Government no longer allows its offices to be built within the walls of Moroccan towns, and this house goes back to the epic days of the Caid Sir Harry Maclean, to whom it was presented by the fantastic Abd-el-Aziz when the Caid was his favourite companion as well as his military adviser.
At the suggestion of the municipal officials we mounted the stairs and looked down on the packed square. There can be no more Oriental sight this side of the Atlas and the Sahara. The square is surrounded by low mud-houses, fondaks, cafes, and the like. In one corner, near the archway leading into the souks, is the fruit-market, where the red-gold branches of unripe dates[A] for animal fodder are piled up in great stacks, and dozens of donkeys are coming and going, their panniers laden with fruits and vegetables which are being heaped on the ground in gorgeous pyramids: purple egg-plants, melons, cucumbers, bright orange pumpkins, mauve and pink and violet onions, rusty crimson pomegranates and the gold grapes of Sefrou and Sale, all mingled with fresh green sheaves of mint and wormwood.
[Footnote A: Dates do not ripen in Morocco.]
[Illustration: From a photograph from “France-Maroc”
Marrakech—a fondak]
In the middle of the square sit the story-tellers’ turbaned audiences. Beyond these are the humbler crowds about the wild-ringleted snake-charmers with their epileptic gestures and hissing incantations, and farther off, in the densest circle of all, we could just discern the shaved heads and waving surpliced arms of the dancing-boys. Under an archway near by an important personage in white muslin, mounted on a handsome mule and surrounded by his attendants, sat with motionless face and narrowed eyes gravely following the movements of the dancers.
Suddenly, as we stood watching the extraordinary animation of the scene, a reddish light overspread it, and one of our companions exclaimed: “Ah—a dust-storm!”
In that very moment it was upon us: a red cloud rushing across the square out of nowhere, whirling the date-branches over the heads of the squatting throngs, tumbling down the stacks of fruits and vegetables, rooting up the canvas awnings over the lemonade-sellers’ stalls and before the cafe doors, huddling the blinded donkeys under the walls of the fondak, and stripping to the hips the black slave-girls scudding home from the souks.
Such a blast would instantly have scattered any western crowd, but “the patient East” remained undisturbed, rounding its shoulders before the storm and continuing to follow attentively the motions of the dancers and the turns of the story-tellers. By and bye, however, the gale grew too furious, and the spectators were so involved in collapsing tents, eddying date-branches and stampeding mules that the square began to clear, save for the listeners about the most popular story-teller, who continued to sit on unmoved. And then, at the height of the storm, they too were abruptly scattered by the rush of a cavalcade across the square. First came a handsomely dressed man, carrying before him on his peaked saddle a tiny boy in a gold-embroidered orange caftan, in front of whom he held an open book, and behind them a train of white-draped men on showily harnessed mules, followed by musicians in bright dresses. It was only a Circumcision procession on its way to the mosque; but the dust-enveloped rider in his rich dress, clutching the bewildered child to his breast, looked like some Oriental prince trying to escape with his son from the fiery embraces of desert Erl-maidens.
As swiftly as it rose the storm subsided, leaving the fruit-market in ruins under a sky as clear and innocent as an infant’s eye. The Chleuh boys had vanished with the rest, like marionettes swept into a drawer by an impatient child, but presently, toward sunset, we were told that we were to see them after all, and our hosts led us up to the roof of the Caid’s house.
The city lay stretched before us like one immense terrace circumscribed by palms. The sky was pure blue, verging to turquoise green where the Atlas floated above mist; and facing the celestial snows stood the Koutoubya, red in the sunset.
People were beginning to come out on the roofs: it was the hour of peace, of ablutions, of family life on the housetops. Groups of women in pale tints and floating veils spoke to each other from terrace to terrace, through the chatter of children and the guttural calls of bedizened negresses. And presently, on the roof adjoining ours, appeared the slim dancing-boys with white caftans and hennaed feet.
The three swarthy musicians who accompanied them crossed their lean legs on the tiles and set up their throb-throb and thrum-thrum, and on a narrow strip of terrace the youths began their measured steps.
It was a grave static dance, such as David may have performed before the Ark; untouched by mirth or folly, as beseemed a dance in that sombre land, and borrowing its magic fro
m its gravity. Even when the pace quickened with the stress of the music the gestures still continued to be restrained and hieratic, only when, one by one, the performers detached themselves from the round and knelt before us for the peseta it is customary to press on their foreheads, did one see, by the moisture which made the coin adhere, how quick and violent their movements had been.
