Following the Equator, Mark Twain [best free e reader TXT] 📗

and thunder of a siege were natural and proper features of nursery life, and I tried to realize it; but when her little Johnny came rushing, all excitement, through the din and smoke, shouting, "Oh, mamma, the white hen has laid an egg!" I saw that I could not do it. Johnny's place was under the bed. I could imagine him there, because I could imagine myself there; and I think I should not have been interested in a hen that was laying an egg; my interest would have been with the parties that were laying the bombshells. I sat at dinner with one of those children in the Club's Indian palace, and I knew that all through the siege he was perfecting his teething and learning to talk; and while to me he was the most impressive object in Lucknow after the Residency ruins, I was not able to imagine what his life had been during that tempestuous infancy of his, nor what sort of a curious surprise it must have been to him to be marched suddenly out into a strange dumb world where there wasn't any noise, and nothing going on. He was only forty-one when I saw him, a strangely youthful link to connect the present with so ancient an episode as the Great Mutiny.

By and by we saw Cawnpore, and the open lot which was the scene of Moore's memorable defense, and the spot on the shore of the Ganges where the massacre of the betrayed garrison occurred, and the small Indian temple whence the bugle-signal notified the assassins to fall on. This latter was a lonely spot, and silent. The sluggish river drifted by, almost currentless. It was dead low water, narrow channels with vast sandbars between, all the way across the wide bed; and the only living thing in sight was that grotesque and solemn bald-headed bird, the Adjutant, standing on his six-foot stilts, solitary on a distant bar, with his head sunk between his shoulders, thinking; thinking of his prize, I supposethe dead Hindoo that lay awash at his feet, and whether to eat him alone or invite friends. He and his prey were a proper accent to that mournful place. They were in keeping with it, they emphasized its loneliness and its solemnity.

And we saw the scene of the slaughter of the helpless women and children, and also the costly memorial that is built over the well which contains their remains. The Black Hole of Calcutta is gone, but a more reverent age is come, and whatever remembrancer still exists of the moving and heroic sufferings and achievements of the garrisons of Lucknow and Cawnpore will be guarded and preserved.

In Agra and its neighborhood, and afterwards at Delhi, we saw forts, mosques, and tombs, which were built in the great days of the Mohammedan emperors, and which are marvels of cost, magnitude, and richness of materials and ornamentation, creations of surpassing grandeur, wonders which do indeed make the like things in the rest of the world seem tame and inconsequential by comparison. I am not purposing to describe them. By good fortune I had not read too much about them, and therefore was able to get a natural and rational focus upon them, with the result that they thrilled, blessed, and exalted me. But if I had previously overheated my imagination by drinking too much pestilential literary hot Scotch, I should have suffered disappointment and sorrow.

I mean to speak of only one of these many world-renowned buildings, the Taj Mahal, the most celebrated construction in the earth. I had read a great deal too much about it. I saw it in the daytime, I saw it in the moonlight, I saw it near at hand, I saw it from a distance; and I knew all the time, that of its kind it was the wonder of the world, with no competitor now and no possible future competitor; and yet, it was not my Taj. My Taj had been built by excitable literary people; it was solidly lodged in my head, and I could not blast it out.

I wish to place before the reader some of the usual descriptions of the Taj, and ask him to take note of the impressions left in his mind. These descriptions do really state the truthas nearly as the limitations of language will allow. But language is a treacherous thing, a most unsure vehicle, and it can seldom arrange descriptive words in such a way that they will not inflate the factsby help of the reader's imagination, which is always ready to take a hand, and work for nothing, and do the bulk of it at that.

I will begin with a few sentences from the excellent little local guide-book of Mr. Satya Chandra Mukerji. I take them from here and there in his description:

"The inlaid work of the Taj and the flowers and petals that are to
be found on all sides on the surface of the marble evince a most
delicate touch."

That is true.

"The inlaid work, the marble, the flowers, the buds, the leaves, the
petals, and the lotus stems are almost without a rival in the whole
of the civilized world."

"The work of inlaying with stones and gems is found in the highest
perfection in the Taj."

Gems, inlaid flowers, buds, and leaves to be found on all sides. What do you see before you? Is the fairy structure growing? Is it becoming a jewel casket?

"The whole of the Taj produces a wonderful effect that is equally
sublime and beautiful."

Then Sir William Wilson Hunter:

"The Taj Mahal with its beautiful domes, 'a dream of marble,' rises
on the river bank."

"The materials are white marble and red sandstone."

"The complexity of its design and the delicate intricacy of the
workmanship baffle description."

Sir William continues. I will italicize some of his words:

"The mausoleum stands on a raised marble platform at each of whose
corners rises a tall and slender minaret of graceful proportions and
of exquisite beauty. Beyond the platform stretch the two wings, one
of which is itself a mosque of great architectural merit. In the
center of the whole design the mausoleum occupies a square of 186
feet, with the angles deeply truncated so also form an unequal
octagon. The main feature in this central pile is the great dome,
which swells upward to nearly two-thirds of a sphere and tapers at
its extremity into a pointed spire crowned by a crescent. Beneath
it an enclosure of marble trellis-work surrounds the tomb of the
princess and of her husband, the Emperor. Each corner of the
mausoleum is covered by a similar though much smaller dome erected
on a pediment pierced with graceful Saracenic arches. Light is
admitted into the interior through a double screen of pierced
marble, which tempers the glare of an Indian sky while its whiteness
prevents the mellow effect from degenerating into gloom. The
internal decorations consist of inlaid work in precious stones, such
as agate, jasper, etc., with which every squandril or salient point
in the architecture is richly fretted. Brown and violet marble is
also freely employed in wreaths, scrolls, and lintels to relieve the
monotony of white wall. In regard to color and design, the interior
of the Taj may rank first in the world for purely decorative
workmanship; while the perfect symmetry of its exterior, once seen
can never be forgotten, nor the aerial grace of its domes, rising
like marble bubbles into the clear sky. The Taj represents the most
highly elaborated stage of ornamentation reached by the
Indo-Mohammedan builders, the stage in which the architect ends and
the jeweler begins. In its magnificent gateway the diagonal
ornamentation at the corners, which satisfied the designers of the
gateways of Itimad-ud-doulah and Sikandra mausoleums is superseded
by fine marble cables, in bold twists, strong and handsome. The
triangular insertions of white marble and large flowers have in like
manner given place to fine inlaid work. Firm perpendicular lines in
black marble with well proportioned panels of the same material are
effectively used in the interior of the gateway. On its top the
Hindu brackets and monolithic architraves of Sikandra are replaced
by Moorish carped arches, usually single blocks of red sandstone, in
the Kiosks and pavilions which adorn the roof. From the pillared
pavilions a magnificent view is obtained of the Taj gardens below,
with the noble Jumna river at their farther end, and the city and
fort of Agra in the distance. From this beautiful and splendid
gateway one passes up a straight alley shaded by evergreen trees
cooled by a broad shallow piece of water running along the middle of
the path to the Taj itself. The Taj is entirely of marble and gems.
The red sandstone of the other Mohammedan buildings has entirely
disappeared, or rather the red sandstone which used to form the
thickness of the walls, is in the Taj itself overlaid completely
with white marble, and the white marble is itself inlaid with
precious stones arranged in lovely patterns of flowers. A feeling
of purity impresses itself on the eye and the mind from the absence
of the coarser material which forms so invariable a material in Agra
architecture. The lower wall and panels are covered with tulips,
oleanders, and fullblown lilies, in flat carving on the white
marble; and although the inlaid work of flowers done in gems is very
brilliant when looked at closely,