For the Blood Is the Life. Francis Marion Crawford
to transport a lunch basket and a novel to some shady glen to enjoy a day's rest in the open air, and we would almost rather starve than take the trouble to carry provisions. In India you speak the word, and as by magic there arises in the wilderness a little village of tents, furnished with every necessary luxury—and the luxuries necessary to our degenerate age are many—a kitchen tent is raised, and a skilled dark-skinned artist provides you in an hour with a dinner such as you could eat in no hotel. The treasures of the huge portable ice-chest reveal cooling wines and soda water to the thirsty soul, and if you are going very far beyond the reach of the large towns, a small ice-machine is kept at work day and night to increase the supply while you sleep, and to maintain it while you wake. In the connât or verandah of the tent, long chairs await you after your meal, and as you smoke the fragrant cigarette and watch the stars coming out, you feel as comfortable as though you had been dining in your own spacious bungalow in Mudnugger.
It was not long before all was ready, and having made many ablutions and a little toilet, we assembled round the dinner table in the eating tent, the same party that had dined at Mr. Currie Ghyrkins' house on Sunday night, with the addition of the little collector of Pegnugger, whose stories of his outlying district were full of humour and anecdote. The talk bending in the direction of adventure, Kildare, who had been lately in South Africa with his regiment, told some tales of Zulus and assegais and Boers in the Hibernian style of hyperbole. The Irish blood never comes out so strongly as when a story is to be told, and no amount of English education and Oxford accent will suppress the tendency. The brogue is gone, but the love of the marvellous is there still. Isaacs related the experience of "a man he knew," who had been pulled off his elephant, howdah and all, and had killed the tiger with a revolver at half arm's length.
"Ah yes," said the little collector, who had not caught the names of all the party when introduced, "I read about it at the time; I remember it very well. It happened in Purneah two years ago. The gentleman was a Mr. Isaacs of Delhi. Queer name too—remember perfectly." There was a roar of laughter at this, in which the collector joined vociferously on being informed that the man with the "queer name" was his neighbour at table.
"You see what you get for your modesty," cried old Ghyrkins, laughing to convulsions.
"And is it really true, Mr. Isaacs?" asked Miss Westonhaugh, looking admiringly across at the young man, who seemed rather annoyed.
And so the conversation went round and all were merry, and some were sleepy after dinner, and we sat in long chairs under the awning or connât. There was no moon yet, but the stars shone out as they shine nowhere save in India, and the evening breeze played pleasantly through the ropes after the long hot day. Miss Westonhaugh assured everybody for the hundredth time that day that she rather liked the smell of cigars, and so we smoked and chatted a little, and presently there was a jerk and a sputtering sneeze from Mr. Ghyrkins, who, being weary with the march and the heat and the good dinner, and on the borders of sleep, had put the wrong end of his cigar in his mouth with destructive results. Then he threw it away with a small volley of harmless expletives, and swore he would go to bed, as he could not stand our dulness any longer; but he merely shifted his position a little, and was soon snoring merrily.
"What a pity it is we have no piano, Katharine," said John Westonhaugh, who was fond of music. "Could you not sing something without any accompaniment?"
"Oh no. Mr. Isaacs," she said, turning her voice to where she could see the light of his cigarette and the faint outline of his chair in the starlight, "here we are in the camp. Now where is the 'lute' you promised to produce for us? I think the time has come at last for you to keep your promise."
"Well," said he, "I believe there really is an old guitar or something of the kind among my traps somewhere. But it might wake Mr. Ghyrkins, who, I understand from his tones, is asleep."
Various opinions were expressed to the effect that Mr. Ghyrkins was not so easily disturbed, and a voice like Kildare's was heard to mumble that "it would not hurt him if he was," a sentence no one attempted to construe. So the faithful Narain was summoned, and instructed to bring the instrument if he could find it. I was rather surprised at Isaacs' readiness to sing; but in the first place I had never heard him, and besides I did not make allowance for the Oriental courtesy of his character, which would not refuse anything, or make any show of refusal in order to be pressed. Narain returned with a very modern-looking guitar-case, and, opening the box, presented his master with the instrument, which, as Isaacs took it to the light in the door of the tent to see if it had travelled safely, appeared to be a perfectly new German guitar. I suspected him of having purchased it at the little music shop at Simla, for the especial amusement of our party.
"I thought it was a lute you played on," said Miss Westonhaugh, "a real, lovely, ancient Assyrian lute, or something of that kind."
"Oh, a plain guitar is infinitely better and less troublesome," said Isaacs as he returned to his seat in the dark and began to tune the strings softly. "It takes so long to tune one of those old things, and then nothing will make them stand. Now this one, you see,—or rather you cannot see,—has an ingenious contrivance of screws by which you may tune it in a moment." While he was speaking he was altering the pitch of the strings, and presently he added, "There, it is done now," and two or three sounding chords fell on the still air. "Now what shall I sing? I await your commands."
"Something soft, and sweet, and gentle."
"A love-song?" asked he quietly.
"Well yes—a love-song if you like. Why not?" said she.
"No reason in the world that I can think of," I remarked. Whereat Lord Steepleton Kildare threw his cigar away, and began lighting another a moment after, as if he had discarded his weed by mistake.
Isaacs struck a few chords softly, and then began a sort of running accompaniment. His voice, which seemed to me to be very high, was wonderfully smooth and round, and produced the impression of being much more powerful than he cared to show. He sang without the least effort, and yet there was none of that effeminate character that I have noticed in European male singers when producing high notes very softly. I do not understand music, but I am sure I never heard an opera tenor with a voice of such quality. The words of his song were Persian, and the pure accents of his native tongue seemed well suited to the half passionate, half plaintive air he had chosen. I afterwards found a translation of the sonnet by an English officer, which I here give, though it conveys little idea of the music of the original verse.
Last night, my eyes being closed in sleep, but my good fortune awake,
The whole night, the livelong night, the image of my beloved one was the companion of my soul.
The sweetness of her melodious voice still remains vibrating on my soul;
Heavens! how did the sugared words fall from her sweeter lips;
Alas! all that she said to me in that dream has escaped from my memory,
Although it was my care till break of day to repeat over and over her sweet words.
The day, unless illuminated by her beauty, is, to my eyes, of nocturnal darkness.
Happy day that first I gazed upon that lovely face!
May the eyes of Jami long be blessed with pleasing visions, since they presented to his view last night
The object, on whose account he passed his waking life in expectation.1
His beautiful voice ceased, and with infinite skill he wove a few strains of the melody into the final chords he played when he had finished singing. It was all so entirely novel, so unlike any music most of us had ever heard, and it was so undeniably good, that every one applauded and said something to the singer in turn, expressing the greatest admiration and appreciation. Miss Westonhaugh was the last to speak.
"It is perfectly lovely," she said. "I wish I could understand the words—are they as sweet as the music?"
"Sweeter," he answered, and he gave an offhand translation of two or three verses.
"Beautiful indeed," she said; "and now sing me another, please." There was no resisting such an appeal, with the personal pronoun in the singular number. He moved