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From Egypt to Japan. Field Henry Martyn
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Автор произведения Field Henry Martyn
Жанр Книги о Путешествиях
Издательство Public Domain
At Zagazig, the railroad from Cairo unites with that from Alexandria. Here we stopped to dine, and while waiting, a special train arrived with Mr. Cave, who has come out from London to try and put some order into the financial affairs of Egypt. If he succeeds, he will deserve to be ranked very high as a financier. He was going on to Ismailia to meet M. de Lesseps, that they might go through the Suez Canal together.
And now we leave behind us the rich land of Goshen, where Joseph placed his father Jacob and his brethren, with their flocks and herds; we leave the fertile meadows and the palm groves. We are on the track of the Israelites; we have passed Rameses, the first station in their march, and entered the desert, that "great and terrible wilderness" in which they wandered forty years. We enter it, not on camels or horses, but drawn by a steed of fire. A railway in the desert! This is progress indeed. There is something very imposing to the imagination in the idea of an iron track laid in the pathless sands, over which long trains move swifter than "the swift dromedaries," and carrying burdens greater than the longest caravans. These are the highways of civilization, which may yet carry it into the heart of Africa. Here, too, are the great ships, passing through the Suez Canal, whose tall masts are outlined against the horizon, as they move slowly from sea to sea.
And now we are approaching the border line between Asia and Africa. It is an invisible line; no snow-capped mountains divide the mighty continents which were the seats of the most ancient civilization; no sea flows between them: the Red Sea terminates over seventy miles from the Mediterranean; even the Suez Canal does not divide Asia and Africa, for it is wholly in Egypt. Nothing marks where Africa ends and Asia begins, but a line in the desert, covered by drifting sands. And yet there is something which strangely touches the imagination, as we move forward in the twilight, with the sun behind us, setting over Africa, and before us the black night coming on over the whole continent of Asia.
So would I take leave of Africa – in the Night and in the Desert. Byron closes his Childe Harold with an apostrophe to the Ocean, his Pilgrim ending his wanderings on the shore. The Desert is like the Sea: it fills the horizon, and shuts out the sight of "busy cities far away," leaving one on the boundless plain, as on the Ocean – alone with the Night. Perhaps I may be indulged in some quiet musings here, before we embark on the Red Sea, and seek a new world in India.
But what can one say of the desert? The subject seems as barren as its own sands. Life in the desert? There is no life; it is the very realm of death, where not a blade of grass grows, nor even an insect's wing flutters over the mighty desolation; the only objects in motion, the clouds that flit across the sky, and cast their shadows on the barren waste below; and the only sign that man has ever passed over it, the bleaching bones that mark the track of caravans.
But as we look, behold "a wind cometh out of the North," and stirring the loose sand, whirls it into a column, which moves swiftly towards us like a ghost, as if it said: "I am the spirit of the desert; man, wherefore comest thou here? Pass on. If thou invadest long my realm of solitude and silence, I will make thy grave." We shall not linger, but only "tarry for a night," to question a little the mystery that lies hidden beneath these drifting sands.
We look again, and we see shadowy forms coming out of the whirlwind – great actors in history, as well as figures of the imagination. The horizon is filled with moving caravans and marching armies. Ancient conquerors pass this way for centuries from Asia into Africa, and back again, the wave of conquest flowing and reflowing from the valley of the Tigris to the valley of the Nile. As we leave the Land of Goshen, we hear behind us the tramp of the Israelites beginning their march; and as the night closes in, we see in another quarter of the horizon the wise men of the East coming from Arabia, following their guiding star, which leads them to Bethlehem, where Christ was born.
And so the desert which was "dead" becomes "alive;" a whole living world starts up from the sands, and glides into view, appearing suddenly like Arab horsemen, and then vanishing as if it had not been, and leaving no trace in the sands any more than is left by a wreck that sinks in the ocean. But like the sea, it has its passing life, which has a deep human interest. And not only is there a life of the desert, but a literature which is the expression of that life – a history and a poetry, which take their color from these peculiar forms of nature – and even a music of the desert, sung by the camel-drivers, to the slow movement of the caravan, its plaintive cadence keeping time to the tinkling of the bells.
It has been one of the problems of physical geographers: What was the use of deserts in the economy of nature? A large part of Africa is covered by deserts. The Libyan Desert reaches to the Sahara, which stretches across the continent. All this seems an utterly waste portion of the earth's surface. The same question has been raised in regard to the sea: Why is it that three-fourths of the globe are covered by water? Perhaps the same answer may be given in both cases. These vast spaces may be the generators and purifiers of the air we breathe – the renovators of our globe's atmosphere.
And the desert has its beauty as well as its utility. It is not all a dead level, a boundless monotony, but is billowy like the sea, with great waves of sand cast up by the wandering winds. The color, of course, is always the same, for there is no green thing to relieve the yellow sand. But nature sometimes produces great effects with few materials. This monotony of color is touched with beauty by the glow of sunset, as the light of day fades over the wide expanse. Sunrise and sunset on the desert have all the simple but grand effects of sunrise and sunset on the ocean. What painter that has visited Egypt has not tried to put on canvas that after-glow on the Nile, which is alike his wonder and his despair? Egypt is one of the favorite countries sought by European artists, who seek to catch that marvellous color which is the effect of its atmosphere. They find many a subject in the desert. With the accessories of life, few as they are, it presents many a scene to attract a painter's eye, and furnishes full scope to his genius. A great artist finds ample material in its bare and naked outlines, relieved by a few solitary figures – the Arab and his tent, or the camel and his rider. Perhaps the scene is simply a few palm trees beside a spring, under whose shade a traveller has laid him down to rest from the noon-tide heat, and beside him are camels feeding! But here is already a picture. With what effect does Gérome give the Prayer in the Desert, with the camel kneeling on the sands, and his rider kneeling beside him, with his face turned towards Mecca; or Death in the Desert, where the poor beast, weary and broken, is abandoned to die, yet murmurs not, but has a look of patience and resignation that is most pathetic, as the vultures are seen hovering in the air, ready to descend on their prey!
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