The Book of Khalid by Ameen Fares Rihani (non fiction books to read .TXT) 📕
In the grill-room of the Mena House we meet the poet Shakib, who was then drawing his inspiration from a glass of whiskey and soda. Nay, he was drowning his sorrows therein, for his Master, alas! has mysteriously disappeared.
"I have not seen him for ten days," said the Poet; "and I know not where he is.--If I did? Ah, my friend, you would not then see me here. Indeed, I should be with him, and though he be in the trap of the Young Turks." And some real tears flowed down the cheeks of the Poet, as he spoke.
The Mena House, a charming little Branch of Civilisation at the gate of the desert, stands, like man himself, in the shadow of two terrible immensities, the Sphinx and the Pyramid, the Origin and the End. And in the grill-room, over a glass of whiskey and soda, we presume to solve in few words the eternal mystery. But that is not what we came for. And to avoid the bewildering depths into which we were led, we suggested a stroll on the sands. Here the Poet waxed more eloquent, an
Read free book «The Book of Khalid by Ameen Fares Rihani (non fiction books to read .TXT) 📕» - read online or download for free at americanlibrarybooks.com
- Author: Ameen Fares Rihani
- Performer: -
Read book online «The Book of Khalid by Ameen Fares Rihani (non fiction books to read .TXT) 📕». Author - Ameen Fares Rihani
When Najma goes to the spring for water, Khalid chancing to meet her, takes the jar from her shoulder, saying, “Return thou home; I will bring thee water.” And straightway to the spring hies he, where the women there gathered fill his ears with tittering, questioning tattle as he is filling his jar. “I wish I were Najma,” says one, as he passes by, the jar of water on his shoulder. “Would you cement his brain, if you were?” puts in another. And thus would they gibe and joke every time Khalid came to the spring with Najma’s jar....
One day he comes to his uncle’s house and finds his betrothed ribboning and beading some new lingerie for her rich neighbour’s daughter. He sits down and helps her in the work, writing meanwhile, between the acts, an alphabetic ideology on Art and Life. But as they are beading the vests and skirts and other articles of richly laced linen underwear, Najma holds up one of these and naïvely asks, “Am I not to have some such, ya habibi (O my Love)?” And Khalid, affecting like bucolic innocence, replies, “What do we need them for, my heart?” With which counter-question Najma is silenced, convinced.
Finally, to show to what degree of ecstasy they had soared without searing their wings or losing a single feather thereof, the following deserves mention. In the dusk one day, Khalid visits Najma and finds her oiling and lighting the lamp. As she beholds him under the door-lintel, the lamp falls from her hands, the kerosene blazes on the floor, and the straw mat takes fire. They do not heed this––they do not see it––they 156 are on the wings of an ecstatic embrace. And the father, chancing to arrive in the nick of time, with a curse and a cuff, saves them and his house from the conflagration.
Aside from these curious and not insignificant instances, these radiations of a giddy hidden flame of heart-fire, this melting gum of spooning on the bark of the tree of love, we turn to a scene in the Temple of Venus which unfolds our future plans––our hopes and dreams. But we feel that the Reader is beginning to hanker for a few pieces of description of Najma’s charms. Gentle Reader, this Work is neither a Novel, nor a Passport. And we are exceeding sorry we can not tell you anything about the colour and size of Najma’s eyes; the shape and curves of her brows and lips; the tints and shades in her cheeks; and the exact length of her figure and hair. Shakib leaves us in the dark about these essentials, and we must needs likewise leave you. Our Scribe thinks he has said everything when he speaks of her as a huri. But this paradisal title among our Arabic writers and verse-makers is become worse than the Sultan’s Medjidi decorations. It is bestowed alike on every drab and trollop as on the very few who really deserve it. Let us rank it, therefore, with the Medjidi decorations and pass on.
But Khalid, who has seen enough of the fair, would not be attracted to Najma, enchanted by her, if she were not endowed with such of the celestial treasures as rank above the visible lines of beauty. Our Scribe speaks of the “purity and naïvete of her soul as 157 purest sources of felicity and inspiration.” Indeed, if she were not constant in love, she would not have spurned the many opportunities in the absence of Khalid; and had she not a fine discerning sense of real worth, she would not have surrendered herself to her poor ostracised cousin; and if she were not intuitively, preternaturally wise, she would not marry an enemy of the Jesuits, a bearer withal of infiltrated lungs and a shrunken windpipe. “There is a great advantage in having a sickly husband,” she once said to Shakib, “it lessons a woman in the heavenly virtues of our Virgin Mother, in patient endurance and pity, in charity, magnanimity, and pure love.” What, with these sublimities of character, need we know of her visible charms, or lack of them? She might deserve the title Shakib bestows upon her; she might be a real huri, for all we know? In that event, the outward charms correspond, and Khalid is a lucky dog––if some one can keep the Jesuits away.
This, then, is our picture of Najma, to whom he is now relating, in the Temple of Venus, of the dangers he had passed and the felicities of the beduin life he has in view. It is evening. The moon struggles through the poplars to light the Temple for them, and the ambrosial breeze caresses their cheeks.
