, u}X h" CORNELL UNIVERSITY LIBRARY GIFT OF Cornell Club of New York Cornell University Library PQ 6267.E4B31 1901 Moorish literature : 3 1924 027 722 085 OLIN LIBRARY DATE DUE 1^ i. -^ . Kw«t£. ^'^"" GAYLORD PRINTED IHU-S.A Cornell University Library The original of this bool< is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027722085 FAMOUS PAINTINGS FROM THE PARIS SALON. A HAREM IN GRANADA. Photogravure from the o'riginal painting by Eddiiard Michter, exhiMted in the Paris Salon of jSSj. ' ' ROMANTIC BALLADS, TALES OF THE BERBERS, STORIES OF THE KABYLES, FOLK-LORE AND NATIONAL TRADITIONS TRANSLATED INTO ENGLISH FOR THE FIRST TIME WITH A SPECIAL INTRODUCTION BY RENE BASSET, PH.D. OF THE UNIVERSITY OF FRANCE, AND DIRECTOR OF THE ACAOimiE D' ALGER REVISED EDITION CGLONIAl^ Vrr Copyright, 1901, Bv THE COLONIAL PRESS. -p^ (Jo t-H ^li I -^ . ,-r-| i^ I (J *^ //^/A/ S99 SPECIAL INTRODUCTION. THE region which extends from the frontiers of Egypt to the Atlantic Ocean, and from the Mediterranean to the Niger, was in ancient times inhabited by a people to whom we give the general name of Berbers, but whom the ancients, particularly those of the Eastern portion, knew un- der the name of Moors. " They were called Maurisi by the Greeks," said Strabo, " in the first century a.d., and Mauri by the Romans. They are of Lybian origin, and form a power- ful and rich nation." ^ This name of Moors is applied not only to the descendants of the ancient Lybians and Numidians, who live in the nomad state or in settled abodes, but also to the descendants of the Arabs who, in the eighth century a.d., brought with them Islamism, imposed by the sabre of Ogbah and his successors. Even further was it carried, into Spain, when Berbers and Arabs, reunited under the standard of Moussa and Tarik, added this country to the empire of the Khalifa. In the fifteenth century the Portuguese, in their turn, took the name to the Orient, and gave the name of Moors to the Mussulmans whom they found on the Oriental coast of Africa and in India. The appellation particularizes, as one may see, three peoples entirely dififerent in origin — the Berbers, the Arabs of the west, and the Spanish Mussulmans, widely divided, indeed, by polit- ical struggles, but united since the seventh and eighth centuries in their religious law. This distinction must be kept in mind, as it furnishes the necessary divisions for a study of the Moor- ish literature. The term Moorish Literature may appear ambitious ap- plied to the monuments of the Berber language which have come down to us, or are gathered daily either from the lips of singers on the mountains of the Jurgura, of the Aures, or of the Atlas of Morocco; under the tents of the Touaregs ' Geographica, t. xviii, ch. 3, § ii. iii fv SPECIAL INTRODUCTION of the desert or the M'oo^s of Senegal; in the oases of the south of Algeria or in Tunis... ^ But it is useless to search for literary monuments such as'hafye been transmitted to us from Egypt and India, Assyria and Persia, ancient Judea, Greece and Rome ; from the Middle Ages ; from Celt, Slav, and Ger- man; from the Semitic and Ouralo-altaique tongues; the ex- treme Orient, and the modern literature of the Old and New World. But the manifestations of thought, in popular form, are no less curious and worthy of study among the Berbers. I do not speak of the treatises on religion which in the Middle Ages and in our day were translated from the Arabic into cer- tain dialects : that borrowed literature, which also exists among the Sonalulis of Eastern Africa and the Haussas and the Peuls of the Soudan, has nothing original. But the popular litera- ture — the stories and songs — has an altogether different im- portance. It is, above all, the expression of the daily life, whether it relates to fetes or battles or even simple fights. These songs may be satirical or laudatory, to celebrate the victory of one party or deplore the defeat of the True Believers by the Christians, resounding on the lips of children or women, or shouted in political defiance. They permit us, in spite of a coarse rhythm and language often incorrect, an insight into their manner of life, and to feel as do peoples established for centuries on African soil. Their ancestors, the Machouacha, threatened Egypt in the time of Moses and took possession of it, and more than twenty centuries later, with the Fatimides, converted Spain to the Mussulman faith. Under Arab chiefs they would have overcome all Eastern Europe, had it not been for the hammer of Charles Martel, which crushed them on the field of Poitiers. The richest harvest of Berber songs in our possession is, without doubt, that in the dialect of the Zouaous, inhabiting the Jurgura mountains, which rise some miles distant from Algiers, their crests covered with snow part of the year.^ All kinds of songs are represented ; the rondeaux of children whose inspiration is alike in all countries: " Oh, moonlight clear in the narrow streets, Tell to our little friends ' Hanoteau, Poesies Populaires de la Khabylie du Jurgura, Paris, 1867, 8vo, SPECIAL INTRODUCTION v To come out now with us to play — To play with us to-night. , If they come not, then we will go To them with leather shoes. (Kabkab.)* " Rise up, O Sun, and hie thee forth, On thee we'll put a bonnet old : We'll plough for thee a little field — A little field of pebbles full : Our oxen but a pair of mice." " Oh, far distant moon : Could I but see thee, Ali ! Ali, son of Sliman, The beard* of Milan Has gone to draw water. Her cruse, it is broken; But he mends it with thread. And draws water with her: He cried to Ayesha: ' Give me my sabre, That I kill the merle Perched on the dunghill Where she dreams; She has eaten all my olives.' " <• In the same category one may find the songs which are pe- culiar to the women, " couplets with which they accompany themselves in their dances; the songs, the complaints which one hears them repeat during whole hours in a rather slow and monotonous rhythm while they are at their household labors, turning the hand-mill, spinning and weaving cloths, and composed by the women, both words and music." " One of the songs, among others, and the most celebrated in the region of the Oued-Sahal, belonging to a class called Deker, is consecrated to the memory of an assassin, Daman-On-Mesal, executed by a French justice. As in most of these couplets, it is the guilty one who excites the interest: "The Christian oppresses. He has snatched away This deserving young man; He took him away to Bougre, The Christian women marvelled at him. Pardieu ! O Mussulmans, you Have repudiated Kabyle honor." '' * A sort of sandal. • AflFectionate term (or a child. • Hanoteau, v. 441-443. ' Hanoteau, Preface, p. iii. ' Hanoteau, p. 94. vi SPECIAL INTRODUCTION With the Berbers of lower Morocco the women's songs are called by the Arab name Eghna. . If the woman, as in all Mussulman society, plays an inferior role— inferior to that allowed to her in our modern civilizations —she is not less the object of songs which celebrate the power given her by beauty : " O bird with azure plumes, Go, be my messenger — I ask thee that thy flight be swift; Take from me now thy recompense. Rise with the dawn — ah, very soon — For me neglect a hundred plans; Direct thy flight toward the fount. To Tanina and Cherifa. " Speak to the eyelash-darkened maid, To the beautiful one of the pure, white throat; With teeth like milky pearls. Red as vermillion are her cheeks; Her graceful charms have stol'n my reason ; Ceaselessly I see her in my dreams." * " A woman with a pretty nose Is worth a house of solid stone; I'd give for her a hundred reaux,» E'en if she quitted me as soon. " Arching eyebrows on a maid. With love the genii would entice, I'd buy her for a thousand reaux, Even if exile were the price. " A woman neither fat nor lean Is like a pleasant forest green. When she unfolds her budding charms, She gleams and glows with springtime sheen." i' The same sentiment inspires the Touareg songs, among which tribe women enjoy much greater liberty and possess a knowledge of letters greater than that of the men, and know more of that which we should call literature, if that word were not too ambitious : " For God's sake leave those hearts in peace, 'Tis Tosdenni torments them so ; • Hanoteau, p. 350-357. • Reals. "• Hanoteau, pp. 30a, J03. SPECIAL INTRODUCTION vii She is more graceful than a troop Of antelopes separated from gazelles; More beautiful than snowy flocks, Which move toward the tents, And with the evening shades appear To share the nightly gathering; More beautiful than the striped silks Enwrapped so closely under the haiks, More beautiful than the glossy ebon veil, Enveloped in its paper white. With which the young man decks himself. And which sets off his dusky cheek." i The poetic talent of the Touareg women, and the use they make of this gift — which they employ to celebrate or to rail at, with the accompaniment of their one-stringed violin, that which excites their admiration or inspires them with disdain — is a stimulant for warriors : " That which spurs me to battle is a word of scorn, And the fear of the eternal malediction Of God, and the circles of the young Maidens with their violins. Their disdain is for those men Who care not for their own good names.* " Noon has come, the meeting's sure. Hearts of wind love not the battle; As though they had no fear of the violins, Which are on the knees of painted women — Arab women, who were not fed on sheep's milk; There is but camel's milk in all their land. More than one other has preceded thee and is widowed. For that in Amded, long since, My own heart was burned. Since you were a young lad I suffered — Since I wore the veil and wrapped My head in the folds of the haik." ' War, and the struggle of faction against faction, of tribe against tribe, of confederation against confederation, it is which, with love, above all, has inspired the Berber men. With the Khabyles a string of love-songs is called " Alamato," > Masqueray, Observations grammaticales sur la grammair« Touareg et textes de la Tourahog des Tailog, pp. zii, 213- Paris, 1897. ■ Masqnetay, p. 22a. ■ Masqueray, p. 227. viii SPECIAL INTRODUCTION because this word occurs in the first couplet, always with a belligerent inspiration : " He has seized his banner for the fight In honor of the Bey whose cause he maintains, He guides the warriors with their gorgeous cloaks. With their spurs unto their boots well fastened, All that was hostile they destroyed with violence ; And brought the insurgents to reason." This couplet is followed by a second, where allusion is made to the snow which interrupts communication : " Violently falls the snow, In the mist that precedes the lightning; It bends the branches to the earth, And splits the tallest trees in twain. Among the shepherds none can pasture his flock; It closes to traffic all the roads to market. Lovers then must trust the birds. With messages to their loves — Messages to express their passion. " Gentle tame falcon of mine, Rise in thy flight, spread out thy wings, If thou art my friend do me this service ; To-morrow, ere