In Morocco. Edith Wharton

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СКАЧАТЬ a slave, lay before us, snow-white in its cheese-coloured ramparts skirted by fig and olive gardens. Below its gates a stretch of waste land, endlessly trailed over by mules and camels, sloped down to the mouth of the Bou-Regreg, the blue-brown river dividing it from Rabat. The motor stopped at the landing-stage of the steam-ferry; crowding about it were droves of donkeys, knots of camels, plump-faced merchants on crimson-saddled mules, with negro servants at their bridles, bare-legged water-carriers with hairy goat-skins slung over their shoulders, and Arab women in a heap of veils, cloaks, mufflings, all of the same ashy white, the caftans of clutched children peeping through in patches of old rose and lilac and pale green.

      Across the river the native town of Rabat lay piled up on an orange-red cliff beaten by the Atlantic. Its walls, red too, plunged into the darkening breakers at the mouth of the river, and behind it, stretching up to the mighty tower of Hassan, and the ruins of the Great Mosque, the scattered houses of the European city showed their many lights across the plain.

IV

       Table of Contents

      THE KASBAH OF THE OUDAYAS

      Salé the white and Rabat the red frown at each other over the foaming bar of the Bou-Regreg, each walled, terraced, minareted, and presenting a singularly complete picture of the two types of Moroccan town, the snowy and the tawny. To the gates of both the Atlantic breakers roll in with the boom of northern seas, and under a misty northern sky. It is one of the surprises of Morocco to find the familiar African pictures bathed in this unfamiliar haze. Even the fierce midday sun does not wholly dispel it—the air remains thick, opalescent, like water slightly clouded by milk. One is tempted to say that Morocco is Tunisia seen by moonlight.

      The European town of Rabat, a rapidly developing community, lies almost wholly outside the walls of the old Arab city. The latter, founded in the twelfth century by the great Almohad conqueror of Spain, Yacoub-el-Mansour, stretches its mighty walls to the river's mouth. Thence they climb the cliff to enclose the Kasbah[A] of the Oudayas, a troublesome tribe whom one of the Almohad Sultans, mistrusting their good faith, packed up one day, flocks, tents and camels, and carried across the bled to stow them into these stout walls under his imperial eye. Great crenellated ramparts, cyclopean, superb, follow the curve of the cliff. On the landward side they are interrupted by a gate-tower resting on one of the most nobly decorated of the horseshoe arches that break the mighty walls of Moroccan cities. Underneath the tower the vaulted entrance turns, Arab fashion, at right angles, profiling its red arch against darkness and mystery. This bending of passages, so characteristic a device of the Moroccan builder, is like an architectural expression of the tortuous secret soul of the land.

      [Footnote A: Citadel.]

      [Illustration: From a photograph from the Service des Beaux-Arts au Maroc

      Rabat—general view from the Kasbah of the Oudayas]

      Outside the Kasbah a narrow foot-path is squeezed between the walls and the edge of the cliff. Toward sunset it looks down on a strange scene. To the south of the citadel the cliff descends to a long dune sloping to a sand-beach; and dune and beach are covered with the slanting headstones of the immense Arab cemetery of El Alou. Acres and acres of graves fall away from the red ramparts to the grey sea; and breakers rolling straight from America send their spray across the lowest stones.

      There are always things going on toward evening in an Arab cemetery. In this one, travellers from the bled are camping in one corner, donkeys grazing (on heaven knows what), a camel dozing under its pack; in another, about a new-made grave, there are ritual movements of muffled figures and wailings of a funeral hymn half drowned by the waves. Near us, on a fallen headstone, a man with a thoughtful face sits chatting with two friends and hugging to his breast a tiny boy who looks like a grasshopper in his green caftan; a little way off, a solitary philosopher, his eye fixed on the sunset, lies on another grave, smoking his long pipe of kif.

      There is infinite sadness in this scene under the fading sky, beside the cold welter of the Atlantic. One seems to be not in Africa itself, but in the Africa that northern crusaders may have dreamed of in snow-bound castles by colder shores of the same ocean. This is what Moghreb must have looked like to the confused imagination of the Middle Ages, to Norman knights burning to ransom the Holy Places, or Hansa merchants devising, in steep-roofed towns, of Barbary and the long caravans bringing apes and gold-powder from the south.

      Inside the gate of the Kasbah one comes on more waste land and on other walls—for all Moroccan towns are enclosed in circuit within circuit of battlemented masonry. Then, unexpectedly, a gate in one of the inner walls lets one into a tiled court enclosed in a traceried cloister and overlooking an orange-grove that rises out of a carpet of roses. This peaceful and well-ordered place is the interior of the Medersa (the college) of the Oudayas. Morocco is full of these colleges, or rather lodging-houses of the students frequenting the mosques, for all Mahometan education is given in the mosque itself, only the preparatory work being done in the colleges. The most beautiful of the Medersas date from the earlier years of the long Merinid dynasty (1248–1548), the period at which Moroccan art, freed from too distinctively Spanish and Arab influences, began to develop a delicate grace of its own as far removed from the extravagance of Spanish ornament as from the inheritance of Roman-Byzantine motives that the first Moslem invasion had brought with it from Syria and Mesopotamia.

      These exquisite collegiate buildings, though still in use whenever they are near a well-known mosque, have all fallen into a state of sordid disrepair. The Moroccan Arab, though he continues to build—and fortunately to build in the old tradition, which has never been lost—has, like all Orientals, an invincible repugnance to repairing and restoring, and one after another the frail exposed Arab structures, with their open courts and badly constructed terrace-roofs, are crumbling into ruin. Happily the French Government has at last been asked to intervene, and all over Morocco the Medersas are being repaired with skill and discretion. That of the Oudayas is already completely restored, and as it had long fallen into disuse it has been transformed by the Ministry of Fine Arts into a museum of Moroccan art.

      The plan of the Medersas is always much the same: the eternal plan of the Arab house, built about one or more arcaded courts, with long narrow rooms enclosing them on the ground floor, and several stories above, reached by narrow stairs, and often opening on finely carved cedar galleries. The chief difference between the Medersa and the private house, or even the fondak,[A] lies in the use to which the rooms are put. In the Medersas, one of the ground-floor apartments is always fitted up as a chapel, and shut off from the court by carved cedar doors still often touched with old gilding and vermilion. There are always a few students praying in the chapel, while others sit in the doors of the upper rooms, their books on their knees, or lean over the carved galleries chatting with their companions who are washing their feet at the marble fountain in the court, preparatory to entering the chapel.

      [Footnote A: The Moroccan inn or caravanserai.]

      [Illustration: From a photograph by Schmitt, Rabat

      Rabat—interior court of the Medersa of the Oudayas]

      In the Medersa of the Oudayas, these native activities have been replaced by the lifeless hush of a museum. The rooms are furnished with old rugs, pottery, brasses, the curious embroidered hangings which line the tents of the chiefs, and other specimens of Arab art. One room reproduces a barber's shop in the bazaar, its benches covered with fine matting, the hanging mirror inlaid with mother-of-pearl, the razor-handles of silver niello. The horseshoe arches of the outer gallery look out on orange-blossoms, roses and the sea. It is all beautiful, calm and harmonious; and if one is tempted to mourn the absence of life and local colour, one has only to visit an СКАЧАТЬ