Castilian Days Part 9

You are shut finally in by these iron-gray walls. The outside day has given you up. Your feet slip on the damp flags. An unhealthy fungus tinges the humid corners with a pallid green. You look in vain for any trace of human sympathy in those blank walls and that severe facade.

There is a dismal attempt in that direction in the gilded garments and the painted faces of the colossal prophets and kings that are perched above the lofty doors. But they do not comfort you; they are tinselled stones, not statues.

Entering the vestibule of the church, and looking up, you observe with a sort of horror that the ceiling is of ma.s.sive granite and flat. The sacristan has a story that when Philip saw this ceiling, which forms the floor of the high choir, he remonstrated against it as too audacious, and insisted on a strong pillar being built to support it. The architect complied, but when Philip came to see the improvement he burst into lamentation, as the enormous column destroyed the effect of the great altar. The canny architect, who had built the pillar of pasteboard, removed it with a touch, and his majesty was comforted. Walking forward to the edge of this shadowy vestibule, you recognize the skill and taste which presided at this unique and intelligent arrangement of the choir.

If left, as usual, in the body of the church, it would have seriously impaired that solemn and simple grandeur which distinguishes this above all other temples. There is nothing to break the effect of the three great naves, divided by immense square-cl.u.s.tered columns, and surmounted by the vast dome that rises with all the easy majesty of a mountain more than three hundred feet from the decent black and white pavement. I know of nothing so simple and so imposing as this royal chapel, built purely for the glory of G.o.d and with no thought of mercy or consolation for human infirmity. The frescos of Luca Giordano show the attempt of a later and degenerate age to enliven with form and color the sombre dignity of this faultless pile. But there is something in the blue and vapory pictures which shows that even the unabashed Luca was not free from the impressive influence of the Escorial.

A flight of veined marble steps leads to the beautiful retable of the high altar. The screen, over ninety feet high, cost the Milanese Trezzo seven years of labor. The pictures ill.u.s.trative of the life of our Lord are by Tibaldi and Zuccaro. The gilt bronze tabernacle of Trezzo and Herrera, which has been likened with the doors of the Baptistery of Florence as worthy to figure in the architecture of heaven, no longer exists. It furnished a half hour's amus.e.m.e.nt to the soldiers of France.

On either side of the high altar are the oratories of the royal family, and above them are the kneeling effigies of Charles, with his wife, daughter, and sisters, and Philip with his successive harem of wives.

One of the few luxuries this fierce bigot allowed himself was that of a new widowhood every few years. There are forty other altars with pictures good and bad. The best are by the wonderful deaf-mute, Navarrete, of Logrono, and by Sanchez Coello, the favorite of Philip.

To the right of the high altar in the transept you will find, if your tastes, unlike Miss Riderhood's, run in a bony direction, the most remarkable Reliquary in the world. With the exception perhaps of Cuvier, Philip could see more in a bone than any man who ever lived. In his long life of osseous enthusiasm he collected seven thousand four hundred and twenty-one genuine relics,--whole skeletons, odd shins, teeth, toe-nails, and skulls of martyrs,--sometimes by a miracle of special grace getting duplicate skeletons of the same saint. The prime jewels of this royal collection are the grilled bones of San Lorenzo himself, bearing dim traces of his sacred gridiron.

The sacristan will show you also the retable of the miraculous wafer, which bled when trampled on by Protestant heels at Gorc.u.m in 1525. This has always been one of the chief treasures of the Spanish crown. The devil-haunted idiot Charles II. made a sort of idol of it, building it this superb altar, consecrated "in this miracle of earth to the miracle of heaven." When the atheist Frenchmen sacked the Escorial and stripped it of silver and gold, the pious monks thought most of hiding this wonderful wafer, and when the storm pa.s.sed by, the b.o.o.by Ferdinand VII.

restored it with much burning of candles, swinging of censers, and chiming of bells. Worthless as it is, it has done one good work in the world. It inspired the altar-picture of Claudio Coello, the last best work of the last of the great school of Spanish painters. He finished it just before he died of shame and grief at seeing Giordano, the nimble Neapolitan, emptying his buckets of paint on the ceiling of the grand staircase, where St. Lawrence and an army of martyrs go sailing with a fair wind into glory.

The great days of art in the Escorial are gone. Once in every nook and corner it concealed treasures of beauty that the world had nearly forgotten. The Perla of Raphael hung in the dark sacristy. The Cena of t.i.tian dropped to pieces in the refectory. The Gloria, which had sunk into eclipse on the death of Charles V., was hidden here among unappreciative monks. But on the secularization of the monasteries, these superb canvases went to swell the riches of the Royal Museum.

