The Middy and the Moors: An Algerine Story

Turning round, he found that Peter had also disappeared from the scene.

At first he imagined that the water was meant for his refreshment, but on examining the materials on the ottoman he found a box of water-colour paints, which accounted for its being sent.

Although George Foster had never been instructed in painting, he possessed considerable natural talent, and was intensely fond of the art. It was, therefore, with feelings of delight which he had not experienced for many a day that he began to arrange his materials and set about this new and congenial work.

Among other things he found a small easel, which had a very Anglican aspect about it. Wondering how it had got there, he set it up, with a sheet of paper on it, tried various parts of the room, in order to find out the best position for a picture, and went through that interesting series of steppings back and puttings of the head on one side which seem to be inseparably connected with true art.

While thus engaged in the profound silence of that luxurious apartment, with its “dim religious light,” now glancing at the rich ceiling, anon at the fair sheet of paper, he chanced to look below the margin of the latter and observed, through the legs of the easel, that the gorgeous eyes of the gazelle were fixed on him in apparent wonder.

He advanced to it at once, holding out a hand coaxingly. The pretty creature allowed him to approach within a few inches, and then bounded from its cushion like a thing of india-rubber to the other end of the room, where it faced about and gazed again.

“You gaze well, pretty creature,” thought the embryo artist. “Perhaps that’s the origin of your name! Humph! you won’t come to me?”

The latter part of his thoughts he expressed aloud, but the animal made no response. It evidently threw the responsibility of taking the initiative on the man.

Our middy was naturally persevering in character. Laying aside his pencil, he sat down on the marble floor, put on his most seductive expression, held out his hand gently, and muttered soft encouragements—such as, “Now then, Spunkie, come here, an’ don’t be silly—” and the like. But “Spunkie” still stood immovable and gazed.

Then the middy took to advancing in a sitting posture—after a manner known to infants—at the same time intensifying the urbanity of his look and the wheedlement of his tone. The gazelle suffered him to approach until his fingers were within an inch of its nose. There the middy stopped. He had studied animal nature. He was aware that it takes two to love as well as to quarrel. He resolved to wait. Seeing this, the gazelle timidly advanced its little nose and touched his finger. He scratched gently! Spunkie seemed to like it. He scratched progressively up its forehead. Spunkie evidently enjoyed it. He scratched behind its ear, and—the victory was gained! The gazelle, dismissing all fear, advanced and rubbed its graceful head on his shoulder.

“Well, you are a nice little beast,” said Foster, as he fondled it; “whoever owns you must be very kind to you, but I can’t afford to waste more time with you. Must get to work.”

He rose and returned to his easel while the gazelle trotted to its cushion and lay down—to sleep? perchance to dream?—no, to gaze, as before, but in mitigated wonder.

The amateur painter-slave now applied himself diligently to his work with ever-increasing interest; yet not altogether without an uncomfortable and humiliating conviction that if he did not do it with reasonable rapidity, and give moderate satisfaction, he ran the chance of being “whacked” if not worse!

Let not the reader imagine that we are drawing the longbow here, and making these Moors to be more cruel than they really were. Though Ben-Ahmed was an amiable specimen, he was not a typical Algerine, for cruelty of the most dreadful kind was often perpetrated by these monsters in the punishment of trivial offences in those days. At the present hour there stands in the great square of Algiers an imposing mosque, which was designed by a Christian slave—an architect—whose head was cut off because he had built it—whether intentionally or accidentally we know not—in the form of a cross!

For some hours Foster worked uninterruptedly with his pencil, for he believed, like our great Turner in his earlier days, (though Turner’s sun had not yet arisen!) that the preliminary drawing for a picture cannot be too carefully or elaborately done.

After having bumped himself against the wall twice, and tripped over an ottoman once—to the gazelle’s intense surprise—in his efforts to take an artistic view of his work, Foster at last laid down his pencil, stretched himself to his full height, with his hands in the air by way of relaxation, and was beginning to remember that midday meals were not unknown to man, when the negress before mentioned entered with a small round brass tray on which were two covered dishes. The middy lowered his hands in prompt confusion, for he had not attained to the Moors’ sublime indifference to the opinion or thought of slaves.