ever the rise of the sun. Fly toward her house; there alight On the window of my gracious beauty." * With the Khabyles of the Jurgura the preceding love-songs are the particular specialty of a whole list of poets who bear the Arab name of T'eballa, or " tambourinists." Ordinarily they are accompanied in their tours by a little troop of musi- cians who play the tambourine and the haut-boy. Though they are held in small estimation, and are relegated to the same level as the butchers and measurers of grain, they are none the less desired, and their presence is considered indispensable at all ceremonies — wedding fetes, and on the birth of a son, on the occasion of circumcision, or for simple banquets. Another class, composed of Ameddah, " panegyrists," or Fecia, " eloquent men," are considered as much higher in rank. They take part in all affairs of the country, and their advice is sought, for they dispense at will praise or blame. It is they • Hanoteau, pp. 348-350. SPECIAL INTRODUCTION ix who express the national sentiment of each tribe, and in case of war their accents uphft warriors, encourage the brave, and wither the cowardly. They accompany themselves with a Basque drum. Some, however, have with them one or two , musicians who, after each couplet, play an air on the flute as a refrain." In war-songs it is remarkable to see with what rapidity his- torical memories are lost. The most ancient lay of this kind does not go beyond the conquest of Algiers by the French. The most recent songs treat of contemporary events. Nothing of the heroic traditions of the Berbers has survived in their memory, and it is the Arab annalists who show us the role they have played in history. If the songs relating to the con- quest of Algeria had not been gathered half a century ago, they would doubtless have been lost, or nearly so, to-day. At that time, however, the remembrance was still alive, and the poets quickly crystallized in song the rapidity of the triumph of France, which represents their civilization: " From the day when the Consul left Algiers, The powerful French have gathered their hosts: Now the Turks have gone, without hope of return, Algiers the beautiful is wrested from them. " Unhappy Isle that they built in the desert. With vaults of limestone and brick; The celestial guardian who over them watched has withdrawn. Who can resist the power of God? " The forts that surround Algiers like stars, Are bereft of their masters; The baptized ones have entered. The Christian religion now is triumphant, O my eyes, weep tears of blood, weep evermore ! " They are beasts of burden without cruppers, Their backs are loaded, Under a bushel their unkempt heads are hidden. They speak a patois unintelligible. You can understand nothing they say. " The combat with these gloomy invaders L Is like the first ploughing of a virgin soil, & To which the harrowing implements * Hanoteau, Introdttction, X SPECIAL INTRODUCTION Are rude and painful ; Their attack is terrible. " They drag their cannons with them, And know how to use them, the impious ones; When they fire, the smoke forms in thick clouds : They are charged with shrapnel, Which falls like the hail of approaching spring. Unfortunate queen of cities — City of noble ramparts, Algiers, column of Islam, Thou art like the habitation of the dead, The banner of France envelops thee all." • It is, one may believe, in similar terms that these songs, lost to-day, recount the defeat of Jugurtha, or Talfarinas, by the Romans, or that of the Kahina by the Arabs. But that which shows clearly how rapidly these songs, and the remembrance of what had inspired them, have been lost is the fact that in a poem of the same kind on the same subject, composed some fifty years ago by the Chelha of meridional Morocco, it is not a question of France nor the Hussains, but the Christians in general, against whom the poet endeavors to excite his com- patriots. It is so, too, with the declamatory songs of the latest period of the Middle Ages, the dialects more or less precise, where the oldest heroic historical poems, like the Song of Roland, had disappeared to leave the field free for the imagination of the poet who treats the struggles between Christians and Sara- cens according to his own fantasy. Thanks to General Hanoteau, the songs relating to the prin- cipal events of Khabyle since the French conquest have been saved from oblivion, viz., the expedition of Marechal Bugeaud in 1867 ; that of General Pelissier in 1891 ; the insurrection of Bon Bar'la; those of Ameravun in 1896, and the divers episodes of the campaign of 1897 against the Aith Traten, when the mountains were the last citadel of the Khabyle in- dependence : " The tribe was full of refugees. From all sides they sought refuge With the Aith Traten, the powerful confederation. ' Let us go,' said they, ' to a sure refuge,' • Hanoteav, pp. 2, 3. 5, 7, 9. 11. SPECIAL INTRODUCTION xi For the enemy has fallen on our heads,' But in Arba they established their home." ' The unhappy war of 1870, thanks to the stupidity of the military authorities, revived the hope of a victorious insurrec- tion. Mograne, Bon Mazrag, and the Sheikh Haddad aroused the Khabyles, but the desert tribes did not respond to their ap- peal. Barbary was again conquered, and the popular songs composed on that occasion reproached them for the folly of their attempt. Bon Mezrah proclaimed in the mountains and on the plain : " Come on, a Holy War against the Christians, He followed his brother until his disaster. His noble wife was lost to him. As to his flocks and his children, He left them to wander in Sahara. Bon Mezrag is not a man, But the lowest of all beings; He deceived both Arabs and Khabyles, Saying, ' I have news of the Christians.' " I believed Haddad a saint indeed, With miracles and supernatural gifts; He has then no scent for game. And singular to make himself he tries. " I tell it to you ; to all of you here (How many have fallen in the battles), That the Sheikh has submitted. From the mountain he has returned, Whoever followed him was blind. He took flight like one bereft of sense. How many wise men have fallen On his traces, the traces of an impostor, From Babors unto Guerrouma ! This joker has ruined the country — He ravaged the world while he laughed; By his fault he has made of this land a desert." ' The conclusion of poems of this kind is an appeal to the generosity of France: " Since we have so low fallen,' You beat on us as on a drum ; ' Hanoteau, p. 124. ' R. Basset, L'insarrection Algerienne, de 1871 dans les chansons populaires Khabyles. Lourain, 1892. •J. D. Lueiani, Chansons Khabyles de Isniail Azekkion. Algiers, J893. xii SPECIAL INTRODUCTION You have silenced our voices. We ask of you a pardon sincere, O France, nation of valorous men. And eternal shall be our repentance. From beginning to the end of the year We are waiting and hoping alvirays: My God ! Soften the hearts of the authorities." With the Touaregs, the civil, or war against the Arabs, re- places the war against the Christians, and has not been less actively celebrated: "We have saddled the shoulders of the docile camel, I excite him with my sabre, touching his neck, I fall on the crowd, give them sabre and lance; And then there remains but a mound. And the wild beasts find a brave meal." ^^ One finds in this last verse the same inspiration that is found in the celebrated passage of the Iliad, verses 2 and 5 : " Anger which caused ten thousand Achseans to send to Hades numer- ous souls of heroes, and to make food of them for the dogs and birds of prey." It is thus that the Arab poet expresses his ante-Islamic " Antarah " : " My pitiless steel pierced all the vestments, The general has no safety from my blade, I have left him as food for savage beasts Which tear him, crunching his bones. His handsome hands and brave arms." ^ The Scandinavian Skalds have had the same savage accents, and one can remember a strophe from the song of the death of Raynor Lodbrog: " I was yet young when in the Orient we gave the wolves a bloody repast and a pasture to the birds. When our rude swords rang on the helmet, then they saw the sea rise and the vultures wade in blood." ^ Robbery and pillage under armed bands, the ambuscade even, are celebrated among the Touaregs with as great pleas- ure as a brilHant engagement: " Matella ! May thy father die ! Thou art possessed by a demon, " Masqueray, pp. 128, 229, 1 Mo'allagah, v. 40, so. 'Marmier, Lettres sur I'Islemde. SPECIAL INTRODUCTION xiil To believe that the Touaregs are not men. They know how to ride the camel ; they Ride in the morning and they ride at night; They can travel ; they can gallop : They know how to offer drink to those Who remain upon their beasts. They know how to surprise a Courageous man in the night. Happy he sleeps, fearless with kneeling camels; They pierce him with a lance, Sharp and slender as a thorn, And leave him to groan until His soul leaves his body : The eagle waits to devour his entrails." » They also show great scorn for those who lead a life rel- atively less barbarous, and who adorn themselves as much as the Touaregs can by means of science and commerce ; " The Tsaggmaren are not men, Not lance of iron, nor yet of wood, They are not in harness, not in saddles. They have no handsome saddle-bags, They've naught of what makes mankind proud; They've no fat and healthy camels, The Tsaggmaren; don't speak of them; They are people of a mixed race. There is no condition not found with them. Some are poor, yet not in need ; Others are abused by the demon. Others own nothing but their clubs. There are those who make the pilgrimage, and repeat it. There are those who can read the Koran and learn by that They possess in the pasturage camels, and their little ones, Besides nuggets of gold all safely wrapped." * Another style, no less sought for among the Berbers in- habiting cities, is the " complaint " which flourished in lower Morocco, where it is known under the Arab name of Lqist (history). When the subject is religious, they call it Nadith (tradition). One of the most celebrated is that wherein they tell of the descent into the infernal regions of a young man in search of his father and mother. It will give an idea of this style of composition to recite the beginning; ' Hanoteau, Essaie de gramtnaire de la langue Tamachek, pp. zio, 2tt. Paris, i860. ' Hanoteau, p. 21], XIV SPECIAL INTRODUCTION " In the name of God, most clement and merciful, Also benediction and homage to the prophet Mohammed, In the name of God, listen to the words of the author^ This is what the Talebs tell, according to the august Koran. Let us begin this beautiful story by Invoking the name of God. Listen to this beautiful story, O good man, We will recite the story of a young man In Berbere; O God, give to us perfection; That which we bring to you is found in truthful tradition, Hard as a rock though thy heart be, it will melt; The father and mother of Saba died in his childhood And left him in great poverty; Our compassionate Lord guided him and showed him the way, God led him along toward the Prophet, And gave to him the Koran." ^ Other poems — for instance, that of Sidi Hammen and that of Job — are equally celebrated in Morocco. The complaints on religious subjects are accompanied on the violin, while those treating of a historical event or a story with a moral have the accompaniment of a guitar. We may class this kind of poems among those called Tandant, in lower Morocco, which consist in the enumeration of short maxims. The same class exist also in Zouaona and in Touareg. But the inspiration of the Khabyle poets does not always maintain its exaltation. Their talents become an arm to satirize those who have not given them a sufficiently large recompense, or — worse still, and more unpardonable — who have served to them a meagre repast : " I went to the home of vile animals, Ait Rebah is their name; I found them lying under the sun tike green figs, They looked ill and infirm. They are lizards among adders. They inspire no fear, for they bite not. Put a sheepskin before them, they . Will tear your arms and hands; Their parched lips are all scaly. Besides being red and spotted. " As the vultures on their dung heaps, When they see carrion, fall upon it. Tearing out its entrails, • R. Basset, Le Poime de Sabi, p. 15 et suis. Paris, 1879. SPECIAL INTRODUCTION xv That day is for them one of joy. Judging by their breeches, And the headdresses of their wives, I think they are of Jewish origin." * This song, composed by Mohammed Said or Aihel Hadji, is still repeated when one wishes to insult persons from Aith Erbah, who have tried several times to assassinate the poet in revenge. Sometimes two rival singers find themselves together, and each begins to eulogize himself, which eulogy ends in a satire on the other. But the joust begun by apostrophes and Ho- meric insults finishes often with a fight, and the natural arm is the Basque drum until others separate the adversaries.'' We have an example in a dialogue of this kind between Youssuf ou Kassi, of the Aith Djemnad, and Mohand ou Abdaha, of the Aith Kraten. The challenge and the jousts — ^less the blows — exist among the chellahs of lower Morocco, where they are called Tamawoucht; but between man and woman there is that which indicates the greatest liberty of manners. The verses are improvised, and the authors are paid in small money. Here is a specimen: The woman: " When it thundfers and the sky is overcast. Drive home the sheep, O watchful shepherd." The man: " When it thunders, and the sky is overcast, We will bring home the sheep." The woman: " I wish I had a bunch of switches to strike you with! May your father be accursed, Sheepkeeper ! " The man: " Oh, God, I thank thee for having created Old maids to grind meal for the toilers." * Another manifestation, and not less important of the popu- lar Berber literature, consists in the stories. Although no attempt has been made in our days to gather them, many in- dications permit us to believe that they have been at all times well treasured by these people. In the story of Psyche that Apuleius inserted at the end of the second century a.d., in the romance of Metamorphoses,* we read that Venus imposed on Psyche, among other trials, that of sorting out and placing ' Hanoteau, Poemes Populaires de la Khabyle, pp. 179-181, Du Jurgura. ' Hanoteau, p. 275 et seq. ■ Stemme, p. 7, 8. ' Hanoteau, Essai de Grammaire Khabyle, p. 282 et seq. Alger. xvi SPECIAL INTRODUCTION in separate jars the grains of wheat, oats, millet and poppy pease, lentils and lima beans which she had mixed together. This task, beyond the power of Psyche, was accomplished by the ants which came to her aid, and thus she conquered the task set by her cruel mother-in-law. This same trial we find in a Berber story. It is an episode in a Khabyle story of the Mohammed ben Sol'tan, who, to ob- tain the hand of the daughter of a king, separated wheat, corn, oats, and sorghum, which had been mingled together. This trait is not found in Arab stories which have served as models for the greater part of Khabyle tales. It is scarcely admissible that the Berbers had read the " Golden Ass " of Apuleius, but it is probable that he was born at Madaure, in Algeria, and retained an episode of a popular Berber tale which he had heard in his childhood, and placed in his story. The tales have also preserved the memory of very ancient customs, and in particular those of adoption. In the tales gathered in Khabyle by General Hanoteau,^" T. Riviere,^ and Moulieras,^ also that in the story of Mizab, the hero took upon himself a supernatural task, and succeeded because he became the adopted son of an ogress, at whose breast he nursed.' This custom is an ancient one with the Berbers, for on a bas relief at Thebes it shows us a chief of the Machouacha (the Egyptian name of the Berbers) of the XXII Dynasty nursed and adopted by the goddess Hathor. Arab stories of Egypt have also preserved this trait — for instance, " The Bear of the Kitchen," * and El Schater Mohammed.^ During the conquest of the Magreb by the Arabs in the seventh century a.d., Kahina, a Berber queen, who at a given moment drove the Mussulman invaders away and personified national defiance, employed the same ceremony to adopt for son the Arab Khaled Ben Yazed, who was to betray her later. Assisted by these traits of indigenous manners, we can call to mind ogres and pagans who represent an ancient population, or, more exactly, the sectarians of an ancient religion like the " Hanotean, p. 266. Le chasseur. • Contes Populaires de la Khabylie du Jurgura, p. 259. Paris, 1892. Le chausseur. ' Legendes et contes merveilleuses de la grande Khabylie, p. 20. 2 vols. Tunis, 1893' 1898. Le fils du Sultan et le chien des Chretiens, p. 90. Ristoire de Ali et sa mire. • R. Basset, Nouveaux Contes Berbers, p. 18. Pans, 1897. La Pomme de jeunesse. • Spitta-bey, Contes Arabes modernes, p. 12. Ley de 1883. ' Arless Pasha, Contes Populaire de la vallte du Nil. Paris, 1895. SPECIAL INTRODUCTION xvii Paganism or the Christianity which was maintained on some points of Northern Africa, with the Berbers, until the eleventh century a.d. Fabulous features from the Arabs have slipped into the descriptions of the Djohala, mingled with the con- fused souvenirs of mythological beings belonging to paganism before the advent of Christianity. It is difficult to separate the different sources of the Berber stories. Besides those appearing to be of indigenous origin, and which have for scene a grotto or a mountain, one could scarcely deny that the greater part, whether relating to stories of adventure, fairy stories, or comical tales, were borrowed from foreign countries by way of the Arabs. Without doubt they have furnished the larger part, but there are some of which there are no counterparts in European countries. " Half a cock," for instance, has travelled into the various provinces of France, Ireland, Albania, among the Southern Slavs, and to Portugal, from whence it went to Brazil; but the Arabs do not know it, nor do they know Tom Thumb, which with the Khabyles becomes H'ab Sliman. In the actual state of our knowledge, we can only say that there is a strik- ing resemblance between a Berber tale and such or such a version. From thence comes the presumption of borrowed matter. But, for the best results to be gained, one should be in possession of all the versions. When it relates to celebrated personages among the Mussulmans, like Solomon, or the feat- ures of a legend of which no trace remains of the names, one can certainly conclude that it is borrowed from the Arabs. It is the same with the greater number of fairy tales, whose first inventors, the Arabs, commenced with the " Thousand and One Nights," and presented us with " The Languages of the Beasts," and also with funny stories. The principal personage of these last is Si Djeha, whose name was borrowed from a comic narrative existing as early as the eleventh century a.d. The contents are sometimes coarse and sometimes witty, are nearly all more ancient, and yet belong to the domain of pleasantries from which in Ger- many sprung the anecdotes of Tyll Etilenspiegel and the Seven Suabians, and in England the Wise Men of Gotham. In Italy, and even in Albania, the name of Djeha is preserved under the form of Guifa and Guicha; and the Turks, who xviii SPECIAL INTRODUCTION possess the richest literature on this person, have made him a Ghadji Sirii Hissar, under the name of Nasr-eddin Hod] a (a form altered from Djoha). The traits attributed to such per- sons as Bon Idhes, Bon Goudous, Bon Kheenpouch, are equally the same as those bestowed upon Si Djeha. But if the Berbers have borrowed the majority of their tales, they have given to their characters the manners and appear- ance and names of their compatriots. The king does not differ from the Amir of a village, or an Amanokul of the Touaregs. The palace is the same as all those of a Haddarth, and Haroun al Raschid himself, when he passes into Berber stories, is plucked of the splendor he possesses in the " Thousand and One Nights," and in Oriental stories. This anachronism ren- ders the heroes of the tales more real, and they are real Berbers, who are alive, and who express themselves like the mountain- eers of Jurgura, the Arabs of the Atlas ; like the men of Ksour, or the nomads of Sahara. In general there is little art in these stories, and in style they are far below other collections cele- brated through the entire world. An important place is given to the fables or stories of ani- mals, but there is little that is not borrowed from foreign lands, and the animals are only such as the Berbers are familiar with'. The adventures of the jackal do not differ from those of the fox in European stories. An African trait may be signalled in the prominence which it offers the hare, as in the stories of Ouslofs and Bantous. Also, the hedgehog, neglected so la- mentably in our fables, holds an important place; and if the jackal manages to deceive the lion, he is, in spite of his astute nature, duped by the hedgehog when he tries a fall with him. As to the lion, the serpent, the cock, the frog, the turtle, the hyena, the jackal, the rat, their roles offer little of the place they play in the Arab tales, or even the Europeans. If we pass from Berber we find the Arab tongue as spoken among the Magreb, and will see that the literature is com- posed of the same elements, particularly in the tales and songs. There are few special publications concerning the first, but there are few travellers who have not gathered some, and thus rendered their relations with the people more pleasant. In what concerns the fairy tales it is, above all, the children for whom they are destined, " when at night, at the end of their SPECIAL INTRODUCTION xix wearisome days, the mothers gather their children around them under the tent, under the shelter of her Bon Rabah, the little ones demand with tears a story to carry their imaginations far away." " Kherrfin ya summa " (" Tell us a story ") , they say, and she begins the long series of the exploits of Ah Di Douan.