There are still enough left here, however, to vindicate the ancient fame of the collection. They are perhaps more impressive in their beauty and loneliness than if they were pranking among their kin in the glorious galleries and perfect light of that enchanted palace of Charles III. The inexhaustible old man of Cadora has the Prayer on Mount Olivet, an Ecce h.o.m.o, an Adoration of the Magi. Velazquez one of his rare scriptural pieces, Jacob and his Children. Tintoretto is rather injured at the Mus...o...b.. the number and importance of his pictures left in this monkish twilight; among them is a lovely Esther, and a masterly Presentation of Christ to the People. Plenty of Giordanos and Ba.s.sanos and one or two by El Greco, with his weird plague-stricken faces, all chalk and charcoal. A sense of duty will take you into the crypt where the dead kings are sleeping in bra.s.s. This mausoleum, ordered by the great Charles, was slow in finishing. All of his line had a hand in it down to Philip IV., who completed it and gathered in the poor relics of royal mortality from many graves. The key of the vault is the stone where the priest stands when he elevates the Host in the temple above. The vault is a graceful octagon about forty feet high, with nearly the same diameter; the flickering light of your torches shows twenty-six sarcophagi, some occupied and some empty, filling the niches of the polished marble. On the right sleep the sovereigns, on the left their consorts. There is a coffin for Dona Isabel de Bourbon among the kings, and one for her amiable and lady-like husband among the queens. They were not lovely in their lives, and in their deaths they shall be divided. The quaint old church-mouse who showed me the crypt called my attention to the coffin where Maria Louisa, wife of Charles IV.,--the lady who so gallantly bestrides her war-horse, in the uniform of a colonel, in Goya's picture,--coming down those slippery steps with the sure footing of feverish insanity, during a severe illness, scratched _Luisa_ with the point of her scissors and marked the sarcophagus for her own. All there was good of her is interred with her bones. Her frailties live on in scandalized history.

Twice, it is said, the coffin of the emperor has been opened by curious hands,--by Philip IV., who found the corpse of his great ancestor intact, and observed to the courtier at his elbow, "An honest body, Don Luis!" and again by the Ministers of State and Fomento in the spring of 1870, who started back aghast when the coffin-lid was lifted and disclosed the grim face of the Burgess of Ghent, just as t.i.tian painted him,--the keen, bold face of a world-stealer.

I do not know if Philip's funeral urn was ever opened. He stayed above ground too long as it was, and it is probable that people have never cared to look upon his face again. All that was human had died out of him years before his actual demise, and death seemed not to consider it worth while to carry off a vampire. Go into the little apartment where his last days were pa.s.sed; a wooden table and book-shelf, one arm-chair and two stools--the one upholstered with cloth for winter, the other with tin for summer--on which he rested his gouty leg, and a low chair for a secretary,--this was all the furniture he used. The rooms are not larger than cupboards, low and dark. The little oratory where he died looks out upon the high altar of the Temple. In a living death, as if by an awful antic.i.p.ation of the common lot it was ordained that in the flesh he should know corruption, he lay waiting his summons hourly for fifty-three days. What tremendous doubts and fears must have a.s.sailed him in that endless agony! He had done more for the Church than any living man. He was the author of that sublime utterance of uncalculating bigotry, "Better not reign than reign over heretics." He had pursued error with fire and sword. He had peopled limbo with myriads of rash thinkers. He had impoverished his kingdom in Catholic wars. Yet all this had not sufficed. He lay there like a leper smitten by the hand of the G.o.d he had so zealously served. Even in his mind there was no peace. He held in his clenched hand his father's crucifix, which Charles had held in his exultant death at Yuste. Yet in his waking hours he was never free from the horrible suggestion that he had not done enough for salvation. He would start in horror from a sleep that was peopled with shapes from torment. Humanity was avenged at last.

So powerful is the influence of a great personality that in the Escorial you can think of no one but Philip II. He lived here only fourteen years, but every corridor and cloister seems to preserve the souvenir of his sombre and imperious genius. For two and a half centuries his feeble successors have trod these granite halls; but they flit through your mind pale and unsubstantial as dreams. The only tradition they preserved of their great descent was their magnificence and their bigotry. There has never been one utterance of liberty or free thought inspired by this haunted ground. The king has always been absolute here, and the monk has been the conscience-keeper of the king. The whole life of the Escorial has been unwholesomely pervaded by a flavor of holy water and burial vaults. There was enough of the repressive influence of that savage Spanish piety to spoil the freshness and vigor of a natural life, but not enough to lead the court and the courtiers to a moral walk and conversation. It was as profligate a court in reality, with all its ma.s.ses and monks, as the gay and atheist circle of the Regent of Orleans. Even Philip, the Inquisitor King, did not confine his royal favor to his series of wives. A more reckless and profligate young prodigal than Don Carlos, the hope of Spain and Rome, it would be hard to find to-day at Mabille or Cremorne. But he was a deeply religious lad for all that, and asked absolution from his confessors before attempting to put in practice his intention of killing his father.

