God’s Fugitive. Andrew Taylor

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      Elsewhere in the Middle East French, English and Russians nurtured their own ambitions as the moribund Ottoman empire faltered, And in another sense, too, North Africa, Arabia and the Islamic world were under attack.¹³ Whatever the ambitions of the politicians, Europe’s writers, poets and artists had effectively colonized the Orient for themselves already, and the scene Doughty saw in the Constantine mosque would have been familiar to Victorian England from the paintings and writings about the East that had been fashionable for years. There had been a flood of poems, paintings, novels and fantasies set in a self-consciously Middle Eastern and desert world. By mid century travellers to Arabia were visiting a land and a culture that was fascinatingly strange and different from their own – but one that must at least have seemed, to anyone with even a nodding acquaintance with contemporary thought, reassuringly familiar.

      And yet the Orient of the imagination, the Orient of Flaubert, of Edward Fitzgerald, of Shelley, Byron, and of Beckford, was to a great extent a glorious construction of the artistic community itself – an exuberant celebration of ignorance. The day-to-day contemporary reality of Arabia and the rest of the Middle East was of less importance to the writers and artists than the European tradition of the mystic Orient, of the simple nobility of the desert peoples, the romantic despotism of the sheikhs and rulers, the sexual frisson of the harem. It was that tradition, fitting in perfectly with the romantic imagination to create a deliriously frightening picture of the Arab world, that made Arabia superficially familiar to the travellers.

      But alongside this romantic vision of the East was a vast and rapidly growing body of scholarly knowledge about the languages, the civilizations and the history of the Orient. The first part of the century saw an explosion of learned societies, of university professorships and periodicals all concentrating on the new and fascinating field of oriental studies. But even that supposedly dispassionate academic work was often based on literature rather than direct observation, and seems to a modern eye to be suspiciously supportive of the imperial and economic objectives of the western powers. Even Sir Richard Burton, not the most reliable of friends of the British political establishment, commented in his account of his travels in Arabia: ‘Egypt is a treasure to be won … the most tempting prize which the east holds out to the ambition of Europe.’¹⁴

      If anyone could have remained uncorrupted by both romantic myth and imperial dream, it would have been the twenty-nine-year-old Charles Montagu Doughty, with his cantankerous disregard for anything even remotely modern. He avoided both camps: he had no contact with the seductive world of literary orientalism, and precious little with that of the scholastic Arabists,¹⁵ and as a result, his observations were essentially his own. If he later seemed prickly, that was because his view of Arabia had been forced into no literary or scholastic preconceptions. He found among the Arabs an ancient world which was foreign to anything he had seen elsewhere – one which appeared to mirror his own sense of antiquity.

      The fighting in Algeria had finished barely five months before Doughty’s arrival, leaving behind a bitterness and unrest that even Doughty, temperamentally blind as he was to political upheaval, could not avoid. The trials and the rounding up of suspected militants were going on around him as he travelled slowly south into the heartland of the revolt.

      As he pushed inland on a stagecoach drawn by seven horses towards the oasis town of Biskra, the romantic potential of the shadowy scene in the mosque left him unmoved. Instead, as the coach rocked on through the moonlight, he was still concentrating on the landscape – ‘stony, arid, and even all bare and naked … Icy chillness devouring. Crests of the mountains powdered with snow.’

      The first stage of the journey took them thirteen hours, rattling over the stony ground in the moonlight, and they pulled into the oasis of Batna at eight in the morning. Even though the reason for travelling through the night had been to avoid the desert sun, noon found Doughty setting off on a four-hour excursion to view the remains of a nearby Roman colony. If his interest had often been lukewarm in Europe, here in Africa it was passionate. He was clearly not sparing himself – and at four o’clock the next morning, as the moon sank low over the Atlas Mountains to the west, he was on his way again.

      Doughty was wide awake throughout the long, hot journey, noticing the landscapes, the occasional caravans and the few local people along the road – a knot of French soldiers surveying the route, Arab women with looped earrings of wire, a farmer ploughing the ‘dry dead country’. And then, almost like a lingering shot from a film, came his first authentic image of the harshness, the implacability he would come to know of Arabia. ‘Passed on the way an Arab dead, wrapped in his burnous, bound upon poles, and laid across an ass or mule. No distinct road, but only the wheelruts’ traces across the country …’

      It is a vivid sketch, like his earlier one of the Sicilian peasants. Here, though, Doughty focuses upon the movement of the dead man, not that of the living Arabs who were presumably taking him for burial. But where Shelley saw only the ‘boundless and bare’ sands of the desert, Doughty saw the wheel-tracks threading their way towards the horizon. With the scene there before him, he transcends the conventional response; while Shelley had no imaginative answer to the overwhelming power of the desert, Doughty sees the continuing, ageless struggle for survival of the Arabs. Looking around him, he was struck by the awesome barrenness of the sands, white with an efflorescence of salt, and the surrounding bare mountains. But life struggled on imperturbably, with a blank serenity which matched his own matter-of-fact approach. In that contrast, between the vulnerability of human achievement and the permanence of human endeavour, Doughty was to find a lifelong inspiration, which he maintained with a religious force and passion.

      It is a breadth of vision, a sense of history, which gradually comes to accommodate not only his unemotional response to the sufferings of others, such as the shipwrecked fishermen of Giardini or the hapless tourists on Vesuvius, but also the dogged courage with which he faces his own dangers.

      The little party crossed over an ancient bridge built by the Romans, who had struggled to colonize this harsh country – ‘still strong and good after so many centuries’, Doughty noted approvingly – but for the most part, what signs of man remained were desolate and all but smothered in the blown sand of the desert. He had left far behind him the well-trodden roads and pathways of Victorian Europe, and with them, the ancient and reassuringly familiar civilization they represented. But in the North African desert, with the stolid march of a small group of Arabs along a route marked only by wheel-tracks in the sand, he was discovering a different but equally ancient stability.

      It was 22 November when they finally set out from the desert settlement of Biskra, a caravan of ten men with mules and asses loaded with dates, threading their way through the mountains to the west on their way to the oasis of Bou Saida. Perhaps some of the French garrison had warned Doughty of the danger he might be running in such lonely and unsettled country, so soon after a major insurrection; perhaps he instinctively felt the uncertainty of his new position – but an unaccustomed note of caution enters his diary as he leaves on his trek across the mountains. For the first time he was carrying a weapon – a revolver he had borrowed, presumably from one of the soldiers.

      He should not approach the Arabs’ tents pitched near their own camp, he was told that evening, in case they were hostile to a travelling European. This, he was warned, was dangerous country. In the circumstances, perhaps it is not surprising that he slept little. ‘We lay upon the ground; the night cold and still … Light cloud covered the ground, foreboding rain. Howling of dogs all the night long.’

      It took four more days’ hard travelling before they reached the oasis of Bou Saida, deep in the heartland of the revolt. They were lonely days and hard nights, with the travellers seeking what shelter they could from the driving rain by piling up their baggage and huddling around a smoky fire that guttered in the wind. And yet Doughty, СКАЧАТЬ