diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 23417-0.txt | 913 | ||||
| -rw-r--r-- | 23417-0.zip | bin | 0 -> 17676 bytes | |||
| -rw-r--r-- | 23417-8.txt | 912 | ||||
| -rw-r--r-- | 23417-8.zip | bin | 0 -> 17581 bytes | |||
| -rw-r--r-- | 23417-h.zip | bin | 0 -> 19313 bytes | |||
| -rw-r--r-- | 23417-h/23417-h.htm | 1097 | ||||
| -rw-r--r-- | 23417.txt | 912 | ||||
| -rw-r--r-- | 23417.zip | bin | 0 -> 17560 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/23417-h.htm.2021-01-25 | 1096 |
12 files changed, 4946 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/23417-0.txt b/23417-0.txt new file mode 100644 index 0000000..05192ba --- /dev/null +++ b/23417-0.txt @@ -0,0 +1,913 @@ +The Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Desert Drum + 1905 + +Author: Robert Hichens + +Release Date: November 8, 2007 [EBook #23417] +Last Updated: December 17, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + + + + +Produced by David Widger + + + + + + +THE DESERT DRUM + +By Robert Hichens + +Frederick A. Stokes Company Publishers + +Copyright, 1905 + + + + +I + +I am not naturally superstitious. The Saharaman is. He has many strange +beliefs. When one is at close quarters with him, sees him day by day +in his home, the great desert, listens to his dramatic tales of desert +lights, visions, sounds, one’s common-sense is apt to be shaken on its +throne. Perhaps it is the influence of the solitude and the wide spaces, +of those far horizons of the Sahara where the blue deepens along +the edge of the world, that turns even a European mind to an Eastern +credulity. Who can tell? The truth is that in the Sahara one can believe +what one cannot believe in London. And sometimes circumstances--chance +if you like to call it so--steps in, and seems to say, “Your belief is +well founded.” + +Of all the desert superstitions the one which appealed most to my +imagination was the superstition of the desert drum. The Sahara-man +declares that far away from the abodes of men and desert cities, among +the everlasting sand dunes, the sharp beating, or dull, distant rolling +of a drum sometimes breaks upon the ears of travellers voyaging through +the desolation. They look around, they stare across the flats, they +see nothing. But the mysterious music continues. Then, if they be +Sahara-bred, they commend themselves to Allah, for they know that some +terrible disaster is at hand, that one of them at least is doomed to +die. + +Often had I heard stories of the catastrophes which were immediately +preceded by the beating of the desert drum. One night in the Sahara I +was a witness to one which I have never been able to forget. + +On an evening of spring, accompanied by a young Arab and a negro, I rode +slowly down a low hill of the Sahara, and saw in the sandy cup at my +feet the tiny collection of hovels called Sidi-Massarli. I had been in +the saddle since dawn, riding over desolate tracks in the heart of the +desert. I was hungry, tired, and felt almost like a man hypnotised. The +strong air, the clear sky, the everlasting flats devoid of vegetation, +empty of humanity, the monotonous motion of my slowly cantering +horse--all these things combined to dull my brain and to throw me into +a peculiar condition akin to the condition of a man in a trance. At +Sidi-Massarli I was to pass the night. I drew rein and looked down on it +with lack-lustre eyes. + +I saw a small group of palm-trees, guarded by a low wall of baked brown +earth, in which were embedded many white bones of dead camels. Bleached, +grinning heads of camels hung from more than one of the trees, with +strings of red pepper and round stones. Beyond the wall of this palm +garden, at whose foot was a furrow full of stagnant brownish-yellow +water, lay a handful of wretched earthen hovels, with flat roofs of +palmwood and low wooden doors. To be exact, I think there were five of +them. The Bordj, or Travellers’ House, at which I was to be accommodated +for the night, stood alone near a tiny source at the edge of a large +sand dune, and was a small, earth-coloured building with a pink tiled +roof, minute arched windows, and an open stable for the horses and +mules. All round the desert rose in humps of sand, melting into stony +ground where the saltpetre lay like snow on a wintry world. There were +but few signs of life in this place; some stockings drying on the wall +of a ruined Arab café, some kids frisking by a heap of sacks, a few +pigeons circling about a low square watch-tower, a black donkey brooding +on a dust heap. There were some signs of death; carcasses of camels +stretched here and there in frantic and fantastic postures, some +bleached and smooth, others red and horribly odorous. + +The wind blew round this hospitable township of the Sahara, and the +yellow light of evening began to glow above it. It seemed to me at that +moment the dreariest place in the dreariest dream man had ever had. + +Suddenly my horse neighed loudly. Beyond the village, on the opposite +hill, a white Arab charger caracoled, a red cloak gleamed. Another +traveller was coming in to his night’s rest, and he was a Spahi. I could +almost fancy I heard the jingle of his spurs and accoutrements, the +creaking of his tall red boots against his high peaked saddle. As he +rode down towards the Bordj--by this time, I, too, was on my way--I saw +that a long cord hung from his saddle-bow, and that at the end of this +cord was a man, trotting heavily in the heavy sand like a creature +dogged and weary. We came in to Sidi-Massarli simultaneously, and pulled +up at the same moment before the arched door of the Bordj, from which +glided a one-eyed swarthy Arab, staring fixedly at me. This was the +official keeper of the house. In one hand he held the huge door key, and +as I swung myself heavily on the ground I heard him, in Arabic, asking +my Arab attendant, D’oud, who I was and where I hailed from. + +But such attention as I had to bestow on anything just then was given +to the Spahi and his companion. The Spahi was a magnificent man, tall, +lithe, bronze-brown and muscular. He looked about thirty-four, and had +the face of a desert eagle. His piercing black eyes stared me calmly out +of countenance, and he sat on his spirited horse like a statue, waiting +patiently till the guardian of the Bordj was ready to attend to him. My +gaze travelled from him along the cord to the man at its end, and rested +there with pity. He, too, was a fine specimen of humanity, a giant, +nobly built, with a superbly handsome face, something like that of an +undefaced Sphinx. Broad brows sheltered his enormous eyes. His rather +thick lips were parted to allow his panting breath to escape, and his +dark, almost black skin, was covered with sweat. Drops of sweat coursed +down his bare arms and his mighty chest, from which his ragged burnous +was drawn partially away. He was evidently of mixed Arab and negro +parentage. As he stood by the Spain’s horse, gasping, his face expressed +nothing but physical exhaustion. His eyes were bent on the sand, and +his arms hung down loosely at his sides. While I looked at him the Spahi +suddenly gave a tug at the cord to which he was attached. He moved in +nearer to the horse, glanced up at me, held out his hand, and said in a +low, musical voice, speaking Arabic: + +“Give me a cigarette, Sidi.” + +I opened my case and gave him one, at the same time diplomatically +handing another to the Spahi. Thus we opened our night’s acquaintance, +an acquaintance which I shall not easily forget. + +In the desolation of the Sahara a travelling intimacy is quickly +formed. The one-eyed Arab led our horses to the stable, and while my two +attendants were inside unpacking the tinned food and the wine I carried +with me on a mule, I entered into conversation with the Spahi, who spoke +French fairly well. He told me that he was on the way to El Arba, a long +journey through the desert from Sidi-Massarli, and that his business was +to convey there the man at the end of the cord. + +“But what is he? A prisoner?” I asked. + +“A murderer, monsieur,” the Spahi replied calmly. + +I looked again at the man, who was wiping the sweat from his face with +one huge hand. He smiled and made a gesture of assent. + +“Does he understand French?” + +“A little.” + +“And he committed murder?” + +“At Tunis. He was a butcher there. He cut a man’s throat.” + +“Why?” + +“I don’t know, monsieur. Perhaps he was jealous. It is hot in Tunis +in the summer. That was five years ago, and ever since he has been in +prison.” + +“And why are you taking him to El Arba?” + +“He came from there. He is released, but he is not allowed to live +any more in Tunis. Ah, monsieur, he is mad at going, for he loves a +dancing-girl, Aïchouch, who dances with the Jewesses in the café by +the lake. He wanted even to stay in prison, if only he might remain in +Tunis. He never saw her, but he was in the same town, you understand. +That was something. All the first day he ran behind my horse cursing me +for taking him away. But now the sand has got into his throat. He is so +tired that he can scarcely run. So he does not curse any more.” + +The captive giant smiled at me again. Despite his great stature, his +powerful and impressive features, he looked, I thought, very gentle and +submissive. The story of his passion for Aïchouch, his desire to be near +her, even in a prison cell, had appealed to me. I pitied him sincerely. + +“What is his name?” I asked. + +“M’hammed Bouaziz. Mine is Said.” + +I was weary with riding and wanted to stretch my legs, and see what +was to be seen of Sidi-Massarli ere evening quite closed in, so at this +point I lit a cigar and prepared to stroll off. + +“Monsieur is going for a walk?” asked the Spahi, fixing his eyes on my +cigar. + +“Yes.” + +“I will accompany monsieur.” + +“Or monsieur’s cigar-case,” I thought. + +“But that poor fellow,” I said, pointing to the murderer. “He is tired +out.” + +“That doesn’t matter. He will come with us.” + +The Spahi jerked the cord and we set out, the murderer creeping over the +sand behind us like some exhausted animal. + +By this time twilight was falling over the Sahara, a grim twilight, cold +and grey. The wind was rising. In the night it blew half a gale, but +at this hour there was only a strong breeze in which minute sand-grains +danced. The murderer’s feet were shod with patched slippers, and the +sound of these slippers shuffling close behind me made me feel faintly +uneasy. The Spahi stared at my cigar so persistently that I was obliged +to offer him one. When I had done so, and he had loftily accepted it, I +half turned towards the murderer. The Spahi scowled ferociously. I put +my cigar-case back into my pocket. It is unwise to offend the powerful +if your sympathy lies with the powerless. + +Sidi-Massarli was soon explored. It contained a Café Maure, into which +I peered. In the coffee niche the embers glowed. One or two ragged Arabs +sat hunched upon the earthen divans playing a game of cards. At least I +should have my coffee after my tinned dinner. I was turning to go back +to the Bordj when the extreme desolation of the desert around, now +fading in the shadows of a moonless night, stirred me to a desire. +Sidi-Massarli was dreary enough. Still it contained habitations, men. I +wished to feel the blank, wild emptiness of this world, so far from the +world of civilisation from which I had come, to feel it with intensity. +I resolved to mount the low hill down which I had seen the Spahi ride, +to descend into the fold of desert beyond it, to pause there a moment, +out of sight of the hamlet, listen to the breeze, look at the darkening +sky, feel the sand-grains stinging my cheeks, shake hands with the +Sahara. + +But I wanted to shake hands quite alone. I therefore suggested to the +Spahi that he should remain in the Café Maure and drink a cup of coffee +at my expense. + +“And where is monsieur going?” + +“Only over that hill for a moment.” + +“I will accompany monsieur.” + +“But you must be tired. A cup of----” + +“I will accompany monsieur.” + +In Arab fashion he was establishing a claim upon me. On the morrow, when +I was about to depart, he would point out that he had guided me round +Sidi-Massarli, had guarded me in my dangerous expedition beyond its +fascinations, despite his weariness and hunger. I knew how useless it is +to contend with these polite and persistent rascals, so I said no more. + +In a few minutes the Spahi, the murderer and I stood in the fold of the +sand dunes, and Sidi-Massarli was blotted from our sight. + + + + +II + +The desolation here was complete. All around us lay the dunes, monstrous +as still leviathans. Here and there, between their strange, suggestive +shapes, under the dark sky one could see the ghastly whiteness of the +saltpetre in the arid plains beyond, where the low bushes bent in +the chilly breeze. I thought of London--only a few days’ journey +from me--revelled for a moment in my situation, which, contrary to my +expectation, was rather emphasised by the presence of my companions. The +gorgeous Spahi, with his scarlet cloak and hood, his musket and sword, +his high red leggings, the ragged, sweating captive in his patched +burnous, ex-butcher looking, despite his cord emblem of bondage, like +reigning Emperor--they were appropriate figures in this desert place. I +had just thought this, and was regarding my Sackville Street suit with +disgust, when a low, distinct and near sound suddenly rose from behind a +sand dune on my left. It was exactly like the dull beating of a tom-tom. +The silence preceding it had been intense, for the breeze was as yet too +light to make more than the faintest sighing music, and in the gathering +darkness this abrupt and gloomy noise produced, I supposed, by some +hidden nomad, made a very unpleasant, even sinister impression upon me. +Instinctively I put my hand on the revolver which was slung at my side +in a pouch of gazelle skin. As I did so, I saw the Spahi turn sharply +and gaze in the direction of the sound, lifting one hand to his ear. + +The low thunder of the instrument, beaten rhythmically and persistently, +grew louder and was evidently drawing nearer. The musician must be +climbing up the far side of the dune. I had swung round to face him, and +expected every moment to see some wild figure appear upon the summit, +defining itself against the cold and gloomy sky. But none came. +Nevertheless, the noise increased till it was a roar, drew near till it +was actually upon us. It seemed to me that I heard the sticks striking +the hard, stretched skin furiously, as if some phantom drummer were +stealthily encircling us, catching us in a net, a trap of horrible, +vicious uproar. Instinctively I threw a questioning, perhaps an +appealing, glance at my two companions. The Spahi had dropped his hand +from his ear. He stood upright, as if at attention on the parade-ground +of Biskra. His face was set--afterwards I told myself it was fatalistic. +The murderer, on the other hand, was smiling. I remember the gleam +of his big white teeth. Why was he smiling? While I asked myself the +question the roar of the tom-tom grew gradually less, as if the man +beating it were walking rapidly away from us in the direction of +Sidi-Massarli. None of us said a word till only a faint, heavy +throbbing, like the beating of a heart, I fancied, was audible in the +darkness. Then I spoke, as silence fell. + +“Who is it?” + +“Monsieur, it is no one.” + +The Spain’s voice was dry and soft. + +“What is it?” + +“Monsieur, it is the desert drum. There will be death in Sidi-Massarli +to-night.” + +I felt myself turn cold. He spoke with such conviction. The murderer was +still smiling, and I noticed that the tired look had left him. He stood +in an alert attitude, and the sweat had dried on his broad forehead. + +“The desert drum?” I repeated. + +“Monsieur has not heard of it?” + +“Yes, I have heard--but--it can’t be. There must have been someone.” + +I looked at the white teeth of the murderer, white as the saltpetre +which makes winter in the desert. + +“I must get back to the Bordj,” I said abruptly. + +“I will accompany monsieur.” + +The old formula, and this time the voice which spoke it sounded natural. +We went forward together. I walked very fast. I wanted to catch up that +music, to prove to myself that it was produced by human fists and sticks +upon an instrument which, however barbarous, had been fashioned by human +hands. But we entered Sidi-Massarli in a silence, only broken by the +soughing of the wind and the heavy shuffle of the murderer’s feet upon +the sand. + +Outside the Café Maure D’oud was standing with the white hood of his +burnous drawn forward over his head; one or two ragged Arabs stood with +him. + +“They’ve been playing tom-toms in the village, D’oud?” + +“Monsieur asks if----” + +“Tom-toms. Can’t you understand?” + +“Ah! Monsieur is laughing. Tom-toms here! And dancers, too, perhaps! +Monsieur thinks there are dancers? Fatma and Khadija and Aïchouch------” + +I glanced quickly at the murderer as D’oud mentioned the last name, a +name common to many dancers of the East. I think I expected to see upon +his face some tremendous expression, a revelation of the soul of the man +who had run for one whole day through the sand behind the Spahi’s horse, +cursing at the end of the cord which dragged him onward from Tunis. + +But I only met the gentle smile of eyes so tender, so submissive, that +they were as the eyes of a woman who had always been a slave, while the +ragged Arabs laughed at the idea of tom-toms in Sidi-Massarli. + +***** + +When we reached the Bordj I found that it contained only one good-sized +room, quite bare, with stone floor and white walls. Here, upon a deal +table, was set forth my repast; the foods I had brought with me, and a +red Arab soup served in a gigantic bowl of palmwood. A candle guttered +in the glass neck of a bottle, and upon the floor were already spread my +gaudy striped quilt, my pillow, and my blanket. The Spahi surveyed +these preparations with a deliberate greediness, lingering in the narrow +doorway. + +I sat down on a bench before the table. My attendants were to eat at the +Café Maure. + +“Where are you going to sleep?” I asked of D’oud. + +“At the Café Maure, monsieur, if monsieur is not afraid to sleep alone. +Here is the key. Monsieur can lock himself in. The door is strong.” + +I was helping myself to the soup. The rising wind blew up the skirts of +the Spahi’s scarlet robe. In the wind--was it imagination?