The Moor's Last Sigh (7 page)

water's edge, hopped into a rowing-boat with half a dozen drunken Portuguese sailors, and ran away to sea. 'He should have known better'n to marry Roary Flory,' according to contented bachelor-spinster whispers, 'but wise man's brain don't come automatic along with wise man's name.' The broken marriage came to be known in Mattancherri as the Misjudgment of Solomon; but Flory blamed the Christian ships, the mercantile armada of the omnipotent west, for tempting her husband away in search of golden streets. And at the age of seven her son was obliged to give up his father's name; unlucky in fathers, he took his mother's unlucky Zogoiby for his own. After Solomon's desertion, Flory took over as caretaker of blue ceramic tiles and Joseph Rabban's copper plates, claiming the post with a gleaming ferocity that silenced all rumbles of opposition to her appointment. Under her protection: not only little Abraham, but also the parchment Old Testament on whose raggededged leathery pages the Hebrew letters flowed, and the hollow golden crown presented (Christian Era 1805) by the Maharaja of Travancore. She instituted reforms. When the faithful came to worship she ordered them to remove their shoes. Objections were raised to this positively Moorish practice; Flory in response barked mirthless laughs. 'What devotion?' she snorted. 'Caretaking you want from me, Better you take some care too. Boots off! Chop chop! Protectee Chinee tiles.' No two are identical. The tiles from Canton, 12" x 12" approx 'orted by Ezekiel Rabhi in the year iioo CE, covered the.walls and ceiling of the little synagogue. Legends had begun stick to them. Some said that if you explored for long enough i your own story in one of the blue-and-white squares the pictures on the tiles could change, were changing generation by generation, to tell the story of the Cochin Jews. Still others were convinced that the tiles were prophecies, the keys to whose meanings had been lost with the passing years. Abraham as a boy crawled around the synagogue bum-in-air with his nose pressed against antique Chinese blue. He never told his mother that his father had reappeared in ceramic form on the synagogue floor a year after he decamped, in a little blue rowing-boat with blue-skinned foreign-looking types by his side, heading off towards an equally blue horizon. After this discovery, Abraham periodically received news of Solomon Castile through the good offices of the metamorphic tiles. He next saw his father in a cerulean scene of Dionysiac willow-pattern merrymaking amid slain dragons and grumbling volcanoes. Solomon was dancing in an open hexagonal pavilion with a carefree joy upon his blue-tile face which utterly transformed it from the dolorous countenance which Abraham remembered. If he is happy, the boy thought, then I'm glad he went. From his earliest days Abraham had instinctive knowledge of the paramountcy of happiness, and it was this same instinct which, years later, would allow the grown-up duty manager to seize the love offered with many blushes and sarcasms by Aurora da Gama in the chiaroscuro of the Ernakulam godown... Over the years Abraham found his father wealthy and fat in one tile, seated upon cushions in the Position of Royal Ease and waited upon by eunuchs and dancing-girls; but only a few months later he was skinny and mendicant in another twelve-by-twelve scenario. Now Abraham understood that the former caretaker had left all restraints behind him, and was oscillating wildly through a life that had deliberately been allowed to go out of control. He was a Sindbad seeking his fortune in the oceanic happenstance of the earth. He was a heavenly body which had managed by an act of will to wrench itself free of its fixed orbit, and now wandered the galaxies accepting whatever destiny might provide. It seemed to Abraham that his father's breakaway from the gravity of the everyday had used up all his reserves of will-power, so that after that initial and radical act of transformation he was broken-ruddered, at the mercy of the winds and tides. As Abraham Zogoiby neared adolescence, Solomon Castile began to appear in semi-pornographic tableaux whose appropriateness for a synagogue would have been the subject of much controversy had they come to anyone else's notice but Abraham's. These tiles cropped up in the dustiest and murkiest recesses of the building and Abraham preserved them by allowing mould to form and cobwebs to gather over their more reprehensible zones, in which his father disported himself with startling numbers of individuals of both sexes in a fashion which his wide-eyed son could only think of as educational. And yet in spite of the salacious gymnastics of these activities the ageing wanderer had regained his old lugubriousness of mien, so that, perhaps, all his journeys had done no more than wash him up at the last on the same shores of discontent whence he had first set forth. On the day Abraham Zogoiby's voice