drove down through an olive-wood as ancient as those of Mitylene and Corfu, and then along the narrowing valley, between gardens luxuriant even in the parched Moroccan autumn. Presently the motor began to climb the steep road to the town, and at a gateway we got out and were met by the native chief of police. Instantly at the high windows of mysterious houses veiled heads appeared and sidelong eyes cautiously inspected us. But the quarter was deserted, and we walked on without meeting any one to the Street of the Weavers, a silent narrow way between low whitewashed niches like the cubicles in a convent. In each niche sat a grave white-robed youth, forming a great amphora-shaped grain-basket out of closely plaited straw. Vine-leaves and tendrils hung through the reed roofing overhead, and grape-clusters cast their classic shadow at our feet. It was like walking on the unrolled frieze of a white Etruscan vase patterned with black vine garlands.
The silence and emptiness of the place began to strike us: there was no sign of the Oriental crowd that usually springs out of the dust at the approach of strangers. But suddenly we heard close by the lament of the rekka (a kind of long fife), accompanied by a wild thrum-thrum of earthenware drums and a curious excited chanting of men's voices. I had heard such a chant before, at the other end of North Africa, in Kairouan, one of the other great Sanctuaries of Islam, where the sect of the Aïssaouas celebrate their sanguinary rites in the Zaouïa7 of their confraternity. Yet it seemed incredible that if the Aïssaouas of Moulay Idriss were performing their ceremonies that day the chief of police should be placidly leading us through the streets in the very direction from which the chant was coming. The Moroccan, though he has no desire to get into trouble with the Christian, prefers to be left alone on feast-days, especially in such a stronghold of the faith as Moulay Idriss.
But "Geschehen ist geschehen" is the sum of Oriental philosophy. For centuries Moulay Idriss had held out fanatically on its holy steep; then, suddenly, in 1916, its chiefs saw that the game was up, and surrendered without a pretense of resistance. Now the whole thing was over, the new conditions were accepted, and the chief of police assured us that with the French uniform at our side we should be safe anywhere.
"The Aïssaouas?" he explained. "No, this is another sect, the Hamadchas, who are performing their ritual dance on the feast-day of their patron, the marabout Hamadch, whose tomb is in the Zerhoun. The feast is celebrated publicly in the market-place of Moulay Idriss."
As he spoke we came out into the market-place, and understood why there had been no crowd at the gate. All the population was in the square and on the roofs that mount above it, tier by tier, against the wooded hillside: Moulay Idriss had better to do that day than to gape at a few tourists in dust-coats.
Short of Sfax, and the other coast cities of eastern Tunisia, there is surely not another town in North Africa as white as Moulay Idriss. Some are pale blue and pinky yellow, like the Kasbah of Tangier, or cream and blue like Salé; but Tangier and Salé, for centuries continuously subject to European influences, have probably borrowed their colors from Genoa and the Italian Riviera. In the interior of the country, and especially in Morocco, where the whole color-scheme is much soberer than in Algeria and Tunisia, the color of the native houses is always a penitential shade of mud and ashes.
But Moulay Idriss, that afternoon, was as white as if its arcaded square had been scooped out of a big cream cheese. The late sunlight lay like gold-leaf on one side of the square, the other was in pure blue shade; and above it, the crowded roofs, terraces and balconies packed with women in bright dresses looked like a flower-field on the edge of a marble quarry.
The bright dresses were as unusual a sight as the white walls, for the average Moroccan crowd is the color of its houses. But the occasion was a special one, for these feasts of the Hamadchas occur only twice a year, in spring and autumn, and as the ritual dances take place out of doors, instead of being performed inside the building of the confraternity, the feminine population seizes the opportunity to burst into flower on the house-tops.
It is rare, in Morocco, to see in the streets or the bazaars any women except of the humblest classes, household slaves, servants, peasants from the country or small tradesmen's wives; and even they (with the exception of the unveiled Berber women) are wrapped in the prevailing grave-clothes. The filles de joie and dancing-girls whose brilliant dresses enliven certain streets of the Algerian and Tunisian towns are invisible, or at least unnoticeable, in Morocco, where life, on the whole, seems so much less gay and brightly-tinted; and the women of the richer classes, mercantile or aristocratic, never leave their harems except to be married or buried. A throng of women dressed in light colors is therefore to be seen in public only when some street festival draws them to the roofs. Even then it is probable that the throng is mostly composed of slaves, household servants, and women of the lower bourgeoisie; but as they are all dressed in mauve and rose and pale green, with long earrings and jewelled head-bands flashing through their parted veils, the illusion, from a little distance, is as complete as though they were the ladies in waiting of the Queen of Sheba; and that radiant afternoon at Moulay Idriss, above the vine-garlanded square, and against the background of piled-up terraces, their vivid groups were in such contrast to the usual gray assemblages of the East that the scene seemed like a setting for some extravagantly staged ballet.
For the same reason the spectacle unrolling itself below us took on a blessed air of unreality. Any normal person who has seen a dance of the Aïssaouas and watched them swallow thorns and hot coals, slash themselves with knives, and roll on the floor in epilepsy must have privately longed, after the first excitement was over, to fly from the repulsive scene. The Hamadchas are much more savage than Aïssaouas, and carry much farther their display of cataleptic anæsthesia; and, knowing this, I had wondered how long I should be able to stand the sight of what was going on below our terrace. But the beauty of the setting redeemed the bestial horror. In that unreal golden light the scene became merely symbolical: it was like one of those strange animal masks which the Middle Ages brought down from antiquity by way of the satyr-plays of Greece, and of which the half-human protagonists still grin and contort themselves among the Christian symbols of Gothic cathedrals.
At one end of the square the musicians stood on a stone platform above the dancers. Like the musicians in a bas-relief they were flattened side by side against a wall, the fife-players with lifted arms and inflated cheeks, the drummers pounding frantically on long earthenware drums shaped like enormous hour-glasses and painted in barbaric patterns; and below, down the length of the market-place, the dance unrolled itself in a frenzied order that would have filled with envy a Paris or London impresario.
In its centre an inspired-looking creature whirled about on his axis, the black ringlets standing out in snaky spirals from his haggard head, his cheek-muscles convulsively twitching. Around him, but a long way off, the dancers rocked and circled with long raucous cries dominated by the sobbing booming music; and in the sunlit space between dancers and holy man, two or three impish children bobbed about with fixed eyes and a grimace of comic frenzy, solemnly parodying his contortions.
Meanwhile a tall grave personage in a doge-like cap, the only calm figure in the tumult, moved gravely here and there, regulating the dance, stimulating the frenzy, or calming some devotee who had broken the ranks and lay tossing and foaming on the stones. There was something far more sinister in this passionless figure, holding his hand on the key that let loose such crazy forces, than in the poor central whirligig who merely set the rhythm of the convulsions.
The dancers were all dressed in white caftans or in the blue shirts of the lowest classes. In the sunlight something that looked like fresh red paint glistened on their shaved black or yellow skulls and made dark blotches on their garments. At first these stripes and stains suggested only a gaudy ritual ornament like the pattern on the drums; then one saw that the paint, or whatever it was, kept dripping down from the whirling caftans and forming fresh pools among the stones; that as one of the pools dried up another formed, redder and more glistening, and that these pools were fed from great gashes which the dancers hacked in their own skulls and breasts with hatchets and sharpened stones. The dance was a blood-rite, a great sacrificial symbol, in which
Sacred college.
