The Book of Khalid - Ameen Fares Rihani (good books for high schoolers txt) 📗

night. What matters it, then, if ours is called the Fourth Class and theirs the Primo. Wherever one is happy, Shakib, there is the Primo.’”

But this happy humour is assailed at Marseilles. His placidity and stolid indifference are rudely shaken by the sharpers, who differ only from the boatmen of Beirut in that they wear pantaloons and intersperse their Arabic with a jargon of French. These brokers, like rapacious bats, hover around the emigrant and before his purse is opened for the fourth time, the trick is done. And with what ceremony, you shall see. From the steamer the emigrant is led to a dealer in frippery, where he is required to doff his baggy trousers and crimson cap, and put on a suit of linsey-woolsey and a hat of hispid felt: end of First Act; open the purse. From the dealer of frippery, spick and span from top to toe, he is taken to the hostelry, where he is detained a fortnight, sometimes a month, on the pretext of having to wait for the best steamer: end of Second Act; open the purse. From the hostelry at last to the steamship agent, where they secure for him a third-class passage on a fourth-class ship across the Atlantic: end of Third Act; open the purse. And now that the purse is almost empty, the poor emigrant is permitted to leave. They 29 send him to New York with much gratitude in his heart and a little trachoma in his eyes. The result being that a month later they have to look into such eyes again. But the purse of the distressed emigrant now being empty,––empty as his hopes and dreams,––the rapacious bats hover not around him, and the door of the verminous hostelry is shut in his face. He is left to starve on the western shore of the Mediterranean.

Ay, even the droll humour and stolidity of Khalid, are shaken, aroused, by the ghoulish greed, the fell inhumanity of these sharpers. And Shakib from his cage of fancy lets loose upon them his hyenas of satire. In a squib describing the bats and the voyage he says: “The voyage to America is the Via Dolorosa of the emigrant; and the Port of Beirut, the verminous hostelries of Marseilles, the Island of Ellis in New York, are the three stations thereof. And if your hopes are not crucified at the third and last station, you pass into the Paradise of your dreams. If they are crucified, alas! The gates of the said Paradise will be shut against you; the doors of the hostelries will be slammed in your face; and with a consolation and a vengeance you will throw yourself at the feet of the sea in whose bosom some charitable Jonah will carry you to your native strands.”

And when the emigrant has a surplus of gold, when his capital is such as can not be dissipated on a suit of shoddy, a fortnight’s lodging, and a passage across the Atlantic, the ingenious ones proceed with the Fourth Act of Open Thy Purse. “Instead of starting in New York as a peddler,” they say, unfolding before 30 him one of their alluring schemes, “why not do so as a merchant?” And the emigrant opens his purse for the fourth time in the office of some French manufacturer, where he purchases a few boxes of trinketry,––scapulars, prayer-beads, crosses, jewelry, gewgaws, and such like,––all said to be made in the Holy Land. These he brings over with him as his stock in trade.

Now, Khalid and Shakib, after passing a fortnight in Marseilles, and going through the Fourth Act of the Sorry Show, find their dignity as merchants rudely crushed beneath the hatches of the Atlantic steamer. For here, even the pleasure of sleeping on deck is denied them. The Atlantic Ocean would not permit of it. Indeed, everybody has to slide into their stivy bunks to save themselves from its rising wrath. A fortnight of such unutterable misery is quite supportable, however, if one continues to cherish the Paradise already mentioned. But in this dark, dingy smelling hole of the steerage, even the poets cease to dream. The boatmen of Beirut and the sharpers of Marseilles we could forget; but in this grave among a hundred and more of its kind, set over and across each other, neither the lute nor the little that remained in that Ksarah bottle, could bring us any solace.