--I seemed to +hear some thin, passing echoes of a tom-tom’s beat. + +“Come in,” I said to the Spahi. “You shall sup with me to-night, +and--and you shall sleep here with me.” + +D’oud’s expressive face became sinister. Arabs are almost as jealous as +they are vain. + +“But, monsieur, he will sleep in the Café Maure. If monsieur wishes for +a companion, I----” + +“Come in,” I repeated to the Spahi. “You can sleep here to-night.” + +The Spahi stepped over the lintel with a jingling of spurs, a rattling +of accoutrements. The murderer stepped in softly after him, drawn by the +cord. D’oud began to look as grim as death. He made a ferocious gesture +towards the murderer. + +“And that man? Monsieur wishes to sleep in the same room with him?” + +I heard the sound of the tom-tom above the wail of the wind. + +“Yes,” I said. + +Why did I wish it? I hardly know. I had no fear for, no desire to +protect myself. But I remembered the smile I had seen, the Spahi’s +saying, “There will be death in Sidi-Massarli to-night,” and I was +resolved that the three men who had heard the desert drum together +should not be parted till the morning. D’oud said no more. He waited +upon me with his usual diligence, but I could see that he was furiously +angry. The Spahi ate ravenously. So did the murderer, who more than +once, however, seemed to be dropping to sleep over his food. He was +apparently dead tired. As the wind was now become very violent I did not +feel disposed to stir out again, and I ordered D’oud to bring us three +cups of coffee to the Bordj. He cast a vicious look at the Spahi and +went out into the darkness. I saw him no more that night. A boy from the +Café Maure brought us coffee, cleared the remains of our supper from the +table, and presently muttered some Arab salutation, departed, and was +lost in the wind. + +The murderer was now frankly asleep with his head upon the table, and +the Spahi began to blink. I, too, felt very tired, but I had something +still to say. Speaking softly, I said to the Spahi: + +“That sound we heard to-night----” + +“Monsieur?” + +“Have you ever heard it before?” + +“Never, monsieur. But my brother heard it just before he had a stroke of +the sun. He fell dead before his captain beside the wall of Sada. He was +a tirailleur.” + +“And you think this sound means that death is near? + +“I know it, monsieur. All desert people know it. I was born at +Touggourt, and how should I not know?” + +“But then one of us----” + +I looked from him to the sleeping murderer. + +“There will be death in Sidi-Massarli tonight, monsieur. It is the will +of Allah. Blessed be Allah.” + +I got up, locked the heavy door of the Bordj, and put the key in the +inner pocket of my coat. As I did so, I fancied I saw the heavy black +lids of the murderer’s closed eyes flutter for a moment. But I cannot +be sure. My head was aching with fatigue. The Spahi, too, looked stupid +with sleep. He jerked the cord, the murderer awoke with a start, glanced +heavily round, stood up. Pulling him as one would an obstinate dog, the +Spahi made him lie down on the bare floor in the corner of the Bordj, +ere he himself curled up in the thick quilt which had been rolled +up behind his high saddle. I made no protest, but when the Spahi was +asleep, his lean brown hand laid upon his sword, his musket under his +shaven head, I pushed one of my blankets over to the murderer, who lay +looking like a heap of rags against the white wall. He smiled at me +gently, as he had smiled when the desert drum was beating, and drew the +blanket over his mighty limbs and face. + +I did not mean to sleep that night. Tired though I was my brain was so +excited that I felt I should not. I blew out the candle without even the +thought that it would be necessary to struggle against sleep. And in the +darkness I heard for an instant the roar of the wind outside, the heavy +breathing of my two strange companions within. For an instant--then it +seemed as if a shutter was drawn suddenly over the light in my brain. +Blackness filled the room where the thoughts develop, crowd, stir in +endless activities. Slumber fell upon me like a great stone that strikes +a man down to dumbness, to unconsciousness. + +Far in the night I had a dream. I cannot recall it accurately now. I +could not recall it even the next morning when I awoke. But in this +dream, it seemed to me that fingers felt softly about my heart. I was +conscious of their fluttering touch. It was as if I were dead, and as if +the doctor laid for a moment his hand upon my heart to convince himself +that the pulse of life no longer beat. And this action wove itself +naturally into the dream I had. The fingers so soft, so surreptitious, +were lifted from my breast, and I sank deeper into the gulf of sleep, +below the place of dreams. For I was a tired man that night. At the +first breath of dawn I stirred and woke. It was cold. I put out one hand +and drew up my quilt. Then I lay still. The wind had sunk. I no longer +heard it roaring over the desert. For a moment I hardly remembered where +I was, then memory came back and I listened for the deep breathing of +the Spahi and the murderer. Even when the wind blew I had heard it. +I did not hear it now. I lay there under my quilt for some minutes +listening. The silence was intense. Had they gone already, started on +their way to El Arba? The Bordj was in darkness, for the windows were +very small, and dawn had scarcely begun to break outside and had not yet +filtered in through the wooden shutters which barred them. I disliked +this complete silence, and felt about for the matches I had laid beside +the candle before turning in. I could not find them. Someone had +moved them, then. The heaviness of sleep had quite left me now, and I +remembered clearly all the incidents of the previous evening. The roll +of the desert drum sounded again in my ears. I threw off my quilt, got +up, and moved softly over the stone floor towards the corner where the +murderer had lain down to sleep. I bent down to touch him and touched +the stone. They had gone, then! It was strange that I had not been waked +by their departure. Besides, I had the key of the door. I thrust my hand +into the breast-pocket of my coat which I had worn while I slept. The +key was no longer there. Then I remembered my dream and the fingers +fluttering round my heart. Stumbling in the blackness I came to the +place where the Spahi had lain, stretched out my hands and felt naked +flesh. My hands recoiled from it, for it was very cold. + +Half-an-hour later the one-eyed Arab who kept the Bordj, roused by my +beating upon the door with the butt end of my revolver, came with D’oud +to ask what was the matter. The door had to be broken in. This took some +time. Long before I could escape, the light of the sun, entering through +the little arched windows, had illumined the nude corpse of the Spahi, +the gaping red wound in his throat, the heap of murderer’s rags that lay +across his feet. + +M’hammed Bouaziz, in the red cloak, the red boots, sword at his side, +musket slung over his shoulder, was galloping over the desert on his way +to freedom. + +But six months later he was taken at night outside a café by the lake at +Tunis. He was gazing through the doorway at a girl who was posturing to +the sound of pipes between two rows of Arabs. The light from the café +fell upon his face, the dancer uttered a cry. + +“M’hammed Bouaziz!” + +“Aïchouch!” + +The law avenged the Spahi, and this time it was not to prison they +led my friend of Sidi-Massarli, but to an open space before a squad of +soldiers just when the dawn was breaking. + + + + + + +End of the Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + +***** This file should be named 23417-0.txt or 23417-0.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/4/1/23417/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase “Project +Gutenberg”), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. “Project Gutenberg” is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” + or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase “Project Gutenberg” appears, or with which the phrase “Project +Gutenberg” is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase “Project Gutenberg” associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +“Plain Vanilla ASCII” or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original “Plain Vanilla ASCII” or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, “Information about donations to + the Project Gutenberg Literary Archive Foundation.” + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +“Defects,” such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right +of Replacement or Refund” described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you ‘AS-IS’ WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm’s +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation’s EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/23417-0.zip b/23417-0.zip Binary files differnew file mode 100644 index 0000000..db25e6f --- /dev/null +++ b/23417-0.zip diff --git a/23417-8.txt b/23417-8.txt new file mode 100644 index 0000000..c63cefc --- /dev/null +++ b/23417-8.txt @@ -0,0 +1,912 @@ +The Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Desert Drum + 1905 + +Author: Robert Hichens + +Release Date: November 8, 2007 [EBook #23417] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + + + + +Produced by David Widger + + + + + + +THE DESERT DRUM + +By Robert Hichens + +Frederick A. Stokes Company Publishers + +Copyright, 1905 + + + + +I + +I am not naturally superstitious. The Saharaman is. He has many strange +beliefs. When one is at close quarters with him, sees him day by day +in his home, the great desert, listens to his dramatic tales of desert +lights, visions, sounds, one's common-sense is apt to be shaken on its +throne. Perhaps it is the influence of the solitude and the wide spaces, +of those far horizons of the Sahara where the blue deepens along +the edge of the world, that turns even a European mind to an Eastern +credulity. Who can tell? The truth is that in the Sahara one can believe +what one cannot believe in London. And sometimes circumstances--chance +if you like to call it so--steps in, and seems to say, "Your belief is +well founded." + +Of all the desert superstitions the one which appealed most to my +imagination was the superstition of the desert drum. The Sahara-man +declares that far away from the abodes of men and desert cities, among +the everlasting sand dunes, the sharp beating, or dull, distant rolling +of a drum sometimes breaks upon the ears of travellers voyaging through +the desolation. They look around, they stare across the flats, they +see nothing. But the mysterious music continues. Then, if they be +Sahara-bred, they commend themselves to Allah, for they know that some +terrible disaster is at hand, that one of them at least is doomed to +die. + +Often had I heard stories of the catastrophes which were immediately +preceded by the beating of the desert drum. One night in the Sahara I +was a witness to one which I have never been able to forget. + +On an evening of spring, accompanied by a young Arab and a negro, I rode +slowly down a low hill of the Sahara, and saw in the sandy cup at my +feet the tiny collection of hovels called Sidi-Massarli. I had been in +the saddle since dawn, riding over desolate tracks in the heart of the +desert. I was hungry, tired, and felt almost like a man hypnotised. The +strong air, the clear sky, the everlasting flats devoid of vegetation, +empty of humanity, the monotonous motion of my slowly cantering +horse--all these things combined to dull my brain and to throw me into +a peculiar condition akin to the condition of a man in a trance. At +Sidi-Massarli I was to pass the night. I drew rein and looked down on it +with lack-lustre eyes. + +I saw a small group of palm-trees, guarded by a low wall of baked brown +earth, in which were embedded many white bones of dead camels. Bleached, +grinning heads of camels hung from more than one of the trees, with +strings of red pepper and round stones. Beyond the wall of this palm +garden, at whose foot was a furrow full of stagnant brownish-yellow +water, lay a handful of wretched earthen hovels, with flat roofs of +palmwood and low wooden doors. To be exact, I think there were five of +them. The Bordj, or Travellers' House, at which I was to be accommodated +for the night, stood alone near a tiny source at the edge of a large +sand dune, and was a small, earth-coloured building with a pink tiled +roof, minute arched windows, and an open stable for the horses and +mules. All round the desert rose in humps of sand, melting into stony +ground where the saltpetre lay like snow on a wintry world. There were +but few signs of life in this place; some stockings drying on the wall +of a ruined Arab caf, some kids frisking by a heap of sacks, a few +pigeons circling about a low square watch-tower, a black donkey brooding +on a dust heap. There were some signs of death; carcasses of camels +stretched here and there in frantic and fantastic postures, some +bleached and smooth, others red and horribly odorous. + +The wind blew round this hospitable township of the Sahara, and the +yellow light of evening began to glow above it. It seemed to me at that +moment the dreariest place in the dreariest dream man had ever had. + +Suddenly my horse neighed loudly. Beyond the village, on the opposite +hill, a white Arab charger caracoled, a red cloak gleamed. Another +traveller was coming in to his night's rest, and he was a Spahi. I could +almost fancy I heard the jingle of his spurs and accoutrements, the +creaking of his tall red boots against his high peaked saddle. As he +rode down towards the Bordj--by this time, I, too, was on my way--I saw +that a long cord hung from his saddle-bow, and that at the end of this +cord was a man, trotting heavily in the heavy sand like a creature +dogged and weary. We came in to Sidi-Massarli simultaneously, and pulled +up at the same moment before the arched door of the Bordj, from which +glided a one-eyed swarthy Arab, staring fixedly at me. This was the +official keeper of the house. In one hand he held the huge door key, and +as I swung myself heavily on the ground I heard him, in Arabic, asking +my Arab attendant, D'oud, who I was and where I hailed from. + +But such attention as I had to bestow on anything just then was given +to the Spahi and his companion. The Spahi was a magnificent man, tall, +lithe, bronze-brown and muscular. He looked about thirty-four, and had +the face of a desert eagle. His piercing black eyes stared me calmly out +of countenance, and he sat on his spirited horse like a statue, waiting +patiently till the guardian of the Bordj was ready to attend to him. My +gaze travelled from him along the cord to the man at its end, and rested +there with pity. He, too, was a fine specimen of humanity, a giant, +nobly built, with a superbly handsome face, something like that of an +undefaced Sphinx. Broad brows sheltered his enormous eyes. His rather +thick lips were parted to allow his panting breath to escape, and his +dark, almost black skin, was covered with sweat. Drops of sweat coursed +down his bare arms and his mighty chest, from which his ragged burnous +was drawn partially away. He was evidently of mixed Arab and negro +parentage. As he stood by the Spain's horse, gasping, his face expressed +nothing but physical exhaustion. His eyes were bent on the sand, and +his arms hung down loosely at his sides. While I looked at him the Spahi +suddenly gave a tug at the cord to which he was attached. He moved in +nearer to the horse, glanced up at me, held out his hand, and said in a +low, musical voice, speaking Arabic: + +"Give me a cigarette, Sidi." + +I opened my case and gave him one, at the same time diplomatically +handing another to the Spahi. Thus we opened our night's acquaintance, +an