He was about to speak, but checked the impulse. It was wiser to hold his tongue! A kindliness of disposition, however, induced him to smile and nod—attentions which impelled the negress, as she retired, to display her teeth and gums to an extent that no one would believe if we were to describe it.

On examination it was found that one of the dishes contained a savoury compound of rice and chicken, with plenty of butter and other substances—some of which were sweet.

The other dish contained little rolls of bread. Both dishes appeared to Foster to be made of embossed gold—or brass, but he knew and cared not which. Coffee in a cup about the size and shape of an egg was his beverage. While engaged with the savoury and altogether unexpected meal, our hero felt his elbow touched. Looking round he saw the gazelle looking at him with an expression in its beautiful eyes that said plainly, “Give me my share.”

“You shall have it, my dear,” said the artist, handing the creature a roll, with which it retired contentedly to its cushion.

“Perhaps,” thought the youth, as he pensively sipped his coffee, “this room may be sometimes used by Hester! It obviously forms part of the seraglio.”

Strange old fellow, Ben-Ahmed, to allow men like me to invade such a place.

The thought of the ladies of the harem somehow suggested his mother and sister, and when poor George got upon this pair of rails he was apt to be run away with, and to forget time and place. The reverie into which he wandered was interrupted, however, by the gazelle asking for more. As there was no more, it was fain to content itself with a pat on the head as the painter rose to resume his work.

The drawing was by this time all pencilled in most elaborately, and the middy opened the water-colour box to examine the paints. As he did so, he again remarked on the familiar English look of the materials, and was about to begin rubbing down a little of one of the cakes—moist colours had not been invented—when he observed some writing in red paint on the back of the palette. He started and flushed, while his heart beat faster, for the writing was, “Expect me. Rub this out. H.S.”

What could this mean? H.S? Hester Sommers of course. It was simple—too simple. He wished for more—like the gazelle. Like it, too, he got no more. After gazing at the writing, until every letter was burnt into his memory, he obeyed the order and rubbed it out. Then, in a disturbed and anxious frame of mind, he tried to paint, casting many a glance, not only at his subject, but at the two doors which opened into the room.

At last one of the doors opened—not the one he happened to be looking at, however. He started up, overturned his stool, and all but knocked down the easel, as the negress re-entered to remove the refreshment-tray. She called to the gazelle as she went out. It bounded lightly after her, and the young painter was left alone to recover his composure.

“Ass that I am!” he said, knitting his brows, clenching his teeth, and putting a heavy dab of crimson-lake on the ceiling!

At that moment the other door opened, yet so gently and slightly that he would not have observed it but for the sharp line of light which it let through. Determined not to be again taken by surprise, he became absorbed in putting little unmeaning lines round the dab of lake—not so busily, however, as to prevent his casting rapid furtive glances at the opening door.

Gradually something white appeared in the aperture—it was a veil. Something blue—it was an eye. Something quite beyond description lovely—it was Hester herself, looking—if such be conceivable—like a scared angel!

“Oh, Mr Foster!” she exclaimed, in a half-whisper, running lightly in, and holding up a finger by way of caution, “I have so longed to see you—”

“So have I,” interrupted the delighted middy. “Dear H–ah—Miss Sommers, I mean, I felt sure that—that—this must be your room—no, what’s its name? boudoir; and the gazelle—”

“Yes, yes—oh! never mind that,” interrupted the girl impatiently. “My father—darling father!—any news of him.”

Blushing with shame that he should have thought of his own feelings before her anxieties, Foster dropped the little hand which he had already grasped, and hastened to tell of the meeting with her father in the Kasba—the ease with which he had recognised him from her description, and the few hurried words of comfort he had been able to convey before the slave-driver interfered.

Tears were coursing each other rapidly down Hester’s cheeks while he was speaking; yet they were not tears of unmingled grief.

“Oh, Mr Foster!” she said, seizing the middy’s hand, and kissing it, “how shall I ever thank you?”

Before she could add another word, an unlucky touch of Foster’s heel laid the easel, with an amazing clatter, flat on the marble floor! Hester bounded through the doorway more swiftly than her own gazelle, slammed the door behind her, and vanished like a vision.