Philip, forewarned, shut him up until he died, in an edifying frame of mind, and then calmly superintended the funeral arrangements from a window of the palace. The same mingling of vice and superst.i.tion is seen in the lessening line down to our day. The last true king of the old school was Philip IV. Amid the ruins of his tumbling kingdom he lived royally here among his priests and his painters and his ladies. There was one jealous exigency of Spanish etiquette that made his favor fatal.

The object of his adoration, when his errant fancy strayed to another, must go into a convent and nevermore be seen of lesser men. Madame Daunoy, who lodged at court, heard one night an august footstep in the hall and a kingly rap on the bolted door of a lady of honor. But we are happy to say she heard also the spirited reply from within, "May your grace go with G.o.d! I do not wish to be a nun!"

There is little in these frivolous lives that is worth knowing,--the long inglorious reigns of the dwindling Austrians and the parody of greater days played by the scions of Bourbon, relieved for a few creditable years by the heroic struggle of Charles III. against the hopeless decadence. You may walk for an hour through the dismal line of drawing-rooms in the cheerless palace that forms the gridiron's handle, and not a spirit is evoked from memory among all the tapestry and panelling and gilding.

The only cheerful room in this granite wilderness is the library, still in good and careful keeping. A long, beautiful room, two hundred feet of bookcases, and tasteful frescos by Tibaldi and Carducho, representing the march of the liberal sciences. Most of the older folios are bound in vellum, with their gilded edges, on which the t.i.tle is stamped, turned to the front. A precious collection of old books and older ma.n.u.scripts, useless to the world as the h.o.a.rd of a miser. Along the wall are hung the portraits of the Escorial kings and builders. The hall is furnished with marble and porphyry tables, and elaborate gla.s.s cases display some of the curiosities of the library,--a copy of the Gospels that belonged to the Emperor Conrad, the Suabian Kurz; a richly illuminated Apocalypse; a gorgeous missal of Charles V.; a Greek Bible, which once belonged to Mrs. Phoebus's ancestor Cantacuzene; Persian and Chinese sacred books; and a Koran, which is said to be the one captured by Don Juan at Lepanto. Mr. Ford says it is spurious; Mr. Madoz says it is genuine. The ladies with whom I had the happiness to visit the library inclined to the latter opinion for two very good reasons,--the book is a very pretty one, and Mr. Madoz's head is much balder than Mr. Ford's.

Wandering aimlessly through the frescoed cloisters and looking in at all the open doors, over each of which a cunning little gridiron is inlaid in the woodwork, we heard the startling and unexpected sound of boyish voices and laughter. We approached the scene of such agreeable tumult, and found the theatre of the monastery full of young students rehearsing a play for the coming holidays. A clever-looking priest was directing the drama, and one juvenile Thespis was denouncing tyrants and dying for his country in hexameters of a shrill treble. His friends were applauding more than was necessary or kind, and flourishing their wooden swords with much ferocity of action. All that is left of the once extensive establishment of the monastery is a boys' school, where some two hundred youths are trained in the humanities, and a college where an almost equal number are educated for the priesthood.

So depressing is the effect of the Escorial's gloom and its memories, that when you issue at last from its ma.s.sive doors, the trim and terraced gardens seem gay and heartsome, and the bleak wild scene is full of comfort. For here at least there is light and air and boundless s.p.a.ce. You have emerged from the twilight of the past into the present day. The sky above you bends over Paris and Cheyenne. By this light Darwin is writing, and the merchants are meeting in the Chicago Board of Trade. Just below you winds the railway which will take you in two hours to Madrid,--to the city of Philip II., where the nineteenth century has arrived; where there are five Protestant churches and fifteen hundred evangelical communicants. Our young crusader, Professor Knapp, holds night schools and day schools and prayer meetings, with an active devotion, a practical and American fervor, that is leavening a great lump of apathy and death. These Anglo-Saxon missionaries have a larger and more tolerant spirit of propaganda than has been hitherto seen. They can differ about the best shape for the cup and the platter, but they use what they find to their hand. They are giving a tangible direction and purpose to the vague impulse of reform that was stirring, before they came, in many devout hearts. A little while longer of this state of freedom and inquiry, and the shock of controversy will come, and Spain will be brought to life.

Already the signs are full of promise. The ancient barriers of superst.i.tion have already given way in many places. A Protestant can not only live in Spain, but, what was once a more important matter, he can die and be buried there. This is one of the conquests of the revolution.