* Even the men do not disdain to listen to the tales, and those that were gathered from Tunis and Tripoli by Mr. Stemme,' and in Morocco by Messrs. Souin and Stemme,* show that the marvellous adventures, wherein intervene the Djinns, fairies, ogres, and sorcerers, are no less popular among the Arab people than among the Berbers. We must not forget that these last-named have borrowed much from the first ones, and it is by them that they have known the celebrated Khalif of Bagdad, one of the principal heroes of the " Thousand and One Nights," Haroun al Raschid, whose presence surprises us not a little when figuring in ad- ventures incompatible with the dignity of a successor of the Prophet. As in the Berber tales, one finds parallels to the Arab stories among the folk-lore of Europe, whether they were borrowed directly or whether they came from India. One will notice, however, in the Arab tales a superior editing. The style is more ornate, the incidents better arranged. One feels that, al- though it deals with a language disdaining the usage of letters, it is expressed almost as well as though in a cultivated literary language. The gathering of the populations must also be taken into consideration ; the citizens of Tunis, of Algiers, and even in the cities of Morocco, have a more exact idea of civ- ilized life than the Berber of the mountains or the desert. As to the comic stories, it is still the Si Djeha who is the hero, and his adventures differ little with those preserved in Berber, and which are common to several literatures, even when the principal person bears another name. The popular poetry consists of two great divisions, quite difiFerent as to subject. The first and best esteemed bears the name of Klam el Djedd, and treats of that which concerns the Prophet, the saints, and miracles. A specimen of this class is * Deeplun, iRecueil de textes pour I'itude de I'Arabe parli, v. 12, p. iv. Paris, 1891. 'lumsche Marchen und Gedichte. Leipzig, 1898. 2 vols. Marchen und Gedichte Aus der Stadt Tripolis in Nord Afrika. Leipzig. ' Zum Arabischen Dialekt. Von Markko. Leipzig, 1893. Vers. 8. XX SPECIAL INTRODUCTION the complaint relative to the rupture of the Dam of St. Denis of Sig, of which the following is the commencement : " A great disaster was fated : ^ The cavalier gave the alarm, at the moment of the break; The menace was realized by the Supreme Will, My God ! Thou alone art good. The dam, perfidious thing, Precipitated his muddy Legions, With loud growlings. No bank so strong as to hold him in check. " He spurred to the right. The bridges which could not sustain his shock fell Under his added weight; His fury filled the country with fear, and he Crushed the barrier that would retain him." As to the class of declamatory poems, one in particular is popular in Algiers, for it celebrates the conquest of the Maghreb in the eleventh century by the divers branches of the Beni-Hilal, from whom descend almost the whole of the Arabs who now are living in the northwest of Africa. This veritable poem is old enough, perhaps under its present form, for the historian, Ten Khaldoun, who wrote at the end of the four- teenth century and the beginning of the fifteenth, has preserved the resume of the episode of Djazza, the heroine who aban- doned her children and husband to follow her brothers to the conquest of Thrgya Hajoute. To him are attributed verses which do not lack regularity, nor a certain rhythm, and also a facility of expression, but which abound in interpolations and faults of grammar. The city people could not bear to hear them nor to read them. In our days, for their taste has changed — at least in that which touches the masses — the recital of the deeds of the Helals is much liked in the Arab cafes in Algeria and also in Tunis. Still more, these recitals have penetrated to the Berbers, and if they have not preserved the indigenous songs of the second Arab invasion, they have borrowed the traditions of their conquerors, as we can see in the episode of Ali el Hilalien and of Er-Redah. The names of the invading chiefs have been preserved in the declamatory songs: Abou Zeid, Hassan ben Serhan, and, above all, Dyab ben Ghanum, in the mouth of whom the poet rien?pri;-?6.'^™aris, X^ '"' '^ ''°"'" " '* ""="<"« ''"'^'^ <>a„s le Maghreb Alee- SPECIAL INTRODUCTION xxi puts at the end of the epic the recital of the exploits of his race: " Since the day when we quitted the soil and territory of the Medjid, I have not opened my heart to joy; We came to the homes of Chokir and Cherif ben Hachem who pours upon thee (Djazzah) a rain of tears; We have marched against Ed-Dabis ben Monime and we have over- run his cities and plains. We went to Koufat and have bought merchandise from the trades- men who come to us by caravan. We arrived at Ras el Ain in all our brave attire and we mastered all the villages and their inhabitants. We came to Haleb, whose territory we had overrun, borne by our swift, magnificent steeds. We entered the country of the Khazi Mohammed who wore a coat of mail, with long, floating ends, We traversed Syria, going toward Ghaza, and reached Egypt, belong- ing to the son of Yakoub, Yousof, and found the Turks with their swift steeds. We reached the land of Raqin al Hoonara, and drowned him in a deluge of blood. We came to the country of the Mahdi, whom we rolled on the earth, and as to his nobles their blood flowed in streams. We came to the iron house of Boraih, and found that the Jewish was the established religion. We arrived at the home of the warrior. El Hashais : The night was dark, he fell upon us while we slept without anxiety, He took from us our delicate and honored young girls, beauties whose eyes were darkened with kohol. Abou Zeid marched against him with his sharp sword and left him lying on the ground. Abou So'dah Khalifah the Zemati, made an expedition against us, and pursued us with the sword from all sides. I killed Abou So'dah Khalifah the Zemati, and I have put you in possession of all his estates. They gave me three provinces and So'dah, this is the exact truth that I am telling here. Then came an old woman of evil augur and she threw dissension among us, and the Helals left for a distant land. Then Abou Ali said to me : ' Dyab, you are but a fool.' I marched against him under the wing of the night, and flames were lighted in the sheepfolds. He sent against me Hassan the Hilali, I went to meet him and said, ' Seize this wretched dog.' These are the words of the Zoght Dyab ben Ghanem and the fire of illness was lighted in his breast." ^* '" R. Basset. Un Episode d'une chanson de geste Arabe sur la seconde conquete de I'Afrique Septentrionale par les Mussulmans. Bulletin de Correspondence Africaine, p. 147. Alger, i8Ss, in 8vo. See also Stemme. Tripolitanisches Bederinenlieder. Leip- zig, ZS04, in 8vo« xxii SPECIAL INTRODUCTION The second style of modern Arabic poetry is the " Kela- mel hazel." It comprises the pieces which treat of wine, women, and pleasures; and, in general, on all subjects con- sidered light and unworthy of a serious mind. One may find an example in the piece of " Said and Hyza," and in different works of Mr. Stemme cited above. It is particularly among the nomad Arabs that this style is found, even more than the dwellers in cities, on whom rests the reproach of composing verses where the study and sometimes the singularity of ex- pression cannot replace the inspiration, the energy, and even the delicacy of sentiment often found among the nomads: " The country remains a desert, the days of heat are ended, the trees of our land have borne the attack of Summer, that is my grief. After it was so magnificent to behold, its leaves are fallen, one by one, before my eyes. But I do not covet the verdure of a cypress; my sorrow has for its cause a woman, whose heart has captivated mine. I will describe her clearly; you will know who she is; since she has gone my heart fails me. Cheika of the eye constantly veiled, daughter of Mouloud, thy love has exhausted me. I have reached a point where I walk dizzily like one who has drunken and is drunk ; still am I fasting ; my heart has abandoned me. Thy thick hair is like the ostrich's plumes, the male ostrich, feeding in the depressions of the dunes ; thy eyebrows are like two nouns [Arab letters] of a Tlemcen writing. Thy eyes, my beautiful, are like two gleaming gun barrels, made at Stamboul, city defiant of Christians. The cheek of Cherikha is like the rose and the poppy when they open under the showers. Thy mouth insults the emerald and the diamond; thy saliva is a remedy against the malady; without doubt it is that which has cured me." ^ To finish with the modem literature of the northwest of Africa, I should mention a style of writings which played a grand role some five centuries ago, but that sort is too closely connected with those composing the poems on the Spanish Moors, and of them I shall speak later. It remains now to but enumerate the enigmas found in all popular literature, and the satiric sayings attributed to holy persons of the fifteenth century, who, for having been virtuous and having possessed 2i9?°'iLige??f^* sTo^""" ''^^ '^' Nomades Algeriennes. Revue Africaine, XLV, pp. 217- SPECIAL INTRODUCTION xxiii the gift of miracles, were none the less men, and as such bore anger and spite. The most celebrated of all was Sidi Ahmed ben Yousuf, who was buried at Miliana. By reason of the axiom, " They lend but to the rich," they attributed to him all the satirical sayings which are heard in the villages and among the tribes of Algeria, of which, perhaps, he did pronounce some. Praises are rare: " He whom you see, wild and tall, Know him for a child of Algiers." " Beni Menaur, son of the dispersed. Has many soldiers. And a false heart." " Some are going to call you Blida (little village). But I have called you Ourida (little rose)." " Cherchel is but shame. Avarice, and flight from society, His face is that of a sheep, His heart is the heart of a wolf; Be either sailor or forge worker. Or else leave the city." ^ " He who stands there on a low hill All dressed in a small mantle, Holding in his hand a small stick And calling to sorrow, ' Come and find me,' Know him for a son of Medea." " Miliana; Error and evil renown, Of water and of wood. People are jealous of it, Women are Viziers there. And men the captives." " Tenes ; built upon a dunghill, Its water is blood, Its air is poison, By the Eternal ! Sidi Ahmed will not pass the night here. Get out of the house, O cat ! " " People of Bon Speur, Women and men, That they throw into the sea." • R. Basset. Les dictionnaires satiriques attribues i Sidi ben Yousof. Paris, 1890, 8v* Histoire aes Conqultes d'Espagne par les Mores. Par Ali Aven Sufran. Paris, 1720. xxviii SPECIAL INTRODUCTION It is another style of writing, less seductive, perhaps, than that of the Moorish romances, in spite of their lack of vivacity and their bad taste. But why mark this as the expression of the Mussulman sentiment under Christian domination ? Con- quered by the Castilians, the Aragons, and the Portuguese, the Moors had lost the use of Arabic, but they had preserved the exterior sign- writing, just as their new converts retained their usages and their national costumes. We possess a complete literature composed in Spanish, but written in Arabic charac- ters. They called it by the name of Aljaniado. Its chief characteristic is that it treats of the principal legends of the Mussulmans ; those of Solomon and Moses, of Jesus ; the birth, childhood, and the marriage of Mohammed ; Temins ed Daria, the war of the king El Mohallal, the miracle of the moon, the ascension of Mohammed to heaven, the conversion of Omar, the battle of Yarmouk, the golden castle, the marvels that God showed to Abraham, AH and the forty young girls, the anti- Christ and the day of judgment,^ etc. ; the legend of Joseph, son of Jacob ; that of Alexander the Great,^ to which could be added the story of the princess Zoraida,' without speaking of the pious exhortations, magic formulas, conjurations, and charms.