From Egypt to Japan

by Henry M. Field

A habitat so peculiar as the desert must produce a life as peculiar. It is of necessity a lonely life. The dweller in tents is a solitary man, without any fixed ties, or local habitation. Whoever lives on the desert must live alone, or with few companions, for there is nothing to support existence. It must be also a nomadic life. If the Arab camps, with his flocks and herds, in some green spot beside a spring, yet it is only for a few days, for in that time his sheep and cattle have consumed the scanty herbage, and he must move on to some new resting-place. Thus the life of the desert is a life always in motion. The desert has no settled population, no towns or villages, where men are born, and grow up, and live and die. Its only "inhabitants" are "strangers and pilgrims," that come alone or in caravans, and pitch their tents, and tarry for a night, and are gone.

Such a life induces peculiar habits, and breeds a peculiar class of virtues and vices. Nomadic tribes are almost always robbers, for they have to fight for existence, and it is a desperate struggle. But, on the other hand, their solitary life as well as the command of the prophet, has taught them the virtue of hospitality. Living alone, they feel at times the sore need of the presence of their kind, and welcome the companionship even of strangers. An Arab sheik may live by preying on travellers, but if a wanderer on the desert approaches his tent and asks shelter and protection, he gives it freely. Even though the old chief be a robber, the stranger sleeps in peace and safety, and his entertainer is rewarded by the comfort of seeing a human face and hearing a human voice.

To traverse spaces so vast and so desolate would not be possible were it not for that faithful beast of burden which nature has provided. Horses may be used by the Bedouins on their marauding expeditions, but they keep near the borders of the desert, where they can make a dash and fly; but on the long journey across the Great Sahara, by which the outer world communicates with the interior of Africa, no beast could live but the camel, which is truly the ship of the desert. Paley might find an argument for design in the peculiar structure of the camel for its purpose; in its stomach, that can carry water for days, and its foot, which is not small like that of the horse, but broad, to keep the huge animal from sinking in the sands. It serves as a snow-shoe, and bears up both the beast and his rider. Then it is not hard like a horse's hoof, that rings so sharp on the pavement, but soft almost like a lion's paw. And tall as the creature is, he moves with a swinging gait, that is not unpleasant to one accustomed to it, and as he comes down on his soft foot, the Arab mother sits at ease, and her child is lulled to rest almost as if rocked in a cradle.

Thus moving on in these slow and endless marches, what so natural as that the camel-riders should beguile their solitude with song? The lonely heart relieves itself by pouring its loves and its sorrows into the air; and hence come those Arabian melodies, so wild and plaintive and tender, which constitute the music of the desert. Some years since a symphony was produced in Paris, called "The Desert," which created a great sensation, deriving its peculiar charm from its unlikeness to European music. It awakened, as it were, a new sense in those who had been listening all their lives to French and German operas. It seemed to tell—as music only tells—the story of the life of the desert. In listening one could almost see the boundless plain, broken only by the caravan, moving slowly across the waste. He could almost "feel the silence" of that vast solitude, and then faintly in the distance was heard the tinkling of the camel-bells, and the song of the desert rose upon the evening air, as softly as if cloistered nuns were singing their vesper hymns. The novel conception took the fancy of the pleasure seekers of Paris, always eager for a new sensation. The symphony made the fame of the composer, Felicien David, who was thought to have shown a very original genius in the composition of melodies, such as Europe had not heard before. The secret was not discovered until some French travellers in the East, crossing the desert, heard the camel-drivers singing and at once recognized the airs that had so taken the enthusiasm of Paris. They were the songs of the Arabs. The music was born on the desert, and produced such an effect precisely because it was the outburst of a passionate nature brooding in solitude.

Music and poetry go together: the life that produces the one produces the other also. And as there is a music of the desert, so there is a poetry of the desert. Indeed the desert may be almost said to have been the birthplace of poetry. The Book of Job, the oldest poem in the world, older than Homer, and grander than any uninspired composition, was probably written in Arabia, and is full of the imagery of the desert.

But while the mind carols lightly in poetry and music, its deeper musings take the form of Religion. It is easy to see how the life of the desert must act upon a thoughtful and "naturally religious" mind. The absence of outward objects throws it back upon itself; and it broods over the great mystery of existence. Coleridge's Ancient Mariner, when he was

"Alone on the wide, wide sea,"

found that

"So lonely 'twas that God himself

Scarce seemèd there to be."