A Dweller in Mesopotamia Part 5

I forget now, very clearly what did happen when we arrived at Baghdad South, because we had stopped some time, shunting about, and did not know that we were there. When at last we discovered that we were at the station the train was just moving off. Brown shouted to me to jump out and take our bags. I did so as best I could, but found myself up to my ankles in liquid mud, not a good position at any time for catching heavy baggage at a height, but singularly awkward in view of the fact that Brown in the dark could not see where I was and hurled the bags just out of reach, but sufficiently near to me to cover me with a kind of soup.

[Ill.u.s.tration: A NOCTURNE OF BAGHDAD]

My next recollection is that of Brown, dark against the sky, describing a parabolic curve and alighting further up the line. The train had gone, and a sloppy gurgling noise mingled with m.u.f.fled exclamations growing more distinct indicated that Brown was endeavouring to walk in my direction. These were the only sounds that interrupted the steady noise of pouring rain. There was nothing in sight. Not only was it that we could not see the splendour of Baghdad; we could not see each other.

After an interval of groping about and finding bearings, we began to get accustomed to the gloom and discerned some sheds or buildings up the line. Thinking this was the station we plodded on as steadily as possible through the mud. Dimly, through the rain, we could make out some palms and what appeared to be a domed building and a minaret. Then we reached a large wooden shed out of the shadow of which loomed an engine. It evidently had steam up, so we stopped and gave it a hail.

I think I shall never forget the surprise of the next few minutes. As if in answer to our hail, a door opened in the dark ma.s.s of the shed and revealed a workshop brilliantly lighted. Out of this stepped an Arab with a lamp in his hand, and gave us an answering shout We stepped into the light. I don't know which was most surprised, the native at seeing such curious figures staggering under large bags through the mud, or we, at beholding in the beam of light from the shed a magic vignette of palms, Eastern buildings and a large South Western Railway engine.

Brown was delighted.

"The slave of the lamp," he cried, "calling up spirits from the vasty mud. I don't believe this engine is real, but it will do to get us into Baghdad."

And it _did_. We found a soldier driver and a stoker, got leave from headquarters to use the engine to run into Baghdad West, hurled our bags on to the coal in the tender and were transported unscathed by further mud to the quay by the waters of the Tigris. It was too dark to see much. A mult.i.tude of steamboats and mahailas lined the sh.o.r.e. The river was in flood and looked black and forbidding, and it was impossible to see across to the other side. The only light was supplied by a few electric lamps at intervals along the road. It still rained dismally and we made for a canteen close at hand. Here we felt quite at home, for there were several other arrivals as muddy as we were and even worse.

Considering this was only a restaurant attached to a rest camp, we fared very well. Our baggage we left there and set out on foot to try and reach Navy House, which was the other side of the river. There were two boat-bridges we were told, and the upper one would lead us into the right quarter. The old Navy House, near to G.H.Q., was now used by some one else, and the British Navy, shrunk to very small proportions as far as Baghdad was concerned, "carried on" in a back street.

[Ill.u.s.tration: "A magic vignette of palms, Eastern buildings and a large South Western Railway engine."]

Our first check was at the bridge. Owing to the river being in flood, it was open, that is, the middle section had been floated out, for fear that the hawsers would not stand the strain and the only road across was the Maude Bridge lower down.

Brown was delighted. The rain had stopped and he antic.i.p.ated adventure.

The idea of getting across the river in a _goufa_ flashed across his mind, but a glance at the foaming, tearing water was sufficient deterrent even to an optimist like Brown. It might be done in daylight, but at night it would be suicide.

We decided to make our way through the narrow streets that led by the side of the river until we struck the main road that approached the bridge of boats half a mile or so down. In theory this sounded very feasible, but in practice, owing to the tortuous nature of the ways and to the fact that it was very dark, we soon got lost. Twice, when we thought we were progressing well, we came upon the same place again.

Then we struck the river, more or less by accident, and took fresh bearings of the general direction we were to pursue.

We plunged into a covered way, arched overhead like a cloister. This had the advantage of being dry and our speed increased considerably. From time to time a dim light gave a glimmer to show us the way.

[Ill.u.s.tration: "Suddenly we came upon a scene of strange beauty and dramatic effect."]

It was late and there were few people about. The figures that flitted by were silent and mysterious. A window here and there was lighted up, but for the most part the houses were dark and without sign of life. We found no "splendours of the golden prime of good Haroun Alraschid," but for all that the narrow streets looked romantic and weird. The sky had cleared and the moonlight had given a glamour of phantasy to the vistas of the street.