We are told that Khalid took up his lute but once throughout the voyage. And this when they were permitted one night to sleep on deck. We are also informed that Khalid had a remarkable dream, which, to our Scribe at least, is not meaningless. And who of us, thou silly Scribe, did not in his boyhood tell his 31 dreams to his mother, who would turn them in her interpretation inside out? But Khalid, we are assured, continued to cherish the belief, even in his riper days, that when you dream you are in Jannat, for instance, you must be prepared to go through Juhannam the following day. A method of interpretation as ancient as Joseph, to be sure. But we quote the dream to show that Khalid should not have followed the setting sun. He should have turned his face toward the desert.

They slept on deck that night. They drank the wine of the Jesuits, repeated, to the mellow strains of the lute, the song of the bulbuls, intoned the verses of Al-Mutanabbi, and, wrapping themselves in their rugs, fell asleep. But in the morning they were rudely jostled from their dreams by a spurt from the hose of the sailors washing the deck. Complaining not, they straggle down to their bunks to change their clothes. And Khalid, as he is doing this, implores Shakib not to mention to him any more that New-World paradise. “For I have dreamt last night,” he continues, “that, in the multicoloured robes of an Arab amir, on a caparisoned dromedary, at the head of an immense multitude of people, I was riding through the desert. Whereto and wherefrom, I know not. But those who followed me seemed to know; for they cried, ‘Long have we waited for thee, now we shall enter in peace.’ And at every oasis we passed, the people came to the gate to meet us, and, prostrating themselves before me, kissed the fringe of my garment. Even the women would touch my boots 32 and kiss their hands, exclaiming, ‘Allahu akbar!’ And the palm trees, billah! I could see bending towards us that we might eat of their fruits, and the springs seemed to flow with us into the desert that we might never thirst. Ay, thus in triumph we marched from one camp to another, from one oasis to the next, until we reached the City on the Hills of the Cedar Groves. Outside the gate, we were met by the most beautiful of its tawny women, and four of these surrounded my camel and took the reins from my hand. I was then escorted through the gates, into the City, up to the citadel, where I was awaited by their Princess. And she, taking a necklace of cowries from a bag that hung on her breast, placed it on my head, saying, ‘I crown thee King of––’ But I could not hear the rest, which was drowned by the cheering of the multitudes. And the cheering, O Shakib, was drowned by the hose of the sailors. Oh, that hose! Is it not made in the paradise you harp upon, the paradise we are coming to? Never, therefore, mention it to me more.”

This is the dream, at once simple and symbolic, which begins to worry Khalid. “For in the evening of the day he related it to me,” writes Shakib, “I found him sitting on the edge of his bunk brooding over I know not what. It was the first time he had the blues. Nay, it was the first time he looked pensive and profound. And upon asking him the reason for this, he said, ‘I am thinking of the paper-boats which I used to sail down the stream in Baalbek, and that makes me sad.’” 33

How strange! And yet, this first event recorded by our Scribe, in which Khalid is seen struggling with the mysterious and unknown, is most significant. Another instance, showing a latent phase, hitherto dormant, in his character, we note. Among the steerage passengers is a Syrian girl who much resembles his cousin Najma. She was sea-sick throughout the voyage, and when she comes out to breathe of the fresh air, a few hours before they enter the harbour of New York, Khalid sees her, and Shakib swears that he saw a tear in Khalid’s eye as he stood there gazing upon her. Poor Khalid! For though we are approaching the last station of the Via Dolorosa, though we are nearing the enchanted domes of the wonder-working, wealth-worshipping City, he is inexplicably sad.

And Shakib, directly after swearing that he saw a tear in his eye, writes the following: “Up to this time I observed in my friend only the dominating traits of a hard-headed, hard-hearted boy, stubborn, impetuous, intractable. But from the time he related to me his dream, a change in his character was become manifest. In fact a new phase was being gradually unfolded. Three things I must emphasise in this connection: namely, the first dream he dreamt in a foreign land, the first time he looked pensive and profound, and the first tear he shed before we entered New York. These are keys to the secret chamber of one’s soul.”

And now, that the doors, by virtue of our Scribe’s open-sesames, are thrown open, we enter, bismillah.