acquaintance which I shall not easily forget. + +In the desolation of the Sahara a travelling intimacy is quickly +formed. The one-eyed Arab led our horses to the stable, and while my two +attendants were inside unpacking the tinned food and the wine I carried +with me on a mule, I entered into conversation with the Spahi, who spoke +French fairly well. He told me that he was on the way to El Arba, a long +journey through the desert from Sidi-Massarli, and that his business was +to convey there the man at the end of the cord. + +"But what is he? A prisoner?" I asked. + +"A murderer, monsieur," the Spahi replied calmly. + +I looked again at the man, who was wiping the sweat from his face with +one huge hand. He smiled and made a gesture of assent. + +"Does he understand French?" + +"A little." + +"And he committed murder?" + +"At Tunis. He was a butcher there. He cut a man's throat." + +"Why?" + +"I don't know, monsieur. Perhaps he was jealous. It is hot in Tunis +in the summer. That was five years ago, and ever since he has been in +prison." + +"And why are you taking him to El Arba?" + +"He came from there. He is released, but he is not allowed to live +any more in Tunis. Ah, monsieur, he is mad at going, for he loves a +dancing-girl, Achouch, who dances with the Jewesses in the caf by +the lake. He wanted even to stay in prison, if only he might remain in +Tunis. He never saw her, but he was in the same town, you understand. +That was something. All the first day he ran behind my horse cursing me +for taking him away. But now the sand has got into his throat. He is so +tired that he can scarcely run. So he does not curse any more." + +The captive giant smiled at me again. Despite his great stature, his +powerful and impressive features, he looked, I thought, very gentle and +submissive. The story of his passion for Achouch, his desire to be near +her, even in a prison cell, had appealed to me. I pitied him sincerely. + +"What is his name?" I asked. + +"M'hammed Bouaziz. Mine is Said." + +I was weary with riding and wanted to stretch my legs, and see what +was to be seen of Sidi-Massarli ere evening quite closed in, so at this +point I lit a cigar and prepared to stroll off. + +"Monsieur is going for a walk?" asked the Spahi, fixing his eyes on my +cigar. + +"Yes." + +"I will accompany monsieur." + +"Or monsieur's cigar-case," I thought. + +"But that poor fellow," I said, pointing to the murderer. "He is tired +out." + +"That doesn't matter. He will come with us." + +The Spahi jerked the cord and we set out, the murderer creeping over the +sand behind us like some exhausted animal. + +By this time twilight was falling over the Sahara, a grim twilight, cold +and grey. The wind was rising. In the night it blew half a gale, but +at this hour there was only a strong breeze in which minute sand-grains +danced. The murderer's feet were shod with patched slippers, and the +sound of these slippers shuffling close behind me made me feel faintly +uneasy. The Spahi stared at my cigar so persistently that I was obliged +to offer him one. When I had done so, and he had loftily accepted it, I +half turned towards the murderer. The Spahi scowled ferociously. I put +my cigar-case back into my pocket. It is unwise to offend the powerful +if your sympathy lies with the powerless. + +Sidi-Massarli was soon explored. It contained a Caf Maure, into which +I peered. In the coffee niche the embers glowed. One or two ragged Arabs +sat hunched upon the earthen divans playing a game of cards. At least I +should have my coffee after my tinned dinner. I was turning to go back +to the Bordj when the extreme desolation of the desert around, now +fading in the shadows of a moonless night, stirred me to a desire. +Sidi-Massarli was dreary enough. Still it contained habitations, men. I +wished to feel the blank, wild emptiness of this world, so far from the +world of civilisation from which I had come, to feel it with intensity. +I resolved to mount the low hill down which I had seen the Spahi ride, +to descend into the fold of desert beyond it, to pause there a moment, +out of sight of the hamlet, listen to the breeze, look at the darkening +sky, feel the sand-grains stinging my cheeks, shake hands with the +Sahara. + +But I wanted to shake hands quite alone. I therefore suggested to the +Spahi that he should remain in the Caf Maure and drink a cup of coffee +at my expense. + +"And where is monsieur going?" + +"Only over that hill for a moment." + +"I will accompany monsieur." + +"But you must be tired. A cup of----" + +"I will accompany monsieur." + +In Arab fashion he was establishing a claim upon me. On the morrow, when +I was about to depart, he would point out that he had guided me round +Sidi-Massarli, had guarded me in my dangerous expedition beyond its +fascinations, despite his weariness and hunger. I knew how useless it is +to contend with these polite and persistent rascals, so I said no more. + +In a few minutes the Spahi, the murderer and I stood in the fold of the +sand dunes, and Sidi-Massarli was blotted from our sight. + + + + +II + +The desolation here was complete. All around us lay the dunes, monstrous +as still leviathans. Here and there, between their strange, suggestive +shapes, under the dark sky one could see the ghastly whiteness of the +saltpetre in the arid plains beyond, where the low bushes bent in +the chilly breeze. I thought of London--only a few days' journey +from me--revelled for a moment in my situation, which, contrary to my +expectation, was rather emphasised by the presence of my companions. The +gorgeous Spahi, with his scarlet cloak and hood, his musket and sword, +his high red leggings, the ragged, sweating captive in his patched +burnous, ex-butcher looking, despite his cord emblem of bondage, like +reigning Emperor--they were appropriate figures in this desert place. I +had just thought this, and was regarding my Sackville Street suit with +disgust, when a low, distinct and near sound suddenly rose from behind a +sand dune on my left. It was exactly like the dull beating of a tom-tom. +The silence preceding it had been intense, for the breeze was as yet too +light to make more than the faintest sighing music, and in the gathering +darkness this abrupt and gloomy noise produced, I supposed, by some +hidden nomad, made a very unpleasant, even sinister impression upon me. +Instinctively I put my hand on the revolver which was slung at my side +in a pouch of gazelle skin. As I did so, I saw the Spahi turn sharply +and gaze in the direction of the sound, lifting one hand to his ear. + +The low thunder of the instrument, beaten rhythmically and persistently, +grew louder and was evidently drawing nearer. The musician must be +climbing up the far side of the dune. I had swung round to face him, and +expected every moment to see some wild figure appear upon the summit, +defining itself against the cold and gloomy sky. But none came. +Nevertheless, the noise increased till it was a roar, drew near till it +was actually upon us. It seemed to me that I heard the sticks striking +the hard, stretched skin furiously, as if some phantom drummer were +stealthily encircling us, catching us in a net, a trap of horrible, +vicious uproar. Instinctively I threw a questioning, perhaps an +appealing, glance at my two companions. The Spahi had dropped his hand +from his ear. He stood upright, as if at attention on the parade-ground +of Biskra. His face was set--afterwards I told myself it was fatalistic. +The murderer, on the other hand, was smiling. I remember the gleam +of his big white teeth. Why was he smiling? While I asked myself the +question the roar of the tom-tom grew gradually less, as if the man +beating it were walking rapidly away from us in the direction of +Sidi-Massarli. None of us said a word till only a faint, heavy +throbbing, like the beating of a heart, I fancied, was audible in the +darkness. Then I spoke, as silence fell. + +"Who is it?" + +"Monsieur, it is no one." + +The Spain's voice was dry and soft. + +"What is it?" + +"Monsieur, it is the desert drum. There will be death in Sidi-Massarli +to-night." + +I felt myself turn cold. He spoke with such conviction. The murderer was +still smiling, and I noticed that the tired look had left him. He stood +in an alert attitude, and the sweat had dried on his broad forehead. + +"The desert drum?" I repeated. + +"Monsieur has not heard of it?" + +"Yes, I have heard--but--it can't be. There must have been someone." + +I looked at the white teeth of the murderer, white as the saltpetre +which makes winter in the desert. + +"I must get back to the Bordj," I said abruptly. + +"I will accompany monsieur." + +The old formula, and this time the voice which spoke it sounded natural. +We went forward together. I walked very fast. I wanted to catch up that +music, to prove to myself that it was produced by human fists and sticks +upon an instrument which, however barbarous, had been fashioned by human +hands. But we entered Sidi-Massarli in a silence, only broken by the +soughing of the wind and the heavy shuffle of the murderer's feet upon +the sand. + +Outside the Caf Maure D'oud was standing with the white hood of his +burnous drawn forward over his head; one or two ragged Arabs stood with +him. + +"They've been playing tom-toms in the village, D'oud?" + +"Monsieur asks if----" + +"Tom-toms. Can't you understand?" + +"Ah! Monsieur is laughing. Tom-toms here! And dancers, too, perhaps! +Monsieur thinks there are dancers? Fatma and Khadija and Achouch------" + +I glanced quickly at the murderer as D'oud mentioned the last name, a +name common to many dancers of the East. I think I expected to see upon +his face some tremendous expression, a revelation of the soul of the man +who had run for one whole day through the sand behind the Spahi's horse, +cursing at the end of the cord which dragged him onward from Tunis. + +But I only met the gentle smile of eyes so tender, so submissive, that +they were as the eyes of a woman who had always been a slave, while the +ragged Arabs laughed at the idea of tom-toms in Sidi-Massarli. + +***** + +When we reached the Bordj I found that it contained only one good-sized +room, quite bare, with stone floor and white walls. Here, upon a deal +table, was set forth my repast; the foods I had brought with me, and a +red Arab soup served in a gigantic bowl of palmwood. A candle guttered +in the glass neck of a bottle, and upon the floor were already spread my +gaudy striped quilt, my pillow, and my blanket. The Spahi surveyed +these preparations with a deliberate greediness, lingering in the narrow +doorway. + +I sat down on a bench before the table. My attendants were to eat at the +Caf Maure. + +"Where are you going to sleep?" I asked of D'oud. + +"At the Caf Maure, monsieur, if monsieur is not afraid to sleep alone. +Here is the key. Monsieur can lock himself in. The door is strong." + +I was helping myself to the soup. The rising wind blew up the skirts of +the Spahi's scarlet robe. In the wind--was it imagination?--I seemed to +hear some thin, passing echoes of a tom-tom's beat. + +"Come in," I said to the Spahi. "You shall sup with me to-night, +and--and you shall sleep here with me." + +D'oud's expressive face became sinister. Arabs are almost as jealous as +they are vain. + +"But, monsieur, he will sleep in the Caf Maure. If monsieur wishes for +a companion, I----" + +"Come in," I repeated to the Spahi. "You can sleep here to-night." + +The Spahi stepped over the lintel with a jingling of spurs, a rattling +of accoutrements. The murderer stepped in softly after him, drawn by the +cord. D'oud began to look as grim as death. He made a ferocious gesture +towards the murderer. + +"And that man? Monsieur wishes to sleep in the same room with him?" + +I heard the sound of the tom-tom above the wail of the wind. + +"Yes," I said. + +Why did I wish it? I hardly know. I had no fear for, no desire to +protect myself. But I remembered the smile I had seen, the Spahi's +saying, "There will be death in Sidi-Massarli to-night," and I was +resolved that the three men who had heard the desert drum together +should not be parted till the morning. D'oud said no more. He waited +upon me with his usual diligence, but I could see that he was furiously +angry. The Spahi ate ravenously. So did the murderer, who more than +once, however, seemed to be dropping to sleep over his food. He was +apparently dead tired. As the wind was now become very violent I did not +feel disposed to stir out again, and I ordered D'oud to bring us three +cups of coffee to the Bordj. He cast a vicious look at the Spahi and +went out into the darkness. I saw him no more that night. A boy from the +Caf Maure brought us coffee, cleared the remains of our supper from the +table, and presently muttered some Arab salutation, departed, and was +lost in the wind. + +The murderer was now frankly asleep with his head upon the table, and +the Spahi began to blink. I, too, felt very tired, but I had something +still to say. Speaking softly, I said to the Spahi: + +"That sound we heard to-night----" + +"Monsieur?" + +"Have you ever heard it before?" + +"Never, monsieur. But my brother heard it just before he had a stroke of +the sun. He fell dead before his captain beside the wall of Sada. He was +a tirailleur." + +"And you think this sound means that death is near? + +"I know it, monsieur. All desert people know it. I was born at +Touggourt, and how should I not know?" + +"But then one of us----" + +I looked from him to the sleeping murderer. + +"There will be death in Sidi-Massarli tonight, monsieur. It is the will +of Allah. Blessed be Allah." + +I got up, locked the heavy door of the Bordj, and put the key in the +inner pocket of my coat. As I did so, I fancied I saw the heavy black +lids of the murderer's closed eyes flutter for a moment. But I cannot +be sure. My head was aching with fatigue. The Spahi, too, looked stupid +with sleep. He jerked the cord, the murderer awoke with a start, glanced +heavily round, stood up. Pulling him as one would an obstinate dog, the +Spahi made him lie down on the bare floor in the corner of the Bordj, +ere he himself curled up in the thick quilt which had been rolled +up behind his high saddle. I made no protest, but when the Spahi was +asleep, his lean brown hand laid upon his sword, his musket under his +shaven head, I pushed one of my blankets over to the murderer, who lay +looking like a heap of rags against the white wall. He smiled at me +gently, as he had smiled when the desert drum was beating, and drew the +blanket over his mighty limbs and face. + +I did not mean to sleep that night. Tired though I was my brain was so +excited that I felt I should not. I blew out the candle without even the +thought that it would be necessary to struggle against sleep. And in the +darkness I heard for an instant the roar of the wind outside, the heavy +breathing of my two strange companions within. For an instant--then it +seemed as if a shutter was drawn suddenly over the light in my brain. +Blackness filled the room where the thoughts develop, crowd, stir in +endless activities. Slumber fell upon me like a great stone that strikes +a man down to dumbness, to unconsciousness. + +Far in the night I had a dream. I cannot recall it accurately now. I +could not recall it even the next morning when I awoke. But in this +dream, it seemed to me that fingers felt softly about my heart. I was +conscious of their fluttering touch. It was as if I were dead, and as if +the doctor laid for a moment his hand upon my heart to convince himself +that the pulse of life no longer beat. And this action wove itself +naturally into the dream I had. The fingers so soft, so surreptitious, +were lifted from my breast, and I sank deeper into the gulf of sleep, +below the place of dreams. For I was a tired man that night. At the +first breath of dawn I stirred and woke. It was cold. I put out one hand +and drew up my quilt. Then I lay still. The wind had sunk. I no longer +heard it roaring over the desert. For a moment I hardly remembered where +I was, then memory came back and I listened for the deep breathing of +the Spahi and the murderer. Even when the wind blew I had heard it. +I did not hear it now. I lay there under my quilt for some minutes +listening. The silence was intense. Had they gone already, started on +their way to El Arba? The Bordj was in darkness, for the windows were +very small, and dawn had scarcely begun to break outside and had not yet +filtered in through the wooden shutters which barred them. I disliked +this complete silence, and felt about for the matches I had laid beside +the candle before turning in. I could not find them. Someone had +moved them, then. The heaviness of sleep had quite left me now, and I +remembered clearly all the incidents of the previous evening. The roll +of the desert drum sounded again in my ears. I threw off my quilt, got +up, and moved softly over the stone floor towards the corner where the +murderer had lain down to sleep. I bent down to touch him and touched +the stone. They had gone, then! It was strange that I had not been waked +by their departure. Besides, I had the key of the door. I thrust my hand +into the