The performance, like all things Oriental, like the life, the patterns, the stories, seemed to have no beginning and no end: it just went monotonously and indefatigably on till fate snipped its thread by calling us away to dinner. And so at last we went down into the dust of the streets refreshed by that vision of white youths dancing on the housetops against the gold of a sunset that made them look—in spite of ankle-bracelets and painted eyes—almost as guileless and happy as the round of angels on the roof of Fra Angelico’s Nativity.
VI
THE SAADIAN TOMBS
On one of the last days of our stay in Marrakech we were told, almost mysteriously, that permission was to be given us to visit the tombs of the Saadian Sultans.
Though Marrakech has been in the hands of the French since 1912, the very existence of these tombs was unknown to the authorities till 1917. Then the Sultan’s government privately informed the Resident General that an unsuspected treasure of Moroccan art was falling into ruin, and after some hesitation it was agreed that General Lyautey and the Director of Fine Arts should be admitted to the mosque containing the tombs, on the express condition that the French Government undertook to repair them. While we were at Rabat General Lyautey had described his visit to us, and it was at his request that the Sultan authorized us to see the mosque, to which no travellers had as yet been admitted.
With a good deal of ceremony, and after the customary pourparlers with the great Pasha who controls native affairs at Marrakech, an hour was fixed for our visit, and we drove through long lanes of mud-huts to a lost quarter near the walls. At last we came to a deserted square on one side of which stands the long low mosque of Mansourah with a turquoise-green minaret embroidered with traceries of sculptured terra cotta. Opposite the mosque is a gate in a crumbling wall; and at this gate the Pasha’s Cadi was to meet us with the keys of the mausoleum. But we waited in vain. Oriental dilatoriness, or a last secret reluctance to admit unbelievers to a holy place, had caused the Cadi to forget his appointment, and we drove away disappointed.
The delay drove us to wondering about these mysterious Saadian Sultans, who, though coming so late in the annals of Morocco, had left at least one monument said to be worthy of the Merinid tradition. And the tale of the Saadians is worth telling.
They came from Arabia to the Draa (the fruitful country south of the Great Atlas) early in the fifteenth century, when the Merinid empire was already near disintegration. Like all previous invaders they preached the doctrine of a pure Islamism to the polytheistic and indifferent Berbers, and found a ready hearing because they denounced the evils of a divided empire, and also because the whole of Morocco was in revolt against the Christian colonies of Spain and Portugal, which had encircled the coast from Ceuta to Agadir with a chain of fortified counting-houses. To bouter dehors the money-making unbeliever was an object that found adherents from the Rif to the Sahara, and the Saadian cherifs soon rallied a mighty following to their standard. Islam, though it never really gave a creed to the Berbers, supplied them with a war-cry as potent to-day as when it first rang across Barbary.
The history of the Saadians is a foreshortened record of that of all their predecessors. They overthrew the artistic and luxurious Merinids, and in their turn became artistic and luxurious. Their greatest Sultan, Abou-el-Abbas, surnamed “The Golden,” after defeating the Merinids and putting an end to Christian rule in Morocco by the crushing victory of El-Ksar (1578), bethought him in his turn of enriching himself and beautifying his capital, and with this object in view turned his attention to the black kingdoms of the south.
Senegal and the Soudan, which had been Mohammedan since the eleventh century, had attained in the sixteenth century a high degree of commercial wealth and artistic civilization. The Sultanate of Timbuctoo seems in reality to have been a thriving empire, and if Timbuctoo was not the Claude-like vision of Carthaginian palaces which it became in the tales of imaginative travellers, it apparently had something of the magnificence of Fez and Marrakech.
The Saadian army, after a march of four and a half months across the Sahara, conquered the whole black south. Senegal, the Soudan and Bornou submitted to Abou-el-Abbas, the Sultan of Timbuctoo was dethroned, and the celebrated negro jurist Ahmed-Baba was brought a prisoner to Marrakech, where his chief sorrow appears to have been for the loss of his library of 1,600 volumes—though he declared that, of all the numerous members of his family, it was he who possessed the smallest number of books.
Besides this learned bibliophile, the Sultan Abou-el-Abbas brought back with him an immense booty, principally of ingots of gold, from which he took his surname of “The Golden”; and as the result of the expedition Marrakech was embellished with mosques and palaces for which the Sultan brought marble from Carrara, paying for it with loaves of sugar from the sugar-cane that the Saadians grew in the Souss.