So delicate has been the susceptibility of the Spanish mind in regard to the pollution of its soil by heretic corpses that even Charles I. of England, when he came a-wooing to Spain, could hardly gain permission to bury his page by night in the garden of the emba.s.sy; and in later days the Prussian Minister was compelled to smuggle his dead child out of the kingdom among his luggage to give it Christian burial. Even since the days of September the clergy has fought manfully against giving sepulture to Protestants; but Rivero, alcalde of Madrid and president of the Cortes, was not inclined to waste time in dialectics, and sent a police force to protect the heretic funerals and to arrest any priest who disturbed them. There is freedom of speech and printing. The humorous journals are full of blasphemous caricatures that would be impossible out of a Catholic country, for superst.i.tion and blasphemy always run in couples. It was the Duke de Guise, commanding the pope's army at Civitella, who cried in his rage at a rain which favored Alva, "G.o.d has turned Spaniard;" like Quashee, who burns his fetish when the weather is foul. The liberal Spanish papers overflowed with wit at the proclamation of infallibility. They announced that his holiness was now going into the lottery business with brilliant prospects of success; that he could now tell what Father Manterola had done with the thirty thousand dollars' worth of bulls he sold last year and punctually neglects to account for, and other levities of the sort, which seemed greatly relished, and which would have burned the facetious author two centuries before, and fined and imprisoned him before the fight at Alcolea. The minister having charge of the public instruction has promised to present a law for the prohibition of dogmatic doctrine in the national schools. The law of civil registry and civil marriage, after a desperate struggle in the Cortes, has gone into operation with general a.s.sent. There is a large party which actively favors the entire separation of the spiritual from the temporal power, making religion voluntary, and free, and breaking its long concubinage with the crown.

The old superst.i.tion, it is true, still hangs like a malarial fog over Spain. But it is invaded by flashes and rays of progress. It cannot resist much longer the sunshine of this tolerant age.

Far up the mountain-side, in the shade of a cl.u.s.ter of chestnuts, is a rude block of stone, called the "King's Chair," where Philip used to sit in silent revery, watching as from an eyry the progress of the enormous work below. If you go there, you will see the same scene upon which his basilisk glance reposed,--in a changed world, the same unchanging scene,--the stricken waste, the s.h.a.ggy horror of the mountains, the fixed plain wrinkled like a frozen sea, and in the centre of the perfect picture the vast chill bulk of that granite pile, rising cold, colorless, and stupendous, as if carved from an iceberg by the hand of Northern gnomes. It is the palace of vanished royalty, the temple of a religion which is dead. There are kings and priests still, and will be for many coming years. But never again can a power exist which shall rear to the glory of the sceptre and the cowl a monument like this. It is a page of history deserving to be well pondered, for it never will be repeated. The world which Philip ruled from the foot of the Guadarrama has pa.s.sed away. A new heaven and a new earth came in with the thunders of 1776 and 1789. There will be no more Pyramids, no more Versailles, no more Escoriais. The unpublished fiat has gone forth that man is worth more than the glory of princes. The better religion of the future has no need of these ma.s.sive dungeon-temples of superst.i.tion and fear. Yet there is a store of precious teachings in this ma.s.s of stone. It is one of the results of that mysterious law to which the genius of history has subjected the caprices of kings, to the end that we might not be left without a witness of the past for our warning and example,--the law which induces a judged and sentenced dynasty to build for posterity some monument of its power, which hastens and commemorates its ruin. By virtue of this law we read on the plains of Egypt the pride and the fall of the Pharaohs. Before the f.a.gade of Versailles we see at a glance the grandeur of the Capetian kings and the necessity of the Revolution. And the most vivid picture of that fierce and gloomy religion of the sixteenth century, compounded of a base alloy of worship for an absolute king and a vengeful G.o.d, is to be found in this colossal hermitage in the flinty heart of the mountains of Castile.

A MIRACLE PLAY

In the windy month of March a sudden gloom falls upon Madrid,--the reaction after the _folie gaiete_ of the Carnival. The theatres are at their gayest in February until Prince Carnival and his jolly train a.s.sault the town, and convert the temples of the drama into ball-rooms.

They have not yet arrived at the wonderful expedition and despatch observed in Paris, where a half hour is enough to convert the grand opera into the masked ball. The invention of this process of flooring the orchestra flush with the stage and making a vast dancing-hall out of both is due to an ingenious courtier of the regency, bearing the great name of De Bouillon, who got much credit and a pension by it. In Madrid they take the afternoon leisurely to the transformation, and the evening's performance is of course sacrificed. So the sock and buskin, not being adapted to the cancan, yielded with February, and the theatres were closed finally on Ash Wednesday.

Going by the pleasant little theatre of Lope de Rueda, in the Calle Barquillo, I saw the office-doors open, the posters up, and an unmistakable air of animation among the loungers who mark with a seal so peculiar the entrance of places of amus.e.m.e.nt. Struck by this apparent levity in the midst of the general mortification, I went over to look at the bills and found the subject announced serious enough for the most Lenten entertainment,--Los Siete Dolores de Maria,--The Seven Sorrows of Mary,--the old mediaeval Miracle of the Life of the Saviour.