Poor Foster! Although young and enthusiastic, he was not a coxcomb. The thrill in the hand that had been kissed told him plainly that he was hopelessly in love! But a dull weight on his heart told him, he thought as plainly, that Hester was not in the same condition.

“Dear child!” he said, as he slowly gathered up the drawing materials, “if that innocent, transparent, almost infantine creature had been old enough to fall in love she would sooner have hit me on the nose with her lovely fist than have kissed my great ugly paw—even though she was overwhelmed with joy at hearing about her father.”

Having replaced the easel and drawing, he seated himself on an ottoman, put his elbows on his knees, laid his forehead in his hands, and began to meditate aloud.

“Yes,” he said, with a profound sigh, “I love her—that’s as clear as daylight; and she does not love me—that’s clearer than daylight. Unrequited love! That’s what I’ve come to! Nevertheless, I’m not in wild despair. How’s that? I don’t want to shoot or drown myself. How’s that? On the contrary, I want to live and rescue her. I could serve or die for that child with pleasure—without even the reward of a smile! There must be something peculiar here. Is it—can it be Platonic love? Of course that must be it. Yes, I’ve often heard and read of that sort of love before. I know it now, and—and—I rather like it!”

“You don’t look as if you did, Geo’ge,” said a deep voice beside him.

George started up with a face of scarlet.

“Peter!” he exclaimed fiercely, “did you hear me speak? What did you hear?”

“Halo! Geo’ge, don’t squeeze my arm so! You’s hurtin’ me. I hear you say somet’ing ’bout plotummik lub, but what sort o’ lub that may be is more’n I kin tell.”

“Are you sure that is all you— But come, Peter, I should have no secrets from you. The truth is,” (he whispered low here), “I have seen Hester Sommers—here, in this room, not half an hour ago—and—and I feel that I am hopelessly in love with her—Platonically, that is—but I fear you won’t understand what that means—”

The midshipman stopped abruptly. For the first time since they became acquainted he saw a grave expression of decided disapproval on the face of his sable friend.

“Geo’ge,” said Peter solemnly, “you tell me you hab took ’vantage ob bein’ invited to your master’s house to make lub—plo—plotummikilly or oderwise—to your master’s slabe?”

“No, Peter, I told you nothing of the sort. The meeting with Hester was purely accidental—at least it was none of my seeking—and I did not make love to her—”

“Did she make lub to you, Geo’ge—plo—plotummikilly.”

“Certainly not. She came to ask about her poor father, and I saw that she is far too young to think of falling in love at all. What I said was that I have fallen hopelessly in love, and that as I cannot hope that she will ever be—be mine, I have made up my mind to love her hopelessly, but loyally, to the end of life, and serve or die for her if need be.”

“Oh! das all right, Geo’ge. If dat’s what you calls plo—plotummik lub—lub away, my boy, as hard’s you kin. Same time, I’s not kite so sure dat she’s too young to hub. An’ t’ings ain’t allers as hopeless as dey seems. But now, what’s dis you bin do here? My! How pritty. Oh! das real bootiful. But what’s you got in de ceiling—de sun, eh?”

He pointed to the dab of crimson-lake.

Foster explained that it was merely a “bit of colour.”

“Ob course! A cow wid half an eye could see dat!”

“Well—but I mean—it’s a sort of—a kind of—tone to paint up to.”

“H’m! das strange now. I don’t hear no sound nowhar!”

“Well, then, it’s a shadow, Peter.”

“Geo’ge,” said the negro, with a look of surprise, “I do t’ink your plo-plotummik lub hab disagreed wid you. Come ’long to de kitchen an’ hab your supper—it’s all ready.”

So saying, he went off with his friend and confidant to the culinary region, which was also the salle à manger of the slaves.

Chapter Eight

A Severe Trial—Secret Communication under Difficulties, and Sudden Flight

The devotion of our middy to the fine arts was so satisfactory in its results that Ben-Ahmed set him to work at various other apartments in his dwelling when the first drawing was nearly finished.