broke he was gripped by the notion that his father was about to return. He raced through the alleys of the Jewish quarter down to the waterfront where cantilevered Chinese fishing nets were spread out against the sky; but the fish he sought did not leap out of the waves. When he returned in despondency to the synagogue all the tiles depicting his father's odyssey had changed, and showed scenes both anonymous and banal. Abraham in a feverish rage spent hours crawling across the floor in search of magic. To no avail: for the second time in his life his unwise father Solomon Castile had vanished into the blue. I no longer remember when I first heard the family story which provided me with my nickname and my mother with the theme of her most famous series of paintings, the 'Moor sequence' that reached its triumphant culmination in the unfinished, and subsequently stolen masterpiece, The Moor's Last Sigh. I seem to have known it all my life, this lurid saga from which, I should add, Mr Vasco Miranda derived an early work of his own; but in spite of long familiarity I have grave doubts about the literal truth of the story, with its somewhat overwrought Bombay-talkie tnasala narrative, its almost desperate reaching back for a kind of authentification, for evidence... I believe, and others have since confirmed, that simpler explanations can be offered for the transaction between Abraham Zogoiby and his mother, most particularly for what he did or did not find in an old trunk underneath the altar; I will offer one such alternative version by and by. For the moment, I present the approved, and polished, family yarn; which, being so profound a part of my parents' pictures of themselves--and so significant a part of contemporary Indian art history--has, for those reasons if no other, a power and importance I will not attempt to deny. We have reached a key moment in the tale. Let us return briefly to young Abraham on hands and knees, frantically searching the synagogue for the father who had just abandoned him again, calling out to him in a cracked voice swooping from bulbul to crow; until at length, overcoming an unspoken taboo, he ventured for the first time in his life behind & beneath the pale blue drape with golden hem that graced the high altar... Solomon Castile wasn't there; the teenager's flashlight fell, instead, upon an old box marked with a Z and fastened with a cheap padlock, which was soon picked; for schoolboys have skills which adults forget as surely as lessons learned by rote. And so, despairing of his absconded father, he found his mother's secrets out instead. What was in the box?--Why, the only treasure of any value: viz., the past, and the future. Also, however, emeralds. And so to the day of crisis, when the adult Abraham Zogoiby charged into the synagogue--/'// show her Fitz, he cried--and dragged the trunk out from its hiding-place. His mother, pursuing him, saw her secrets coming out into the open and felt her legs give way. She sat down on blue tiles with a thump, while Abraham opened the box and drew out a silver dagger, which he stuck in his trouser-belt; then, breathing in short gasps, Flory watched him remove, and place upon his head, an ancient, tattered crown. Not the nineteenth-century circlet of gold donated by Maharaja Travancore, but something altogether more ancient was the �way I heard it. A dark green turban wound in cloth rendered illusory by age, so delicate that even the orange evening light filtering into the synagogue seemed too fierce; so provisional that it might almost have disintegrated beneath Flory Zogoiby's burning gaze... And upon this phantasm of a turban, the family legend went, hung age-dulled chains of solid gold, and dangling off these chains were emeralds so large and green that they looked like toys. It was four and a half centuries old, the last crown to fall from the head of the last prince ofal-Andalus; nothing less than the crown of Granada, as worn by Abu Abdallah, last of the Nasrids, known as 'Boabdil'. 'But how did it get there?' I used to ask my father. How indeed? This priceless headgear--this royal Moorish hat--how did it emerge from a toothless woman's box to sit upon the head of Abraham, future father, renegade Jew? 'It was', my father answered, 'the uneasy jewellery of shame.' I continue, for the moment, without judging his version of events: When Abraham Zogoiby as a boy first discovered the hidden crown and dagger he replaced the treasures in their hiding-place, fastened the padlock tight and spent a night and a day fearing his mother's wrath. But once it became clear that his inquisitive-ness had gone unnoticed his curiosity was reborn, and again he drew forth the little chest and again picked the lock. This time he found, wrapped in burlap in the turban-box, a small book made up of handwritten parchment pages crudely sewn together and bound in hide. It was written in Spanish, which the young Abraham did not understand, but he copied out a number of the