* The Moors held to these documents all the more that they were written in Arabic, and that the fury of the Inquisition was let loose upon them. To save them from the flames, their owners hid them with the greatest care, and but recently, at El Monacid, they found a whole library in Arabic and Al- jamiado, hidden more than two centuries between the double walls of an old house.^ The Mussulman proprietor of these books and his descendants were dead, or had emigrated to Africa, abandoning the treasure which was to see the light in a more tolerant epoch. Political relations also existed between those of the Moors who remained in Spain as converts and such as had fled from persecution and carried to the populations of the north of Africa the hatred of the Spanish Christians. Thus we find • Guillon Robles. Legendas Moriscas. Madrid, 1885-86. 36 petit in 8vo. ™ „ .JS? ^°J'^^- La Legenda de Jose, hijo de Jacob, ye do Alexandre Magna. Zaia- gozB, 1000, cn ovo. ! t i^.^suilas el Hditz de La Princess Zoraida. Granada, 1892, i6mo. • p;™!l ^ ?Lo ''* *i Mar banches. Colleccion el textos Aljamiados. Zaragoza, 1888. 8vo. •Pamo. Las coplas del Peregrino de Puey Monson. Zaragoza, 1897. pIt.eA&ro SPECIAL INTRODUCTION xxix among the popular literature of the Magreb the same legends, but edited in Arabic. Only a small number has been pub- lished.' Whether in one language or the other, editing does not offer anything remarkable. The stories have been devel- oped, after the traditions of the Mussulmans, by the demi- litterateurs, and by that means they have become easier and more accessible to the multitude. It is thus that a literature in Spain sadly ends which, during seven centuries, had counted historians and poets, philologists, philosophers and savants, and which the Christian literature replacing it can possibly equal in some points, but never surpass.'' ^.t^.^^ /Mt^.0»^-e4^ ' R. Basset. Les Aventures Merveilleuses de Tunis et Dais. Rome, 1891, en 8vo. L'ex- pklition du Chateau d'or, et la combat d'Ali et du dragon. Rome, 1893, en 8vo. M'lle Florence Groff. Les sept dormants, La ville de Tram, et I'excursion contre la Makke, Al^er, 189T, en 8vo. ' M. Basset's " Special Introdi^ction " was written in French ; the English translation was made by Robert Anot. PREFACE THE Moorish ballads which appear in this volume are selected from a unique department of European liter- ature. They are found in the Spanish language, but their character is oriental; their inspiration comes from the Mahometan conquerors of northern Africa, and while they exhibit a blending of Spanish earnestness and chivalry with the wild and dashing spirit of the Arab, they present a type of literature which is quite unparalleled in the Latin and Teu- tonic countries of the Mediterranean basin. Spain is especially rich in ballad literature, infinitely richer than any other civilized nation. These ballads take various forms. By Cervantes and his countrymen they are styled romances, and the romance generally consists in a poem which describes the character, sufferings, or exploits of a single indi- vidual. The language is simple; the versification, often art- less though melodious, is seldom elaborated into complexity of rhyme. But the heroic Moor is set before us in the most vivid colors. The hues and material of his cloak, his housings, his caftcm, and his plumes are given, and quite a vocabulary is exhausted in depicting the color, sex, and breed of his war- horse. His weapons, lance, scimitar, and corslet of steel are dwelt upon with enthusiasm. He is as brave as Mars, and as comely as Adonis. Sometimes he dashes into a bull-ring and slays wild creatures in the sight of fair ladies and envious men. He throws his lance of cane, which is filled with sand, so high that it vanishes in the clouds. He is ready to strike down, in his own house, the Christian who has taken from him and wedded the lady of his choice. He is almost always in love with some lady who is unkind and cold, and for her he wanders at times in dark array, expressing his sombre mood in the device and motto which he paints upon his shield. Some of the ballads picture love more fortunate in the most charm- xxxii ' PREFACE ing manner, and the dark tortures of jealousy are powerfully described in others. The devotion of the Moor to his lady is scarcely caricatured in the mocking language of Cervantes, and is not exceeded by anything to be found in the history of French chivalry. But the god of these ballads is Allah, and they sometimes reveal a trace of ferocity which seems to be de- rived from religious fanaticism. Nor can the reader fail to be struck by the profound pathos which many of them express so well. The dirges are supremely beautiful, their language ' simple and direct, but perfect in descriptive touches and in the cadence of the reiterated burden. Beside the ballads of warlike and amorous adventures, there are sea-songs, songs of captivity, and songs of the galley slave. The Spanish Moor is seized by some African pirate and carried away to toil in the mill of his master on some foreign shore, or he is chained to the rowing-bench of the Berber galley, thence to be taken and sold when the voyage is over to some master who leaves him to weep in solitary toil in the farm or garden. Sometimes he wins the love of his mistress, who releases him and flies in his company. All these ballads have vivid descriptions of scenery. The towers of Baeza, the walls of Granada, the green vegas that spread outside every city, the valley of the Guadalquivir, and the rushing waters of the Tagus, the high cliffs of Cadiz, the Pillars of Hercules, and the blue waves of the Mediterranean make a life-like background to every incident. In the cities the ladies throng the balconies of curling iron-work or crowd the plaza where the joust or bull-fight is to be witnessed, or steal at nightfall to the edge of the vega to meet a lover, and sometimes to die in his arms at the hands of bandits. There is a dramatic power in these ballads which is one of their most remarkable features. They are sometimes mere sketches, but oftener the story is told with consummate art, with strict economy of word and phrase, and the denowment comes with a point and power which show that the Moorish minstrel was an artist of no mean skill and address. The authors of the Moorish romances, songs, and ballads are unknown. They have probably assumed their present literary form after being part of the repertoire of successive minstrels, and some of the incidents appear in ntore than one version. PREFACE xxxiii The most ancient of them are often the shortest, but they be- long to the period when southern Spain under Mahometan rule was at the height of its prosperity, and Arabian learning, art, and literature made her rank among the first countries in Europe. The peninsula was conquered by the Moors in the caliphate of Walid I, 705-715 a.d., and the independent dynasty of the Ommiades was founded by Abderrhaman at Granada in 755 a.d. It was from this latter date that the Spanish Moors began to assume that special character in lan- guage, manners, and chivalric enthusiasm which is represented in the present ballads; the spirit of Christian knighthood is here seen blended with Arabian passion, impetuosity, and im- pulsiveness, and the Spanish language has supplanted, even among Mahometan poets, the oriental idiom. We may roughly estimate the period in which the Moorish romance flourished as comprised in the years between 1 100 and 1600 a.d. The term Moorish is somewhat indefinite, and is used in Spanish history as a synonym of Saracen or Mahometan. It cannot be called a national appellation, though originally in the Augustan age it was applied to the dwellers in Mauretania, with whom the Romans had first come in contact when the war with Hannibal was transferred from Italy and Spain to Africa. In the present day, it may be applied to all the races of northwestern Africa who have accepted Mahometanism ; in which case it would include the aborigines of that region, who live not on the coast and in towns, but in the Atlas Mountain and the Sahara Desert. While these races, all Ber- bers under different local names, are Mussulmans in pro- fession, they are not so highly civilized as their co-religionists who people the coast of the Mediterranean. They live a tribal life, and are blood-thirsty and predatory. They are of course mixed in race with the Arabians, but they are separate in their life and institutions, and they possess no written literature. Their oral literature is, however, abundant, though it is only within quite recent years that it has become known to America and Europe. The present collection of tales and fables is the first which has hitherto been made in the English language. The learned men who collected the tales of the Berbers and Kabyles (who are identical in ethnical origin) underwent many hardships in gathering from half-savage lips the material xxxiv PREFACE for their volume. They were forced to live among the wild tribesmen, join their nomad life, sit at their feasts, and watch with them round their camp-fire, while it was with difficulty they transferred to writing the syllables of a barbarous tongue. The memory of the Berber story-teller seems to be incredibly capacious and retentive, and the tales were recited over and over again without a variation. As is to be expected these tales are very varied, and many of them are of a didactic, if not ethical, cast. They are instructive as revealing the social life and character of these mountain and desert tribes. We find the spirit of the vendetta pervading these tales with more than Corsican bitterness and unreasoning cruelty, every man being allowed to revenge himself by taking the life or property of another. This private and personal war- fare has done more than anything else to check the advance in civilization of these tribesmen. The Berbers and Kabyles are fanatical Mahometans and look upon Christians and Jews as dogs and outcasts. It is considered honorable to cheat, rob, or deceive by lies one who does not worship Allah. The tales illustrate, moreover, the degraded position of women. A wife is literally a chattel, not only to be bought, but to be sold also, and to be treated in every respect as man's inferior — a mere slave or beast of burden. Yet