Though a house of canvas, there were many divisions into rooms. The Agha's wife had hers, separated completely from her sister's, and there was space for guests, besides the Agha's own quarters, his reception room, his dining-room (invaded to-night by all his family) the kitchen, and sleeping place for a number of servants.
There were many dishes besides the inevitable cheurba, or Arab soup, the kous-kous, the mechoui, lamb roasted over the fire. Victoria was almost sickened by the succession of sweet things, cakes and sugared preserves, made by the hands of the Agha's wife, Alonda, who in the Roumia's eyes was as like Sarah as the Agha was like Abraham. Yet everything was delicious; and after the meal, when the coffee came, lagmi the desert wine distilled from the heart of a palm tree, was pressed upon Victoria. All drank a little, for, said Lella Alonda, though strong drink was forbidden by the Prophet, the palms were dear to him, and besides, in the throats of good men and women, wine was turned to milk, as Sidi Aissa of the Christians turned water to wine at the marriage feast.
When they had finished at last, a Soudanese woman poured rose-water over their hands, from a copper jug, and wiped them with a large damask napkin, embroidered by Aichouch, the pretty, somewhat coquettish married daughter of the house, Maïeddine's only sister. The rose-water had been distilled by Lella Fatma, the widowed sister of Alonda, who shared the hospitality of the Agha's roof, in village or douar. Every one questioned Victoria, and made much of her, even the Agha; but, though they asked her opinions of Africa, and talked of her journey across the sea, they did not speak of her past life or of her future. Not a word was said concerning her mission, or Ben Halim's wife, the sister for whom she searched.
While they were still at supper, the black servants who had waited upon them went quietly away, but slightly raised the heavy red drapery which formed the partition between that room and another. They looped up the thick curtain only a little way, but there was a light on the other side, and Victoria, curious as to what would happen next, spied the servants' black legs moving about, watched a rough wooden bench placed on the blue and crimson rugs of Djebel Amour, and presently saw other black legs under a white burnous coil themselves upon the low seat.
Then began strange music, the first sound of which made Victoria's heart leap. It was the first time she had heard the music of Africa, except a distant beating of tobols coming from a black tent across desert spaces, while she had lain at night in the house of Maïeddine's friends; or the faint, pure note of a henna-dyed flute in the hand of some boy keeper of goats—a note pure as the monotonous purling of water, heard in the dark.
But this music was so close to her, that it was like the throbbing of her own heart. And it was no sweet, pure trickle of silver, but the cry of passion, passion as old and as burning as the desert sands outside the lighted tent. As she listened, struck into pulsing silence, she could see the colour of the music; a deep crimson, which flamed into scarlet as the tom-tom beat, or deepened to violent purple, wicked as belladonna flowers. The wailing of the raïta mingled with the heavy throbbing of the tom-tom, and filled the girl's heart with a vague foreboding, a yearning for something she had not known, and did not understand. Yet it seemed that she must have both known and understood long ago, before memory recorded anything—perhaps in some forgotten incarnation. For the music and what it said, monotonously yet fiercely, was old as the beginnings of the world, old and changeless as the patterns of the stars embroidered on the astrological scroll of the sky. The hoarse derbouka, and the languorous ghesbah joined in with the savage tobol and the strident raïta; and under all was the tired heart-beat of the bendir, dull yet resonant, and curiously exciting to the nerves.
Victoria's head swam. She wondered if it were wholly the effect of the African music, or if the lagmi she had sipped was mounting to her brain. She grew painfully conscious of every physical sense, and it was hard to sit and listen. She longed to spring up and dance in time to the droning, and throbbing, and crying of the primitive instruments which the Negroes played behind the red curtain. She felt that she must dance, a new, strange dance the idea of which was growing in her mind, and becoming an obsession. She could see it as if she were looking at a picture; yet it was only her nerves and her blood that bade her dance. Her reason told her to sit still. Striving to control herself she shut her eyes, and would have shut her ears too, if she could. But the music was loud in them. It made her see desert rivers rising after floods, and water pounding against the walls of underground caverns. It made her hear the wild, fierce love-call of a desert bird to its mate.
She could bear it no longer. She sprang up, her eyes shining, her cheeks red. "May I dance for you to that music, Lella Alonda?" she said to the Agha's wife. "I think I could. I long to try."
Lella Alonda, who was old, and accustomed only to the dancing of the Almehs, which she thought shameful, was scandalized at the thought that the young girl would willingly dance before men. She was dumb, not knowing what answer to give, that need not offend a guest, but which might save the Roumia from indiscretion.
The Agha, however, was enchanted. He was a man of the world still, though he was aged now, and he had been to Paris, as well as many times to Algiers. He knew that European ladies danced with men of their acquaintance, and he was curious to see what this beautiful child wished to do. He glanced at Maïeddine, and spoke to his wife: "Tell the little White Rose to dance; that it will give us pleasure."