But if Constantinople must ever possess an attraction for the traveller by virtue of its unique situation, a deeper interest lies in its unrivalled historical associations, covering two thousand five hundred years of the world’s history. From the days of Darius, Alcibiades, and Justinian—when the corn-laden galleys from the Black Sea glided swiftly past the shore opposite Seraglio Point—down to the present time, Constantinople has always been the object of desire of ambitious rulers of nations.
Seen on a summer morning from a window on the upper floor of the Pera Palace Hotel, the city presents a dazzling picture of kaleidoscopic beauty. We are several hundred feet above the level of the sea. It is early morn, and a thick grey fog conceals the waters of the Golden Horn as well as the land. Gradually, as if awakening from a dream, the sharp angles of prominent buildings, the tips of tall minarets, the curved outlines of stately mosques, emerge through the mist between clusters of dark cypresses, dotted in stray patches away to the horizon. The rays of the rising sun strike a few windows here and there. These glisten with a peculiar iridescence, as if lighted by electricity—peeping through the impenetrable haze still dimming the ground. Something ghost-like pervades the scene. Fancy conjures up the vain anger of Polyphemus, the deriding jeers of Ulysses.
Rooks caw overhead as they circle through the air. Chanticleer crows on a patch of green meadow-land. Dogs bark with unwonted anger as three bears, led by their keepers, thread their way through the crowd—well accustomed to such sights. Resounding above all, the trumpet call from the Cavalry Barracks vibrates, mingling with the shouts of hawkers in the street. Fog-horns and the siren’s moan from ships at anchor swell the chorus, and between whiles the tinkling of bells of passing mules and horses is distinctly heard. Droves of black sheep, followed by Thracian shepherds in picturesque garb, and numbers of horses of Anatolian breed, ridden by barefooted boys, pass by. Amid this pandemonium, bricklayers are at work on the roof of a seven-storied building, run up in such primitive fashion that you wonder the whole structure does not collapse and bury them among its wreckage. Yet cobblers and tailors are unconcernedly plying their craft in the basement, completing a picture which, if witnessed on the stage or described in a story-book, would strike us as a fanciful realization of a mythical world.
But lo! the sun! Mosques, minarets, and cypresses float out of the grey mist as it lifts slowly off land and water. Turkish ironclads become substantial things as they lie at anchor in the Golden Horn alongside the battered old wooden hulks of Navarino’s bloody memory. At first the iron prows only are visible, tipped with light. But as the sun grows more powerful and plays on the water, streaks of silver quiver serpent-like—a veritable Greek fire—round the hulls, until finally the ironclads themselves appear majestically before the vision like antediluvian monsters.
An old disused Turkish cemetery is spread out in front of us with its mournful grove of cypresses. Not so very long ago the whole space from the Hôtel down to the water’s edge was one huge graveyard containing the dead of centuries. Théophile Gautier tells us that the Turk loves to be near his dead. To-day only a stray gravestone is left here and there to mark the resting-place of some pious personage hallowed for his faith, his virtues, and on no account to be desecrated by the removal of his bones. Farther away is the suburb of Cassim Pasha, on its fringe the Marine Ministry, and close by, on a hill, the Marine Hospital. Adjoining this, still farther to the right, is the Ters Hanè, the Turkish Government dry-dock on the banks of the Golden Horn. And if the eye takes a wider sweep to the right, the asylum of the poor, Fakir Hanè, comes into view—a noble structure beautifully situated, handsomely endowed by Sultan Abdul Hamid, and, with true Turkish charity, devoted to the poor of all creeds alike. Then there are the Cavalry Barracks, the Greek High School, the so-called Phanar—another instance of Abdul Hamid’s munificence. Finally, as we survey the scene from left to right, the cupolas and minarets of five different mosques, each erected in honour of some noted Sultan—Bajezid, Suleiman, Schah-Zadè, Mahmud, Selim—come into the picture and crown the horizon.
This, in faint outline, is the panorama of life and colour which, once witnessed, is stamped for all time on the memory. Yet the imagination is, perhaps, even more deeply stirred by the same scene deprived of its cacophonic noise and its bright colouring in the mysterious stillness of a summer night.[[1]] Thousands of twinkling lights tell of the unchecked life of the city. The starlit heavens speak a language of their own. They whisper of the transitoriness, the vanity, the futility of what the human heart clings to, and, as if to emphasize the sadness of it all, the twang of a harp and a guitar breaks the silence. The dulcet accents of a woman’s voice—a Mignon of this Eastern land—ring out to their accompaniment. The musicians are gipsies—that mysterious race of nomads, wanderers like ourselves towards a distant bourne.
[1]. On great occasions, such as the Sultan’s birthday, the contrast of day and night is still further heightened by the illumination of the warships in the Golden Horn and other craft in the Bosphorus.
CHAPTER II
THE ARMENIAN OUTBREAK IN CONSTANTINOPLE (August 1896)
There is no sure foundation set in blood;