Whenever he felt a surge of desire-and desires are aroused at musical entertainments-he would gaze greedily at the sultana of the soiree. His eyes would linger on the folds of her massive body. He felt good about the blessing fortune had bestowed on him. He congratulated himself on the sweet delights he could look forward to that night and following ones.
"'It’s when a man is tested that he’s honored or despised.' I challenged her with this declaration. I've got to live up to my word. I wonder what she’s like as a woman and how far she'll go? I'll discover the truth at a suitable time. In any case, play by her rules. To ensure a victory over an opponent, you must assume she’s vigilant and strong. I won't deviate from my long-standing practice of making my own pleasure a secondary objective after hers, which is the real goal and climax. In that way my pleasure will be achieved in the most perfect fashion".
Despite his great number of amorous adventures, out of all the different varieties of love, al-Sayyid Ahmad had experienced only lust. All the same, he had progressed in his pursuit of it to its purest and most delicate form. He was not simply an animal. In addition to his sensuality, he was endowed with a delicacy of feeling, a sensitivity of emotion, and an ingrained love for song and music. He had elevated lust to its most exalted type. It was for the sake of this lust alone that he had married the first time and then for the second. Over the course of time, his conjugal love was affected by calm new elements of affection and familiarity, but in essence it continued to be based on bodily desire. When an emotion is of this type, especially when it has acquired a renewed power and exuberant vitality, it cannot be content with only one form of expression. Thus he had shot off in pursuit of all the varieties of love and passion, like a wild bull. Whenever desire called, he answered, deliriously and enthusiastically. No woman was anything more than a body to him. All the same, he would not bow his head before that body unless he found it truly worthy of being seen, touched, smelled, tasted, and heard. It was lust, yes, but not bestial or blind. It had been refined by a craft that was at least partially an art, setting his lust in a framework of delight, humor, and good cheer. Nothing was so like his lust as his body, since both were huge and powerful, qualities that bring to mind roughness and savagery. Yet both concealed within them grace, delicacy, and affection, even though he might intentionally cloak those characteristics at times with sternness and severity. While he was devouring the sultana with his glances he did not limit his active imagination to having sex with her. It also wandered through various dreams of amusing pastimes and tuneful celebrations.
Zubayda felt the warmth of his gaze. Glancing around at the faces of the guests vainly and coquettishly, she told him, "Bridegroom, control yourself. Aren't you embarrassed in front of your associates?"
"There’s no point trying to be chaste in the presence of such a prodigious and voluptuous body".
The songstress released a resounding laugh. Then with great delight she asked the men, "What do you think of your friend?"
They all replied in one breath, "He’s excused!
At this the blind qanun player shook his head to the right and left, his lower lip hanging open. He muttered, "He’s excused who gives a warning".
Although the man’s proverb was well received, the lady turned on him in mock anger and punched him in the chest, yelling, "You hush and shut your big mouth".
The blind man accepted the blow laughingly. He opened his mouth as though to speak but closed it again to be safe. The woman turned her head toward al-Sayyid Ahmad and told him threateningly, "This is what happens to people who get out of line".
Pretending to be alarmed, he replied, "But I came to learn how to get out of line".
The woman struck her chest with her hand and shouted, "What cheek!.. Did you all hear what he said?"
More than one of them said at the same time, "It’s the best thing we've heard so far".
One of the group added, "You ought to hit him if he doesn't get out of line".
Someone else suggested, "You ought to obey him so long as he stays out of line".
The woman raised her eyebrows to show an astonishment she did not feel and asked, "Do you love being naughty this much?"
Al-Sayyid Ahmad sighed and said, "May our Lord perpetuate our naughtiness".
At that the performer picked up a tambourine and said, "Here’s something better for you to listen to".
She struck the tambourine in a rather nonchalant way, but the sound rose above the babbling commotion like an alarm and silenced it. The noise of her tambourine teased their ears. Everyone gradually dropped what he was doing. The members of the troupe got ready to play while the gentlemen drained their glasses. Then they gazed at the sultana. The room was so silent it almost declared their eagerness to enjoy the music.
The maestra gestured to her troupe and they burst out playing an overture by the composer Muhammad Uthman. Heads started to sway with the music. Al-Sayyid Ahmad surrendered himself to the resonant sound of the qanun, which set his heart on fire. Echoes of many different melodies from a long era filled with nights of musical ecstasy burst into flame within him, as though small drops of gasoline had fallen on a hidden ember. The qanun certainly was his favorite instrument, not only because of the virtuosity of a performer like al-Aqqad, but because of something about the very nature of the strings. Although he knew he was not going to hear a famous virtuoso like al-Aqqad or al-Sayyid Abduh, his enthusiastic heart made up for the defects of the performance with its passion.
The moment the troupe finished the five-part overture, the singer began "The sweetness of your lips intoxicates me". The troupe joined her enthusiastically. The most movingly beautiful part of this song was the harmony between two voices: the blind musician’s gruff, expansive one and Zanuba the lutanist’s delicate, childlike one. Al-Sayyid Ahmad was deeply touched. He quickly drained his glass to join in the chorus. In his haste to start singing he forgot to clear his throat and at first sounded choked. Others in the group soon plucked up their courage and followed his example. Soon everyone in the room was part of the troupe singing as though with one voice.
When that piece was finished, al-Sayyid Ahmad expected to hear some instrumental solos and vocal improvisation as usual, but Zubayda capped the ending with one of her resounding laughs to demonstrate her pleasure and amazement. She began to congratulate the new members of the troupe jokingly and asked them what they would like to hear. Al-Sayyid Ahmad was secretly distressed and momentarily depressed, since his passion for singing was intense. Few of those around him noticed anything. Then he realized that Zubayda, like most others of her profession, including the famous Bamba Kashar herself, was not capable of doing solo improvisations. He hoped she would pick a light ditty of the kind sung to the ladies at a wedding party. He would prefer that to having her attempt a virtuoso piece and fail to get it right. He tried to spare his ears the suffering he anticipated by suggesting an easy song suitable for the lady’s voice. He asked, "What would you all think of 'My sparrow, Mother?"
He looked at her suggestively, trying to arouse in her an interest in this ditty with which she had crowned their conversation a few days before in the reception room. A voice from the far end of the hall cried out sarcastically, "It would be better to ask your mother for that one".
The suggestion was quickly lost in the outburst of guffaws that spoiled his plan for him. Before he could try again, one group requested "O Muslims, O People of God" and another wanted "Get well, my heart".