Edith Wharton - In Morocco (Chap. 1.5) lyrics

Robinson Crusoe's "Sallee" Before Morocco pa**ed under the rule of the great governor who now administers it, the European colonists made short work of the beauty and privacy of the old Arab towns in which they established themselves. On the west coast, especially, where the Mediterranean peoples, from the Phenicians to the Portuguese, have had trading-posts for over two thousand years, the harm done to such seaboard towns as Tangier, Rabat and Casablanca is hard to estimate. The modern European colonist apparently imagined that to plant his warehouses, cafés and cinema-palaces within the walls which for so long had fiercely excluded him was the most impressive way of proclaiming his domination. Under General Lyautey such views are no longer tolerated. Respect for native habits, native beliefs and native architecture is the first principle inculcated in the civil servants attached to his administration. Not only does he require that the native towns shall be kept intact, and no European building erected within them; a sense of beauty not often vouchsafed to Colonial governors causes him to place the administration buildings so far beyond the walls that the modern colony grouped around them remains entirely distinct from the old town, instead of growing out of it like an ugly excrescence. The Arab quarter of Rabat was already irreparably disfigured when General Lyautey came to Morocco; but ferocious old Salé, Phenician counting-house and breeder of Barbary pirates, had been saved from profanation by its Moslem fanaticism. Few Christian feet had entered its walls except those of the prisoners who, like Robinson Crusoe, slaved for the wealthy merchants in its mysterious terraced houses. Not till two or three years ago was it completely pacified; and when it opened its gates to the infidel it was still, as it is to-day, the type of the untouched Moroccan city—so untouched that, with the sunlight irradiating its cream-coloured walls and the blue-white domes above them, it rests on its carpet of rich fruit-gardens like some rare specimen of Arab art on a strip of old Oriental velvet. Within the walls, the magic persists: which does not always happen when one penetrates into the mirage-like cities of Arabian Africa. Salé has the charm of extreme compactness. Crowded between the river-mouth and the sea, its white and pale-blue houses almost touch across the narrow streets, and the reed-thatched bazaars seem like miniature reductions of the great trading labyrinths of Tunis or Fez. Everything that the reader of the Arabian Nights expects to find is here: the whitewashed niches wherein pale youths sit weaving the fine mattings for which the town is still famous; the tunnelled pa**ages where indolent merchants with bare feet crouch in their little kennels hung with richly ornamented saddlery and arms, or with slippers of pale citron leather and bright embroidered babouches, the stalls with fruit, olives, tunny-fish, vague syrupy sweets, candles for saints' tombs, Mantegnesque garlands of red and green peppers, griddle-cakes sizzling on red-hot pans, and all the varied wares and cakes and condiments that the lady in the tale of the Three Calanders went out to buy, that memorable morning in the market of Bagdad. [Illustration: From a photograph from the Service des Beaux-Arts au Maroc Salé—entrance of the Medersa] Only at Salé all is on a small scale: there is not much of any one thing, except of the exquisite matting. The tide of commerce has ebbed from the intractable old city, and one feels, as one watches the listless purchasers in her little languishing bazaars, that her long animosity against the intruder has ended by destroying her own life. The feeling increases when one leaves the bazaar for the streets adjoining it. An even deeper hush than that which hangs over the well-to-do quarters of all Arab towns broods over these silent thoroughfares, with heavy-nailed doors barring half-ruined houses. In a steep deserted square one of these doors opens its panels of weather-silvered cedar on the court of the frailest, ghostliest of Medersas—mere carved and painted shell of a dead house of learning. Mystic interweavings of endless lines, patient patterns interminably repeated in wood and stone and clay, all are here, from the tessellated paving of the court to the honeycombing of the cedar roof through which a patch of sky shows here and there like an inset of turquoise tiling. This lovely ruin is in the safe hands of the French Fine Arts administration, and soon the wood-carvers and stucco-workers of Fez will have revived its old perfection; but it will never again be more than a show-Medersa, standing empty and unused beside the mosque behind whose guarded doors and high walls one guesses that the old religious fanaticism of Salé is dying also, as her learning and her commerce have died. In truth the only life in her is centred in the market-place outside the walls, where big expanding Rabat goes on certain days to provision herself. The market of Salé, though typical of all Moroccan markets, has an animation and picturesqueness of its own. Its rows of white tents pitched on a dusty square between the outer walls and the fruit-gardens make it look as though a hostile tribe had sat down to lay siege to the town, but the army is an army of hucksters, of farmers from the rich black lands along the river, of swarthy nomads and leather-gaitered peasant women from the hills, of slaves and servants and tradesmen from Rabat and Salé; a draped, veiled, turbaned mob shrieking, bargaining, fist-shaking, call on Allah to witness the monstrous villanies of the misbegotten miscreants they are trading with, and then, struck with the mysterious Eastern apathy, sinking down in languid heaps of muslin among the black figs, purple onions and rosy melons, the fluttering hens, the tethered goats, the whinnying foals, that are all enclosed in an outer circle of folded-up camels and of mules dozing under faded crimson saddles. [Illustration: From a photograph by Schmitt, Rabat Salé—market-place outside the town]