water, which was a most unusually deep blue for mere water. Then we crossed another stream, and it was a most unwaterly vivid green. But not until we had crossed yet another, and it was as red as blood, did I make any comment.
The Princess explained, “The waters of all the streams out here are colored by the dyes of the makers of qali. You have never seen a qali made? You must see.” And she gave directions to the coachman.
I would have expected to be taken back into Baghdad, and to some city workshop, but the cart went farther still into the countryside, and came to a stop beside a hill that had a low cave entrance halfway up it. Moth and I got down from the cart, climbed the hill and ducked our heads to go into the hole.
We had to go crouching through a short, dark tunnel, but then we came out inside the hill, and into a vastly wide and high rock cavern, full of people, its floor cluttered with work tables and benches and dye vats. The cavern was dark until my eyes got accustomed to its half-light, cast by innumerable candles and lamps and torches. The lamps were set on the various pieces of furniture, the torches were ensconced at intervals around the rock walls, some of the candles were stuck to the rocks by their own drip, and other candles were carried about in the hands of the multitude of workers.
I said to the Princess, “I thought this was a day of rest.”
“For Muslims,” she said. “These are all slaves, Christian Russniaks and Lezghians and such. They are allowed their due sabbath on Sundays.”
Only a few of the slaves were grown men and women, and they worked at various tasks, like the stirring of the dye vats, on the floor of the cavern. All the rest were children, and they worked while floating high in the air. That may sound like one of the Shahryar Zahd’s stories of magic, but it was a fact. From the high dome of the cavern hung a giant comb of strings, hundreds of strings, parallel and close together, a vertical web as high and as wide as the entire cavern’s height and width. It was obviously the weft for a qali which, when finished, would carpet some immense palace chamber or ballroom. High up against that wall of weft, hung in loops of rope that depended from somewhere even higher in the roof darkness, dangled a crowd of children.
The little boys and girls were all naked—because of the heat of the air up there, Princess Moth told me—and they were suspended across the width of the work, but at various levels, some higher and some lower. Up there, the qali was partially completed, from its hem at the top of the weft down to those levels where the children worked, and I could see that it was, even at that early stage of progress, a qali of a most intricate and varicolored flower-garden design. Each of the dangling children had a candle stuck on its head with the wax, and all were busily engaged, but at what I could not discern; they seemed to be plucking with their little fingers at the unfinished lower edge of the qali.
The Princess said, “They are weaving the warp threads through the weft. Each slave holds a shuttle and a hank of thread of a single color. He or she weaves it through and makes it tight, in the order required by the design.”
“How in the world,” I asked, “can one child know when and where to contribute his bit, among so many other slaves and threads, and in such a complex work?”
“The qali master sings to them,” she said. “Our arrival interrupted him. There, he begins again.”
It was a wonderful thing. The man called the qali master sat before a table on which was spread a tremendous sheet of paper. It was ruled in countless neat little squares, over which was superimposed a drawing of the qali’s entire intended design, with the innumerable different colors indicated. The qali master read aloud from that design, singing something on this order:
“One, red! … Thirteen, blue! … Forty-five, brown! …”
Except that what he chanted was far more complicated than that. It had to be audible away up there near the cavern roof, and it had to be unmistakably understood by each boy and girl it called upon, and it had to have a cadence that kept them all working in rhythm. While the
“Just that one qali can eventually cost many slaves,” said the Princess, as we turned to leave the cavern. “The weavers must be as young as possible, so they are light of weight and have tiny, agile fingers. But it is not easy to teach such demanding work to such young boys and girls. Also, they frequently swoon from the heat up yonder, and fall and break and die. Or, if they live long enough, they are almost sure to go blind from the close work and poor light. And for every one lost, another slave child must be already trained and standing by.”
“I can understand,” I said, “why even the smallest qali is so valuable.”
“But just imagine what one would cost,” she said, as we emerged again into the sunlight, “if we had to employ real people.”
4
THE cart took us back to the city, and through it, and again into the palace gardens. Once or twice more I tried to pry from the Princess some hint of what would happen in the nighttime, but she remained adamant against my curiosity. Not until we got down from the cart, and she and her grandmother were leaving me to go to their anderun quarters, did she refer to our rendezvous.
“At moonrise,” she said. “By the gulsa’at again.”
I had a minor ordeal to go through before then. When I got to my room, the servant Karim informed me that I was to be accorded the honor of dining that evening with the Shah Zaman and his Shahryar Zahd. It was no doubt a signal kindness on their part, considering my youth and my insignificance in the absence of my ambassadorial father and uncle. But I confess that I did not much esteem the honor, and I sat wishing that the meal would hasten to its conclusion. For one reason, I felt slightly uncomfortable in the presence of the parents of the girl who had invited me to zina later that night. (Of the other girl, who would somehow share in the zina, I knew the Shah had to be the father, but I could not guess who might be her mother.) Also, I was literally salivating at the prospect of that which was to occur, even though I did not know exactly what
“So,” she said, “today you visited the makers of qali.”
“Yes, Your Majesty.”
“You know, in olden times there were magic qali which were capable of carrying a man through the air.”
“Is that a fact?”
“Yes, a man could step onto a qali and command it to take him to some far, far distant part of the world. And off it would fly, over mountains and seas and deserts, whisking him there in the twinkling of an eyelid.”
“Do tell.”
“Yes. I will tell you the story of a Prince. His Princess lover was abducted by the giant rukh bird, and he was desolate. So he procured from a jinni one of the magic qali and …”
And finally the story was over, and finally so was the meal, and finally so was my impatient waiting, and, like the story Prince, I hurried to my Princess lover. She was at the flower dial, and for the first time she was unaccompanied by her crone chaperon. She took my hand and led me along the garden paths and around the palace to a wing of it I had not known existed. Its doors were guarded like all the other palace entrances, but Princess Moth and I merely had to wait in the concealment of a flowery shrub until both the guards turned their heads. They did so in unison, and almost as if they were doing it on command, and I wondered if Moth had bribed them. She and I flitted inside unseen, or at least unchallenged, and she led me along several corridors oddly empty of guards, and around corners, and finally through an unguarded door.
We were in her chambers, a place hung with many splendid qali and with filmy, transparent curtains and draperies in the many colors of sharbats, looped and swathed and swagged in a delicious confusion, but all carefully kept clear of the lamps burning among them. The room was carpeted almost from wall to wall with sharbat-colored cushions, so many that I could not tell which were daiwan and which composed the Princess’s bed.
“Welcome to my chambers, Mirza Marco,” she said. “And to this.”