Suddenly we came upon a scene of strange beauty and dramatic effect. A turn in this narrow and cloister-like way brought us to an arched opening, with some steps leading to the water. It was a sheltered inlet from the surging and swirling stream of the Tigris, a kind of pocket built round by crazy old balconied buildings. This was filled with goufas, the weird round boat of the upper river, and the animated scene of people either embarking or disembarking made a strange people. We saw this scene for a few moments only, as we made our way through the crowd at this point. I have since wondered where all these goufas were going.

They could not have intended to cross the river under present conditions. I think the rapidly rising river must have upset all calculations as to mooring boats at this point and their owners were making sure that they were secure. The noise and apparent excitement was probably nothing but the usual Eastern custom of making a great fuss about nothing.

[Ill.u.s.tration: MAHAILAS AND MARSH ARAB'S BELLAM]

At last, after much marching and counter-marching, we struck the main thoroughfare leading to the Maude bridge, which we crossed. The thick, seething waters foamed and struggled against the pontoons and swept down between them like roaring devils. We were very glad to get over, for it looked as though a little more force would have carried the whole thing away. Once clear of the bridge we found ourselves in New Street, the thoroughfare made since the British occupation, and incidentally we ran into a cheery naval officer who picked us up and deposited us again at Navy House, whither he was bound. Had we not received this timely aid I think we should have gone on looking for Navy House all night. A more amazing situation for it could not have been found, if you searched the world over.

Wedged in, cheek by jowl, with buildings that might have figured in the tall streets of old London, it lay nowhere near the water, down a very narrow and crooked lane, where mules and men, camels and beggars jostled each other on their lawful occasions.

When we had settled down there and had fine weather for several days, Brown, loath to waste the romance of old Baghdad during glorious moonlight nights, insisted on some mysterious expeditions which were for the purpose of adventure, but ostensibly arranged to give me an opportunity of sketching. He produced an Arab, arrayed in strange garments, to carry a light and generally act as a guide. We called him the slave of the lamp. I am quite certain that he thought Brown was mad, but this belief on the whole was rather an advantage, as he treated him with all the more respect because of his affliction, which he regarded as a special visitation of Allah.

[Ill.u.s.tration: "By garden porches on the brim, The costly doors flung open wide."]

[Ill.u.s.tration: "All round about the fragrant marge, From fluted vase and brazen urn, In order, Eastern flowers large."]

I was surprised that he seemed to take great delight in my sketching, and several times, when I was making notes of some quaint latticed windows overhanging the narrow road, so that they nearly met, he became quite excited, chuckling and laughing to himself, as if in the enjoyment of some tremendous joke.

I discovered afterwards that Brown's native servant had been pulling the leg of our worthy slave, by telling him that these nightly expeditions were for the purpose of carrying off some ravis.h.i.+ngly beautiful lady from one of the harems. No doubt he thought my sketching merely a blind.

Measurements with a pencil were obviously part of some incantation.

While on the subject of sketching, especially quick note-taking under difficult conditions, I want a word with my fellow-craftsmen should they chance to take up this book. The difficulties of drawing by twilight, lamplight, and the still greater difficulty of drawing in colour under blazing sunlight, cannot easily be exaggerated. How many times has a sketch done in a failing light looked strong in tone, only to go to pieces when seen under normal conditions? How often the sunlight on your paper flatters your colours, so that you think you are improvising in a most joyous way, and when you get home you find nothing but dinginess and mud!

[Ill.u.s.tration: "By Baghdad's shrines of fretted gold, High-walled gardens, green and old."]

Probably you have thought it out and found some solution as I did, but in case these difficulties are still formidable I will tell you of _one_ way to reduce them to impotence. I take with me, on all occasions where there is to be great uncertainty of light, some coloured chalks. About six colours, picked to suit the kind of work attacked; either chalk pencils or hard pastilles will give you certain colour values in whatever light you find yourself, and even if you can hardly see what you are drawing these _must_, to some extent, standardize your values, so that your rough work can be washed over and brought up to any pitch of detail subsequently, without danger of the main tones of your sketch being wrong. The speed with which a sketch can be carried forward in this way, and the "quality" obtained by the rapid fusion of the chalk with the colour wash, are both pleasant surprises when experimenting in this medium.