names therein, and over the years that followed he unlocked their meanings, for instance by asking innocent questions of the crotchety and reclusive old chandler Moshe Cohen who was at that time the appointed head of the community and the keeper of its lore. Old Mr Cohen was so astonished that any member of the younger generation should care about the old days that he had talked freely, 'omting towards distant horizons while the handsome young man sat wide-eyed at his feet. Thus Abraham learned that, in January 1492, while Christopher lumbus watched in wonderment and contempt, the Sultan oabdil of Granada had surrendered the keys to the fortress-pala lace of the Alhambra, last and greatest of all the Moors' fortifications, to the all-conquering Catholic Kings Fernando and Isabella, giving up his principality without so much as a battle. He departed into exile with his mother and retainers, bringing to a close the centuries of Moorish Spain; and reining in his horse upon the Hill of Tears he turnedto look for one last time upon his loss, upon the palace and the fertile plains and all the concluded glory of al-Andalus... at which sight the Sultan sighed, and hotly wept--whereupon his mother, the terrifying Ayxa the Virtuous, sneered at his grief. Having been forced to genuflect before an omnipotent queen, Boabdil was now obliged to suffer a further humiliation at the hands of an impotent (but formidable) dowager. Well may you weep like a woman for what you could not defend like a man, she taunted him: meaning of course the; opposite. Meaning that she despised this blubbing male, her son, for yielding up what she would have fought for to the death, given the chance. She was Queen Isabella's equal and opposite; it was reina Isabel's good fortune to have come up against the mere cry-baby, Boabdil... Suddenly, as the chandler spoke, Abraham curled upon a coil of rope felt all the mournful weight of Boabdil's coming-to-an-end, felt it as his own. Breath left his body with a whine, and the next breath was a gasp. The onset of asthma (more asthma! It's a wonder I can breathe at all!) was like an omen, a joining of lives across the centuries, or so Abraham fancied as he grew into his manhood and the illness gained in strength. These wheezing sighs not only mine, but his. These eyes hot with his ancient grief. Boabdil, I too am thy mother's son. Was weeping such a weakness? he wondered. Was defending-to-the-death such a strength? After Boabdil handed over the keys to the Alhambra, he diminished into the south. The Catholic Kings had allowed him an estate, but even this was sold out from under his feet by his most trusted courtier. Boabdil, the prince turned fool. He eventually died in battle, fighting under some other kingling's flag. Jews, too, moved south in 1492. Ships bearing banished Jews into exile clogged the harbour at Cadiz, obliging the year's other voyager, Columbus, to sail from Palos de Moguer. Jews gave up the forging of Toledo steel; Castiles set sail for India. But not all Jews left at once. The Zogoibys, remember, were twenty-two years behind those old Castiles. What happened? Where did they hide? 'All will be told in good time, my son; all in own good time.' Abraham in his twenties learned secrecy from his mother, and to the annoyance of the small band of eligible women of his generation kept himself to himself, burrowing into the heart of the city and avoiding the Jewish quarter as much as possible, the synagogue most of all. He worked first for Moshe Cohen and then as a junior clerk for the da Gamas, and although he was a diligent worker and gained promotion early he wore the air of a man in waiting for something, and on account of his abstraction and beauty it became commonplace to say of him that he was a genius in the making, perhaps even the great poet that the Jews of Cochin had always yearned for but never managed to produce. Moshe Cohen's slightly too hairy niece Sara, a large-bodied girl waiting like an undiscovered sub-continent for Abraham's vessel to sail into her harbour, was the source of much of this speculative adulation. But the truth was that Abraham utterly lacked the artistic spark; his was a world of numbers, especially of numbers in action--his literature a balance-sheet, his music the fragile harmonies of manufacture and sale, his temple a scented warehouse. Of the crown and dagger in the wooden box he never spoke, so nobody knew that that was why he wore the look of a king in exile, and privily, in those years, he learned the secrets of his lineage, by teaching himself Spanish from books, and so deciphering what a twine-bound notebook had to say; until at last he stood crown-on-head in an orange evening and confronted his mother with his family's hidden shame. Outside in the Mattancherri alley the enlarging crowd grew -irmurous. Moshe Cohen, as community leader, took it upon elf to enter the synagogue, to mediate between the warring 'ther and son, for a synagogue was no place for such a