In spite of these brilliant beginnings the rule of the dynasty was short and without subsequent interest. Based on a fanatical antagonism against the foreigner, and fed by the ever-wakeful hatred of the Moors for their Spanish conquerors, it raised ever higher the Chinese walls of exclusiveness which the more enlightened Almohads and Merinids had sought to overthrow. Henceforward less and less daylight and fresh air were to penetrate into the souks of Morocco.
The day after our unsuccessful attempt to see the tombs of these ephemeral rulers we received another message, naming an hour for our visit; and this time the Pasha’s representative was waiting in the archway. We followed his lead, under the openly mistrustful glances of the Arabs who hung about the square, and after picking our way through a twisting land between walls, we came out into a filthy nettle-grown space against the ramparts. At intervals of about thirty feet splendid square towers rose from the walls, and facing one of them lay a group of crumbling buildings masked behind other ruins.
We were led first into a narrow mosque or praying-chapel, like those of the Medersas, with a coffered cedar ceiling resting on four marble columns, and traceried walls of unusually beautiful design. From this chapel we passed into the hall of the tombs, a cube about forty feet square. Fourteen columns of colored marble sustain a domed ceiling of gilded cedar, with an exterior deambulatory under a tunnel-vaulting also roofed with cedar. The walls are, as usual, of chiselled stucco, above revetements of ceramic mosaic, and between the columns lie the white marble cenotaphs of the Saadian Sultans, covered with Arabic inscriptions in the most delicate low-relief. Beyond this central mausoleum, and balancing the praying-chapel, lies another long narrow chamber, gold-ceilinged also, and containing a few tombs.
It is difficult, in describing the architecture of Morocco, to avoid producing an impression of monotony. The ground-plan of mosques and Medersas is always practically the same, and the same elements, few in number and endlessly repeated, make up the materials and the form of the ornament. The effect upon the eye is not monotonous, for a patient art has infinitely varied the combinations of pattern and the juxtapositions of color; while the depth of undercutting of the stucco, and the treatment of the bronze doors and of the carved cedar corbels, necessarily varies with the periods which produced them.
But in the Saadian mausoleum a new element has been introduced which makes this little monument a thing apart. The marble columns supporting the roof appear to be unique in Moroccan architecture, and they lend themselves to a new roof-plan which relates the building rather to the tradition of Venice or Byzantine by way of Kairouan and Cordova.
The late date of the monument precludes any idea of a direct artistic tradition. The most probable explanation seems to be that the architect of the mausoleum was familiar with European Renaissance archite
cture, and saw the beauty to be derived from using precious marbles not merely as ornament, but in the Roman and Italian way, as a structural element. Panels and fountain-basins are ornament, and ornament changes nothing essential in architecture; but when, for instance, heavy square piers are replaced by detached columns, a new style results.
It is not only the novelty of its plan that makes the Saadian mausoleum singular among Moroccan monuments. The details of its ornament are of the most intricate refinement: it seems as though the last graces of the expiring Merinid art had been gathered up into this rare blossom. And the slant of sunlight on lustrous columns, the depths of fretted gold, the dusky ivory of the walls and the pure white of the cenotaphs, so classic in spareness of ornament and simplicity of design—this subtle harmony of form and color gives to the dim rich chapel an air of dream-like unreality.
[Illustration: From a photograph by M. Andre Chevrillon
Marrakech—Mausoleum of the Saadian Sultans (sixteenth century) showing the tombs]
And how can it seem other than a dream? Who can have conceived, in the heart of a savage Saharan camp, the serenity and balance of this hidden place? And how came such fragile loveliness to survive, preserving, behind a screen of tumbling walls, of nettles and offal and dead beasts, every curve of its traceries and every cell of its honeycombing?
Such questions inevitably bring one back to the central riddle of the mysterious North African civilization: the perpetual flux and the immovable stability, the barbarous customs and sensuous refinements, the absence of artistic originality and the gift for regrouping borrowed motives, the patient and exquisite workmanship and the immediate neglect and degradation of the thing once made.
Revering the dead and camping on their graves, elaborating exquisite monuments only to abandon and defile them, venerating scholarship and wisdom and living in ignorance and grossness, these gifted races, perpetually struggling to reach some higher level of culture from which they have always been swept down by a fresh wave of barbarism, are still only a people in the making.
In Morocco Page 9