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            <description>An unambiguous reference to the resource within a given context</description>
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            <description>Information about rights held in and over the resource</description>
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            <description>The topic of the resource</description>
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            <name>Abstract</name>
            <description>A summary of the resource.</description>
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                <text>Portrait du comte de Chambrun, anonyme, date inconnue, collection CEDIAS, photographie noir et blanc, Paris, Musée social, © Musée social.</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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          <description>The location of the interview</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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            <description>The nature or genre of the resource</description>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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            <name>Abstract</name>
            <description>A summary of the resource.</description>
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                <text>L'atelier de la manufacture de dentelles Experton Frère &amp;amp; Soeur, anonyme, vers 1918, carte postale, Retournac, Musée des manufactures de dentelles, © Musée des manufactures de dentelles.</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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          <name>Original Format</name>
          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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          <description>The location of the interview</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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            <description>The nature or genre of the resource</description>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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            <name>Abstract</name>
            <description>A summary of the resource.</description>
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                <text>Homeworking in Southwark, anonyme, 1984, caricature, Londres, London North University, © London North University.</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>MUSEA_EX17_H27</text>
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          <name>Location</name>
          <description>The location of the interview</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Des fillettes tressent la paille</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Ces cartes se vendent au profit d’une œuvre de charité, on peut se les procurer chez Mlle Roelands du Vivier à Hasselt, en Belgique</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Droits réservés</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Des fillettes tressent la paille, anonyme, date inconnue, (ces cartes se vendent au profit d’une œuvre de charité, on peut se les procurer chez Mlle Roelands du Vivier à Hasselt, en Belgique), © collection particulière.</text>
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            <description>Information about rights held in and over the resource</description>
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            <description>A summary of the resource.</description>
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            <description>An unambiguous reference to the resource within a given context</description>
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            <description>A name given to the resource</description>
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            <description>An entity primarily responsible for making the resource</description>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <description>Information about rights held in and over the resource</description>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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            <name>Abstract</name>
            <description>A summary of the resource.</description>
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            <description>An unambiguous reference to the resource within a given context</description>
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            <description>A name given to the resource</description>
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            <description>An entity primarily responsible for making the resource</description>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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            <description>Information about rights held in and over the resource</description>
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            <description>The nature or genre of the resource</description>
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            <description>A summary of the resource.</description>