This was bringing suddenly home to me the fact that I was really in a Catholic country. I had never thought of going to Ammergau, and so, when reading of these shows, I had entertained no more hope of seeing one than of a.s.sisting at an auto-da-fe or a witch-burning. I went to the box-office to buy seats. But they were all sold. The forestallers had swept the board. I was never able to determine whether I most pitied or despised these pests of the theatre. Whenever a popular play is presented, a dozen ragged and garlic-odorous vagabonds go early in the day and buy as many of the best places as they can pay for. They hang about the door of the theatre all day, and generally manage to dispose of their purchases at an advance. But it happens very often that they are disappointed; that the play does not draw, or that the evening threatens rain, and the Spaniard is devoted to his hat. He would keep out of a revolution if it rained. So that, at the pleasant hour when the orchestra are giving the last tweak to the key of their fiddles, you may see these woebegone wretches rushing distractedly from the Piamonte to the Alcala, offering their tickets at a price which falls rapidly from double to even, and tumbles headlong to half-price at the first note of the opening overture. When I see the forestaller luxuriously basking at the office-door in the warm sunshine, and scornfully refusing to treat for less than twice the treasurer's figures, I feel a divided indignation against the nuisance and the management that permits it. But when in the evening I meet him haggard and feverish, hawking his unsold places in desperate panic on the sidewalk, I cannot but remember that probably a half dozen dirty and tawny descendants of Pelayo will eat no beans to-morrow for those unfortunate tickets, and my wrath melts, and I buy his crumpled papers, moist with the sweat of anxiety, and add a slight propina, which I fear will be spent in aguardiente to calm his shattered nerves.

This day the sky looked threatening, and my shabby hidalgo listened to reason, and sold me my places at their price and a _pet.i.t verre._

As we entered in the evening the play had just begun. The scene was the interior of the Temple at Jerusalem, rather well done,--two ranges of superimposed porphyry columns with a good effect of oblique perspective, which is very common in the Spanish theatres. St. Simeon, in a dress suspiciously resembling that of the modern bishop, was talking with a fiery young Hebrew who turns out to be Demas, the Penitent Thief, and who is destined to play a very noticeable part in the evening's entertainment. He has received some slight from the government authorities and does not propose to submit to it. The aged and cooler-blooded Simeon advises him to do nothing rash. Here at the very outset is a most characteristic Spanish touch. You are expected to be interested in Demas, and the only crime which could appeal to the sympathies of a Castilian crowd would be one committed at the promptings of injured dignity.

There is a soft, gentle strain of music played pianissimo by the orchestra, and, surrounded by a chorus of mothers and maidens, the Virgin Mother enters with the Divine Child in her arms. The Madonna is a strapping young girl named Gutierrez, a very clever actress; and the Child has been bought in the neighboring toy-shop, a most palpable and cynical wax-doll. The doll is handed to Simeon, and the solemn ceremony of the Presentation is performed to fine and thoughtful music. St.

Joseph has come in sheepishly by the flies with his inseparable staff crowned with a garland of lilies, which remain miraculously fresh during thirty years or so, and kneels at the altar, on the side opposite to Miss Gutierrez.

As the music ceases, Simeon starts as from a trance and predicts in a few rapid couplets the sufferings and the crucifixion of the child. Mary falls overwhelmed into the arms of her attendants, and Simeon exclaims, "Most blessed and most unfortunate among women! thy heart is to be pierced with Seven Sorrows, and this is the first." Demas rushes in and announces the ma.s.sacre of the innocents, concluding with the appropriate reflection, "Perish the kings! always the murderers of the people." This sentiment is so much to the taste of the gamins of the paraiso that they vociferously demand an encore; but the Roman soldiers come in and commence the pleasing task of prodding the dolls in the arms of the chorus.

The next act is the Flight into Egypt. The curtain rises on a rocky ravine with a tinsel torrent in the background and a group of robbers on the stage. Gestas, the impenitent thief, stands sulky and glum in a corner, fingering his dagger as you might be sure he would, and informing himself in a growling soliloquy that his heart is consumed with envy and hate because he is not captain. The captain, one Issachar, comes in, a superbly handsome young fellow, named Mario, to my thinking the first comedian in Spain, dressed in a flashy suit of leopard hides, and announces the arrival of a stranger. Enters Demas, who says he hates the world and would fain drink its foul blood. He is made politely welcome. No! he will be captain or nothing. Issachar laughs scornfully and says _he_ is in the way of that modest aspiration. But Demas speedily puts him out of the way with an Albacete knife, and becomes captain, to the profound disgust of the impenitent Gestas, who exclaims, just as the profane villains do nowadays on every well-conducted stage, "d.a.m.nation! foiled again!"

