How strange! And yet, this first event recorded by our Scribe, in which Khalid is seen struggling with the mysterious and unknown, is most significant. Another instance, showing a latent phase, hitherto dormant, in his character, we note. Among the steerage passengers is a Syrian girl who much resembles his cousin Najma. She was seasick throughout the voyage, and when she comes out to breathe of the fresh air, a few hours before they enter the harbour of New York, Khalid sees her, and Shakib swears that he saw a tear in Khalid’s eye as he stood there gazing upon her. Poor Khalid! For though we are approaching the last station of the Via Dolorosa, though we are nearing the enchanted domes of the wonder-working, wealth-worshipping City, he is inexplicably sad.
And Shakib, directly after swearing that he saw a tear in his eye, writes the following: “Up to this time I observed in my friend only the dominating traits of a hardheaded, hard-hearted boy, stubborn, impetuous, intractable. But from the time he related to me his dream, a change in his character was become manifest. In fact a new phase was being gradually unfolded. Three things I must emphasise in this connection: namely, the first dream he dreamt in a foreign land, the first time he looked pensive and profound, and the first tear he shed before we entered New York. These are keys to the secret chamber of one’s soul.”
And now, that the doors, by virtue of our Scribe’s open-sesames, are thrown open, we enter, bismillah.
IV
On the Wharf of Enchantment
Not in our makeup, to be sure—not in the pose which is preceded by the tantaras of a trumpet—do the essential traits in our character first reveal themselves. But truly in the little things the real self is exteriorised. Shakib observes closely the rapid changes in his co-adventurer’s humour, the shadowy traits which at that time he little understood. And now, by applying his palm to his front, he illumines those chambers of which he speaks, and also the niches therein. He helps us to understand the insignificant points which mark the rapid undercurrents of the seemingly sluggish soul of Khalid. Not in vain, therefore, does he crystallise for us that first tear he shed in the harbour of Manhattan. But his gush about the recondite beauty of this pearl of melancholy, shall not be intended upon the gustatory nerves of the Reader. This then we note—his description of New York harbour.
“And is this the gate of Paradise,” he asks, “or the port of some subterrestrial city guarded by the Jinn? What a marvel of enchantment is everything around us! What manifestations of industrial strength, what monstrosities of wealth and power, are here! These vessels proudly putting to sea; these tenders scurrying to meet the Atlantic greyhound which is majestically moving up the bay; these barges loading and unloading schooners from every strand, distant and near; these huge lighters carrying even railroads over the water; these fireboats scudding through the harbour shrilling their sirens; these careworn, grim, strenuous multitudes ferried across from one enchanted shore to another; these giant structures tickling heaven’s sides; these cable bridges, spanning rivers, uniting cities; and this superterrestrial goddess, torch in hand—wake up, Khalid, and behold these wonders. Salaam, this enchanted City! There is the Brooklyn Bridge, and here is the Statue of Liberty which people speak of, and which are as famous as the Cedars of Lebanon.”
But Khalid is as impassive as the bronze goddess herself. He leans over the rail, his hand supporting his cheek, and gazes into the ooze. The stolidity of his expression is appalling. With his mouth open as usual, his lips relaxed, his tongue sticking out through the set teeth—he looks as if his head were in a noose. But suddenly he braces up, runs down for his lute, and begins to serenade—Greater New York?
“On thee be Allah’s grace,
Who hath the well-loved face!”
No; not toward this City does his heart flap its wings of song. He is on another sea, in another harbour. Indeed, what are these wonders as compared with those of the City of Love? The Statue of Eros there is more imposing than the Statue of Liberty here. And the bridges are not of iron and concrete, but of rainbows and—moonshine! Indeed, both these lads are now on the wharf of enchantment; the one on the palpable, the sensuous, the other on the impalpable and unseen. But both, alas, are suddenly, but temporarily, disenchanted as they are jostled out of the steamer into the barge which brings them to the Jahannam of Ellis Island. Here, the unhappy children of the steerage are dumped into the Bureau of Emigration as—such stuff! For even in the land of equal rights and freedom, we have a right to expect from others the courtesy and decency which we ourselves do not have to show, or do not know.
These are sturdy and adventurous foreigners whom the grumpy officers jostle and hustle about. For neither poverty, nor oppression, nor both together can drive a man out of his country, unless the soul within him awaken. Indeed, many a misventurous cowering peasant continues to live on bread and olives in his little village, chained in the fear of dying of hunger in a foreign land. Only the brave and daring spirits hearken to the voice of discontent within them. They give themselves up to the higher aspirations of the soul, no matter how limited such aspirations might be, regardless of the dangers and hardship of a long sea voyage, and the precariousness