“No,” says Khalid; “we can not live here, O my Heart, after we are formally married. The curse in my breast I must not let you share, and only when I am rid of it am I actually your husband. By the life of this blessed night, by the light of these stars, I am inalterably resolved on this, and I shall abide by my 158 resolution. We must leave Baalbek as soon as the religious formalities are done. And I wish your father would have them performed under his roof. That is as good as going to Church to be the central figures of the mummery of priests. But be this as You will. Whether in Church or at home, whether by your father or by gibbering Levites the ceremony is performed, we must hie us to the desert after it is done. I shall hire the camels and prepare the necessary set-out for the wayfare a day or two ahead. No, I must not be a burden to you, my Heart. I must be able to work for you as for myself. And Allah alone, through the ministration of his great Handmaid Nature, can cure me and enable me to share with you the joys of life. No, not before I am cured, can I give you my whole self, can I call myself your husband. Into the desert, therefore, to some oasis in its very heart, we shall ride, and there crouch our camels and establish ourselves as husbandmen. I shall even build you a little home like your own. And you will be to me an aura of health, which I shall breathe with the desert air, and the evening breeze. Yes, our love shall dwell in a palace of health, not in a hovel of disease. Meanwhile, we shall buy with what money I have a little patch of ground which we shall cultivate together. And we shall own cattle and drink camel milk. And we shall doze in the afternoon in the cool shade of the palms, and in the evening, wrapt in our cloaks, we’ll sleep on the sands under the living stars. Yes, and Najma shall be the harbinger of dawn to Khalid.––Out on that little farm in the 159 oasis of our desert, far from the world and the sanctified abominations of the world, we shall live near to Allah a life of purest joy, of true happiness. We shall never worry about the hopes of to-morrow and the gone blessings of yesterday. We shall not, while labouring, dream of rest, nor shall we give a thought to our tasks while drinking of the cup of repose: each hour shall be to us an epitome of eternity. The trials and troubles of each day shall go with the setting sun, never to rise with him again. But I am unkind to speak of this. For your glances banish care, and we shall ever be together. Ay, my Heart, and when I take up the lute in the evening, you’ll sing mulayiah to me, and the stars above us shall dance, and the desert breeze shall house us in its whispers of love....”
And thus interminably, while Najma, understanding little of all this, sits beside him on a fallen column in the Temple and punctuates his words with assenting exclamations, with long eighs of joy and wonder. “But we are not going to live in the desert all the time, are we?” she asks.
“No, my Heart. When I am cured of my illness we shall return to Baalbek, if you like.”
“Eigh, good. Now, I want to say––no. I shame to speak about such matters.”
“Speak, ya Gazalty (O my Doe or Dawn or both); your words are like the scented breeze, like the ethereal moon rays, which enter into this Temple without permission. Speak, and light up this ruined Temple of thine.” 160
“How sweet are Your words, but really I can not understand them. They are like the sweetmeats my father brought with him once from Damascus. One eats and exclaims, ‘How delicious!’ But one never knows how they are made, and what they are made of. I wish I could speak like you, ya habibi. I would not shame to say then what I want.”
“Say what you wish. My heart is open, and your words are silvery moonbeams.”
“Do not blame me then. I am so simple, you know, so foolish. And I would like to know if you are going to Church on our wedding day in the clothes you have on now.”
“Not if you object to them, my Heart.”
“Eigh, good! And must I come in my ordinary Sunday dress? It is so plain; it has not a single ruffle to it.”
“And what are ruffles for?”
“I never saw a bride in a plain gown; they all have ruffles and flounces to them. And when I look at your lovely hair––O let people say what they like! A gown without ruffles is ugly.––So, you will buy me a sky-blue silk dress, ya habibi and a pink one, too, with plenty of ruffles on them? Will you not?”
“Yes, my Heart, you shall have what you desire. But in the desert you can not wear these dresses. The Arabs will laugh at you. For the women there wear only plain muslin dipped in indigo.”
“Then, I will have but one dress of sky-blue silk for the wedding.” 161
“Certainly, my Heart. And the ruffles shall be as many and as long as you desire them.”
And while the many-ruffled sky-blue dress is being made, Khalid, inspired by Najma’s remarks on his hair, rhapsodises on flounces and ruffles. Of this striking piece of fantasy, in which are scintillations of the great Truth, we note the following:
“What can you do without your flounces? How can you live without your ruffles? Ay, how can you, without them, think, speak, or work? How can you eat, drink, walk, sleep, pray, worship, moralise, sentimentalise, or love, without them? Are you not ruffled and flounced when you first see the light, ruffled and flounced when you last see the darkness? The cradle and the tomb, are they not the first and last ruffles of Man? And between them what a panoramic display of flounces! What clean and attractive visible Edges of unclean invisible common Skirts! Look at your huge elaborate monuments, your fancy sepulchers, what are they but the ruffles of your triumphs and defeats? The marble flounces, these, of your cemeteries, your Pantheons and Westminster Abbeys. And what are your belfries and spires and chimes, your altars and reredoses and such like, but the sanctified flounces of your churches. No, these are not wholly adventitious sanctities; not empty, superfluous growths. They are incorporated into Life by Time, and they grow in importance as our Æsthetics become more inutile, as our Religions begin to exude gum and pitch for commerce, instead of bearing fruits of Faith
Comments (0)