A Tramp's Sketches

by Stephen Graham

VIII

A TURKISH COFFEE-HOUSE

It sometimes happens that, entering a house, one enters not simply into the presence of a family but into that of a nation. So it was when I was received in a Little-Russian deacon's cottage in a village, on the Christmas Eve on which I first came to Russia. I came not to the deacon but to Russia itself, and when the Christmas musicians came and played before me it was not only Christmas music, or village music, that I heard, but the voice of a whole countryside and the song of a whole national soul. It sometimes happens that, looking at a picture, one sees not only its local and obvious beauty, but its eternal significance and message—that is a similar experience.

It happened to me whilst on a tramp in Trans-Caucasia to enter a coffee-house that was at once a Turkish coffee-house and Turkey itself. I lived for a whole night veritably in Turkey. In this way—

I came into a little town; it was a cold night and I wanted shelter. I entered a noisy Turkish coffee-house—there were at least a hundred such in the town—and asked if I might spend the night there. The owner, a young man in shirt-sleeves, very dirty and unshaven, and with an old fez on the side of his head, intimated that I might stay if I liked.

The café was a room full of poor Turks. Picture a crowd of ragged men, some in drab turbans with loose ends hanging down their backs, but most of them in dingy red fez hats, faces unshaved, mottled, ugly—a squat people, very talkative, but terribly mirthless; and in shadowy corners of the low dark café solitary persons with hook-nosed, ruminative faces. All about me was the din of the strange language, the clatter of dice and dominoes. All night long the doors of the café slammed and customers passed in and out, games were begun and played away, animated groups formed at certain tables and then broke up and gave way to new groups, loud discussions broke out over Turkish newspapers and politics and the war, in the course of which discussions the newspaper, a wilderness of Arabic, was often torn to bits—a series of scenes of tremendous animation and noise; but no one laughed.

In the clamour of tongues sounded again and again the name "Italia." The Turks were angry over the war, full of a restrained resentment and a profound need for revenge. It was a relief to me when one of them came to my table and talked to me in Russian.

"How goes the war?" I asked. "Is Italy losing?"

"Of course she is losing," he replied, lying sullenly; "and she must lose."

"But she has taken Tripoli and guards it with her navy. How can she lose?"

"The other Powers will make her disgorge it, or we will commence an endless hostility, not only against Italy and Italian trade, but against all whom we tolerate—the Western Christians."

A Caucasian, overhearing us, drew his forefinger along his throat from ear to ear, and smiled.

"There are more Mahometans than Christians," the Turk went on, "and they are strong men, heroes. The Italians are the worn-out scum of ancient Rome, getting the better of us ignobly. But they shall not spoil the Mahometan world. Not even the English, most powerful of the machine nations, shall overwhelm the true faith."

The keeper of the coffee-house came and stared at me. Two new customers came up, and I was pointed out as an Englishman. They talked about me in Turkish; other Turks came, they talked about England's rôle in the war, they scolded, gesticulated, poured forth endlessly, forgot me. Once more, though in a crowd, I was alone.

At this time a great diversion was caused. A blind musician came in. At midnight one would have thought no new development in the life of the café was likely to take place, but the musician brought into the room such a crush of people that on all sides I felt packed and crammed. A tall, gaunt man, hatless, shaggy-headed, his black locks falling over a strange yellow brow; eyes that saw not, looking through deep purple spectacles; and in his arms, like a baby, a long Armenian guitar—the musician was somewhat to wonder at. Hemmed in by the crowd, he yet found a little space in the body of the coffee-house, and danced to and fro with his songs like some strange being in a frenzy. He played with fire on his guitar, every minute breaking from his sparkling, thrilling accompaniment into a wild human chant, his face the while triumphant and passionate, but blind with such utter blindness that he seemed like the symbol of Man's life rather than a man; a great song of heart-yearning sung to the stars and to the Infinite rather than the singer of that song.

His fingers flowed over the long guitar; the wild words broke out; he flung himself in little zigzag steps to right, to left; the wild chant stopped; once more spoke only the strings. I looked at him and listened, and could not give myself enough to him.

At nearly two he made a collection and received many piastres and copecks, and the crowd who had listened to him began to disperse. At three o'clock the host signified that he wished to close the shop. To all the remaining customers Turkish delight was served out as a sort of parting gift. A dozen Turks, those who had homes, slunk away; the remainder, those who had no homes of their own, stayed to sleep.

The host now came to me and we did some business. I wanted to change some Turkish silver, as I was short of Russian money. As no bank would take this small coin I was obliged to try the coffee-house. Accordingly, I had asked my coffee-house keeper to buy a hundred or so piastres. After half an hour's haggling we struck a very bad bargain. I find the Turk more of a sharp than the Jew.

The long day was over. The shutters were pulled along in front of the shop and padlocked. A form was accorded me on which to sleep. Another form was drawn out into the middle of the room and placed at a certain angle, pointing to the East, I suppose. Then during half an hour the Turks ascended this form in turn, stood, bowed, knelt, prostrated themselves in silent prayer, reiteratedly. They prayed very differently from Russian peasants. Their movements were abrupt and mechanical, like steps in a military drill. They were nearer to spiritual death and praying-boxes than any I had ever watched pray before. I felt myself in the presence of a new form of piety. I had crossed the great broad line that separates Europe from Asia, and come to a place where Europe is not understood and therefore hated.

At six next morning the sleepers awoke and performed the same rites on the improvised praying-stool; the shutters were rolled back; the Turks who had homes returned; in came the Arabic newspaper; once more Turkish delight, coffee, the clatter of dice and dominoes, the gathering of animated groups, loud, unpleasant voices and mirthless vivacity—so the life of the coffee-house went on; so I imagine it goes on for ever.

* * * * *

As I think of this in retrospect it seems that the blind musician stood in some peculiar and significant relation to the more ordinary life about him. But for him, I should probably have omitted to describe my night among the Turks. He made the coffee-house worth living in, worth sketching, worth being re-seen in the reflection of words. He was what I should call the glory of the coffee-house.

Thus the garden of Eden was beautiful, but Adam and Eve in the garden were the glory of the garden, the highest significance of its beauty, the voice by which relatively dumb beauty got a step farther in expressing itself. The garden would never have been described but for the episode of Adam and Eve. It would not have been worth while to describe it…. The forest is beautiful, but the bird singing in the forest is the glory of the forest. The morning is beautiful, but the tramp walking in the morning is the glory of the morning; he also, in his youth and morning of life, is a voice by which beauty endeavours to reveal itself.

Each scene, each picture, has a highest significance if we could but find it. Thus the blind musician was a revelation of the very soul of the Turks. The tramp wandering through life and exploring it tries always to find what is particularly his in the scenes that come before his eyes. It is what he means by living a daily life in the presence of the Infinite.