Meanwhile the bridegroom grows impatient; everyone in the audience
can notice the signs of anger and anxiety on his face. The old man
repeats his question a fourth time, and at last the word of consent
is uttered in a very low voice from behind the door. At the same
moment the bridegroom shows his feelings of relief by some motions
expressive of pleasure, or by looking more than usually gratified.
The old gentleman turns to him and formally asks him whether he
will marry Miss So-and-so. He makes no modest hesitation, as, in
his opinion, modesty is quite uncalled for here, is, in fact, an
unpleasant outcome of the organised hypocrisy of society. So he answers
the old gentleman's question at once, with the unblushing boldness
peculiar to his sex. After this all the audience bear witness to the
legitimacy of the event. A brief prayer is then recited, after which
all offer their congratulations to the bridegroom. They draw up and
sign the wedding-contract immediately, that it may be certified by the
semi-religious magistrate called the Kadi. But the young couple are
not permitted to see each other till all the marriage ceremonies are
completed, and that is not till several days have passed.
[Illustration: A VILLAGE WEDDING PROCESSION.]
Another curious custom connected with marriage is that of a
bridegroom's friends beating him on the back with their fists. This is
commonly the case in Turkey. At the very moment when the bridegroom is
going to see the face of his wife the first time, after all formalities
of the wedding are over, intimate friends and relations collect just
outside the door of the female portion of the house. After wishing him
a happy life, they belabour him from behind as he hurries into the
ladies quarter, a proceeding which no doubt considerably accelerates
his movements. The punishment is supposed to be inflicted in a gentle
manner, but it may perhaps be that some of the young bachelors relieve
their feeling of jealousy by making the customary blows somewhat harder
than absolutely necessary.
* * * * *
Public-domain text, read in full here on John Shaqi.
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