The stelae are not Copan’s only monuments. Scrambling among the ruins, we found an astonishing wealth of carved stones. Here was a great cubic skull-symbol, its eye sockets glaring, its teeth deep in the grass and weeds; here, at the base of a broken wall, a dado of small death’s heads in low relief; here the famous altar with its frieze of fantastically adorned astronomer-priests in scientific conference; here, carved in the round, a giant’s head, grotesquely open-mouthed; here a pair of statues, broken, but still violently alive. The finest specimens of sculpture in the round are no longer at Copan. I saw nothing to compare in grace, in plastic subtlety, in emotional expressiveness, with the torso of the maize god at the British Museum, or with the lovely head of the same god now at Boston. These two pieces and certain others in American museums, are stylistically so close to one another that one is tempted to think of them as the works of a single sculptor of outstanding ability. Of the other carvings in the round still at Copan, none exhibited the kind of approach to reality exemplified in these extraordinary statues. The beauty of most Mayan sculpture is felt by us to be profoundly, incommensurably alien. But with this particular group of carvings from Copan one feels suddenly at home, on familiar emotional ground. The mind of the man, or men, who made them seems to have been gifted with the same kind of sensibilities as ours. Now that these works have been taken away, the European visitor at Copan enjoys no such comforting conviction. He looks at the astonishing works around him, but looks at them from across a gulf; they exist in a universe of sentiment and discourse that is not his universe. Those colossal skulls, for example—they have nothing to do with the macabre of our later middle ages, or the florid horrors of baroque sepulchral art.

So wailed our ancestors. But I doubt if the Mayas were saying anything of the kind. In these great cubic monoliths, adorned (with what an unerring sense of the significantly decorative effect!) with eye sockets, nose hole, teeth, one finds no trace of our European lament for transience, our personal terror of extinction and decay. One finds—what? Confronted by the extraordinary objects themselves one can only ask the question, not hope to answer it. It is impossible to know by personal experience what the people who made such things felt and thought. Each life has its own private logic, and the logics of all the lives of people living at a given time, under a given cultural dispensation, have, at some point, a certain resemblance among themselves. The Mayas’ life-logic was not the same as ours. The admiration with which we look at their works of art is tinged with a speculative incomprehension. What were they really up to? Quien sabe?

(From Beyond the Mexique Bay)

Waking at dawn, I looked out of the window. We were in the desert. On either side of the railway an immense plain, flat as Holland, but tawny instead of green, stretched out interminably. On the horizon, instead of windmills, a row of camels was silhouetted against the gray sky. Mile after mile, the train rolled slowly southward.

At Tozeur, when at last we arrived, it had just finished raining—for the first time in two and a half years—and now the wind had sprung up; there was a sandstorm. A thick brown fog, whirled into eddies by the wind, gritty to the skin, abolished the landscape from before our smarting eyes. We sneezed; there was sand in our ears, in our hair, between our teeth. It was horrible. I felt depressed, but not surprised. The weather is always horrible when I travel.

Once, in a French hotel, I was accused of having brought with me the flat black bugs, of whose presence among my bedclothes I complained to a self-righteous proprietress. I defended myself with energy against the impeachment. Bugs—no; I am innocent of bugs. But when it comes to bad weather, I have to plead guilty. Rain, frost, wind, snow, hail, fog—I bring them with me wherever I go. I bring them to places where they have never been heard of, at seasons when it is impossible that they should occur. What delightful skating there will be in the Spice Islands when I arrive! On this particular journey I had brought with me to every place on my itinerary the most appalling meteorological calamities. At Naples, for example, it was the snow. Coming out of the theater on the night of our arrival, we found it lying an inch deep under the palm trees in the public gardens. And Vesuvius, next morning, glittered white, like Fujiyama, against the pale spring sky. At Palermo there was a cloud-burst. “Between the Syrtes and soft Sicily” we passed through a tempest of hail, lightning and wind. At Tunis it very nearly froze. At Sousse the wind was so violent that the stiff board-like leaves of the cactuses swayed and trembled in the air like aspens. And now, on the day of our arrival at Tozeur, it had rained for the first time in thirty months, and there was a sandstorm. No, I was not in the least surprised; but I could not help feeling a little gloomy.

Toward evening the wind somewhat abated; the sand began to drop out of the air. At midday the brown curtain had been unpenetrable at fifty yards. It thinned, grew gauzier; one could see objects at a hundred, two hundred yards. From the windows of the hotel bedroom in which we had sat all day, trying—but in vain, for it came through even invisible crannies—to escape from the wind-blown sand, we could see the fringes of a dense forest of palm trees, the dome of a little mosque, houses of sun-dried brick and thin brown men in flapping nightshirts walking, with muffled faces and bent heads, against the wind, or riding, sometimes astride, sometimes sideways, on the bony rumps of patient little asses. Two very professional tourists in sun helmets—there was no sun—emerged round the corner of a street. A malicious gust of wind caught them unawares; simultaneously the two helmets shot into the air, thudded, rolled in the dust. The too professional tourists scuttled in pursuit. The spectacle cheered us a little; we descended, we ventured out of doors.

A melancholy Arab offered to show us round the town. Knowing how hard it is to find one’s way in these smelly labyrinths, we accepted his offer. His knowledge of French was limited; so too, in consequence, was the information he gave us. He employed what I may call the Berlitz method. Thus, when a column of whirling sand rose up and jumped at us round the corner of a street, our guide turned to us and said, pointing: “Poussiere.” We might have guessed it ourselves.

He led us interminably through narrow, many-cornered streets, between eyeless walls, half crumbled and tottering.

“Village,” he explained. “Tres plaisant.” We did not altogether agree with him.

A walk through an Arab village is reminiscent of walks through Ostia or Pompeii. Roman remains are generally in a better state of preservation, and cleaner; that is all. One is astonished to see, among these dusty ruins, white-robed families crouching over their repasts.

Our guide patted a brown mud wall.

“Briques,” he said, and repeated the word several times, so that we might be certain what he meant.

These bricks, which are of sun-dried mud, are sometimes, on the facades of the more considerable houses, arranged in a series of simple and pleasing patterns—diamonds, quincunxes, hexagons. A local art which nobody now takes the trouble to practice—nobody, that is, except the Europeans, who, with characteristic energy, have used and wildly abused the traditional ornamentation on the walls of the station and the principal hotel. It is a curious and characteristic fact that, whenever in Tunisia one sees a particularly Oriental piece of architecture, it is sure to have been built by the French, since 1881. The cathedral of Carthage, the law courts and schools of Tunis—these are more Moorish than the Alhambra, Moorish as only Oriental tea-rooms in Paris or London can be Moorish. In thirty years the French have produced buildings more typically and intensely Arabian than the Arabs themselves contrived to do in the course of thirteen centuries.