The robbers pick up their idolized leader and pitch him into the tinsel torrent. This is also extremely satisfactory to the wide-awake young Arabs of the c.o.c.k-loft. The bandits disperse, and Demas indulges in some fifty lines of rhymed reflections, which are interrupted by the approach of the Holy Family, hotly pursued by the soldiery of Herod. They stop under a sycamore tree, which instantly, by very clever machinery, bends down its spreading branches and miraculously hides them from the bloodthirsty legionaries. These pa.s.s on, and Demas leads the saintly trio by a secret pa.s.s over the torrent,--the Mother and Child mounted upon an a.s.s and St. Joseph trudging on behind with his lily-decked staff, looking all as if they were on a short leave of absence from Correggio's picture-frame.

Demas comes back, calls up his merrymen, and has a battle-royal with the enraged legionaries, which puts the critics of the gallery into a frenzy of delight and a.s.sures the success of the spectacle. The curtain falls in a gust of applause, is stormed up again, Demas comes forward and makes a neat speech, announcing the author. Que salga! roar the G.o.ds,--"Trot him out!" A shabby young cripple hobbles to the front, leaning upon a crutch, his sallow face flushed with a hectic glow of pride and pleasure. He also makes a glib speech,--I have never seen a Spaniard who could not,--disclaiming all credit for himself, but lauding the sublimity of the acting and the perfection of the scene-painting, and saying that the memory of this unmerited applause will be forever engraved upon his humble heart.

Act third, the Lost Child, or Christ in the Temple. The scene is before the Temple on a festival day, plenty of chorus-girls, music, and flowers. Demas and the impenitent Gestas and Barabbas, who, I was pleased to see, was after all a very good sort of fellow, with no more malice than you or I, were down in the city on a sort of lark, their leopard skins left in the mountains and their daggers hid under the natty costume of the Judaean dandy of the period. Demas and Gestas have a quarrel, in which Gestas is rather roughly handled, and goes off growling like every villain, _qui se respecte,--_"I will have r-revenge." Barabbas proposes to go around to the cider-cellars, but Demas confides to him that he is enslaved by a dream of a child, who said to him, "Follow me--to Paradise;" that he had come down to Jerusalem to seek and find the mysterious infant of his vision. The jovial Barabbas seems imperfectly impressed by these transcendental fancies, and at this moment Mary comes in dressed like a Madonna of Guido Reni, and soon after St. Joseph and his staff. They ask each other where is the Child,--a scene of alarm and bustle, which ends by the door of the Temple flying open and discovering, shrined in ineffable light, Jesus teaching the doctors.

In the fourth act, Demas meets a beautiful woman by the city gate, in the loose, graceful dress of the Hetairai, and the most wonderful luxuriance of black curls I have ever seen falling in dense ma.s.ses to her knees. After a conversation of amorous banter, he gives her a golden chain, which she a.s.sumes, well pleased, and gives him her name, La Magdalena. A motley crowd of street loafers here rushed upon the scene, and I am sure there was no one of Northern blood in the theatre that did not shudder for an instant at the startling apparition that formed the central figure of the group. The world has long ago agreed upon a typical face and figure for the Saviour of men; it has been repeated on myriads of canvases and reproduced in thousands of statues, till there is scarcely a man living that does not have the same image of the Redeemer in his mind. Well, that image walked quietly upon the stage, so perfect in make-up that you longed for some error to break the terrible vraisemblance. I was really relieved when the august appearance spoke, and I recognized the voice of a young actor named Morales, a clever light comedian of the Bressant type.

The Magdalene is soon converted by the preaching of the Nazarene Prophet, and the scene closes by the triumphant entry into Jerusalem amid the waving of palm-branches, the strewing of flowers, and "sonorous metal blowing martial sounds." The pathetic and sublime lament, "Jerusalem! Jerusalem! thou that killest the prophets!" was delivered with great 'feeling and power.

The next act brings us before the judgment-seat of Pontius Pilate. This act is almost solely horrible. The Magdalene in her garb of penitence comes in to beg the release of Jesus of Nazareth. Pontius, who is represented as a gallant old gentleman, says he can refuse nothing to a lady. The prisoner is dragged in by two ferocious ruffians, who beat and buffet him with absurd and exaggerated violence. There is nothing more hideous than the awful concreteness of this show,--the naked helplessness of the prisoner, his horrible, cringing, overdone humility, the coa.r.s.e kicking and cuffing of the deputy sheriffs. The Prophet is stripped and scourged at the pillar until he drops from exhaustion. He is dragged anew before Pilate and examined, but his only word is, "Thou hast said." The scene lasts nearly an hour. The theatre was full of sobbing women and children. At every fresh brutality I could hear the weeping spectators say, "Pobre Jesus!" "How wicked they are!" The bulk of the audience was of people who do not often go to theatres. They looked upon the revolting scene as a real and living fact. One hard-featured man near me clenched his fists and cursed the cruel guards. A pale, delicate-featured girl who was leaning out of her box, with her brown eyes, dilated with horror, fixed upon the scene, suddenly shrieked as a Roman soldier struck the unresisting Saviour, and fell back fainting in the arms of her friends.