breast-pocket of my coat which I had worn while I slept. The +key was no longer there. Then I remembered my dream and the fingers +fluttering round my heart. Stumbling in the blackness I came to the +place where the Spahi had lain, stretched out my hands and felt naked +flesh. My hands recoiled from it, for it was very cold. + +Half-an-hour later the one-eyed Arab who kept the Bordj, roused by my +beating upon the door with the butt end of my revolver, came with D'oud +to ask what was the matter. The door had to be broken in. This took some +time. Long before I could escape, the light of the sun, entering through +the little arched windows, had illumined the nude corpse of the Spahi, +the gaping red wound in his throat, the heap of murderer's rags that lay +across his feet. + +M'hammed Bouaziz, in the red cloak, the red boots, sword at his side, +musket slung over his shoulder, was galloping over the desert on his way +to freedom. + +But six months later he was taken at night outside a caf by the lake at +Tunis. He was gazing through the doorway at a girl who was posturing to +the sound of pipes between two rows of Arabs. The light from the caf +fell upon his face, the dancer uttered a cry. + +"M'hammed Bouaziz!" + +"Achouch!" + +The law avenged the Spahi, and this time it was not to prison they +led my friend of Sidi-Massarli, but to an open space before a squad of +soldiers just when the dawn was breaking. + + + + + + +End of the Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + +***** This file should be named 23417-8.txt or 23417-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/4/1/23417/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/23417-8.zip b/23417-8.zip Binary files differnew file mode 100644 index 0000000..6157c23 --- /dev/null +++ b/23417-8.zip diff --git a/23417-h.zip b/23417-h.zip Binary files differnew file mode 100644 index 0000000..e97fb11 --- /dev/null +++ b/23417-h.zip diff --git a/23417-h/23417-h.htm b/23417-h/23417-h.htm new file mode 100644 index 0000000..2163429 --- /dev/null +++ b/23417-h/23417-h.htm @@ -0,0 +1,1097 @@ +<?xml version="1.0" encoding="utf-8"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> + <title> + The Desert Drum, by Robert Hichens + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Desert Drum + 1905 + +Author: Robert Hichens + +Release Date: November 8, 2007 [EBook #23417] +Last Updated: December 17, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + + + + +Produced by David Widger + + + + + +</pre> + <div style="height: 8em;"> + <br /><br /><br /><br /><br /><br /><br /><br /> + </div> + <h1> + THE DESERT DRUM + </h1> + <h2> + By Robert Hichens + </h2> + <p> + <br /> + </p> + <h3> + Frederick A. Stokes Company Publishers + </h3> + <h4> + Copyright, 1905 + </h4> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h2> + Contents + </h2> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_4_0001"> I </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> II </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + I + </h2> + <p> + I am not naturally superstitious. The Saharaman is. He has many strange + beliefs. When one is at close quarters with him, sees him day by day in + his home, the great desert, listens to his dramatic tales of desert + lights, visions, sounds, one’s common-sense is apt to be shaken on its + throne. Perhaps it is the influence of the solitude and the wide spaces, + of those far horizons of the Sahara where the blue deepens along the edge + of the world, that turns even a European mind to an Eastern credulity. Who + can tell? The truth is that in the Sahara one can believe what one cannot + believe in London. And sometimes circumstances—chance if you like to + call it so—steps in, and seems to say, “Your belief is well + founded.” + </p> + <p> + Of all the desert superstitions the one which appealed most to my + imagination was the superstition of the desert drum. The Sahara-man + declares that far away from the abodes of men and desert cities, among the + everlasting sand dunes, the sharp beating, or dull, distant rolling of a + drum sometimes breaks upon the ears of travellers voyaging through the + desolation. They look around, they stare across the flats, they see + nothing. But the mysterious music continues. Then, if they be Sahara-bred, + they commend themselves to Allah, for they know that some terrible + disaster is at hand, that one of them at least is doomed to die. + </p> + <p> + Often had I heard stories of the catastrophes which were immediately + preceded by the beating of the desert drum. One night in the Sahara I was + a witness to one which I have never been able to forget. + </p> + <p> + On an evening of spring, accompanied by a young Arab and a negro, I rode + slowly down a low hill of the Sahara, and saw in the sandy cup at my feet + the tiny collection of hovels called Sidi-Massarli. I had been in the + saddle since dawn, riding over desolate tracks in the heart of the desert. + I was hungry, tired, and felt almost like a man hypnotised. The strong + air, the clear sky, the everlasting flats devoid of vegetation, empty of + humanity, the monotonous motion of my slowly cantering horse—all + these things combined to dull my brain and to throw me into a peculiar + condition akin to the condition of a man in a trance. At Sidi-Massarli I + was to pass the night. I drew rein and looked down on it with lack-lustre + eyes. + </p> + <p> + I saw a small group of palm-trees, guarded by a low wall of baked brown + earth, in which were embedded many white bones of dead camels. Bleached, + grinning heads of camels hung from more than one of the trees, with + strings of red pepper and round stones. Beyond the wall of this palm + garden, at whose foot was a furrow full of stagnant brownish-yellow water, + lay a handful of wretched earthen hovels, with flat roofs of palmwood and + low wooden doors. To be exact, I think there were five of them. The Bordj, + or Travellers’ House, at which I was to be accommodated for the night, + stood alone near a tiny source at the edge of a large sand dune, and was a + small, earth-coloured building with a pink tiled roof, minute arched + windows, and an open stable for the horses and mules. All round the desert + rose in humps of sand, melting into stony ground where the saltpetre lay + like snow on a wintry world. There were but few signs of life in this + place; some stockings drying on the wall of a ruined Arab café, some kids + frisking by a heap of sacks, a few pigeons circling about a low square + watch-tower, a black donkey brooding on a dust heap. There were some signs + of death; carcasses of camels stretched here and there in frantic and + fantastic postures, some bleached and smooth, others red and horribly + odorous. + </p> + <p> + The wind blew round this hospitable township of the Sahara, and the yellow + light of evening began to glow above it. It seemed to me at that moment + the dreariest place in the dreariest dream man had ever had. + </p> + <p> + Suddenly my horse neighed loudly. Beyond the village, on the opposite + hill, a white Arab charger caracoled, a red cloak gleamed. Another + traveller was coming in to his night’s rest, and he was a Spahi. I could + almost fancy I heard the jingle of his spurs and accoutrements, the + creaking of his tall red boots against his high peaked saddle. As he rode + down towards the Bordj—by this time, I, too, was on my way—I + saw that a long cord hung from his saddle-bow, and that at the end of this + cord was a man, trotting heavily in the heavy sand like a creature dogged + and weary. We came in to Sidi-Massarli simultaneously, and pulled up at + the same moment before the arched door of the Bordj, from which glided a + one-eyed swarthy Arab, staring fixedly at me. This was the official keeper + of the house. In one hand he held the huge door key, and as I swung myself + heavily on the ground I heard him, in Arabic, asking my Arab attendant, + D’oud, who I was and where I hailed from. + </p> + <p> + But such attention as I had to bestow on anything just then was given to + the Spahi and his companion. The Spahi was a magnificent man, tall, lithe, + bronze-brown and muscular. He looked about thirty-four, and had the face + of a desert eagle. His piercing black eyes stared me calmly out of + countenance, and he sat on his spirited horse like a statue, waiting + patiently till the guardian of the Bordj was ready to attend to him. My + gaze travelled from him along the cord to the man at its end, and rested + there with pity. He, too, was a fine specimen of humanity, a giant, nobly + built, with a superbly handsome face, something like that of an undefaced + Sphinx. Broad brows sheltered his enormous eyes. His rather thick lips + were parted to allow his panting breath to escape, and his dark, almost + black skin, was covered with sweat. Drops of sweat coursed down his bare + arms and his mighty chest, from which his ragged burnous was drawn + partially away. He was evidently of mixed Arab and negro parentage. As he + stood by the Spain’s horse, gasping, his face expressed nothing but + physical exhaustion. His eyes were bent on the sand, and his arms hung + down loosely at his sides. While I looked at him the Spahi suddenly gave a + tug at the cord to which he was attached. He moved in nearer to the horse, + glanced up at me, held out his hand, and said in a low, musical voice, + speaking Arabic: + </p> + <p> + “Give me a cigarette, Sidi.” + </p> + <p> + I opened my case and gave him one, at the same time diplomatically handing + another to the Spahi. Thus we opened our night’s acquaintance, an + acquaintance which I shall not easily forget. + </p> + <p> + In the desolation of the Sahara a travelling intimacy is quickly formed. + The one-eyed Arab led our horses to the stable, and while my two + attendants were inside unpacking the tinned food and the wine I carried + with me on a mule, I entered into conversation with the Spahi, who spoke + French fairly well. He told me that he was on the way to El Arba, a long + journey through the desert from Sidi-Massarli, and that his business was + to convey there the man at the end of the cord. + </p> + <p> + “But what is he? A prisoner?” I asked. + </p> + <p> + “A murderer, monsieur,” the Spahi replied calmly. + </p> + <p> + I looked again at the man, who was wiping the sweat from his face with one + huge hand. He smiled and made a gesture of assent. + </p> + <p> + “Does he understand French?” + </p> + <p> + “A little.” + </p> + <p> + “And he committed murder?” + </p> + <p> + “At Tunis. He was a butcher there. He cut a man’s throat.” + </p> + <p> + “Why?” + </p> + <p> + “I don’t know, monsieur. Perhaps he was jealous. It is hot in Tunis in the + summer. That was five years ago, and ever since he has been in prison.” + </p> + <p> + “And why are you taking him to El Arba?” + </p> + <p> + “He came from there. He is released, but he is not allowed to live any + more in Tunis. Ah, monsieur, he is mad at going, for he loves a + dancing-girl, Aïchouch, who dances with the Jewesses in the café by the + lake. He wanted even to stay in prison, if only he might remain in Tunis. + He never saw her, but he was in the same town, you understand. That was + something. All the first day he ran behind my horse cursing me for taking + him away. But now the sand has got into his throat. He is so tired that he + can scarcely run. So he does not curse any more.” + </p> + <p> + The captive giant smiled at me again. Despite his great stature, his + powerful and impressive features, he looked, I thought, very gentle and + submissive. The story of his passion for Aïchouch, his desire to be near + her, even in a prison cell, had appealed to me. I pitied him sincerely. + </p> + <p> + “What is his name?” I asked. + </p> + <p> + “M’hammed Bouaziz. Mine is Said.” + </p> + <p> + I was weary with riding and wanted to stretch my legs, and see what was to + be seen of Sidi-Massarli ere evening quite closed in, so at this point I + lit a cigar and prepared to stroll off. + </p> + <p> + “Monsieur is going for a walk?” asked the Spahi, fixing his eyes on my + cigar. + </p> + <p> + “Yes.” + </p> + <p> + “I will accompany monsieur.” + </p> + <p> + “Or monsieur’s cigar-case,” I thought. + </p> + <p> + “But that poor fellow,” I said, pointing to the murderer. “He is tired + out.” + </p> + <p> + “That doesn’t matter. He will come with us.” + </p> + <p> + The Spahi jerked the cord and we set out, the murderer creeping over the + sand behind us like some exhausted animal. + </p> + <p> + By this time twilight was falling over the Sahara, a grim twilight, cold + and grey. The wind was rising. In the night it blew half a gale, but at + this hour there was only a strong breeze in which minute sand-grains + danced. The murderer’s feet were shod with patched slippers, and the sound + of these slippers shuffling close behind me made me feel faintly uneasy. + The Spahi stared at my cigar so persistently that I was obliged to offer + him one. When I had done so, and he had loftily accepted it, I half turned + towards the murderer. The Spahi scowled ferociously. I put my cigar-case + back into my pocket. It is unwise to offend the powerful if your sympathy + lies with the powerless. + </p> + <p> + Sidi-Massarli was soon explored. It contained a Café Maure, into which I + peered. In the coffee niche the embers glowed. One or two ragged Arabs sat + hunched upon the earthen divans playing a game of cards. At least I should + have my coffee after my tinned dinner. I was turning to go back to the + Bordj when the extreme desolation of the desert around, now fading in the + shadows of a moonless night, stirred me to a desire. Sidi-Massarli was + dreary enough. Still it contained habitations, men. I wished to feel the + blank, wild emptiness of this world, so far from the world of civilisation + from which I had come, to feel it with intensity. I resolved to mount the + low hill down which I had seen the Spahi ride, to descend into the fold of + desert beyond it, to pause there a moment, out of sight of the hamlet, + listen to the breeze, look at the darkening sky, feel the sand-grains + stinging my cheeks, shake hands with the Sahara. + </p> + <p> + But I wanted to shake hands quite alone. I therefore suggested to the + Spahi that he should remain in the Café Maure and drink a cup of coffee at + my expense. + </p> + <p> + “And where is monsieur going?” + </p> + <p> + “Only over that hill for a moment.” + </p> + <p> + “I will accompany monsieur.” + </p> + <p> + “But you must be tired. A cup of——” + </p> + <p> + “I will accompany monsieur.” + </p> + <p> + In Arab fashion he was establishing a claim upon me. On the morrow, when I + was about to depart, he would point out that he had guided me round + Sidi-Massarli, had guarded me in my dangerous expedition beyond its + fascinations, despite his weariness and hunger. I knew how useless it is + to contend with these polite and persistent rascals, so I said no more. + </p> + <p> + In a few minutes the Spahi, the murderer and I stood in the fold of the + sand dunes, and Sidi-Massarli was blotted from our sight. + </p> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + II + </h2> + <p> + The desolation here was complete. All around us lay the dunes, monstrous + as still leviathans. Here and there, between their strange, suggestive + shapes, under the dark sky one could see the ghastly whiteness of the + saltpetre in the arid plains beyond, where the low bushes bent in the + chilly breeze. I thought of London—only a few days’ journey from me—revelled + for a moment in my situation, which, contrary to my expectation, was + rather emphasised by the presence of my companions. The gorgeous Spahi, + with his scarlet cloak and hood, his musket and sword, his high red + leggings, the ragged, sweating captive in his patched burnous, ex-butcher + looking, despite his cord emblem of bondage, like reigning Emperor—they + were appropriate figures in this desert place. I had just thought this, + and was regarding my Sackville Street suit with disgust, when a low, + distinct and near sound suddenly rose from behind a sand dune on my left. + It was exactly like the dull beating of a tom-tom. The silence preceding + it had been intense, for the breeze was as yet too light to make more than + the faintest sighing music, and in the gathering darkness this abrupt and + gloomy noise produced, I supposed, by some hidden nomad, made a very + unpleasant, even sinister impression upon me. Instinctively I put my hand + on the revolver which was slung at my side in a pouch of gazelle skin. As + I did so, I saw the Spahi turn sharply and gaze in the direction of the + sound, lifting one hand to his ear. + </p> + <p> + The low thunder of the instrument, beaten rhythmically and persistently, + grew louder and was evidently drawing nearer. The musician must be + climbing up the far side of the dune. I had swung round to face him, and + expected every moment to see some wild figure appear upon the summit, + defining itself against the cold and gloomy sky. But none came. + Nevertheless, the noise increased till it was a roar, drew near till it + was actually upon us. It seemed to me that I heard the sticks striking the + hard, stretched