The Burton Holmes Lectures, Volume 1 (of 10) In Ten Volumes — A Reader’s Guide
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This digital edition of The Burton Holmes Lectures, Volume 1 (of 10) In Ten Volumes — A Reader’s Guide is described by source-level measurements including 45,602 words, 3 hr 19 min estimated reading time, and 12 detected text sections.
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The city is unlike all other cities of the interior, for it was built by the Portuguese. It is not white, as are the Moorish cities, but all in dull greys, browns, and soiled and dingy yellows. In the bazaar we purchase more Moorish clothing—long white garments, far cooler than our riding-suits, and upon returning in our new attire to the camp, we are greeted effusively by a dusky gentleman who introduces himself as the Consular Agent of the United States. Unfortunately his kindly words are all Arabic, of which we do not understand a word. Nevertheless Mr. Hamman Slawi convinces us of his good-will by presenting us with a pair of yellow slippers, and manifests his admiration by sitting in our tent and looking at us intently for just two hours and a half. Long calls are the custom in Morocco, and when Mr. Slawi finally departed, he left his son, a fat little chap, to continue staring at us so that we might not feel neglected. And when the boy was finally induced to go, the father sent the local symphony orchestra to serenade us in the gloaming, with two insistent drums and an exasperating flute.
We are compelled to give these cacophonic tormentors a present to bring the concert to an end. A present, by the way, is an important element in every Moorish proposition. Presents are the lubricating medium used in the social and political machinery of this ancient empire. Acting upon the advice of former travelers, we have brought with us many gifts for the Kaids or sheiks or bashas who show us kindness, or from whom we may desire to obtain favors. A dozen Waterbury watches are reserved for the men who are very great; for lesser notabilities we carry other presents, among them, strange to say, all sorts of little toys, like jumping jacks, kaleidoscopes, and automatic animals. These are not intended for the children, but for full-grown men, hoary-headed chieftains who have a passion for such novelties. The Moors are at heart big children, with all the simplicity, deceitfulness, and passion of real children.
And, like unfeeling children, these people are often thoughtlessly cruel. They appear not to notice the wounds caused by the heavy, ill-adjusted harness of the pack mules, or the ugly cut made by the brutal bit in the mouth of Kaid Lharbi's faithful horse. When we remonstrated with our men about this useless cruelty, they answered that the animals are "used to it;" that it is the custom of the country for mules to have raw backs and horses bleeding jaws. The Moslem firmly believes that "whatever is, is right;" and we console ourselves with the assurance of the classic author who asserts that "the souls of usurers are metempsychosed, or translated, into the bodies of asses, and there remain certain years for poor men to take their pennyworth out of their bones."
Later in the day we met with a curious experience. As we began the descent into a broad valley, we saw approaching us another caravan. When it drew near, we discovered, with pleased surprise, that the man who rode in front was clothed in coat and trowsers, evidently a European, a man from our own world, perhaps the only other white-skinned traveler in the land. We shook off the lethargy that results from a long morning in the saddle, and prepared to greet the stranger with smiles and questions, eager to give news of the living world to one who must have been buried for at least many days in this roadless land, eager to send back by him messages to the consul in Tangier. Nearer he comes and nearer, but as yet he makes no sign. Imagine, then, our blank dismay when the caravans pass one another on this narrow trail amid the yellow grain, and the stranger—a German merchant, as we learned afterward—rides past with his Teutonic nose high in air, without a side glance or a nod, without the slightest sign of recognition in answer to our smiles; for so astonished were we that we could not speak. This exhibition of boorishness, I fear, gave our Moslem followers a sad notion of the love and good-fellowship existing between man and man in the world of unbelievers.
After receiving this cut-direct, we ride on across the grand free landscape, its lines unbroken by trees or houses, where grain grows wild and rots unharvested. In Roman times Morocco was the granary of Europe; to-day the Moorish authorities prohibit the exportation of all grain. "It is not meet," they say, "that the unbeliever should be nourished by the labor of the faithful."