We say nearly finished, because, owing to some unaccountable whim, the Moor would not allow the first drawing to be completed. When Foster had finished a painting of the central court his master was so pleased with the way in which he had drawn and coloured the various shrubs and flowers which grew there, that he ordered him forthwith to commence a series of drawings of the garden from various points of view. In one of these Foster introduced such a life-like portrait of Peter the Great that Ben-Ahmed was charmed, and immediately gave orders to have most of his slaves portrayed while engaged in their various occupations.

In work of this kind many months were spent, for Foster was a painstaking worker. He finished all his paintings with minute care, having no capacity for off-hand or rapid sketching. During this period the engrossing nature of his work—of which he was extremely fond—tended to prevent his mind from dwelling too much on his condition of slavery, but it was chiefly the knowledge that Hester Sommers was under the same roof, and the expectation that at any moment he might encounter her, which reconciled him to his fate, and even made him cheerful under it.

But as week after week passed away, and month after month, without even a flutter of her dress being seen by him, his heart failed him again, and he began to fear that Ben-Ahmed’s son Osman might have returned and carried her off as his bride, or that she might have been sold to some rich Moor—even to the Dey himself! Of course his black friend comforted him with the assurance that Osman had not returned, and that Ben-Ahmed was not the man to sell a slave he was fond of; but such assurances did not afford him much comfort. His mind was also burdened with anxiety about his mother and sister.

He was sitting one day while in this state at an angle of the garden trying to devote his entire mind to the portrayal of a tree-fern, and vainly endeavouring to prevent Hester Sommers from coming between him and the paper, when he was summoned to attend upon Ben-Ahmed. As this was an event of by no means uncommon occurrence, he listlessly gathered up his materials and went into the house.

He found the Moor seated cross-legged on a carpet, smoking his hookah, with only a negress in attendance. His easel, he found, was already placed, and, to his surprise, he observed that the original drawing with which his career as a painter had commenced was placed upon it.

“I wish you to finish that picture by introducing a figure,” said Ben-Ahmed, with solemn gravity.

He spoke in Lingua Franca, which Foster understood pretty well by that time.

It now became evident to him why the drawing of the room had been left unfinished, and he thought it probable that modesty—or, perhaps, a difficulty in overcoming the Moslem’s dislike to being transferred to canvas at all—had caused the delay.

“In what attitude do you wish to be painted?” asked the middy, as he moved the easel a little, and took a professional, head-on-one-side look at his subject.

“In no attitude,” returned the Moor gravely.

“Pardon me,” said Foster in surprise. “Did you not say that—that—”

“I said that I wish you to finish the drawing by introducing a figure,” returned Ben-Ahmed, taking a long draw at the hookah.

“Just so—and may I ask—”

“The figure,” resumed the Moor, taking no notice of the interruption, “is to be one of my women slaves.”

Here he turned his head slightly and gave a brief order to the negress in waiting, who retired by the door behind her.

The middy stood silent for a minute or so, lost in wonder and expectation, when another door opened and a female entered. She was gorgeously dressed, and closely veiled, so that her face was entirely concealed; nevertheless, George Foster’s heart seemed to bound into his throat and half choke him, for he knew the size, air, and general effect of that female as well as if she had been his own mother.

The Moor rose, led her to a cushion, and bade her sit down. She did so with the grace of Venus, and then the Moor removed her veil—looking fixedly at the painter as he did so.

But the middy had recovered self-possession by that time. He was surprised as well as deeply concerned to observe that Hester’s beautiful face was very pale, and her eyes were red and swollen, as if from much crying, but not a muscle in his stolid countenance betrayed the slightest emotion. He put his head a little to one side, in the orthodox manner, and looked steadily at her. Then he looked at his painting and frowned as if considering the best spot in which to place this “figure.” Then he began to work.

Meanwhile the Moor sat down to smoke in such a position that he could see both painter and sitter.

It was a severe test of our middy’s capacity to act the “hyperkrite!” His heart was thumping at his ribs like a sledge-hammer anxious to get out. His hand trembled so that he could scarcely draw a line, and he was driven nearly mad with the necessity of presenting a calm, thoughtful exterior when the effervescence within, as he afterwards admitted, almost blew his head off like a champagne cork.

