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XIX
IN A MOORISH CAFÉ
"A little from a friend is much."
Moorish Proverb.
To the passer-by, least of all to the European, there is nothing in its external appearance to recommend old Hashmi's café. From the street, indeed, it is hardly visible, for it lies within the threshold of a caravansarai or fandak, in which beasts are tethered, goods accumulated and travellers housed, and of which the general appearance is that of a neglected farm-yard. Round an open court a colonnade supports the balcony by which rooms on the upper story are approached, a narrow staircase in the corner leading right up to the terraced roof. In the daytime the sole occupants of the rooms are women whose partners for the time being have securely locked them in before going to work.
Beside the lofty archway forming the gate of this strange hostelry, is Hashmi's stall, at which green tea or a sweet, pea-soupy preparation of coffee may be had at all hours of the day, but the café proper, gloomy by daylight, lies through the door behind. Here, of an evening, the candles lit, his regular customers gather with tiny pipes, indulging in flowing talk. Each has before him his harmless glass, as he squats or reclines on the[page 160] rush-matted floor. Nothing of importance occurs in the city but is within a little made known here with as much certainty as if the proprietor subscribed to an evening paper. Any man who has something fresh to tell, who can interest or amuse the company, and by his frequent visits give the house a name, is always welcome, and will find a glass awaiting him whenever he chooses to come.
Old Hashmi knows his business, and if the evening that I was there may be taken as a sample, he deserves success. That night he was in the best of humours. His house was full and trade brisk. Fattah, a negro, was keeping the house merry, so in view of coming demands, he brewed a fresh pot of real "Mekkan." The surroundings were grimy, and outside the rain came down in torrents: but that was a decided advantage, since it not only drove men indoors, but helped to keep them there. Mesaôd, the one-eyed, had finished an elaborate tuning of his two-stringed banjo, his ginbri—a home-made instrument—and was proceeding to arrive at a convenient pitch of voice for his song. With a strong nasal accent he commenced reciting the loves of Si Marzak and his fair Azîzah: how he addressed her in the fondest of language, and how she replied by caresses. When he came to the chorus they all chimed in, for the most part to their own tune and time, as they rocked to and fro, some clapping, some beating their thighs, and all applauding at the end.
The whole ballad would not bear translation—for English ears,—and the scanty portion which may be given has lost its rhythm and cadence by the change, for Arabic is very soft and beautiful[page 161] to those who understand it. The time has come when Azîzah, having quarrelled with Si Marzak in a fit of perhaps too well-founded jealousy, desires to "make it up again," and thus addresses her beloved—
"Oh, how I have followed thy attractiveness,