The Nazarene Prophet was condemned at last. Gestas gives evidence against him, and also delivers Demas to the law, but is himself denounced, and shares their sentence. The crowd howled with exultation, and Pilate washed his hands in impotent rage and remorse. The curtain came down leaving the uncultivated portion of the audience in the frame of mind in which their ancestors a few centuries earlier would have gone from the theatre determined to serve G.o.d and relieve their feelings by killing the first Jew they could find. The diversion was all the better, because safer, if they happened to the good luck of meeting a Hebrew woman or child.

The Calle de Amargura--the Street of Bitterness--was the next scene.

First came a long procession of official Romans,--lictors and swordsmen, and the heralds announcing the day's business. Demas appears, dragged along with vicious jerks to execution. The Saviour follows, and falls under the weight of the cross before the footlights. Another long and dreary scene takes place, of brutalities from the Roman soldiers, the ringleader of whom is a sanguinary Andalusian ingeniously encased in a tin barrel, a hundred lines of rhymed sorrow from the Madonna, and a most curious scene of the Wandering Jew. This worthy, who in defiance of tradition is called Samuel, is sitting in his doorway watching the show, when the suffering Christ begs permission to rest a moment on his threshold. He says churlishly, Anda!--"Begone!" "I will go, but thou shalt go forever until I come." The Jew's feet begin to twitch convulsively, as if pulled from under him. He struggles for a moment, and at last is carried off by his legs, which are moved like those of the walking dolls with the Greek names. This odd tradition, so utterly in contradiction with the picture the Scriptures give us of the meek dignity with which the Redeemer forgave all personal injuries, has taken a singular hold upon the imaginations of all peoples. Under varying names,---Ahasuerus, Salathiel, le Juif Errant, der ewige Jude,--his story is the delight and edification of many lands; and I have met some worthy people who stoutly insisted that they had read it in the Bible.

The sinister procession moves on. The audience, which had been somewhat cheered by the prompt and picturesque punishment inflicted upon the inhospitable Samuel, was still further exhilarated by the spectacle of the impenitent traitor Gestas, staggering under an enormous cross, his eyes and teeth glaring with abject fear, with an athletic Roman haling him up to Calvary with a new hempen halter.

A long intermission followed, devoted to putting babies to sleep,--for there were hundreds of them, wide-eyed and strong-lunged,--to smoking the hasty cigarette, to discussing the next combination of Prim or the last scandal in the gay world. The carpenters were busy behind the scenes building the mountain. When the curtain rose, it was worth waiting for. It was an admirable scene. A genuine Spanish mountain, great humpy undulations of rock and sand, gigantic cacti for all vegetation, a lurid sky behind, but not over-colored. A group of Roman soldiers in the foreground, in the rear the hill, and the executioners busily employed in nailing the three victims to their crosses. Demas was fastened first; then Gestas, who, when undressed for execution, was a superb model of a youthful Hercules. But the third cross still lay on the ground; the hammering and disputing and coming and going were horribly lifelike and real.

At last the victim is securely nailed to the wood, and the cross is slowly and clumsily lifted and falls with a shock into its socket. The soldiers _huzza.,_ the fiend in the tin barrel and another in a tin hat come down to the footlights and throw dice for the raiment. "Caramba!

curse my luck!" says our friend in the tin case, and the other walks off with the vestment.

The Pa.s.sion begins, and lasts an interminable time. The grouping is admirable, every shifting of the crowd in the foreground produces a new and finished picture, with always the same background of the three high crosses and their agonizing burdens against that lurid sky. The impenitent Gestas curses and dies; the penitent Demas believes and receives eternal rest. The Holy Women come in and group themselves in picturesque despair at the foot of the cross. The awful drama goes on with no detail omitted,--the thirst the sponge dipped in vinegar, the cry of desolation, the spear-thrust, the giving up of the ghost. The stage-lights are lowered. A thick darkness--of c.r.a.pe--comes down over the sky. Horror falls on the impious mult.i.tude, and the scene is deserted save by the faithful.