the tribesmen are pro- foundly superstitious, and hold in great dread the evil spirits who they think surround them and to whom they attribute bodily and mental ills. An idiot is one who is possessed by a wicked demon, and is to be feared accordingly. There are found current among them a vast number of fairy tales, such as equal in wildness and horror the strangest in- ventions of oriental imagination. Their tales of ogres and ogresses are unsoftened by any of that playfulness and bon- homie which give such undying charm to the " Thousand and One Nights." The element of the miraculous takes many original forms in their popular tales, and they have more than their share of the folk-lore legends and traditions such as Herodotus loved to collect. It was said of old that something new was always coming out of Africa, and certainly the con- tribution which the Berbers and Kabyles have made to the fund of wonder-stories in the world may be looked upon as new, in more than one sense. It is new, not only because it is novel PREFACE XXXV and unexpected, but because it is fresh, original and highly interesting. The fables of these tribes are very abundant and very curious. The great hero of the animal fable in Europe has always been the fox, whose cunning, greed, and duplicity are immortalized in the finest fable the world's literature possesses. The fables of northwest Africa employ the jackal instead of Reynard, whose place the sycophant of the lion not inaptly fills. There are a number of men among the Kabyles and other Berber tribes who make a profession of reciting poems, tales, and proverbs, and travel from one village or encampment to another in search of an audience. They know the national traditions, the heroic legends, and warlike adventures that per- tain to each community, and are honored and welcomed wherever they go. It was from these men that the various narratives contained in this collection were obtained, and the translation of them has engaged the talents and labors of some of the world's foremost oriental scholars. EAtXLuujjjui u/c^(h^ CONTENTS Moorish Ballads PAds Fatima's Love 3 The Braggart Rebuked 4 The Admiral's Farewell 6 Moriana and Galvan 8 The Bereaved Father 10 The Warden of Molina 11 The Loves of Boabdil and Vindaraja 14 The Infanta Sevilla and Peranguelos 20 Celin's Farewell 21 Celin's Return 23 Baza Revisited 25 Captive Zara 27 The Jealous King 29 The Lovers of Antequera 33 Tarfe's Truce 35 The Two Moorish Knights 39 The King's Decision 43 Almanzar and Bobalias 44 The Moorish Infanta and Alfonzo Ramos 45 The Bull-fight of Zulema 46 The Renegade 49 The Tower of Gold 50 The Dirge for Aliatar 52 The Ship of Zara 54 Hamete Ali 56 Zaide's Love 59 Zaida's Jealousy 61 Zaida of Toledo 63 Zaide Rebuked 65 Zaida's Inconstancy 67 Zaide's Desolation 68 Zaida's Lament 69 Zaida's Curse 71 The Tournament of Zaide 73 Zaide's Complaint 74 xxxvii xxxviii CONTENTS Moorish Ballads — Continued '"*'^' Guhala's Love ^ Azarco of Granada 7° Azarco Rebuked , 79 Adelifa's Farewell 8i Azarco's Farewell "^ Celinda's Courtesy 84 Gazul's Despondency 86 Gazul in Love 86 Celinda's Inconstancy 87 The Bull-fight 89 Lovers Reconciled 9° Call to Arms 92 Gazul Calumniated 93 Gazul's Despair 95 Vengeance of Gazul 97 Gazul and Albenzaide 100 Gazul's Arms loi The Tournament 103 Abunemeya's Lament 105 The Despondent Lover 107 Love and Jealousy 108 The Captive of Toledo in The Blazon of Abenamar 113 Woman's Fickleness 115 King Juan 117 Abenamar's Jealousy 1 19 Adelifa's Jealousy 120 Funeral of Abenamar. 123 Ballad of Albayaldos 124 The Night Raid of Reduan 125 Siege of Jaen 127 Death of Reduan 129 The Aged Lover 131 Fickleness Rebuked 132 The Galley Slave of Dragut 134 The Captive's Lament 136 Strike Sail ! 138 The Captive's Escape 139 The Spaniard of Oran 141 Moorish Romances The Bull-fight of Gazul 145 The Zegri's Bride 148 CONTENTS xxxlx Moorish Romances— Continued page The Bridal of Andalla 149 Zara's Ear-rings 1 50 The Lamentation for Celin 152 The Story of Sidi Brahim of Massat 155 Five Berber Stories Djokhrane and the Jays 169 The Ogre and the Beautiful Woman 169 The False Vezir 170 The Soufi and the Targui 172 Ahmed el Hilalieu and El Redah 176 Poems of the Maghreb All's Answer 183 In Honor of Lalla 185 Sayd and Hyzyya 187 The Aissaoua in Paris 195 Song of Fatima 203 The City Girl and the Country Girl 207 Popular Tales of the Berbers The Turtle, the Frog, and the Serpent 215 The Hedgehog, the Jackal, and the Lion 216 The Stolen Woman 220 The King, the Arab, and the Monster 221 The Lion, the Jackal, and the Man 223 Salomon and the Griffin 225 Adventure of Sidi Mahomet 226 The Haunted Garden 227 The Woman and the Fairy 227 Hamed ben Ceggad 228 The Magic Napkin 230 The Child and the King of the Genii 231 The Seven Brothers 232 Half-a-Cock 234 Strange Meetings 237 The King and His Family. 238 Beddou 239 The Language of the Beasts 241 The Apple of Youth 244 Popular Tales of the Kabyles Ali and Ou Ali 249 The Infidel Jew 253 xl CONTENTS Popular Tales of the Kabvlks— Continued FAGt The Sheik's Head ■ • •■ ■ 254 The Wagtail and the Jackal 255 The Flute-player. 255 The Child 257 The Monkey and the Fisherman 258 The Two Friends 261 The Robber and the Two Pilgrims 262 The Little Child 265 The Wren 266 The Mule, the Jackal, and the Lion 266 Thadhellala 267 The Good Man and the Bad One 269 The Crow and the Child 271 H'ab Sliman 273 The King and His Son 276 Mahomet ben Soltan 278 ILLUSTRATIONS FACING PAGE A Harem in Granada ..... Frontispiece Photogravure from the original painting by Edouard Richter Page from a Syriac Bible . . . . . .180 Fac-simile manuscript of the Sixteenth Century MOORISH BALLADS ROMANCEROS MoRISCOS [Metrical Translation by Epiphanius Wilson, A.M.] MOORISH BALLADS FATIMA'S LOVE ON the morn of John the Baptist, just at the break of day, The Moors upon Granada's fields streamed out in bright array. Their horses galloped o'er the sod, their lances flashed in air, And the banners that their dames had wrought spread out their colors fair. Their quivers bright flashed in the light with gold and silk brocade, And the Moor who saw his love was there looked best in the parade, And the Moor who had no lady love strove hard some love to gain. 'Mong those who from Alhambra's towers gazed on that war- rior train. There were two Moorish ladies there whom love had smit- ten sore ; Zarifa one, and Fatima the name the other bore. Knit by warm friendship were their hearts till, filled with jeal- ous pain. Their glances met, as one fair knight came prancing o'er the plain. Zarifa spoke to Fatima, " How has love marred thy face ! Once roses bloomed on either cheek, now lilies take their place ; And you, who once would talk of love, now still and silent stay. Come, come unto the window and watch the pageant gay! Abindarraez is riding by; his train is full in view; In all Granada none can boast a choicer retinue." " It is not love, Zarifa, that robs my cheek of rose ; No fond and anxious passion this mournful bosom knows ; My cheeks are pale and I am still and silent, it is true, — For, ah! I miss my father's face, whom fierce Alabey slew. 3 4 MOORISH LITERATURE And did I crave the boon of love, a thousand knights were fain To fight for me in service true on yonder flowery plain. And all the love I give to each to give me back again. And for Abindarraez, whose heart and valiant might, You praise and from the window watch, with rapturous de- light " The lady stopped, for at their feet knelt down the well-loved knight. THE BRAGGART REBUKED " If thou art brave in battle's hour As thou art bold in pleasure's rout; If thou canst make the lances fly As thou canst fling thy words about; " If thou canst in the vega fight As thou the ladies' eyes canst praise; And show on horseback half the skill That marks thee in the dance's maze; " Meet with the briskness of the joust The challenge of the deadly lance. And in the play of scimitars Be sprightly as in festive dance; " If thou art ready in the field As thou art nimble on the square; And canst the front of battle face As though thou flirtest with the fair; " If thou dost don thy shining mail As lightly as thy festive suit, And listenest to the trumpet call As though it were thy lady's lute ; " And if, as in the gamesome hour Thou flingest round the rattling reed Against the foeman's moated camp, Thou spurrest on thy thundering steed ; THE BRAGGART REBUKED " If, when the foe is face to face, Thou boastest as thou oft hast done When far away his ranks were ranged. And the fierce fight had not begun;— " Go, Zaide, to the Alhambra go, And there defend thy soldier fame; For every tongue is wagging there, And all, derisive, speak thy name. " And if thou fear to go alone. Take others with thee to thine aid; Thy friends are ready at thy beck, And Zaide need not be afraid ! " It is not in the palace court. Amid the throng of ladies bright. That the good soldier, by his tongue. Proves himself valorous in the fight. " It is not there his hands can show What in the battle he can do; But where the shock of onset tests The fearless heart, the iron thew. " Betake thee to the bloody field And let thy sword thy praises sing; But silence is most eloquent Amid the courtiers of the King." Thus Tarfe wrote, the Moorish knight, His heart so filled with furious rage That where his fiery pen had passed It pierced and rent the flimsy page. He called his varlet to his side, " Now seek the Alhambra's hall," said he, " And privately to Zaide say That this epistle comes from me; " And whisper, that none else may hear, And say that I his coming wait. Where Genii's crystal torrent laves The pillars of yon palace gate." MOORISH LITERATURE THE ADMIRAL'S FAREWELL The royal fleet with fluttering sail is waiting in the bay ; And brave Mustapha, the Admiral, must start at break of day. His hood and cloak of many hues he swiftly dons, and sets Upon his brow his turban gay with pearls and amulets ; Of many tints above his head his plumes are waving wide ; Like a crescent moon his scimitar is dangling at his side ; And standing at the window, he gazes forth, and, harkj Across the rippling waters floats the summons to embark. Blow, trumpets; clarions, sound your strain! Strike, kettle-drum, the alarum in refrain. Let the shrill fife, the flute, the sackbut ring A summons to our Admiral, a salvo to our King ! The haughty Turk his scarlet shoe upon the stirrup placed, Right easily he vaulted to his saddle-tree in haste. His courser was Arabian, in whose crest and pastern show A glossy coat as soft as silk, as white as driven snow. One mark alone was on his flank! 