We are to have manufactured a bracelet of gold of a pattern as old as the Pharaohs, and made with the same instruments that the cunning goldsmiths used three thousand years ago. While we are seated and bargaining for the work, the goldsmith unlocks his safe and shows us necklaces, bracelets, anklets, and earrings in the very forms, bizarre but graceful, of the jewelry of which the Israelites spoiled the Egyptian women. We see just such in the Museum at Boulak; though these are not so fine as the magnificent jewelry which Queen Aah-hotep, the mother of Amosis, attempted to carry with her into the under-world, and which the scientific violators of her tomb rescued at Thebes.
In the shop opposite to us are squeezed in three Egyptian women and a baby, who have come to spend the day in cheapening some bit of jewelry. There is apparently nothing that the Cairo women like so much as shopping—at least those who are permitted to go out at all—and they eke out its delights by consuming a day or two in buying one article. These women are taking the trade leisurely, examining slowly and carefully the whole stock of the goldsmith and deliberating on each bead and drop of a necklace, glancing slily at us and the passers-by out of their dark eyes meantime. They have brought cakes of bread for lunch, and the baby is publicly fed as often as he desires. These women have the power of sitting still in one spot for hours, squatting with perfect patience in a posture that would give a western woman the cramp for her lifetime. We are an hour in bargaining with the goldsmith, and are to return late in the afternoon and see the bracelet made before our eyes, for no one is expected to trust his fellow here.
Thus far the gold has only been melted into an ingot, and that with many precautions against fraud. I first count out the napoleons of which the bracelet is to be made. These are weighed. A fire is then kindled in the little forge, the crucible heated, and I drop the napoleons into it, one by one. We all carefully watch the melting to be sure that no gold is spilled in the charcoal and no base metal added. The melted mass is then run into an ingot, and the ingot is weighed against the same number of napoleons that compose it. And I carry away the ingot.
When we return the women are still squatting in the shop in the attitude of the morning. They show neither impatience nor weariness; nor does the shopkeeper. The baby is sprawled out in his brown loveliness, and the purchase of a barbarous necklace of beads is about concluded. Our goldsmith now removes his outer garment, revealing his fine gown of striped silk, pushes up his sleeves and prepares for work. His only-tools are a small anvil, a hammer and a pair of pincers. The ingot is heated and hammered, and heated and hammered, until it is drawn out into an even, thick wire. This is then folded in three to the required length, and twisted, till the gold looks like molasses candy; the ends are then hammered together, and the bracelet is bent to its form. Finally it is weighed again and cleaned. If the owner wishes he can have put on it the government stamp. Gold ornaments that are stamped, the goldsmith will take back at any time and give for them their weight in coin, less two per cent.
On our way home we encounter a wedding procession; this is the procession conducting the bride to the house of the bridegroom; that to the bath having taken place two days before. The night of the day before going to the bridegroom is called the “Night of henna.” The bride has an entertainment at her own house, receives presents of money, and has her hands and her feet dyed with henna. The going to the bridegroom is on the eve of either Monday or Friday. These processions we often meet in the streets of Cairo; they wander about circuitously through the town making all the noise and display possible. The procession is a rambling affair and generally attended by a rabble of boys and men.
This one is preceded by half a dozen shabbily dressed musicians beating different sorts of drums and blowing hautboys, each instrument on its own hook; the tune, if there was one, has become discouraged, and the melody has dropped out; thump, pound, squeak, the music is more disorganized than the procession, and draggles on in noisy dissonance like a drunken militia band at the end of a day’s “general training.”
Next come some veiled women in black; and following them are several small virgins in white. The bride walks next, with a woman each side of her to direct her steps. This is necessary, for she is covered from head to feet with a red cashmere shawl hanging from a sort of crown on the the top of her head. She is in appearance, simply a red cone. Over her and on three sides of her, but open in front, is a canopy of pink silk, borne on poles by four men. Behind straggle more musicians, piping and thumping in an independent nonchalance, followed by gleeful boys. One attendant sprinkles rose-water on the spectators, and two or three others seem to have a general direction of the course of the train, and ask backsheesh for it whenever a stranger is met.
The procession gets tired occasionally and sits down in the dust of the road to rest. Sometimes it is accompanied by dancers and other performers to amuse the crowd. I saw one yesterday which had halted by the roadside, all the women except the bride squatting down in patient resignation. In a hollow square of spectators, in front, a male dancer was exhibiting his steps. Holding a wand perpendicularly before him with both hands, he moved backwards and forwards, with a mincing gait, exhibiting neither grace nor agility, but looking around with the most conceited expression I ever saw on a human face. Occasionally he would look down at his legs with the most approving glance, as much as to say, “I trust, God being great, that you are taking particular notice of those legs; it seems to me that they couldn’t be improved.” The fellow enjoyed his dancing if no one else did, and it was impossible to get him to desist and let the procession move on. At last the cortege made a detour round the man who seemed to be so popular with himself, and left him to enjoy his own performance.
Sometimes the expense of this zeffeh, or bridal procession, is shared by two parties, and I have seen two brides walking under the same canopy, but going to different husbands. The public is not excluded from an interest in these weddings. The house of a bridegroom, near the Mooskee, was illuminated a night or two before the wedding, colored lanterns were hung across the street, and story-tellers were engaged to recite in front of the house. On the night of the marriage there was a crowd which greatly enjoyed the indelicate songs and stories of the hired performers. Late in the evening an old woman appeared at a window and proclaimed that the husband was contented with his wife.
An accompaniment of a bridal procession which we sometimes saw we could not understand. Before the procession proper, walked another, preceded by a man carrying on his head a high wooden cabinet, with four legs, the front covered with pieces of looking-glass and bits of brass; behind him were musicians and attendants, followed by a boy on horseback, dressed richly in clothes too large for him and like a girl’s. It turned out to be a parade before circumcision, the friends of the lad having taken advantage of the bridal ceremony of a neighbor to make a display. The wooden case was merely the sign of the barber who walked in the procession and was to perform the operation.
“I suppose you are married?” I ask Hadji when the procession has gone by.
“Yes, sir, long time.”
“And you have never had but one wife?”
“Have one. He quite nuff for me.”
“How old was she when you married her?”
“Oh, I marry he, when he much girl! I tink he eleven, maybe twelve, not more I tink.”
Girls in Egypt are marriageable at ten or eleven, and it is said that if not married before they are fourteen they have an excellent chance of being old maids. Precocious to mature, they are quick to fall away and lose their beauty; the laboring classes especially are ugly and flabby