The Alexandria Quartet - Lawrence Durrell [464]
the ducks, horsemen, rabbits, and goats. The great sugar figur ines too of the Delta folklore — Yuna and Aziz the lovers interlocked, interpenetrated — and the bearded heroes like Abu Zeid, armed and mounted among his brigands. They were splendidly obscene
— surely the stupidest word in our language? — and brilliantly coloured before being dressed in their garments of paper, tinsel, and spangled gold, and set up on display among the Sugar Booths for the children to gape at and buy. In every little square now the coloured marquees had been run up, each with its familiar sign. The Gamblers were already busy — Abu Firan, the Father of
Rats, was shouting cheerfully for customers. The great board stood before him on trestles, each of the twelve houses marked with a number and a name. In the centre stood the live white rat which had been painted with green stripes. You placed your money on the number of a house, and won, if the rat entered it. In another box the same game was in play, but with a pigeon this time; when all the bets were laid a handful of grain was tossed into the centre and the pigeon, in eating it, entered one of the numbered stalls.
I bought myself a couple of sugar figurines and sat down outside a café to watch the passing show with its brilliant pristine colour. These little ‘arusas’ or brides I would have liked to keep, but I knew that they would crumble or be eaten by ants. They were the little cousins of the santons de Provence or the bonhommes de pain d’ épices of the French country fair: of our own now extinct gilt gingerbread men. I ordered a spoon of mastika to eat with the cool fizzing sherbet. From where I sat at an angle between two narrow streets I could see the harlots painting themselves at an upper window before coming down to set up their garish booths among the conjurers and tricksters; Showal the dwarf was teasing them from his booth at ground level and causing screams of laughter at his well-aimed arrows. He had a high tinny little voice and the most engaging of acrobatic tricks despite his stunted size. He talked continuously even when standing on his head, and punctuated the point of his patter with a double somersault. His face was grotesquely farded and his lips painted in a clown’s grin. At the other corner under a hide curtain sat Faraj the fortune-teller with his instruments of divination — ink, sand, and a curious hairy ball like a bull’s testicles only covered in dark hair. A radiantly beautiful prostitute squatted before him. He had filled her palm with ink and was urging her to scry.
Little scenes from the street life. A mad wild witch of a woman who suddenly burst into the street, foaming at the lips and uttering curses so terrible that silence fell and everyone’s blood froze. Her eyes blazed like a bear’s under the white matted hair. Being mad she was in some sort holy, and no-one dared to face the terrible imprecations she uttered which, if turned on him, might spell ill luck. Suddenly a grubby child darted from the crowd and tugged her sleeve. At once calmed she took his hand
and turned away into an alley. The festival closed over the memory of her like a skin.
I was sitting here, drunk on the spectacle, when the voice of Scobie himself suddenly sounded at my elbow.