skin furiously, as if some phantom drummer were stealthily + encircling us, catching us in a net, a trap of horrible, vicious uproar. + Instinctively I threw a questioning, perhaps an appealing, glance at my + two companions. The Spahi had dropped his hand from his ear. He stood + upright, as if at attention on the parade-ground of Biskra. His face was + set—afterwards I told myself it was fatalistic. The murderer, on the + other hand, was smiling. I remember the gleam of his big white teeth. Why + was he smiling? While I asked myself the question the roar of the tom-tom + grew gradually less, as if the man beating it were walking rapidly away + from us in the direction of Sidi-Massarli. None of us said a word till + only a faint, heavy throbbing, like the beating of a heart, I fancied, was + audible in the darkness. Then I spoke, as silence fell. + </p> + <p> + “Who is it?” + </p> + <p> + “Monsieur, it is no one.” + </p> + <p> + The Spain’s voice was dry and soft. + </p> + <p> + “What is it?” + </p> + <p> + “Monsieur, it is the desert drum. There will be death in Sidi-Massarli + to-night.” + </p> + <p> + I felt myself turn cold. He spoke with such conviction. The murderer was + still smiling, and I noticed that the tired look had left him. He stood in + an alert attitude, and the sweat had dried on his broad forehead. + </p> + <p> + “The desert drum?” I repeated. + </p> + <p> + “Monsieur has not heard of it?” + </p> + <p> + “Yes, I have heard—but—it can’t be. There must have been + someone.” + </p> + <p> + I looked at the white teeth of the murderer, white as the saltpetre which + makes winter in the desert. + </p> + <p> + “I must get back to the Bordj,” I said abruptly. + </p> + <p> + “I will accompany monsieur.” + </p> + <p> + The old formula, and this time the voice which spoke it sounded natural. + We went forward together. I walked very fast. I wanted to catch up that + music, to prove to myself that it was produced by human fists and sticks + upon an instrument which, however barbarous, had been fashioned by human + hands. But we entered Sidi-Massarli in a silence, only broken by the + soughing of the wind and the heavy shuffle of the murderer’s feet upon the + sand. + </p> + <p> + Outside the Café Maure D’oud was standing with the white hood of his + burnous drawn forward over his head; one or two ragged Arabs stood with + him. + </p> + <p> + “They’ve been playing tom-toms in the village, D’oud?” + </p> + <p> + “Monsieur asks if——” + </p> + <p> + “Tom-toms. Can’t you understand?” + </p> + <p> + “Ah! Monsieur is laughing. Tom-toms here! And dancers, too, perhaps! + Monsieur thinks there are dancers? Fatma and Khadija and Aïchouch———” + </p> + <p> + I glanced quickly at the murderer as D’oud mentioned the last name, a name + common to many dancers of the East. I think I expected to see upon his + face some tremendous expression, a revelation of the soul of the man who + had run for one whole day through the sand behind the Spahi’s horse, + cursing at the end of the cord which dragged him onward from Tunis. + </p> + <p> + But I only met the gentle smile of eyes so tender, so submissive, that + they were as the eyes of a woman who had always been a slave, while the + ragged Arabs laughed at the idea of tom-toms in Sidi-Massarli. + </p> + <hr /> + <p> + When we reached the Bordj I found that it contained only one good-sized + room, quite bare, with stone floor and white walls. Here, upon a deal + table, was set forth my repast; the foods I had brought with me, and a red + Arab soup served in a gigantic bowl of palmwood. A candle guttered in the + glass neck of a bottle, and upon the floor were already spread my gaudy + striped quilt, my pillow, and my blanket. The Spahi surveyed these + preparations with a deliberate greediness, lingering in the narrow + doorway. + </p> + <p> + I sat down on a bench before the table. My attendants were to eat at the + Café Maure. + </p> + <p> + “Where are you going to sleep?” I asked of D’oud. + </p> + <p> + “At the Café Maure, monsieur, if monsieur is not afraid to sleep alone. + Here is the key. Monsieur can lock himself in. The door is strong.” + </p> + <p> + I was helping myself to the soup. The rising wind blew up the skirts of + the Spahi’s scarlet robe. In the wind—was it imagination?—I + seemed to hear some thin, passing echoes of a tom-tom’s beat. + </p> + <p> + “Come in,” I said to the Spahi. “You shall sup with me to-night, and—and + you shall sleep here with me.” + </p> + <p> + D’oud’s expressive face became sinister. Arabs are almost as jealous as + they are vain. + </p> + <p> + “But, monsieur, he will sleep in the Café Maure. If monsieur wishes for a + companion, I——” + </p> + <p> + “Come in,” I repeated to the Spahi. “You can sleep here to-night.” + </p> + <p> + The Spahi stepped over the lintel with a jingling of spurs, a rattling of + accoutrements. The murderer stepped in softly after him, drawn by the + cord. D’oud began to look as grim as death. He made a ferocious gesture + towards the murderer. + </p> + <p> + “And that man? Monsieur wishes to sleep in the same room with him?” + </p> + <p> + I heard the sound of the tom-tom above the wail of the wind. + </p> + <p> + “Yes,” I said. + </p> + <p> + Why did I wish it? I hardly know. I had no fear for, no desire to protect + myself. But I remembered the smile I had seen, the Spahi’s saying, “There + will be death in Sidi-Massarli to-night,” and I was resolved that the + three men who had heard the desert drum together should not be parted till + the morning. D’oud said no more. He waited upon me with his usual + diligence, but I could see that he was furiously angry. The Spahi ate + ravenously. So did the murderer, who more than once, however, seemed to be + dropping to sleep over his food. He was apparently dead tired. As the wind + was now become very violent I did not feel disposed to stir out again, and + I ordered D’oud to bring us three cups of coffee to the Bordj. He cast a + vicious look at the Spahi and went out into the darkness. I saw him no + more that night. A boy from the Café Maure brought us coffee, cleared the + remains of our supper from the table, and presently muttered some Arab + salutation, departed, and was lost in the wind. + </p> + <p> + The murderer was now frankly asleep with his head upon the table, and the + Spahi began to blink. I, too, felt very tired, but I had something still + to say. Speaking softly, I said to the Spahi: + </p> + <p> + “That sound we heard to-night——” + </p> + <p> + “Monsieur?” + </p> + <p> + “Have you ever heard it before?” + </p> + <p> + “Never, monsieur. But my brother heard it just before he had a stroke of + the sun. He fell dead before his captain beside the wall of Sada. He was a + tirailleur.” + </p> + <p> + “And you think this sound means that death is near? + </p> + <p> + “I know it, monsieur. All desert people know it. I was born at Touggourt, + and how should I not know?” + </p> + <p> + “But then one of us——” + </p> + <p> + I looked from him to the sleeping murderer. + </p> + <p> + “There will be death in Sidi-Massarli tonight, monsieur. It is the will of + Allah. Blessed be Allah.” + </p> + <p> + I got up, locked the heavy door of the Bordj, and put the key in the inner + pocket of my coat. As I did so, I fancied I saw the heavy black lids of + the murderer’s closed eyes flutter for a moment. But I cannot be sure. My + head was aching with fatigue. The Spahi, too, looked stupid with sleep. He + jerked the cord, the murderer awoke with a start, glanced heavily round, + stood up. Pulling him as one would an obstinate dog, the Spahi made him + lie down on the bare floor in the corner of the Bordj, ere he himself + curled up in the thick quilt which had been rolled up behind his high + saddle. I made no protest, but when the Spahi was asleep, his lean brown + hand laid upon his sword, his musket under his shaven head, I pushed one + of my blankets over to the murderer, who lay looking like a heap of rags + against the white wall. He smiled at me gently, as he had smiled when the + desert drum was beating, and drew the blanket over his mighty limbs and + face. + </p> + <p> + I did not mean to sleep that night. Tired though I was my brain was so + excited that I felt I should not. I blew out the candle without even the + thought that it would be necessary to struggle against sleep. And in the + darkness I heard for an instant the roar of the wind outside, the heavy + breathing of my two strange companions within. For an instant—then + it seemed as if a shutter was drawn suddenly over the light in my brain. + Blackness filled the room where the thoughts develop, crowd, stir in + endless activities. Slumber fell upon me like a great stone that strikes a + man down to dumbness, to unconsciousness. + </p> + <p> + Far in the night I had a dream. I cannot recall it accurately now. I could + not recall it even the next morning when I awoke. But in this dream, it + seemed to me that fingers felt softly about my heart. I was conscious of + their fluttering touch. It was as if I were dead, and as if the doctor + laid for a moment his hand upon my heart to convince himself that the + pulse of life no longer beat. And this action wove itself naturally into + the dream I had. The fingers so soft, so surreptitious, were lifted from + my breast, and I sank deeper into the gulf of sleep, below the place of + dreams. For I was a tired man that night. At the first breath of dawn I + stirred and woke. It was cold. I put out one hand and drew up my quilt. + Then I lay still. The wind had sunk. I no longer heard it roaring over the + desert. For a moment I hardly remembered where I was, then memory came + back and I listened for the deep breathing of the Spahi and the murderer. + Even when the wind blew I had heard it. I did not hear it now. I lay there + under my quilt for some minutes listening. The silence was intense. Had + they gone already, started on their way to El Arba? The Bordj was in + darkness, for the windows were very small, and dawn had scarcely begun to + break outside and had not yet filtered in through the wooden shutters + which barred them. I disliked this complete silence, and felt about for + the matches I had laid beside the candle before turning in. I could not + find them. Someone had moved them, then. The heaviness of sleep had quite + left me now, and I remembered clearly all the incidents of the previous + evening. The roll of the desert drum sounded again in my ears. I threw off + my quilt, got up, and moved softly over the stone floor towards the corner + where the murderer had lain down to sleep. I bent down to touch him and + touched the stone. They had gone, then! It was strange that I had not been + waked by their departure. Besides, I had the key of the door. I thrust my + hand into the breast-pocket of my coat which I had worn while I slept. The + key was no longer there. Then I remembered my dream and the fingers + fluttering round my heart. Stumbling in the blackness I came to the place + where the Spahi had lain, stretched out my hands and felt naked flesh. My + hands recoiled from it, for it was very cold. + </p> + <p> + Half-an-hour later the one-eyed Arab who kept the Bordj, roused by my + beating upon the door with the butt end of my revolver, came with D’oud to + ask what was the matter. The door had to be broken in. This took some + time. Long before I could escape, the light of the sun, entering through + the little arched windows, had illumined the nude corpse of the Spahi, the + gaping red wound in his throat, the heap of murderer’s rags that lay + across his feet. + </p> + <p> + M’hammed Bouaziz, in the red cloak, the red boots, sword at his side, + musket slung over his shoulder, was galloping over the desert on his way + to freedom. + </p> + <p> + But six months later he was taken at night outside a café by the lake at + Tunis. He was gazing through the doorway at a girl who was posturing to + the sound of pipes between two rows of Arabs. The light from the café fell + upon his face, the dancer uttered a cry. + </p> + <p> + “M’hammed Bouaziz!” + </p> + <p> + “Aïchouch!” + </p> + <p> + The law avenged the Spahi, and this time it was not to prison they led my + friend of Sidi-Massarli, but to an open space before a squad of soldiers + just when the dawn was breaking. + </p> + <div style="height: 6em;"> + <br /><br /><br /><br /><br /><br /> + </div> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + +***** This file should be named 23417-h.htm or 23417-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/4/1/23417/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase “Project +Gutenberg”), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. “Project Gutenberg” is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” + or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase “Project Gutenberg” appears, or with which the phrase “Project +Gutenberg” is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase “Project Gutenberg” associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +“Plain Vanilla ASCII” or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original “Plain Vanilla ASCII” or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, “Information about donations to + the Project Gutenberg Literary Archive Foundation.” + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +“Defects,” such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right +of Replacement or Refund” described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you ‘AS-IS’ WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm’s +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation’s EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + </body> +</html> diff --git a/23417.txt b/23417.txt new file mode 100644 index 0000000..2e62300 --- /dev/null +++ b/23417.txt @@ -0,0 +1,912 @@ +The Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Desert Drum + 1905 + +Author: Robert Hichens + +Release Date: November 8, 2007 [EBook #23417] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + + + + +Produced by David Widger + + + + + + +THE DESERT DRUM + +By Robert Hichens + +Frederick A. Stokes Company Publishers + +Copyright, 1905 + + + + +I + +I am not naturally superstitious. The Saharaman is. He has many strange +beliefs. When one is at close quarters with him, sees him day by day +in his home, the great desert, listens to his dramatic tales of desert +lights, visions, sounds, one's common-sense is apt to be shaken on its +throne. Perhaps it is the influence of the solitude and the wide spaces, +of those far horizons of the Sahara where the blue deepens along +the edge of the world, that turns even a European mind to an Eastern +credulity. Who can tell? The truth is that in the Sahara one can believe +what one cannot believe in London. And sometimes circumstances--chance +if you like to call it so--steps in, and seems to say, "Your belief is +well founded." + +Of all the desert superstitions the one which appealed most to my +imagination was the superstition of the desert drum. The Sahara-man +declares that far away from the abodes of men and desert cities, among +the everlasting sand dunes, the sharp beating, or dull, distant rolling +of a drum sometimes breaks upon the ears of travellers voyaging through +the desolation. They look around, they stare across the flats, they +see nothing. But the mysterious music continues. Then, if they be +Sahara-bred, they commend themselves to Allah, for they know that some +terrible disaster is at hand, that one of them at least is doomed to +die. + +Often had I heard stories of the catastrophes which were immediately +preceded by the beating of the desert drum. One night in the Sahara I +was a witness to one which I have never been able to forget. + +On an evening of spring, accompanied by a young Arab and a negro, I rode +slowly down a low hill of the Sahara, and saw in the sandy cup at my +feet the tiny collection of hovels called Sidi-Massarli. I had been in +the saddle since dawn, riding over desolate tracks in the heart of the +desert. I was hungry, tired, and felt almost like a man hypnotised. The +strong air, the clear sky, the everlasting flats devoid of vegetation, +empty of humanity, the monotonous motion of my slowly cantering +horse--all these things combined to dull my brain and to throw me into +a peculiar condition akin to the condition of a man in a trance. At +Sidi-Massarli I was to pass the night. I drew rein and looked down on it +with lack-lustre eyes. + +I saw a small group of palm-trees, guarded by a low wall of baked brown +earth, in which were embedded many white bones of dead camels. Bleached, +grinning heads of camels hung from more than one of the trees, with +strings of red pepper and round stones. Beyond the wall of this palm +garden, at whose foot was a furrow full of stagnant brownish-yellow +water, lay a handful of wretched earthen hovels, with flat roofs of +palmwood and low wooden doors. To be exact, I think there were five of +them. The Bordj, or Travellers' House, at which I was to be accommodated +for the night, stood alone near a tiny source at the edge of a large +sand dune, and was a small, earth-coloured building with a pink tiled +roof, minute arched