'twas branded deep and dark; The letter F in Arab script, stood out the sacred mark. By the color of his courser he wished it to be seen That the soul of the King's Admiral was white and true and clean. Oh, swift and full of mettle was the steed which that day bore Mustapha, the High Admiral, down to the wave-beat shore! The haughty Turk sails forth at morn, that Malta he may take. But many the greater conquest his gallant men shall make ; For his heart is high and his soul is bent on death or victory, And he pauses, as the clashing sound comes from the distant sea; Blow, trumpets ; clarions, sound your strain ! Strike, kettle-drum, the alarum in refrain. Let fife and flute, and sackbut in accord Proclaim, Aboard! Aboard! Thy pinnace waits thee at the slip, lord Admiral, aboard ! THE ADMIRAL'S FAREWELL 7 And as he hears the summons Love makes for him reply, " O whither, cruel fortune, wilt thou bid the warrior fly ? Must I seek thee in the ocean, where the winds and billows roar? Must I seek thee there, because in vain I sought thee on the shore ? And dost thou think the ocean, crossed by my flashing sail, With all its myriad waters and its rivers, can avail To quench the ardent fire of love that rages in my breast. And soothe the fever of my soul into one hour of rest ? And as he mused, in bitter thought, Mustapha reached in haste A balcony ; till dawn of day before that house he paced. And all his heart's anxieties he counted o'er and o'er. And, when the darkness of the night toward opening twilight wore. Upon the balcony there came the cause of all his sighs. But a smile was on her rosy lips and a light was in her eyes. " O lovely Zaida," he began, and gazed into her face, " If my presence at thy window is a burden to thy peace. One pledge bestow upon me, one pledge of love, I pray, And let me kiss thy lily hand before I sail away." " I grieve for thy departure," the lady made reply, " And it needs no pledge to tell thee I am faithful till I die. But if one token thou must have, take this ere thou depart ; ('Twas fashioned by these hands of mine) and keep it on thy heart!" The Moor rose in his stirrups, he took it from her hand, 'Twas a piece of lace of gold and silk shaped for a helmet band. There was the wheel of fortune with subtile needle drawn, (Ah, Fortune that had left him there dejected and forlorn !) And as he paused, he heard the sound tumultuous come again, 'Twas from the fleet, down in the bay, and well he knew the strain. Blow, trumpets; clarions, sound your strain; Strike, kettle-drum, the alarum in refrain. Let fife and flute, and sackbut in accord Proclaim, Aboard! Aboard! Thy pinnace waits thee at the slip, lord Admiral, aboard ! 8 MOORISH LITERATURE Oh, stay my foes, nor in such haste invite me to the field ! Here let me take the triumphs that softer conquests yield ! This is the goal of my desire, the aim of my design. That Zaida's hand in mine be placed and her heart beat close to mine! Then spake the fair Sultana, and she dropped a tender tear, " Nay mourn not for the present pain, for future bliss is near. The wings of Time are swift, and they bear a brighter day ; And when once the longed-for gift is here 'twill never pass away ! " Then the Moor's heart beat high with joy; to smiles were changed his sighs. In silent ecstasy he gazed into the lady's eyes. He rode to meet his waiting fleet, for favoring was the wind. But while his body went on board, he left his heart behind I Blow, trumpets; clarions, sound your strain! Strike, kettle-drum, the alarum in refrain. Let the shrill fife, the flute, the sackbut ring A summons to our Admiral, a salvo to our King. MORIANA AND GALVAN 'Twas Princess Moriana, Upon a castle's height. That played with Moorish Galvan At cards for her delight; And oft he lost the stakes he set, Full many a coin I wis ; When Moriana lost, she gave Her hand for him to kiss. And after hours of pleasure Moor Galvan sank to sleep; And soon the lady saw a knight Descend the mountain steep; His voice was raised in sorrow, His eyes with tears were wet, For lovely Moriana His heart could ne'er forget. MORIANA AND GALVAN For her, upon St. John's Day, While she was gathering flowers, The Moors had made a captive, Beneath her father's towers. And Moriana raised her eyes And saw her lover ride, And on her cheeks her Moorish lord The sparkling tears descried. With anger raged his spirit. And thus to her he cried: " What ails thee, gentle lady? Why flows with tears thine eye? If Moors of mine have done thee wrong, I swear that they shall die; If any of thy maidens Have caused thee this distress. The whip across their shoulders Shall avenge their wickedness. Or, if the Christian countrymen Have sorrow for thee made, I will, with conquering armies. Their provinces invade. The warlike weapons that I don Are festal robes to me ; To me the din of battle Is sweet tranquillity ; The direst toils the warrior bears With steadfast joy I meet ; To me the watch that nightlong lasts Is like a slumber sweet." " No Moors of thine within these halls Have caused to me this pain ; No maidens waiting in my bower Have showed to me disdain ; Nor have my Christian kinsmen To mourn my spirit made. Provoking thee in vengeance Their province to invade. Vain the deep cause of my distress From Galvan's eye to hide — lo MOORISH LITERATURE 'Tis that I see down yonder mount A knight in armor ride. 'Tis such a sight that does my tears From very heart-springs move; For yonder knight is all to me, My husband and my love." Straight the Moor's cheek with anger flushed, Till red eclipsed the brown, And his clenched fist he lifted As if to strike her down. He gnashed his teeth with passion, The fangs with blood were red. He called his slaves and bade them Strike off the lady's head. He bade them bind and take her First to the mountain's height. That she the doom might suffer Within her husband's sight; But all the lady answered, When she was brought to death. Were words of faith and loyalty Borne on her parting breath : " Behold, I die a Christian, And here repeat my vows Of faithfulness to yonder knight. My loved and lawful spouse." THE BEREAVED FATHER " Rise up, rise up, thou hoary head. What madness causes thy delay? Thou killest swine on Thursday morn, And eatest flesh on fasting day. " 'Tis now seven years since first I trod The valley and the wandering wood ; My feet were bare, my flesh was torn, And all my pathway stained in blood. THE WARDEN OF MOLINA ii 'Ah, mournfully I seek in vain The Emperor's daughter, who had gone A prisoner made by caitiff Moors, Upon the morning of St. John. ' She gathered flowers upon the plain, She plucked the roses from the spray, And in the orchard of her sire They found and bore the maid away." These words has Moriana heard, Close nestled in the Moor's embrace ; The tears that welled from out her eyes Have wet her captor's swarthy face, THE WARDEN OF MOLINA The warden of Molina, ah ! furious was his speed. As he dashed his glittering rowels in the flank of his good steed, And his reins left dangling from the bit, along the white high- way, For his mind was set to speed his horse, to speed and not to stay. He rode upon a grizzled roan, and with the wind he raced, And the breezes rustled round him like a tempest in the was^te. In the Plaza of Molina at last he made his stand. And in a voice of thunder he uttered his command : To arms, to arms, my captains! Sound, clarions; trumpets, blow; And let the thundering kettle-drum Give challenge to the foe. " Now leave your feasts and banquetings and gird you in your steel ! And leave the couches of delight, where slumber's charm you feel; Your country calls for succor, all must the word obey, For the freedom of your fathers is in your hands to-day. Ah, sore may be the struggle, and vast may be the cost ; But yet no tie of love must keep you now, or all is lost. 12 MOORISH LITERATURE In breasts where honor dwells there is no room in times like these To dally at a lady's side, kneel at a lady's knees. To arms, to arms, my captains! Sound, clarions; trumpets, blow; And let the thundering kettle-drum Give challenge to the foe. " Yes, in the hour of peril away with pleasure's thrall ! Let honor take the lance and steed to meet our country's call. For those who craven in the fight refuse to meet the foe Shall sink beneath the feet of all struck by a bitterer blow ; In moments when fair honor's crown is ofifered to the brave And dangers yawn around our State, deep as the deadly grave, 'Tis right strong arms and sturdy hearts should take the sword of might. And eagerly for Fatherland descend into the fight. To arms, to arms, my captains! Sound, clarions; trumpets, blow; And let the thundering kettle-drum Give challenge to the foe. " Then lay aside the silken robes, the glittering brocade ; Be all in vest of leather and twisted steel arrayed ; On each left arm be hung the shield, safe guardian of the breast. And take the crooked scimitar and put the lance in rest. And face the fortune of the day, for it is vain to fly. And the coward and the braggart now alone are doomed to die. And let each manly bosom show, in the impending fray, A valor such as Mars himself in fury might display. To arms, to arms, my captains! Sound, clarions ; trumpets, blow ; And let the thundering kettle-drum Give challenge to the foe. He spoke, and at his valiant words, that rang through all the square, The veriest cowards of the town resolved to do and dare ; And stirred by honor's eager fire forth from the gate they stream, THE WARDEN OF MOLINA 13 And plumes are waving in the air, and spears and falchions gleam ; And turbaned heads and faces fierce, and smiles in anger quenched. And sweating steeds and flashing spurs and hands in fury clenched, Follow the fluttering banners that toward the vega swarm. And many a voice re-echoes the words of wild alarm. To arms, to arms, my captains! Sound, clarions; trumpets, blow; And let the thundering kettle-drum Give challenge to the foe. And, like the timid lambs that crowd with bleatings in the fold. When they advancing to their throats the furious wolf behold, The lovely Moorish maidens, with wet but flashing eyes, Are crowded in a public square and fill the air with cries ; And tho', like tender women, 'tis vain for them to arm, Yet loudly they re-echo the words of the alarm. To heaven they cry for succor, and, while to heaven they pray. They call the knights they love so well to arm them for the fray. To arms, to arms, my captains! Sound, clarions; trumpets, blow; And let the thundering kettle-drum Give challenge to the foe. The foremost Moorish nobles, Molina's chosen band. Rush forward from the city the invaders to withstand. There marshalled in a squadron with shining arms they speed, Like knights and noble gentlemen, to meet their country's need. Twelve thousand Christians crowd the plain, twelve thousand warriors tried. They fire the homes, they reap the corn, upon the vega wide ; And the warriors of MoUna their furious lances ply, And in their own Arabian tongue they raise the rallying cry. To arms, to arms, my captains ! Sound, clarions; trumpets, blow; And let the thundering kettle-drum Give challenge to the foe. 14 MOORISH LITERATURE THE LOVES OF BOABDIL AND VINDARAJA Where Antequera's city stands, upon the southern plain, The captive Vindaraja sits and mourns her lot in vain. While Chico, proud Granada's King, nor night nor day can rest, For of all the Moorish ladies Vindaraja he loves best ; And while naught can give her solace and naught can dry her tear, 'Tis not the task of slavery nor the cell that brings her fear ; For while in Antequera her body lingers still. Her heart is in Granada upon Alhambra's hill. There, while