By degrees he calmed down, ceased breaking the point of his pencil, and used his india-rubber less frequently. Then he took to colour and the brush, and here the tide began to turn in his favour. Such a subject surely never before sat to painter since the world began! He became engrossed in his work. The eyes became intent, the hand steady, the heart regular, the whole man intense, while a tremendous frown and compressed lips told that he “meant business!”

Not less intense was the attention of the Moor. Of course we cannot tell what his thoughts were, but it seemed not improbable that his eccentric recklessness in violating all his Mohammedan habits and traditions as to the seclusion of women, by thus exposing Hester to the gaze of a young infidel, had aroused feelings of jealousy and suspicion, which were not natural to his kindly and un-Moorish cast of soul.

But while young Foster was employed in the application of his powers to energetic labour, the old Moor was engaged in the devotion of his powers to the consumption of smoke. The natural results followed. While the painter became more and more absorbed, so as to forget all around save his sitter and his work, the Moor became more and more devoted to his hookah, till he forgot all around save the soporific influences of smoke. An almost oppressive silence ensued, broken only by the soft puffing of Ben-Ahmed’s lips, and an occasional change in the attitude of the painter. And oh! how earnestly did that painter wish that Ben-Ahmed would retire—even for a minute—to give him a chance of exchanging a word or two with his subject.

But the Moor was steady as a rock. Indeed he was too steady, for the curtains of his eyes suddenly fell, and shut in the owlish glare with which he had been regarding the middy. At the same moment a sharp click and clatter sent an electric thrill to the hearts of all. The Moor’s mouthpiece had fallen on the marble floor! Ben-Ahmed picked it up and replaced it with severe gravity, yet a faint flicker of red in his cheek, and a very slight air of confusion, showed that even a magnificent Moor objects to be caught napping by his slaves.

This incident turned Foster’s thoughts into a new channel. If the Moor should again succumb to the demands of nature—or the influence of tobacco—how could he best make use of the opportunity? It was a puzzling question. To speak—in a whisper or otherwise—was not to be thought of. Detection would follow almost certainly. The dumb alphabet would have been splendid, though dangerous, but neither he nor Hester understood it. Signs might do. He would try signs, though he had never tried them before. What then? Did not “Never venture, never win,” “Faint heart never won,” etcetera, and a host of similar proverbs assure him that a midshipman, of all men, should “never say die.”

A few minutes more gave him the chance. Again the mouthpiece fell, but this time it dropped on the folds of the Moor’s dress, and in another minute steady breathing told that Ben-Ahmed was in the land of Nod—if not of dreams.

A sort of lightning change took place in the expressions of the young people. Hester’s face beamed with intelligence. Foster’s blazed with mute interrogation. The little maid clasped her little hands, gazed upwards anxiously, looked at the painter entreatingly, and glanced at the Moor dubiously.

Foster tried hard to talk to her “only with his eyes.” He even added some amazing motions of the lips which were meant to convey— “What’s the matter with you?” but they conveyed nothing, for Hester only shook her head and looked miserable.

A mild choke at that moment caused the maid to fall into statuesque composure, and the painter to put his frowning head tremendously to one side as he stepped back in order to make quite sure that the last touch was really equal, if not superior, to Michael Angelo himself!

The Moor resumed his mouthpiece with a suspicious glance at both slaves, and Foster, with the air of a man who feels that Michael was fairly overthrown, stepped forward to continue his work. Truly, if Peter the Great had been there at the time he might have felt that he also was fairly eclipsed in his own particular line!

Foster now became desperate, and his active mind began to rush wildly about in quest of useful ideas, while his steady hand pursued its labour until the Moor smoked himself into another slumber.

Availing himself of the renewed opportunity, the middy wrapped a small piece of pencil in a little bit of paper, and, with the reckless daring of a man who had boarded a pirate single-handed, flung it at his lady-love.

His aim was true—as that of a midshipman should be. The little bomb struck Hester on the nose and fell into her lap. She unrolled it quickly, and an expression of blank disappointment was the result, for the paper was blank and she had expected a communication. She looked up inquiringly, and beaming intelligence displaced the blank when she saw that Foster made as though he were writing large text on his drawing. She at once flattened the bit of paper on her knee—eyeing the Moor anxiously the while—and scribbled a few words on the paper.