Night after night we sallied forth and roamed about the narrow ways and tortuous turnings of old Baghdad. The bazaars are mostly covered in with arched masonry, and the effect is that of a long side aisle in a very untidy and greatly secularized cathedral. From time to time glimpses of the dark-blue, star-filled sky showed through openings overhead, and sometimes a quaintly framed view of a dome or minaret.

On one occasion we embarked in a goufa, and floated down the rapidly flowing river, keeping close to the left bank and taking advantage of every eddy and corner of slack water made by projecting buildings, lest we should be swept down too far and lose control of our curious and difficult craft. The level of the water was far above the usual height and came up to the very thresholds of these riverside houses. We floated on, sometimes under the walls of dark gardens, sometimes getting glimpses of interiors--interiors which in this glamour of night romance suggested something of the splendour of Baghdad's old glory:--

"By garden porches on the brim, The costly doors flung open wide, Gold glittering through lamplight dim."

We landed by the Maude bridge and explored further afield, finding "high-walled gardens" where we beheld

"All round about the fragrant marge, From fluted vase and brazen urn, In order, Eastern flowers large."

By day, Baghdad is not so impressive. Too much squalor is apparent. Yet there are quaint street scenes.

Ancient windows, overhanging the street in one quarter, reminded me strongly of pictures of old London. The feature that I could not help noticing, not only in Baghdad but in all Mesopotamia, was the absence of local colour. It is true that the sun gives a blazing and confused suggestion of colour to objects by contrast with bluish shadows, especially in the evening, but there is often very little colour in things themselves. The East is supposed to be full of blazing colour and the North gray and drab. Yet compare a barge in Rotterdam or Rochester with one in Baghdad. The former is picked out in green and gold and glows with rich, red sails, while the latter, for all its suns.h.i.+ne, is the colour of ashes--not a vestige often of paint or gilding. Some mahailas I found with traces of rich colouring, blue and yellow (see sketch facing page 34), but this was exceptional. Perhaps the scarcity of paint during years of war may have had something to do with this noticeable absence of colouring in regard to both houses and boats. In spite of this slovenliness in detail there is colour and light in all recollections of Baghdad's dusty streets.

Somehow the discomfort and squalor is soon forgotten and the romance and picturesqueness of these far-off streets remains as a very pleasant memory amidst the winter fogs and coldness of our northern lands.

[Ill.u.s.tration: Showing the simplicity of Mesopotamian domestic architecture. Tigris.]

VII

IN OLD BAGHDAD

[Ill.u.s.tration: BAGHDAD]

[Ill.u.s.tration: "Puffing Billy in Bagdad."]

IN OLD BAGHDAD

I suppose there is no city to be found anywhere in the world that would quite reach the standard of dazzling splendour of the Baghdad that we conjure up in our imagination when we think of the City of the Arabian Nights in the romantic days, so dear to our childhood, of Haroun-al-Raschid. We expect so much when we come to the real Baghdad, and we find so little--so little, that is, of the glamour of the East.

Few "costly doors flung open wide," but a great deal of dirt. Few dark eyes of ravis.h.i.+ngly beautiful women peering coyly through lattice windows, but a great deal of sordid squalor. Few marvellous entertainments where we can behold the wonderful witchery of Persian dancing girls, but a theatre, the princ.i.p.al house of amus.e.m.e.nt in Baghdad--and lo, a man selling onions to the habitues of the stalls!

Of all the deadly dull shows I have ever seen I think the one I saw at Baghdad furnished about the dullest. There were two princ.i.p.al dancing girls--stars of the theatrical world of Mesopotamia--and a few others forming a kind of chorus. The orchestra, on the stage, consisted of a guitar, a sort of dulcimer, and a drum. The musicians made a most appalling noise and rocked to and fro, as if in the greatest enjoyment of the thrilling harmonies they were creating. The stars came on one at a time, the odd one out meanwhile augmenting the chorus, and sang a few verses of a song to a tune that can only be described as a Gregorian chant with squiggly bits thrown in. Of course I was unable to understand the words, but can bear witness to the fact that the tune did not vary the whole evening, and every gesture and att.i.tude of the singer was exactly the same again and again as she went through the performance, and the dance which concluded each six or eight verses was also exactly the same every time. After this had been going on for about an hour the other girl came to the footlights. It was natural to expect a change; but no, she went through it all as if she had most carefully understudied the part. Neither of these girls was pretty or in the least attractive to look at. All I could a.s.sume, as the audience seemed quite satisfied, was that the words must have been extraordinarily brilliant or that the Baghdad public was very easily entertained.