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            <description>A name given to the resource</description>
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              <text>[ page 89 ]&#13;
&#13;
Ce que les femmes arabes disent de l'amour &#13;
&#13;
« Si un adorateur demande : &#13;
- Raïra, veux-tu m'aimer ?&#13;
- Macache ! (non) répond la Houris.&#13;
L'a-t-elle expérimenté avant de naître, toujours est-il, que la femme arabe paraît n'avoir jamais ignoré qu'aimer c'est souffrir ! Mais si elle redoute d'aimer, elle souhaite ardemment être aimée et personne mieux qu'elle, ne possède l'art de séduire et d'ensorceler. Pendant que les orgies ont lieu, dans les rues de la kasbah à Alger ; des maisons prison qui bordent ces rues, où vivent cloîtrées, murées les femmes arabes, montent dans l'éther comme dans des nuages d'encens, leurs rêves… leurs aspirations vers l'amour !… Ces mauresques vendues comme des animaux, ces femmes forcées de subir la polygamie, sont des chercheuses d'idéal ! [ page 90 ]&#13;
&#13;
Interrogez-les sur l'amour, elles vous répondront : - L'amour ! C'est le coup d'œil, c'est l'étreinte des bras et des mains, c'est le baiser !… L'amour n'est que jusque là !… Les bras tendus pour embrasser retombent, se collent au corps !… &#13;
Si aimées qu'elles soient, les musulmanes ne s'attachent pas à leur mari polygame qui les a blessées dans leur fierté en partageant son corps et ses faveurs. Leur âme se replie sur elle-même, comme ces fleurs qui ferment leurs pétales, dès qu'elles sont froissées ou mutilées.&#13;
Ces femmes arabes dont on ne prend pas garde de ménager la délicatesse, sont des sensitives qui frémissent, se révoltent, ont la répulsion des indignes contacts. Plus qu'aucune femme au monde, elles sentent ces musulmanes, qui ont été engendrées par des mères poètes.&#13;
Dans l'ancienne Arabie, toutes les femmes étaient poètes, la plus célèbre d'entre elles, [ page 91 ]&#13;
&#13;
fut Kanza dont la renommée égala l'illustre Khindif qui donna son nom à la tribu des Beni-Mondar qui, sous le nom de Khindifides, peuplent le Hedjâz et le Nedjd. &#13;
L'Arabie payenne eut quatre sages et ces sages furent des femmes. Elles s'appelaient : Sohr, Amrah, Djoumah et Hind qui, à la guerre se faisait des colliers de nez et d'oreilles d'ennemis.&#13;
Les femmes les plus remarquables de l'islamisme furent Aïcha – épouse préférée du prophète qui conseillait d'apprendre des vers aux enfants disant que le rythme purifiait la langue - et Zobéidah, femme de Haroun-al-Rachid qu'elle inspirait pour les affaires de l'Etat. &#13;
Les musulmanes ont une indépendance de caractère que la plupart des Françaises ne possèdent pas. Tout l'assujettissement moral qu'on dénomme chez nous le devoir, leur est inconnu. N'ayant pas leur sensibilité développée outre mesure par les romans et la religion, elles ne connaissent pas ces élans de [ page 92 ]&#13;
&#13;
passion qui les portent à se sacrifier et à subordonner leur bonheur à celui de l'homme. Elles veulent être heureuses elles-mêmes et éprouver personnellement, une complète satisfaction. &#13;
L'élévation de leur esprit date de loin : du temps de la société païenne, alors que les femmes avaient la liberté de choisir le compagnon de vie qui leur plaisait, elles ne visaient qu'à faire des mariages d'intelligence". Elles recherchaient un mari sympathique. &#13;
Les femmes des autres races se laissaient séduire par la beauté physique, la richesse ! Elles préféraient à tout, la beauté morale, la supériorité intellectuelle. Elles épousaient le plus généreux et le plus poète ! &#13;
Avant d'épouser, elles faisaient subir des épreuves. Celle du réchaud et des parfums, était infaillible pour distinguer, entre un homme de rien et un homme bien né. &#13;
La femme arabe d'aujourd'hui, si annihilée qu'elle soit, participe de ses aïeules, elle a [ page 93 ]&#13;
&#13;
toutes ses aspirations dirigées vers le mieux, témoin ce proverbe qui excite la vigilance des geôliers musulmans : "Quand la femme a vu l'hôte elle ne veut plus de son mari". C'est que l'hôte, presque toujours européen, représente pour elle une supériorité d'éducation et de développement intellectuel.&#13;
Quel sentiment autre que le mépris, la musulmane peut-elle avoir pour le maître jaloux, paresseux, méfiant, qui en sortant emporte la clef de la maison ? Aussi, dès qu'elle peut se soustraire à la claustration, elle jette le Koran par dessus la Kasbah et préfère se donner à vingt français, plutôt que de se laisser acheter par un seul mari mahométan[…]".</text>
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              <text>PAGE 1 : CHAPITRE PREMIER&#13;
Histoire de la sultane Kétiras - intérieur du sérail&#13;
Histoire de l'esclave Naoura&#13;
Abdul-Mejdid, qui était bien connu pour sa bonté, sa générosité pour tous, et surtout pour l'extrême faiblesse qu'il avait pour ses femmes, ne sachant rien […] PAGE 2 : leur refuser, et se préoccupant sans cesse de leur bonheur, a fait un trait de magnanimité qui dépeint bien les sentiments élevés de ce monarque, et montre combien son cœur était apte au plus grand dévouement et au plus grand sacrifice, alors qu'il s'agissait du bonheur d'une femme…&#13;