Burton Holmes opens his lecture on Morocco with a self-aware admission: the printed page cannot replicate the experience of a projected photograph or a spoken phrase. Yet his text retains the rhythms of the platform, addressing the reader as if an audience member. The first volume of his collected lectures, published in 1901, preserves the voice of a traveler who is also a performer, one who frames scenes for the camera and for the ear.
Holmes’s account of Fez is built around set pieces: the Tholba camp, the Viceroy’s procession, the map of the world used by the University of Fez. He notes details that a photographer would seize—the “river of blood” formed by red-coated soldiers, the “simian” aspect of their uniforms—and he is frank about the limits of his access. The result is a travel narrative that is both documentary and theatrical.
The Showman’s Voice
Holmes writes as a lecturer who knows his audience expects vivid, digestible scenes. His sentences are built for oral delivery: short, declarative, often beginning with temporal markers like “First comes” or “Meantime.” He uses simile to make the unfamiliar familiar—soldiers look like “a simian pet of an organ-grinder,” the square like “a ravine through which there flows a river of blood.” These are not neutral descriptions; they are calculated to produce a reaction. The voice is confident, slightly amused, and always aware of the camera’s frame. When he describes the Viceroy’s procession, he notes that he “dared not raise our cameras,” a reminder that the lecture is built from photographs he could or could not take.
Framing the Exotic
Holmes’s Morocco is a place of deliberate contrasts: the “grim walls” and “frowning towers” of New Fez versus the sudden “life and animation” of a crowd. He is drawn to the theatrical—the student sultan’s camp, the Viceroy’s mules, the map that places England near India. These details are chosen for their strangeness, but Holmes does not simply gawk. He notes the economic reality behind the Tholba camp (expenses paid by “contributions exacted from the citizens”) and the political context of the Sultan’s absence. The lecture balances spectacle with a traveler’s practical observations, such as the discovery of Springfield rifles from 1865 in the hands of Moorish soldiers. The exotic is never allowed to become purely picturesque; it is always tethered to a specific, often ironic, fact.
The Photographer’s Eye
The text is punctuated by references to photography, both as a practice and as a limitation. Holmes describes the difficulty of capturing the Viceroy’s procession, the need to “raise cameras” at the right moment. The lecture itself is a kind of verbal photograph: it selects, frames, and composes. The map of the University of Fez is described in terms of its visual oddities—angular outlines, misplaced continents—as if it were an image to be projected. Holmes’s prose often mimics the effect of a lantern slide: a scene is introduced, described in detail, then left behind for the next. The reader is invited to see what the lecturer saw, but always through the lens of his own framing. The result is a travelogue that is as much about the act of looking as about what is seen.
The Limits of the Lecture
Holmes is candid about what he cannot show or know. He admits that the Sultan “will not return to Fez until long after our departure,” and that the map’s geography is “Moorish” rather than accurate. The lecture form imposes a structure: each scene must be self-contained, each observation must lead to the next. But Holmes also acknowledges the gaps. He notes that the soldiers’ uniforms are “less the fault of the soldiers than of the military tailor,” a small concession to the limits of his own judgment. The lecture is a performance, but it is a performance that knows its own artifice. The reader is left with the sense that Holmes is not just describing Morocco, but also describing the difficulty of describing Morocco—a meta-awareness that gives the text its particular texture.
Holmes’s lectures are best read as documents of a particular moment in travel writing, when the platform and the photograph were new technologies of representation. His voice is that of a guide who is also a showman, and his Morocco is a stage. Readers interested in the history of travel literature, early photography, or the construction of the exotic in popular culture will find this volume a rich, if partial, source. The limitations of the lecture form—its need for brevity, its reliance on the visual—become, in Holmes’s hands, a kind of strength.
Flipping through the Burton Holmes Lectures, I paused at his wry note about maps redrawing the world to fit a traveler's eye. That quiet, personal framing reminded me of another voice, half a world away, doing the same with her own observations. There is a gentle art to seeing things anew, and An Ohio woman in the Philippines — Key Ideas to Explore holds that same unhurried, intimate quality.
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