The closing act opens with a fine effect of moon and stars. "Que linda luna!" sighed a young woman beside me, drying her tears, comforted by the beauty of the scene. The central cross is bathed in the full splendor that is denied the others. Joseph of Abarimathea (as he is here called) comes in with ladders and winding-sheets, and the dead Christ is taken from the cross. The Descent is managed with singular skill and genuine artistic feeling. The princ.i.p.al actor, who has been suspended for an hour in a most painful and constrained posture, has a corpse-like rigidity and numbness. There is one moment when you can almost imagine yourself in Antwerp, looking at that sublimest work of Rubens. The Entombment ends, and the last tableau is of the Mater Dolorosa in the Solitude. I have rarely seen an effect so simple, and yet so striking,--the darkened stage, the softened moonlight, the now Holy Rood spectral and tall against the starry sky, and the Dolorous Mother, alone in her sublime sorrow, as she will be worshipped and revered for coming aeons.

A curious observation is made by all foreigners, of the absence of the apostles from the drama. They appear from time to time, but merely as supernumeraries. One would think that the character of Judas was especially fitted for dramatic use. I spoke of this to a friend, and he said that formerly the false apostle was introduced in the play, but that the sight of him so fired the Spanish heart that not only his life, but the success of the piece was endangered. This reminds one of Mr. A.

Ward's account of a high-handed outrage at "Utiky," where a young gentleman of good family stove in the wax head of "Jewdas Iscarrit,"

characterizing him at the same time as a "pew-serlanimous cuss."

"To see these Mysteries in their glory," continued my friend, "you should go into the small towns in the provinces, uncontaminated with railroads or unbelief. There they last several days The stage is the town, the Temple scene takes place in the church, the Judgment at the city hall, and the procession of the Via Crucis moves through all the princ.i.p.al streets. The leading roles are no joke,--carrying fifty kilos of wood over the mud and cobble-stones for half a day. The Judas or Gestas must be paid double for the kicks and cuffs he gets from tender-hearted spectators,--the curses he accepts willingly as a tribute to his dramatic ability. His proudest boast in the evening is Querian matarme,--'They wanted to kill me!' I once saw the hero of the drama stop before a wine-shop, sweating like rain, and positively swear by the life of the Devil, he would not carry his gallows a step farther unless he had a drink. They brought him a bottle of Valdepenas, and he drained it before resuming his way to Golgotha. Some of us laughed thoughtlessly, and narrowly escaped the knives of the orthodox ruffians who followed the procession."

The most striking fact in this species of exhibition is the evident and unquestioning faith of the audience. To all foreigners the show is at first shocking and then tedious; to the good people of Madrid it is a sermon, full of absolute truth and vivid reality. The cla.s.s of persons who attend these spectacles is very different from that which you find at the Royal Theatre or the Comic Opera. They are sober, serious bourgeois, who mind their shops and go to ma.s.s regularly, and who come to the theatre only in Lent, when the gay world stays away. They would not dream of such an indiscretion as reading the Bible. Their doctrinal education consists of their catechism, the sermons of the curas, and the traditions of the Church. The miracle of St. Veronica, who, wiping the brow of the Saviour in the Street of Bitterness, finds his portrait on her handkerchief, is to them as real and reverend as if it were related by the evangelist. The spirit of inquiry which has broken so many idols, and opened such new vistas of thought for the minds of all the world, is as yet a stranger to Spain. It is the blind and fatal boast of even the best of Spaniards that their country is a unit in religious faith. Nunca se disputo en Espana,--"There has never been any discussion in Spain,"--exclaims proudly an eminent Spanish writer. Spectacles like that which we have just seen were one of the elements which in a barbarous and unenlightened age contributed strongly to the consolidation of that unthinking and ardent faith which has fused the nation into one torpid and h.o.m.ogeneous ma.s.s of superst.i.tion. No better means could have been devised for the purpose. Leaving out of view the sublime teachings of the large and tolerant morality of Jesus, the clergy made his personality the sole object of worship and reverence. By dwelling almost exclusively upon the story of his sufferings, they excited the emotional nature of the ignorant, and left their intellects untouched and dormant. They aimed to arouse their sympathies, and when that was done, to turn their natural resentment against those whom the Church considered dangerous. To the inflamed and excited worshippers, a heretic was the enemy of the crucified Saviour, a Jew was his murderer, a Moor was his reviler. A Protestant wore to their bloodshot eyes the semblance of the torturer who had mocked and scourged the meek Redeemer, who had crowned his guileless head with thorns, who had pierced and slain him. The rack, the gibbet, and the stake were not enough to glut the pious hate this priestly trickery inspired. It was not enough that the doubter's life should go out in the blaze of the crackling f.a.gots, but it must be loaded in eternity with the curses of the faithful.

Is there not food for earnest thought in the fact that faith in Christ, which led the Puritans across the sea to found the purest social and political system which the wit of man has yet evolved from the tangled problems of time, has dragged this great Spanish people down to a depth of hopeless apathy, from which it may take long years of civil tumult to raise them? May we not find the explanation of this strange phenomenon in the contrast of Catholic unity with Protestant diversity? "Thou that killest the prophets!"--the system to which this apostrophe can be applied is doomed. And it matters little who the prophets may be.