windows, and an open stable for the horses and +mules. All round the desert rose in humps of sand, melting into stony +ground where the saltpetre lay like snow on a wintry world. There were +but few signs of life in this place; some stockings drying on the wall +of a ruined Arab cafe, some kids frisking by a heap of sacks, a few +pigeons circling about a low square watch-tower, a black donkey brooding +on a dust heap. There were some signs of death; carcasses of camels +stretched here and there in frantic and fantastic postures, some +bleached and smooth, others red and horribly odorous. + +The wind blew round this hospitable township of the Sahara, and the +yellow light of evening began to glow above it. It seemed to me at that +moment the dreariest place in the dreariest dream man had ever had. + +Suddenly my horse neighed loudly. Beyond the village, on the opposite +hill, a white Arab charger caracoled, a red cloak gleamed. Another +traveller was coming in to his night's rest, and he was a Spahi. I could +almost fancy I heard the jingle of his spurs and accoutrements, the +creaking of his tall red boots against his high peaked saddle. As he +rode down towards the Bordj--by this time, I, too, was on my way--I saw +that a long cord hung from his saddle-bow, and that at the end of this +cord was a man, trotting heavily in the heavy sand like a creature +dogged and weary. We came in to Sidi-Massarli simultaneously, and pulled +up at the same moment before the arched door of the Bordj, from which +glided a one-eyed swarthy Arab, staring fixedly at me. This was the +official keeper of the house. In one hand he held the huge door key, and +as I swung myself heavily on the ground I heard him, in Arabic, asking +my Arab attendant, D'oud, who I was and where I hailed from. + +But such attention as I had to bestow on anything just then was given +to the Spahi and his companion. The Spahi was a magnificent man, tall, +lithe, bronze-brown and muscular. He looked about thirty-four, and had +the face of a desert eagle. His piercing black eyes stared me calmly out +of countenance, and he sat on his spirited horse like a statue, waiting +patiently till the guardian of the Bordj was ready to attend to him. My +gaze travelled from him along the cord to the man at its end, and rested +there with pity. He, too, was a fine specimen of humanity, a giant, +nobly built, with a superbly handsome face, something like that of an +undefaced Sphinx. Broad brows sheltered his enormous eyes. His rather +thick lips were parted to allow his panting breath to escape, and his +dark, almost black skin, was covered with sweat. Drops of sweat coursed +down his bare arms and his mighty chest, from which his ragged burnous +was drawn partially away. He was evidently of mixed Arab and negro +parentage. As he stood by the Spain's horse, gasping, his face expressed +nothing but physical exhaustion. His eyes were bent on the sand, and +his arms hung down loosely at his sides. While I looked at him the Spahi +suddenly gave a tug at the cord to which he was attached. He moved in +nearer to the horse, glanced up at me, held out his hand, and said in a +low, musical voice, speaking Arabic: + +"Give me a cigarette, Sidi." + +I opened my case and gave him one, at the same time diplomatically +handing another to the Spahi. Thus we opened our night's acquaintance, +an acquaintance which I shall not easily forget. + +In the desolation of the Sahara a travelling intimacy is quickly +formed. The one-eyed Arab led our horses to the stable, and while my two +attendants were inside unpacking the tinned food and the wine I carried +with me on a mule, I entered into conversation with the Spahi, who spoke +French fairly well. He told me that he was on the way to El Arba, a long +journey through the desert from Sidi-Massarli, and that his business was +to convey there the man at the end of the cord. + +"But what is he? A prisoner?" I asked. + +"A murderer, monsieur," the Spahi replied calmly. + +I looked again at the man, who was wiping the sweat from his face with +one huge hand. He smiled and made a gesture of assent. + +"Does he understand French?" + +"A little." + +"And he committed murder?" + +"At Tunis. He was a butcher there. He cut a man's throat." + +"Why?" + +"I don't know, monsieur. Perhaps he was jealous. It is hot in Tunis +in the summer. That was five years ago, and ever since he has been in +prison." + +"And why are you taking him to El Arba?" + +"He came from there. He is released, but he is not allowed to live +any more in Tunis. Ah, monsieur, he is mad at going, for he loves a +dancing-girl, Aichouch, who dances with the Jewesses in the cafe by +the lake. He wanted even to stay in prison, if only he might remain in +Tunis. He never saw her, but he was in the same town, you understand. +That was something. All the first day he ran behind my horse cursing me +for taking him away. But now the sand has got into his throat. He is so +tired that he can scarcely run. So he does not curse any more." + +The captive giant smiled at me again. Despite his great stature, his +powerful and impressive features, he looked, I thought, very gentle and +submissive. The story of his passion for Aichouch, his desire to be near +her, even in a prison cell, had appealed to me. I pitied him sincerely. + +"What is his name?" I asked. + +"M'hammed Bouaziz. Mine is Said." + +I was weary with riding and wanted to stretch my legs, and see what +was to be seen of Sidi-Massarli ere evening quite closed in, so at this +point I lit a cigar and prepared to stroll off. + +"Monsieur is going for a walk?" asked the Spahi, fixing his eyes on my +cigar. + +"Yes." + +"I will accompany monsieur." + +"Or monsieur's cigar-case," I thought. + +"But that poor fellow," I said, pointing to the murderer. "He is tired +out." + +"That doesn't matter. He will come with us." + +The Spahi jerked the cord and we set out, the murderer creeping over the +sand behind us like some exhausted animal. + +By this time twilight was falling over the Sahara, a grim twilight, cold +and grey. The wind was rising. In the night it blew half a gale, but +at this hour there was only a strong breeze in which minute sand-grains +danced. The murderer's feet were shod with patched slippers, and the +sound of these slippers shuffling close behind me made me feel faintly +uneasy. The Spahi stared at my cigar so persistently that I was obliged +to offer him one. When I had done so, and he had loftily accepted it, I +half turned towards the murderer. The Spahi scowled ferociously. I put +my cigar-case back into my pocket. It is unwise to offend the powerful +if your sympathy lies with the powerless. + +Sidi-Massarli was soon explored. It contained a Cafe Maure, into which +I peered. In the coffee niche the embers glowed. One or two ragged Arabs +sat hunched upon the earthen divans playing a game of cards. At least I +should have my coffee after my tinned dinner. I was turning to go back +to the Bordj when the extreme desolation of the desert around, now +fading in the shadows of a moonless night, stirred me to a desire. +Sidi-Massarli was dreary enough. Still it contained habitations, men. I +wished to feel the blank, wild emptiness of this world, so far from the +world of civilisation from which I had come, to feel it with intensity. +I resolved to mount the low hill down which I had seen the Spahi ride, +to descend into the fold of desert beyond it, to pause there a moment, +out of sight of the hamlet, listen to the breeze, look at the darkening +sky, feel the sand-grains stinging my cheeks, shake hands with the +Sahara. + +But I wanted to shake hands quite alone. I therefore suggested to the +Spahi that he should remain in the Cafe Maure and drink a cup of coffee +at my expense. + +"And where is monsieur going?" + +"Only over that hill for a moment." + +"I will accompany monsieur." + +"But you must be tired. A cup of----" + +"I will accompany monsieur." + +In Arab fashion he was establishing a claim upon me. On the morrow, when +I was about to depart, he would point out that he had guided me round +Sidi-Massarli, had guarded me in my dangerous expedition beyond its +fascinations, despite his weariness and hunger. I knew how useless it is +to contend with these polite and persistent rascals, so I said no more. + +In a few minutes the Spahi, the murderer and I stood in the fold of the +sand dunes, and Sidi-Massarli was blotted from our sight. + + + + +II + +The desolation here was complete. All around us lay the dunes, monstrous +as still leviathans. Here and there, between their strange, suggestive +shapes, under the dark sky one could see the ghastly whiteness of the +saltpetre in the arid plains beyond, where the low bushes bent in +the chilly breeze. I thought of London--only a few days' journey +from me--revelled for a moment in my situation, which, contrary to my +expectation, was rather emphasised by the presence of my companions. The +gorgeous Spahi, with his scarlet cloak and hood, his musket and sword, +his high red leggings, the ragged, sweating captive in his patched +burnous, ex-butcher looking, despite his cord emblem of bondage, like +reigning Emperor--they were appropriate figures in this desert place. I +had just thought this, and was regarding my Sackville Street suit with +disgust, when a low, distinct and near sound suddenly rose from behind a +sand dune on my left. It was exactly like the dull beating of a tom-tom. +The silence preceding it had been intense, for the breeze was as yet too +light to make more than the faintest sighing music, and in the gathering +darkness this abrupt and gloomy noise produced, I supposed, by some +hidden nomad, made a very unpleasant, even sinister impression upon me. +Instinctively I put my hand on the revolver which was slung at my side +in a pouch of gazelle skin. As I did so, I saw the Spahi turn sharply +and gaze in the direction of the sound, lifting one hand to his ear. + +The low thunder of the instrument, beaten rhythmically and persistently, +grew louder and was evidently drawing nearer. The musician must be +climbing up the far side of the dune. I had swung round to face him, and +expected every moment to see some wild figure appear upon the summit, +defining itself against the cold and gloomy sky. But none came. +Nevertheless, the noise increased till it was a roar, drew near till it +was actually upon us. It seemed to me that I heard the sticks striking +the hard, stretched skin furiously, as if some phantom drummer were +stealthily encircling us, catching us in a net, a trap of horrible, +vicious uproar. Instinctively I threw a questioning, perhaps an +appealing, glance at my two companions. The Spahi had dropped his hand +from his ear. He stood upright, as if at attention on the parade-ground +of Biskra. His face was set--afterwards I told myself it was fatalistic. +The murderer, on the other hand, was smiling. I remember the gleam +of his big white teeth. Why was he smiling? While I asked myself the +question the roar of the tom-tom grew gradually less, as if the man +beating it were walking rapidly away from us in the direction of +Sidi-Massarli. None of us said a word till only a faint, heavy +throbbing, like the beating of a heart, I fancied, was audible in the +darkness. Then I spoke, as silence fell. + +"Who is it?" + +"Monsieur, it is no one." + +The Spain's voice was dry and soft. + +"What is it?" + +"Monsieur, it is the desert drum. There will be death in Sidi-Massarli +to-night." + +I felt myself turn cold. He spoke with such conviction. The murderer was +still smiling, and I noticed that the tired look had left him. He stood +in an alert attitude, and the sweat had dried on his broad forehead. + +"The desert drum?" I repeated. + +"Monsieur has not heard of it?" + +"Yes, I have heard--but--it can't be. There must have been someone." + +I looked at the white teeth of the murderer, white as the saltpetre +which makes winter in the desert. + +"I must get back to the Bordj," I said abruptly. + +"I will accompany monsieur." + +The old formula, and this time the voice which spoke it sounded natural. +We went forward together. I walked very fast. I wanted to catch up that +music, to prove to myself that it was produced by human fists and sticks +upon an instrument which, however barbarous, had been fashioned by human +hands. But we entered Sidi-Massarli in a silence, only broken by the +soughing of the wind and the heavy shuffle of the murderer's feet upon +the sand. + +Outside the Cafe Maure D'oud was standing with the white hood of his +burnous drawn forward over his head; one or two ragged Arabs stood with +him. + +"They've been playing tom-toms in the village, D'oud?" + +"Monsieur asks if----" + +"Tom-toms. Can't you understand?" + +"Ah! Monsieur is laughing. Tom-toms here! And dancers, too, perhaps! +Monsieur thinks there are dancers? Fatma and Khadija and Aichouch------" + +I glanced quickly at the murderer as D'oud mentioned the last name, a +name common to many dancers of the East. I think I expected to see upon +his face some tremendous expression, a revelation of the soul of the man +who had run for one whole day through the sand behind the Spahi's horse, +cursing at the end of the cord which dragged him onward from Tunis. + +But I only met the gentle smile of eyes so tender, so submissive, that +they were as the eyes of a woman who had always been a slave, while the +ragged Arabs laughed at the idea of tom-toms in Sidi-Massarli. + +***** + +When we reached the Bordj I found that it contained only one good-sized +room, quite bare, with stone floor and white walls. Here, upon a deal +table, was set forth my repast; the foods I had brought with me, and a +red Arab soup served in a gigantic bowl of palmwood. A candle guttered +in the glass neck of a bottle, and upon the floor were already spread my +gaudy striped quilt, my pillow, and my blanket. The Spahi surveyed +these preparations with a deliberate greediness, lingering in the narrow +doorway. + +I sat down on a bench before the table. My attendants were to eat at the +Cafe Maure. + +"Where are you going to sleep?" I asked of D'oud. + +"At the Cafe Maure, monsieur, if monsieur is not afraid to sleep alone. +Here is the key. Monsieur can lock himself in. The door is strong." + +I was helping myself to the soup. The rising wind blew up the skirts of +the Spahi's scarlet robe. In the wind--was it imagination?--I seemed to +hear some thin, passing echoes of a tom-tom's beat. + +"Come in," I said to the Spahi. "You shall sup with me to-night, +and--and you shall sleep here with me." + +D'oud's expressive face became sinister. Arabs are almost as jealous as +they are vain. + +"But, monsieur, he will sleep in the Cafe Maure. If monsieur wishes for +a companion, I----" + +"Come in," I repeated to the Spahi. "You can sleep here to-night." + +The Spahi stepped over the lintel with a jingling of spurs, a rattling +of accoutrements. The murderer stepped in softly after him, drawn by the +cord. D'oud began to look as grim as death. He made a ferocious gesture +towards the murderer. + +"And that man? Monsieur wishes to sleep in the same room with him?" + +I heard the sound of the tom-tom above the wail of the wind. + +"Yes," I said. + +Why did I wish it? I hardly know. I had no fear for, no desire to +protect myself. But I remembered the smile I had seen, the Spahi's +saying, "There will be death in Sidi-Massarli to-night," and I was +resolved that the three men who had heard the desert drum together +should not be parted till the morning. D'oud said no more. He waited +upon me with his usual diligence, but I could see that he was furiously +angry. The Spahi ate ravenously. So did the murderer, who more than +once, however, seemed to be dropping to sleep over his food. He was +apparently dead tired. As the wind was now become very violent I did not +feel disposed to stir out again, and I ordered D'oud to bring us three +cups of coffee to the Bordj. He cast a vicious look at the Spahi and +went out into the darkness. I saw him no more that night. A boy from the +Cafe Maure brought us coffee, cleared the remains of our supper from the +table, and presently muttered some Arab salutation, departed, and was +lost in the wind. + +The murderer was now frankly asleep with his head upon the table, and +the Spahi began to blink. I, too, felt very tired, but I had something +still to say. Speaking softly, I said to the Spahi: + +"That sound we heard to-night----" + +"Monsieur?" + +"Have you ever heard it before?" + +"Never, monsieur. But my brother heard it just before he had a stroke of +the sun. He fell dead before his captain beside the wall of Sada. He was +a tirailleur." + +"And you think this sound means that death is near? + +"I know it, monsieur. All desert people know it. I was born at +Touggourt, and how should I not know?" + +"But then one of us----" + +I looked from him to the sleeping murderer. + +"There will be death in Sidi-Massarli tonight, monsieur. It is the will +of Allah. Blessed be Allah." + +I got up, locked the heavy door of the Bordj, and put the key in the +inner pocket of my coat. As I did so, I fancied I saw the heavy black +lids of the murderer's closed eyes flutter for a moment. But I cannot +be