the Moorish monarch longs to have her at his side. More keen is Vindaraja's wish to be a monarch's bride. Ah ! long delays the moment that shall bring her liberty, A thousand thousand years in every second seem to fly ! For she thinks of royal Chico, and her face with tears is wet. For she knows that absence oft will make the fondest heart forget. And the lover who is truest may yet suspicion feel. For the loved one in some distant land whose heart is firm as steel. And now to solve her anxious doubts, she takes the pen one day And writes to royal Chico, in Granada far away. Ah 1 long the letter that she wrote to tell him of her state. In lonely prison cell confined, a captive desolate! She sent it by a Moorish knight, and sealed it with her ring ; He was warden of Alhambra and stood beside the King, And he had come sent by the King to Antequera's tower. To learn how Vindaraja fared within that prison bower. The Moor was faithful to his charge, a warrior stout and leal. And Chico took the note of love and trembling broke the seal; And when the open page he saw and read what it contained, These were the words in which the maid of her hard lot com- plained : THE LOVES OF BOABDIL AND VINDARAJA 15 The Letter of Vindaraja " Ah, hapless is the love-lorn maid like me in captive plight, For freedom once was mine, and I was happy day and night. Yes, happy, for I knew that thou hadst given me thy love, Precious the gift to lonely hearts all other gifts above. Well mightest thou forget me, though 'twere treachery to say The flame that filled thy royal heart as yet had passed away. Still, though too oft do lovers' hearts in absent hours repine. I know if there are faithful vows, then faithful will be thine ! 'Tis hard, indeed, for lovers to crush the doubting thought Which to the brooding bosom some lonely hour has brought. There is no safety for the love, when languish out of sight The form, the smile, the flashing eyes that once were love's delight ; Nor can I, I confess it, feel certain of thy vow ! How many Moorish ladies are gathered round thee now ! How many fairer, brighter forms are clustered at thy throne, Whose power might change to very wax the heart of steel or stone ! And if, indeed, there be a cause why I should blame thy heart, 'Tis the delay that thou hast shown in taking here my part. Why are not armies sent to break these prison bars, and bring Back to her home the Moorish maid, the favorite of the King? A maid whose eyes are changed to springs whence flow the flood of tears. For she thinks of thee and weeps for thee through all these absent years. Believe me, if 'twere thou, who lay a captive in his chain. My life of joy, to rescue thee, my heart of blood I'd drain ! King and master, if, indeed, I am thy loved one still. As in those days when I was first upon Alhambra's hill. Send rescue for thy darling, or fear her love may fade. For love that needs the sunlight must wither in the shade. And yet I cannot doubt thee ; if e'er suspicion's breath Should chill my heart, that moment would be Vindaraja's death. Nor think should you forget me or spurn me from your arms. That life for Vindaraja could have no other charms. It was thy boast thou once did love a princess, now a slave, 1 boasted that to thy behest I full obedience gave ! i6 MOORISH LITERATURE And from this prison should I come, in freedom once again. To sit and hear thy words of love on Andalusia's plain. The brightest thought would be to me that thou, the King, has seen Twas right to free a wretched slave that she might be thy Queen. Hard is the lot of bondage here, and heavy is my chain. And from my prison bars I gaze with lamentation vain ; But these are slight and idle things — my one, my sole distress Is that I cannot see thy face and welcome thy caress ! This only is the passion that can my bosom rend ; 'Tis this alone that makes me long for death, my sufferings end. The plagues of life are naught to me ; life's only joy is this — To see thee and to hear thee and to blush beneath thy kiss ! Alas ! perchance this evening or to-morrow morn, may be, The lords who hold me here a slave in sad captivity, May, since they think me wanton, their treacherous measures take That I should be a Christian and my former faith forsake. But I tell them, and I weep to tell, that I will ne'er forego The creed my fathers fought for in centuries long ago ! And yet I might forswear it, but that that creed divine 'Tis vain I struggle to deny, for, ah, that creed is thine ! " King Chico read his lady's note and silent laid it down ; Then to the window he drew nigh, and gazed upon the town ; And lost in thought he pondered upon each tender line. And sudden tears and a sigh of grief were his inward sorrow's sign. And he called for ink and paper, that Vindaraja's heart Might know that he remembered her and sought to heal its smart. He would tell her that the absence which caused to her those fears Had only made her dearer still, through all those mournful years. He would tell her that his heart was sad, because she was not near — Yes, far more sad than Moorish slave chained on the south frontier. THE LOVES OF BOABDIL AND VINDARAJA 17 And then he wrote the letter to the darHng Moorish slave, And this is the tender message that royal Chico gave : The Letter of the King "Thy words have done me grievous wrong, for, lovely Mooress, couldst thou think That he who loves thee more than life could e'er to such a treachery sink? His life is naught without the thought that thou art happy in thy lot ; And while the red blood at his heart is beating thou art ne'er forgot ! Thou woundest me because thy heart mistrusts me as a fickle fool; Thou dost not know when passion true has one apt pupil taken to school. Oblivion could not, could not cloud the image on his soul im- pressed. Unless dark treachery from the first had been the monarch of his breast; And if perhaps some weary hours I thought that Vindaraja's mind Might in some happier cavalier the solace of her slavery find, I checked the thought; I drove away the vision that with death was rife, For e'er my trust in thee I lost, in battle I'd forego my life ! Yet even the doubt that thou hast breathed gives me no fran- chise to forget, And were I willing that thy face should cease to fill my vision, yet 'Tis separation's self that binds us closer though the centuries roll, And forges that eternal chain that binds together soul and soul! And even were this thought no more than the wild vision of my mind, Yet in a thousand worlds no face to change for thine this heart could find. Thro' life, thro' death 'twere all the same, and when to heaven our glance we raise, a ,8 MOORISH LITERATURE Full in the very heart of bliss thine eyes shall meet my ardent gaze. For eyes that have beheld thy face, full readily the truth will own That God exhausted, when he made thee, all the treasures of his throne! And my trusting heart will answer while it fills my veins with fire That to hear of, is to see thee ; and to see, is to desire I , Yet unless my Vindaraja I could look upon awhile. As some traveller in a desert I should perish for her smile ; For 'tis longing for her presence makes the spring of life to me, And allays the secret suffering none except her eye can see. In this thought alone my spirit finds refreshment and delight ; This is sweeter than the struggle, than the glory of the fight ; And if e'er I could forget her heaving breast and laughing eye, Tender word, and soft caresses — ^Vindaraja, I should die ! If the King should bid me hasten to release thee from thy chain. Oh, believe me, dearest lady, he would never bid in vain ; Naught he could demand were greater than the price that I would pay. If in high Alhambra's halls I once again could see thee gay ! None can say I am remiss, and heedless of thy dismal fate ; Love comes to prompt me every hour, he will not let my zeal abate. If occasion call, I yield myself, my soul to set thee free ; Take this offering if thou wilt, I wait thy word on bended knee. Dost thou suffer, noble lady, by these fancies overwrought? Ah, my soul is filled with sorrow at the agonizing thought; For to know that Vindaraja languishes, oppressed with care. Is enough to make death welcome, if I could but rescue her. Yes, the world shall know that I would die not only for the bliss Of clasping thee in love's embrace and kindling at thy tender kiss. THE LOVES OF BOABDIL AND VINDARAJA 19 This, indeed, would be a prize, for which the coward death would dare — I would die to make thee happy, tho' thy lot I might not share ! Then, though I should fail to lift the burden on my darling laid, Though I could not prove my love by rescuing my Moorish maid. Yet my love would have this witness, first, thy confidence sublime. Then my death for thee, recorded on the scroll of future time ! Yes, my death, for should I perish, it were comfort but to think Thou couldst have henceforth on earth no blacker, bitterer cup to drink ! Sorrow's shafts would be exhausted, thou couldst laugh at fortune's power. The' I lost thee, yet this thought would cheer me in my part- ing hour. Yet I believe that fate intends (oh, bear this forecast in thy mind !) That all the love my passions crave will soon a full fruition find; Fast my passion stronger grows, and if of love there meas- ure be, Believe it, dearest, that the whole can find its summary in me ! Deem that thou art foully wronged, whose graces have such power to bless. If any of thy subject slaves to thee, their queen, should offer less. And accept this pledged assurance, that oblivion cannot roll O'er the image of thy beauty stamped on this enamored soul. Then dismiss thy anxious musings, let them with the wind away. As the gloomy clouds are scattered at the rising of the day. Think that he is now thy slave, who, when he wooed thee, was thy King; Think that not the brightest morning can to him contentment bring, Till the light of other moments in thy melting eyes he trace. 20 MOORISH LITERATURE And the gates of Paradise are opened in thy warm embrace. Since thou knowest that death to me and thee will strike an equal blow. It is just that, while we live, our hearts with equal hopes should glow. Then no longer vex thy lover with complaints that he may change ; Darling, oft these bitter questions can the fondest love es- trange ; No, I dream not of estrangement, for thy Chico evermore Thinks upon his Vindaraja's image only to adore." THE INFANTA SEVILLA AND PERANZUELOS Upon Toledo's loftiest towers Sevilla kept the height ; So wondrous fair was she that love Was blinded at the sight. She stood amid the battlements, And gazed upon the scene Where Tagus runs through woodland And flowers and glades of green. And she saw upon the wide highway The figure of a knight ; He rode upon a dappled steed. And all his arms were bright. Seven Moors in chains he led with him. And one arm's length aloof Came a dog of a Moor from Morocco's shore In arms of double proof. His steed was swift, his countenance In a warlike scowl was set. And in his furious rage he cursed The beard of Mahomet ! He shouted, as he galloped up : " Now halt thee, Christian hound ; CELIN'S FAREWELL