Dans la maison d'une grande dame turque, Missir-el-Anem, il voit un jour une esclave d'une beauté extraordinaire. Il en devient bientôt éperdument amoureux, et veut l'acheter pour en faire sa favorite ; mais la maîtresse de cette esclave qui aimait tendrement la jeune fille, qui l'avait élevée avec autant de soin que si elle eût été sa mère, qui l'avait même adoptée, dit au souverain qu'elle ne lui cédera que s'il consent à en faire sa femme légitime… Or, l'usage en Turquie interdit au sultan d'épouser une esclave devant la loi.&#13;
L'illustre amoureux se retire désespéré de cette réponse ; il essaye de chasser de son cœur l'image de la belle esclave ; il reste quelque temps sans la revoir, comptant sur l'absence pour se guérir de son amour ; mais il fait l'expérience que l'absence est un fort mauvais remède : son imagination lui fait revoir celle qu'il aime plus belle, plus séduisante encore, il ne peut parvenir à chasser ses traits de devant ses yeux et de dedans son cœur…&#13;
Alors, comme l'amour ne connaît pas d'obstacles, PAGE 3 : il se décide à braver les usages… à l'épouser. Il a recours à toutes les merveilles du luxe oriental pour préparer dans son sérail l'appartement qu'il lui destine, il la couvre de bijoux, de diamants, ses moindres robes, ses vestes lui coûtent des sommes fabuleuses ; et bientôt cette esclave, devenue la femme du sultan, a des équipages somptueux, elle est entourée de tous les raffinements d'un luxe inouïe et de ces mille prévenances qu'un homme vraiment amoureux a toujours pour l'objet de sa flamme.&#13;
La possession au lieu de diminuer la passion d'Abdul Mejdid ne fait que l'augmenter, il est amoureux, mais amoureux à en perdre la tête.&#13;
Son bonheur pourtant n'est pas parfait, car la belle Kétiras se laissait aimer, mais elle ne l'aimait pas. Au bout même de quelque temps son indifférence se changea en froideur et en mélancolique tristesse, les roses de ses joues se fanèrent, ses yeux s'alanguirent, elle ressemblait à un beau lys courbé sur sa tige, battu par l'orage. Et, alors que toutes les femmes du sérail enviaient son bonheur, elle était très malheureuse.&#13;
Naturellement, la froideur, l'indifférence de Kétiras augmentaient l'amour de son époux au lieu de l'affaiblir ; mais il souffrait de posséder la femme sans posséder son cœur. En vain redoublait-il de tendresse, de PAGE 4 : délicate attention, il ne faisait pas un pas en avant, au contraire… Il voulut connaître la cause de cette indifférence, de cette tristesse ; il soupçonna une cause secrète, il chercha à la découvrir. Hélas ! il y parvint, je dis hélas ! car il y a des vérités si pénibles que l'on regrette de ne pas les avoir ignorées toujours.&#13;
La belle Kétiras était amoureuse, elle aussi, à en perdre le repos et la santé, mais pas de son époux ; son cœur s'était donné à un brillant général qu'elle avait aperçu caracolant à la suite du sultan. De là sa mélancolie, car elle ne pouvait entrevoir son amoureux que de loin, à la promenade, ou bien alors qu'il venait dans son haïk se promener sur le Bosphore sous les fenêtres du sérail ; c'est vous dire que lui aussi l'aimait. Le sultan sut tout cela, il connut tous les détails de leur liaison platonique.&#13;
Que fit-il ? les Turcs sont jaloux comme des tigres, méchants, vindicatifs, assure-t-on ; il les fit jeter, enfermés tous deux dans un sac, au fond du Bosphore, ou bien, plus modéré, il exila le général et mit au cachot sa femme, allez-vous dire lecteur !… Non, il ne fit rien de tout cela, il pleura comme un simple mortel son bonheur évanoui, ses illusions déçues, il sentit la jalousie lui mordre au cœur pour la première fois de sa vie… Mais il se dit : Puisque je l'aime et qu'elle ne m'aime pas, qu'elle en aime un autre, elle ne sera PAGE 5 : jamais heureuse avec moi et je veux qu'elle le soit. Faisant taire son cœur, son amour propre froissé, sa jalousie, il divorça d'avec elle ; il l'installa dans un superbe yalli (palais) qu'il lui acheta sur le Bosphore ; et, au bout de trois mois, comprenant qu'elle n'oserait jamais lui demander la permission de prendre un autre mari, voulant même lui éviter de commettre l'indélicatesse de lui exprimer ce désir, il lui donna l'ordre d'épouser le général, et il augmenta de grade et d'appointements son rival.Le jour que se célébra leur mariage, les quelques élus qui ont l'honneur d'approcher le sultan purent s'apercevoir que leur souverain avait les yeux rouges… Et la première fois que sa voiture croisa celle de la nouvelle générale, on put remarquer que le sultan pâlissait […].</text>
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            <description>An entity primarily responsible for making the resource</description>
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            <description>Information about rights held in and over the resource</description>
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Page 5: Ecris moi&#13;
Page 6: Le premier rendez-vous&#13;
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Page 11: Le bateau des îles&#13;
Page 12: Mon amant de St Jean&#13;
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