sure. My head was aching with fatigue. The Spahi, too, looked stupid +with sleep. He jerked the cord, the murderer awoke with a start, glanced +heavily round, stood up. Pulling him as one would an obstinate dog, the +Spahi made him lie down on the bare floor in the corner of the Bordj, +ere he himself curled up in the thick quilt which had been rolled +up behind his high saddle. I made no protest, but when the Spahi was +asleep, his lean brown hand laid upon his sword, his musket under his +shaven head, I pushed one of my blankets over to the murderer, who lay +looking like a heap of rags against the white wall. He smiled at me +gently, as he had smiled when the desert drum was beating, and drew the +blanket over his mighty limbs and face. + +I did not mean to sleep that night. Tired though I was my brain was so +excited that I felt I should not. I blew out the candle without even the +thought that it would be necessary to struggle against sleep. And in the +darkness I heard for an instant the roar of the wind outside, the heavy +breathing of my two strange companions within. For an instant--then it +seemed as if a shutter was drawn suddenly over the light in my brain. +Blackness filled the room where the thoughts develop, crowd, stir in +endless activities. Slumber fell upon me like a great stone that strikes +a man down to dumbness, to unconsciousness. + +Far in the night I had a dream. I cannot recall it accurately now. I +could not recall it even the next morning when I awoke. But in this +dream, it seemed to me that fingers felt softly about my heart. I was +conscious of their fluttering touch. It was as if I were dead, and as if +the doctor laid for a moment his hand upon my heart to convince himself +that the pulse of life no longer beat. And this action wove itself +naturally into the dream I had. The fingers so soft, so surreptitious, +were lifted from my breast, and I sank deeper into the gulf of sleep, +below the place of dreams. For I was a tired man that night. At the +first breath of dawn I stirred and woke. It was cold. I put out one hand +and drew up my quilt. Then I lay still. The wind had sunk. I no longer +heard it roaring over the desert. For a moment I hardly remembered where +I was, then memory came back and I listened for the deep breathing of +the Spahi and the murderer. Even when the wind blew I had heard it. +I did not hear it now. I lay there under my quilt for some minutes +listening. The silence was intense. Had they gone already, started on +their way to El Arba? The Bordj was in darkness, for the windows were +very small, and dawn had scarcely begun to break outside and had not yet +filtered in through the wooden shutters which barred them. I disliked +this complete silence, and felt about for the matches I had laid beside +the candle before turning in. I could not find them. Someone had +moved them, then. The heaviness of sleep had quite left me now, and I +remembered clearly all the incidents of the previous evening. The roll +of the desert drum sounded again in my ears. I threw off my quilt, got +up, and moved softly over the stone floor towards the corner where the +murderer had lain down to sleep. I bent down to touch him and touched +the stone. They had gone, then! It was strange that I had not been waked +by their departure. Besides, I had the key of the door. I thrust my hand +into the breast-pocket of my coat which I had worn while I slept. The +key was no longer there. Then I remembered my dream and the fingers +fluttering round my heart. Stumbling in the blackness I came to the +place where the Spahi had lain, stretched out my hands and felt naked +flesh. My hands recoiled from it, for it was very cold. + +Half-an-hour later the one-eyed Arab who kept the Bordj, roused by my +beating upon the door with the butt end of my revolver, came with D'oud +to ask what was the matter. The door had to be broken in. This took some +time. Long before I could escape, the light of the sun, entering through +the little arched windows, had illumined the nude corpse of the Spahi, +the gaping red wound in his throat, the heap of murderer's rags that lay +across his feet. + +M'hammed Bouaziz, in the red cloak, the red boots, sword at his side, +musket slung over his shoulder, was galloping over the desert on his way +to freedom. + +But six months later he was taken at night outside a cafe by the lake at +Tunis. He was gazing through the doorway at a girl who was posturing to +the sound of pipes between two rows of Arabs. The light from the cafe +fell upon his face, the dancer uttered a cry. + +"M'hammed Bouaziz!" + +"Aichouch!" + +The law avenged the Spahi, and this time it was not to prison they +led my friend of Sidi-Massarli, but to an open space before a squad of +soldiers just when the dawn was breaking. + + + + + + +End of the Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + +***** This file should be named 23417.txt or 23417.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/4/1/23417/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/23417.zip b/23417.zip Binary files differnew file mode 100644 index 0000000..f269fea --- /dev/null +++ b/23417.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..f931ccf --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #23417 (https://www.gutenberg.org/ebooks/23417) diff --git a/old/23417-h.htm.2021-01-25 b/old/23417-h.htm.2021-01-25 new file mode 100644 index 0000000..162476e --- /dev/null +++ b/old/23417-h.htm.2021-01-25 @@ -0,0 +1,1096 @@ +<?xml version="1.0" encoding="utf-8"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + The Desert Drum, by Robert Hichens + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Desert Drum + 1905 + +Author: Robert Hichens + +Release Date: November 8, 2007 [EBook #23417] +Last Updated: December 17, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + + + + +Produced by David Widger + + + + + +</pre> + <div style="height: 8em;"> + <br /><br /><br /><br /><br /><br /><br /><br /> + </div> + <h1> + THE DESERT DRUM + </h1> + <h2> + By Robert Hichens + </h2> + <p> + <br /> + </p> + <h3> + Frederick A. Stokes Company Publishers + </h3> + <h4> + Copyright, 1905 + </h4> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h2> + Contents + </h2> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_4_0001"> I </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> II </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + I + </h2> + <p> + I am not naturally superstitious. The Saharaman is. He has many strange + beliefs. When one is at close quarters with him, sees him day by day in + his home, the great desert, listens to his dramatic tales of desert + lights, visions, sounds, one’s common-sense is apt to be shaken on its + throne. Perhaps it is the influence of the solitude and the wide spaces, + of those far horizons of the Sahara where the blue deepens along the edge + of the world, that turns even a European mind to an Eastern credulity. Who + can tell? The truth is that in the Sahara one can believe what one cannot + believe in London. And sometimes circumstances—chance if you like to + call it so—steps in, and seems to say, “Your belief is well + founded.” + </p> + <p> + Of all the desert superstitions the one which appealed most to my + imagination was the superstition of the desert drum. The Sahara-man + declares that far away from the abodes of men and desert cities, among the + everlasting sand dunes, the sharp beating, or dull, distant rolling of a + drum sometimes breaks upon the ears of travellers voyaging through the + desolation. They look around, they stare across the flats, they see + nothing. But the mysterious music continues. Then, if they be Sahara-bred, + they commend themselves to Allah, for they know that some terrible + disaster is at hand, that one of them at least is doomed to die. + </p> + <p> + Often had I heard stories of the catastrophes which were immediately + preceded by the beating of the desert drum. One night in the Sahara I was + a witness to one which I have never been able to forget. + </p> + <p> + On an evening of spring, accompanied by a young Arab and a negro, I rode + slowly down a low hill of the Sahara, and saw in the sandy cup at my feet + the tiny collection of hovels called Sidi-Massarli. I had been in the + saddle since dawn, riding over desolate tracks in the heart of the desert. + I was hungry, tired, and felt almost like a man hypnotised. The strong + air, the clear sky, the everlasting flats devoid of vegetation, empty of + humanity, the monotonous motion of my slowly cantering horse—all + these things combined to dull my brain and to throw me into a peculiar + condition akin to the condition of a man in a trance. At Sidi-Massarli I + was to pass the night. I drew rein and looked down on it with lack-lustre + eyes. + </p> + <p> + I saw a small group of palm-trees, guarded by a low wall of baked brown + earth, in which were embedded many white bones of dead camels. Bleached, + grinning heads of camels hung from more than one of the trees, with + strings of red pepper and round stones. Beyond the wall of this palm + garden, at whose foot was a furrow full of stagnant brownish-yellow water, + lay a handful of wretched earthen hovels, with flat roofs of palmwood and + low wooden doors. To be exact, I think there were five of them. The Bordj, + or Travellers’ House, at which I was to be accommodated for the night, + stood alone near a tiny source at the edge of a large sand dune, and was a + small, earth-coloured building with a pink tiled roof, minute arched + windows, and an open stable for the horses and mules. All round the desert + rose in humps of sand, melting into stony ground where the saltpetre lay + like snow on a wintry world. There were but few signs of life in this + place; some stockings drying on the wall of a ruined Arab café, some kids + frisking by a heap of sacks, a few pigeons circling about a low square + watch-tower, a black donkey brooding on a dust heap. There were some signs + of death; carcasses of camels stretched here and there in frantic and + fantastic postures, some bleached and smooth, others red and horribly + odorous. + </p> + <p> + The wind blew round this hospitable township of the Sahara, and the yellow + light of evening began to glow above it. It seemed to me at that moment + the dreariest place in the dreariest dream man had ever had. + </p> + <p> + Suddenly my horse neighed loudly. Beyond the village, on the opposite + hill, a white Arab charger caracoled, a red cloak gleamed. Another + traveller was coming in to his night’s rest, and he was a Spahi. I could + almost fancy I heard the jingle of his spurs and accoutrements, the + creaking of his tall red boots against his high peaked saddle. As he rode + down towards the Bordj—by this time, I, too, was on my way—I + saw that a long cord hung from his saddle-bow, and that at the end of this + cord was a man, trotting heavily in the heavy sand like a creature dogged + and weary. We came in to Sidi-Massarli simultaneously, and pulled up at + the same moment before the arched door of the Bordj, from which glided a + one-eyed swarthy Arab, staring fixedly at me. This was the official keeper + of the house. In one hand he held the huge door key, and as I swung myself + heavily on the ground I heard him, in Arabic, asking my Arab attendant, + D’oud, who I was and where I hailed from. + </p> + <p> + But such attention as I had to bestow on anything just then was given to + the Spahi and his companion. The Spahi was a magnificent man, tall, lithe, + bronze-brown and muscular. He looked about thirty-four, and had the face + of a desert eagle. His piercing black eyes stared me calmly out of + countenance, and he sat on his spirited horse like a statue, waiting + patiently till the guardian of the Bordj was ready to attend to him. My + gaze travelled from him along the cord to the man at its end, and rested + there with pity. He, too, was a fine specimen of humanity, a giant, nobly + built, with a superbly handsome face, something like that of an undefaced + Sphinx. Broad brows sheltered his enormous eyes. His rather thick lips + were parted to allow his panting breath to escape, and his dark, almost + black skin, was covered with sweat. Drops of sweat coursed down his bare + arms and his mighty chest, from which his ragged burnous was drawn + partially away. He was evidently of mixed Arab and negro parentage. As he + stood by the Spain’s horse, gasping, his face expressed nothing but + physical exhaustion. His eyes were bent on the sand, and his arms hung + down loosely at his sides. While I looked at him the Spahi suddenly gave a + tug at the cord to which he was attached. He moved in nearer to the horse, + glanced up at me, held out his hand, and said in a low, musical voice, + speaking Arabic: + </p> + <p> + “Give me a cigarette, Sidi.” + </p> + <p> + I opened my case and gave him one, at the same time diplomatically handing + another to the Spahi. Thus we opened our night’s acquaintance, an + acquaintance which I shall not easily forget. + </p> + <p> + In the desolation of the Sahara a travelling intimacy is quickly formed. + The one-eyed Arab led our horses to the stable, and while my two + attendants were inside unpacking the tinned food and the wine I carried + with me on a mule, I entered into conversation with the Spahi, who spoke + French fairly well. He told me that he was on the way to El Arba, a long + journey through the desert from Sidi-Massarli, and that his business was + to convey there the man at the end of the cord. + </p> + <p> + “But what is he? A prisoner?” I asked. + </p> + <p> + “A murderer, monsieur,” the Spahi replied calmly. + </p> + <p> + I looked again at the man, who was wiping the sweat from his face with one + huge hand. He smiled and made a gesture of assent. + </p> + <p> + “Does he understand French?” + </p> + <p> + “A little.” + </p> + <p> + “And he committed murder?” + </p> + <p> + “At Tunis. He was a butcher there. He cut a man’s throat.” + </p> + <p> + “Why?” + </p> + <p> + “I don’t know, monsieur. Perhaps he was jealous. It is hot in Tunis in the + summer. That was five years ago, and ever since he has been in prison.” + </p> + <p> + “And why are you taking him to El Arba?” + </p> + <p> + “He came from there. He is released, but he is not allowed to live any + more in Tunis. Ah, monsieur, he is mad at going, for he loves a + dancing-girl, Aïchouch, who dances with the Jewesses in the café by the + lake. He wanted even to stay in prison, if only he might remain in Tunis. + He never saw her, but he was in the same town, you understand. That was + something. All the first day he ran behind my horse cursing me for taking + him away. But now the sand has got into his throat. He is so tired that he + can scarcely run. So he does not curse any more.” + </p> + <p> + The captive giant smiled at me again. Despite his great stature, his + powerful and impressive features, he looked, I thought, very gentle and + submissive. The story of his passion for Aïchouch, his desire to be near + her, even in a prison cell, had appealed to me. I pitied him sincerely. + </p> + <p> + “What is his name?” I asked. + </p> + <p> + “M’hammed Bouaziz. Mine is Said.” + </p> + <p> + I was weary with riding and wanted to stretch my legs, and see what was to + be seen of Sidi-Massarli ere evening quite closed in, so at this point I + lit a cigar and prepared to stroll off. + </p> + <p> + “Monsieur is going for a walk?” asked the Spahi, fixing his eyes on my + cigar. + </p> + <p> + “Yes.” + </p> + <p> + “I will accompany monsieur.” + </p> + <p> + “Or monsieur’s cigar-case,” I thought. + </p> + <p> + “But that poor fellow,” I said, pointing to the murderer. “He is tired + out.” + </p> + <p> + “That doesn’t matter. He will come with us.” + </p> + <p> + The Spahi jerked the cord and we set out, the murderer creeping over the + sand behind us like some exhausted animal. + </p> + <p> + By this time twilight was falling over the Sahara, a grim twilight, cold + and grey. The wind was rising. In the night it blew half a gale, but at + this hour there was only a strong breeze in which minute sand-grains + danced. The murderer’s feet were shod with patched slippers, and the sound + of these slippers shuffling close behind me made me feel faintly uneasy. + The Spahi stared at my cigar so persistently that I was obliged to offer + him one. When I had done so, and he had loftily accepted it, I half turned + towards the murderer. The Spahi scowled ferociously. I put my cigar-case + back into my pocket. It is unwise to offend the powerful if your sympathy + lies with the powerless. + </p> + <p> + Sidi-Massarli was soon explored. It contained a Café Maure, into which I + peered. In the coffee niche the embers glowed. One or two ragged Arabs sat + hunched upon the earthen divans playing a game of cards. At least I should + have my coffee after my tinned dinner. I was turning to go back to the + Bordj when the extreme desolation of the desert around, now fading in the + shadows of a moonless night, stirred me to a desire. Sidi-Massarli was + dreary enough. Still it contained habitations, men. I wished to feel the + blank, wild emptiness of this world, so far from the world of civilisation + from which I had come, to feel it with intensity. I resolved to mount the + low hill down which I had seen the Spahi ride, to descend into the fold of + desert beyond it, to pause there a moment, out of sight of the hamlet, + listen to the breeze, look at the darkening sky, feel the sand-grains + stinging my cheeks, shake hands with the Sahara. + </p> + <p> + But I wanted to shake hands quite alone. I therefore suggested to the + Spahi that he should remain in the Café Maure and drink a cup of coffee at + my expense. + </p> + <p> + “And where is monsieur going?” + </p> + <p> + “Only over that hill for a moment.” + </p> + <p> + “I will accompany monsieur.” + </p> + <p> + “But you must be tired. A cup of——” + </p> + <p> + “I will accompany monsieur.” + </p> + <p> + In Arab fashion he was establishing a claim upon me. On the morrow, when I + was about to depart, he would point out that he had guided me round + Sidi-Massarli, had guarded me in my dangerous expedition beyond its + fascinations, despite his weariness and hunger. I knew how useless it is + to contend with these polite and persistent rascals, so I said no more. + </p> + <p> + In a few minutes the Spahi, the murderer and I stood in the fold of the + sand dunes, and Sidi-Massarli was blotted from our sight. + </p> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + II + </h2> + <p> + The desolation here was complete. All around us lay the dunes, monstrous + as still leviathans. Here and there, between their strange, suggestive + shapes, under the dark sky one could see the ghastly whiteness of the + saltpetre in the arid plains beyond, where the low bushes bent in the + chilly breeze. I thought of London—only a few days’ journey from me—revelled + for a moment in my situation, which, contrary to my expectation, was + rather emphasised by the presence of my companions. The gorgeous Spahi, + with his scarlet cloak and hood, his musket and sword, his high red + leggings, the ragged, sweating captive in his patched burnous, ex-butcher + looking, despite his cord emblem of bondage, like reigning Emperor—they + were appropriate figures in this desert place. I had just thought this, + and was regarding my Sackville Street suit with disgust, when a low, + distinct and near sound suddenly rose from behind a sand dune on my left. + It was exactly like the dull beating of a tom-tom. The silence preceding + it had been intense, for the breeze was as yet too light to make more than + the faintest sighing music, and in the gathering darkness this abrupt and + gloomy noise produced, I supposed, by some hidden nomad, made a very + unpleasant, even sinister impression upon me. Instinctively I put my hand + on the revolver which was slung at my side in a pouch of gazelle skin. As + I did so, I saw the Spahi turn sharply and gaze in the direction of the + sound, lifting one hand to his ear. + </p> + <p> + The low thunder of the instrument, beaten rhythmically and persistently, + grew louder and was evidently drawing nearer. The musician must be + climbing up the far side of the dune. I had swung round to face him, and + expected every moment to see some wild figure appear upon the summit, + defining itself against the cold and gloomy sky. But none came. + Nevertheless, the noise increased till it was a roar, drew near till it + was actually upon us. It seemed to me that I heard the sticks striking the + hard, stretched skin furiously, as if some phantom drummer were stealthily + encircling us, catching us in a net, a trap of horrible, vicious uproar. + Instinctively I threw a questioning, perhaps an appealing, glance at my + two companions. The Spahi had dropped his hand from his ear. He stood + upright, as if at attention on the parade-ground of Biskra. His face was + set—afterwards I told myself it was fatalistic. The murderer, on the + other hand, was smiling. I remember the gleam of his big white teeth. Why + was he smiling? While I asked myself the question the roar of the tom-tom + grew gradually less, as if the man beating it were walking rapidly away + from us in the direction of Sidi-Massarli. None of us said a word till + only a faint, heavy throbbing, like the beating of a heart, I fancied, was + audible in the darkness. Then I spoke, as silence fell. + </p> + <p> + “Who is it?” + </p> + <p> + “Monsieur, it is no one.” + </p> + <p> + The Spain’s voice was dry and soft. + </p> + <p> + “What is it?” + </p> + <p> + “Monsieur, it is the desert drum. There will be death in Sidi-Massarli + to-night.” + </p> + <p> + I felt myself turn cold. He spoke with such conviction. The murderer was + still smiling, and I noticed that the tired look had left him. He stood in + an alert attitude, and the sweat had dried on his broad forehead. + </p> + <p> + “The desert drum?” I repeated. + </p> + <p> + “Monsieur has not heard of it?” + </p> + <p> + “Yes, I have heard—but—it can’t be. There must have been + someone.” + </p> + <p> + I looked at the white teeth of the murderer, white as the saltpetre which + makes winter in the desert. + </p> + <p> + “I must get back to the Bordj,” I said abruptly. + </p> + <p> + “I will accompany monsieur.” + </p> + <p> + The old formula, and this time the voice which spoke it sounded natural. + We went forward together. I walked very fast. I wanted to catch up that + music, to prove to myself that it was produced by human fists and sticks + upon an instrument which, however barbarous, had been fashioned by human + hands. But we entered Sidi-Massarli in a silence, only broken by the + soughing of the wind and the heavy shuffle of the murderer’s feet upon the + sand. + </p> + <p> + Outside the Café Maure D’oud was standing with the white hood of his + burnous drawn forward over his head; one or two ragged Arabs stood with + him. + </p> + <p> + “They’ve been playing tom-toms in the village, D’oud?” + </p> + <p> + “Monsieur asks if——” + </p> + <p> + “Tom-toms. Can’t you understand?” + </p> + <p> + “Ah! Monsieur is laughing. Tom-toms here! And dancers, too, perhaps! + Monsieur thinks there are dancers? Fatma and Khadija and Aïchouch———” + </p> + <p> + I glanced quickly at the murderer as D’oud mentioned the last name, a name + common to many dancers of the East. I think I expected to see upon his + face some tremendous expression, a revelation of the soul of the man who + had run for one whole day through the sand behind the Spahi’s horse, + cursing at the end of the cord which dragged him onward from Tunis. + </p> + <p> + But I only met the gentle smile of eyes so tender, so submissive, that + they were as the eyes of a woman who had always been a slave, while the + ragged Arabs laughed at the idea of tom-toms in Sidi-Massarli. + </p> + <hr /> + <p> + When we reached the Bordj I found that it contained only one good-sized + room, quite bare, with stone floor and white walls. Here, upon a deal + table, was set forth my repast; the foods I had brought with me, and a red + Arab soup served in a gigantic bowl of palmwood. A candle guttered in the + glass neck of a bottle, and upon the floor were already spread my gaudy + striped quilt, my pillow, and my blanket. The Spahi surveyed these + preparations with a deliberate greediness, lingering in the narrow + doorway. + </p> + <p> + I sat down on a bench before the table. My attendants were to eat at the + Café Maure. + </p> + <p> + “Where are you going to sleep?” I asked of D’oud. + </p> + <p> + “At the Café Maure, monsieur, if monsieur is not afraid to sleep alone. + Here is the key. Monsieur can lock himself in. The door is strong.” + </p> + <p> + I was helping myself to the soup. The rising wind blew up the skirts of + the Spahi’s scarlet robe. In the wind—was it imagination?—I + seemed to hear some thin, passing echoes of a tom-tom’s beat. + </p> + <p> + “Come in,” I said to the Spahi. “You shall sup with me to-night, and—and + you shall sleep here with me.” + </p> + <p> + D’oud’s expressive face became sinister. Arabs are almost as jealous as + they are vain. + </p> + <p> + “But, monsieur, he will sleep in the Café Maure. If monsieur wishes for a + companion, I——” + </p> + <p> + “Come in,” I repeated to the Spahi. “You can sleep here to-night.” + </p> + <p> + The Spahi stepped over the lintel with a jingling of spurs, a rattling of + accoutrements. The murderer stepped in softly after him, drawn by the + cord. D’oud began to look as grim as death. He made a ferocious gesture + towards the murderer. + </p> + <p> + “And that man? Monsieur wishes to sleep in the same room with him?” + </p> + <p> + I heard the sound of the tom-tom above the wail of the wind. + </p> + <p> + “Yes,” I said. + </p> + <p> + Why did I wish it? I hardly know. I had no fear for, no desire to protect + myself. But I remembered the smile I had seen, the Spahi’s saying, “There + will be death in Sidi-Massarli to-night,” and I was resolved that the + three men who had heard the desert drum together should not be parted till + the morning. D’oud said no more. He waited upon me with his usual + diligence, but I could see that he was furiously angry. The Spahi ate + ravenously. So did the murderer, who more than once, however, seemed to be + dropping to sleep over his food. He was apparently dead tired. As the wind + was now become very violent I did not feel disposed to stir out again, and + I ordered D’oud to bring us three cups of coffee to the Bordj. He cast a + vicious look at the Spahi and went out into the darkness. I saw him no + more that night. A boy from the Café Maure brought us coffee, cleared the + remains of our supper from the table, and presently muttered some Arab + salutation, departed, and was lost in the wind. + </p> + <p> + The murderer was now frankly asleep with his head upon the table, and the + Spahi began to blink. I, too, felt very tired, but I had something still + to say. Speaking softly, I said to the Spahi: + </p> + <p> + “That sound we heard to-night——” + </p> + <p> + “Monsieur?” + </p> + <p> + “Have you ever heard it before?” + </p> + <p> + “Never, monsieur. But my brother heard it just before he had a stroke of + the sun. He fell dead before his captain beside the wall of Sada. He was a + tirailleur.” + </p> + <p> + “And you think this sound means that death is near? + </p> + <p> + “I know it, monsieur. All desert people know it. I was born at Touggourt, + and how should I not know?” + </p> + <p> + “But then one of us——” + </p> + <p> + I looked from him to the sleeping murderer. + </p> + <p> + “There will be death in Sidi-Massarli tonight, monsieur. It is the will of + Allah. Blessed be Allah.” + </p> + <p> + I got up, locked the heavy door of the Bordj, and put the key in the inner + pocket of my coat. As I did so, I fancied I saw the heavy black lids of + the murderer’s closed eyes flutter for a moment. But I cannot be sure. My + head was aching with fatigue. The Spahi, too, looked stupid with sleep. He + jerked the cord, the murderer awoke with a start, glanced heavily round, + stood up. Pulling him as one would an obstinate dog, the Spahi made him + lie down on the bare floor in the corner of the Bordj, ere he himself + curled up in the thick quilt which had been rolled up behind his high + saddle. I made no protest, but when the Spahi was asleep, his lean brown + hand laid upon his sword, his musket under his shaven head, I pushed one + of my blankets over to the murderer, who lay looking like a heap of rags + against the white wall. He smiled at me gently, as he had smiled when the + desert drum was beating, and drew the blanket over his mighty limbs and + face. + </p> + <p> + I did not mean to sleep that night. Tired though I was my brain was so + excited that I felt I should not. I blew out the candle without even the + thought that it would be necessary to struggle against sleep. And in the + darkness I heard for an instant the roar of the wind outside, the heavy + breathing of my two strange companions within. For an instant—then + it seemed as if a shutter was drawn suddenly over the light in my brain. + Blackness filled the room where the thoughts develop, crowd, stir in + endless activities. Slumber fell upon me like a great stone that strikes a + man down to dumbness, to unconsciousness. + </p> + <p> + Far in the night I had a dream. I cannot recall it accurately now. I could + not recall it even the next morning when I awoke. But in this dream, it + seemed to me that fingers felt softly about my heart. I was conscious of + their fluttering touch. It was as if I were dead, and as if the doctor + laid for a moment his hand upon my heart to convince himself that the + pulse of life no longer beat. And this action wove itself naturally into + the dream I had. The fingers so soft, so surreptitious, were lifted from + my breast, and I sank deeper into the gulf of sleep, below the place of + dreams. For I was a tired man that night. At the first breath of dawn I + stirred and woke. It was cold. I put out one hand and drew up my quilt. + Then I lay still. The wind had sunk. I no longer heard it roaring over the + desert. For a moment I hardly remembered where I was, then memory came + back and I listened for the deep breathing of the Spahi and the murderer. + Even when the wind blew I had heard it. I did not hear it now. I lay there + under my quilt for some minutes listening. The silence was intense. Had + they gone already, started on their way to El Arba? The Bordj was in + darkness, for the windows were very small, and dawn had scarcely begun to + break outside and had not yet filtered in through the wooden shutters + which barred them. I disliked this complete silence, and felt about for + the matches I had laid beside the candle before turning in. I could not + find them. Someone had moved them, then. The heaviness of sleep had quite + left me now, and I remembered clearly all the incidents of the previous + evening. The roll of the desert drum sounded again in my ears. I threw off + my quilt, got up, and moved softly over the stone floor towards the corner + where the murderer had lain down to sleep. I bent down to touch him and + touched the stone. They had gone, then! It was strange that I had not been + waked by their departure. Besides, I had the key of the door. I thrust my + hand into the breast-pocket of my coat which I had worn while I slept. The + key was no longer there. Then I remembered my dream and the fingers + fluttering round my heart. Stumbling in the blackness I came to the place + where the Spahi had lain, stretched out my hands and felt naked flesh. My + hands recoiled from it, for it was very cold. + </p> + <p> + Half-an-hour later the one-eyed Arab who kept the Bordj, roused by my + beating upon the door with the butt end of my revolver, came with D’oud to + ask what was the matter. The door had to be broken in. This took some + time. Long before I could escape, the light of the sun, entering through + the little arched windows, had illumined the nude corpse of the Spahi, the + gaping red wound in his throat, the heap of murderer’s rags that lay + across his feet. + </p> + <p> + M’hammed Bouaziz, in the red cloak, the red boots, sword at his side, + musket slung over his shoulder, was galloping over the desert on his way + to freedom. + </p> + <p> + But six months later he was taken at night outside a café by the lake at + Tunis. He was gazing through the doorway at a girl who was posturing to + the sound of pipes between two rows of Arabs. The light from the café fell + upon his face, the dancer uttered a cry. + </p> + <p> + “M’hammed Bouaziz!” + </p> + <p> + “Aïchouch!” + </p> + <p> + The law avenged the Spahi, and this time it was not to prison they led my + friend of Sidi-Massarli, but to an open space before a squad of soldiers + just when the dawn was breaking. + </p> + <div style="height: 6em;"> + <br /><br /><br /><br /><br /><br /> + </div> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of The Desert Drum, by Robert Hichens + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DESERT DRUM *** + +***** This file should be named 23417-h.htm or 23417-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/3/4/1/23417/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase “Project +Gutenberg”), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. “Project Gutenberg” is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” + or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase “Project Gutenberg” appears, or with which the phrase “Project +Gutenberg” is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase “Project Gutenberg” associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +“Plain Vanilla ASCII” or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original “Plain Vanilla ASCII” or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, “Information about donations to + the Project Gutenberg Literary Archive Foundation.” + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +“Defects,” such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right +of Replacement or Refund” described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you ‘AS-IS’ WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm’s +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation’s EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + </body> +</html> |