A silent old court-yard, half sun and half shadow in which quaintly graceful, strangely curving columns seem to have taken from long companionship with trees something of their inner life, while the palms, their neighbors, from long in-door existence, look as if they had in turn acquired household or animal instincts, if not human sympathies. And as the younger the race the more it seeks for poets and orators to express in thought what it only feels, so these dumb pillars and plants found their poet and orator in the fountain which sang or spoke for them strangely and sweetly all night and day, uttering for them not only their waking thoughts, but their dreams. It gave a voice, too, to the ancient Persian tiles and the Cufic inscriptions which had seen the caliphs, and it told endless stories of Zobeide and Mesrour and Haroun al Raschid.
Beyond the door which, when opened, gave this sight was a dark ancient archway twenty yards long, which opened on the glaring, dusty street, where camels with their drivers and screaming sais, or carriage-runners and donkey-boys and crying venders, kept up the wonted Oriental din. But just within the archway, in its duskiest corner, there sat all day a living picture, a dark and handsome woman, apparently
thirty years old, who was unveiled. She had before her a cloth and a few shells; sometimes an Egyptian of the lower class stopped, and there would be a grave consultation, and the shells would be thrown, and then further solemn conference and a payment of money and a departure. And it was world-old Egyptian, or Chaldean, as to custom, for the woman was a Rhagarin, or gypsy, and she was one of the diviners who sit by the wayside, casting shells for auspices, even as shells and arrows were cast of old, to be cursed by Israel.
It is not remarkable that among the myriad manteias of olden days there should have been one by shells. The sound of the sea as heard in the nautilus or conch, when
“It remembers its august abode
And murmurs as the ocean murmurs there,”
is very strange to children, and I can remember how in childhood I listened with perfect faith to the distant roaring, and marveled at the mystery of the ocean song being thus forever kept alive, inland. Shells seem so much like work of human hands, and are often so marked as with letters, that it is not strange that faith soon found the supernatural in them. The magic shell of all others is the cowrie. Why the Roman ladies called it porcella, or little pig, because it has a pig’s back, is the objective explanation of its name, and how from its gloss that name, or porcellana, was transferred to porcelain, is in books. But there is another side to the shell, and another or esoteric meaning to “piggy,” which was also known to the dames du temps jadis, to Archipiada and Thais, qui fut la belle Romaine,—and this inner meaning makes of it a type of birth or creation.
Now all that symbolizes fertility, birth, pleasure, warmth, light, and love is opposed to barrenness, cold, death, and evil; whence it follows that the very sight of a shell, and especially of a cowrie, frightens away the devils as well as a horse-shoe, which by the way has also its cryptic meaning. Hence it was selected to cast for luck, a world-old custom, which still lingers in the game of props; and for the same reason it is hung on donkeys, the devil being still scared away by the sight of a cowrie, even as he was scared away of old by its prototype, as told by Rabelais.
As the sibyls sat in caves, so the sorceress sat in the dark archway, immovable when not sought, mysterious as are all her kind, and something to wonder at. It was after passing her, and feeling by quick intuition what she was, that the court-yard became a fairy-land, and the fountain its poet, and the palm-trees Tamar maids. There are people who believe there is no mystery, that an analysis of the gypsy sorceress would have shown an ignorant outcast; but while nature gives chiaro-oscuro and beauty, and while God is the Unknown, I believe that the more light there is cast by science the more stupendous will be the new abysses of darkness revealed. These natures must be taken with the life in them, not dead,—and their life is mystery. The Hungarian gypsy lives in an intense mystery, yes, in true magic in his singing. You may say that he cannot, like Orpheus, move rocks or tame beasts with his music. If he could he could do no more than astonish and move us, and he does that now, and the why is as deep a mystery as that would be.
So far is it from being only a degrading superstition in those who believe that mortals like themselves
can predict the future, that it seems, on the contrary ennobling. It is precisely because man feels a mystery within himself that he admits it may be higher in others; if spirits whisper to him in dreams and airy passages of trembling light, or in the music never heard but ever felt below, what may not be revealed to others? You may tell me if you will that prophecies are all rubbish and magic a lie, and it may be so,—nay, is so, but the awful mystery of the Unknown without a name and the yearning to penetrate it is, and is all the more, because I have found all prophecies and jugglings and thaumaturgy fail to bridge over the abyss. It is since I have read with love and faith the evolutionists and physiologists of the most advanced type that the Unknown has become to me most wonderful, and that I have seen the light which never shone on sea or land as I never saw it before. And therefore to me the gypsy and all the races who live in freedom and near to nature are more poetic than ever. For which reason, after the laws of acoustics have fully explained to me why the nautilus sounds like a far off-ocean dirge, the unutterable longing to know more seizes upon me,