Rosinante to the Road Again Part 9

"Street of Abandoned Children."

We sat a long while in the casino, twiddling spoons in coffee-gla.s.ses while a wax-pink fat man played billiards in front of us, being ponderously beaten by a lean brownish swallow-tail with yellow face and walrus whiskers that emitted a rasping _Bueno_ after every play. There was talk of Paris and possible new volumes of verse, homage to Walt Whitman, Maragall, questioning about Emily d.i.c.kinson. About us was a smell of old horsehair sofas, a buzz of the poignant musty ennui of old towns left centuries ago high and dry on the beach of history. The group grew. Talk of painting: Zuloaga had not come yet, the Zubiaurre brothers had abandoned their Basque coast towns, seduced by the bronze-colored people and the saffron hills of the province of Segovia.

Sorolla was dying, another had gone mad. At last someone said, "It's stifling here, let's walk. There is full moon to-night."

There was no sound in the streets but the irregular clatter of our footsteps. The slanting moonlight cut the street into two triangular sections, one enormously black, the other bright, engraved like a silver plate with the lines of doors, roofs, windows, ornaments.

Overhead the sky was white and blue like b.u.t.termilk. Blackness cut across our path, then there was dazzling light through an arch beyond.

Outside the gate we sat in a ring on square fresh-cut stones in which you could still feel a trace of the warmth of the sun. To one side was the lime-washed wall of a house, white fire, cut by a wide oaken door where the moon gave a restless glitter to the spiked nails and the knocker, and above the door red geraniums hanging out of a pot, their color insanely bright in the silver-white glare. The other side a deep glen, the shimmering tops of poplar trees and the sound of a stream. In the dark above the arch of the gate a trembling oil flame showed up the green feet of a painted Virgin. Everybody was talking about _El Buscon_, a story of Quevedo's that takes place mostly in Segovia, a wandering story of thieves and escapes by night through the back doors of brothels, of rope ladders dangling from the windows of great ladies, of secrets overheard in confessionals, and trysts under bridges, and fingers touching significantly in the holy-water fonts of tall cathedrals. A ghostlike wraith of dust blew through the gate. The man next me shivered.

"The dead are stronger than the living," he said. "How little we have; and they...."

In the quaver of his voice was a remembering of long muletrains jingling through the gate, queens in litters hung with patchwork curtains from Samarcand, gold brocades splashed with the clay of deep roads, stained with the blood of ambuscades, bales of silks from Valencia, travelling gangs of Moorish artisans, heavy armed Templars on their way to the Sepulchre, wandering minstrels, sneakthieves, bawds, rowdy strings of knights and foot-soldiers setting out with wine-skins at their saddlebows to cross the pa.s.ses towards the debatable lands of Extremadura, where there were infidels to kill and cattle to drive off and village girls to rape, all when the gate was as new and crisply cut out of clean stone as the blocks we were sitting on. Down in the valley a donkey brayed long and dismally.

"They too have their nostalgias," said someone sentimentally.

"What they of the old time did not have," came a deep voice from under a bowler hat, "was the leisure to be sad. The sweetness of putrefaction, the long remembering of palely colored moods; they had the sun, we have the colors of its setting. Who shall say which is worth more?"

The man next to me had got to his feet. "A night like this with a moon like this," he said, "we should go to the ancient quarter of the witches."

Gravel crunched under our feet down the road that led out of moonlight into the darkness of the glen--to _San Millan de las brujas_.

You cannot read any Spanish poet of to-day without thinking now and then of Ruben Dario, that prodigious Nicaraguan who collected into his verse all the tendencies of poetry in France and America and the Orient and poured them in a turgid cataract, full of mud and gold-dust, into the thought of the new generation in Spain. Overflowing with beauty and ba.n.a.lity, patched out with images and ornaments from Greece and Egypt and France and j.a.pan and his own Central America, symbolist and romantic and Parna.s.sian all at once, Ruben Dario's verse is like those doorways of the Spanish Renaissance where French and Moorish and Italian motives jostle in headlong arabesques, where the vulgarest routine stone-chipping is interlocked with designs and forms of rare beauty and significance. Here and there among the turgid muddle, out of the impact of una.s.similated things, comes a spark of real poetry. And that spark can be said--as truly as anything of the sort can be said--to be the motive force of the whole movement of renovation in Spanish poetry. Of course the poets have not been content to be influenced by the outside world only through Dario. Baudelaire and Verlaine had a very large direct influence, once the way was opened, and their influence succeeded in curbing the lush impromptu manner of romantic Spanish verse. In Antonio Machado's work--and he is beginning to be generally considered the central figure--there is a restraint and terseness of phrase rare in any poetry.

I do not mean to imply that Machado can be called in any real sense a pupil of either Dario or Verlaine; rather one would say that in a generation occupied largely in more or less unsuccessful imitation of these poets, Machado's poetry stands out as particularly original and personal. In fact, except for the verse of Juan Ramon Jimenez, it would be in America and England rather than in Spain, in Aldington and Amy Lowell, that one would find a.n.a.logous aims and methods. The influence of the symbolists and the turbulent experimenting of the Nicaraguan broke down the bombastic romantic style current in Spain, as it was broken down everywhere else in the middle nineteenth century. In Machado's work a new method is being built up, that harks back more to early ballads and the verse of the first moments of the Renaissance than to anything foreign, but which shows the same enthusiasm for the rhythms of ordinary speech and for the simple pictorial expression of undoctored emotion that we find in the renovators of poetry the world over. _Campos de Castilla_, his first volume to be widely read, marks an epoch in Spanish poetry.

Antonio Machado's verse is taken up with places. It is obsessed with the old Spanish towns where he has lived, with the mellow sadness of tortuous streets and of old houses that have soaked up the lives of generations upon generations of men, crumbling in the flaming silence of summer noons or in the icy blast off the mountains in winter. Though born in Andalusia, the bitter strength of the Castilian plain, where half-deserted cities stand aloof from the world, shrunken into their walls, still dreaming of the ages of faith and conquest, has subjected his imagination, and the purity of Castilian speech has dominated his writing, until his poems seem as Castilian as Don Quixote.

"My childhood: memories of a courtyard in Seville, and of a bright garden where lemons hung ripening.

My youth: twenty years in the land of Castile.

My history: a few events I do not care to remember."

So Machado writes of himself. He was born in the eighties, has been a teacher of French in government schools in Soria and Baeza and at present in Segovia--all old Spanish cities very mellow and very stately--and has made the migration to Paris customary with Spanish writers and artists. He says in the _Poema de un Dia_:

Here I am, already a teacher of modern languages, who yesterday was a master of the gai scavoir and the nightingale's apprentice.

He has published three volumes of verse, _Soledades_ ("Solitudes"), _Campos de Castilla_ ("Fields of Castile"), and _Soledades y Galerias_ ("Solitudes and Galleries"), and recently a government inst.i.tution, the Residencia de Estudiantes, has published his complete works up to date.

The following translations are necessarily inadequate, as the poems depend very much on modulations of rhythm and on the expressive fitting together of words impossible to render in a foreign language. He uses rhyme comparatively little, often subst.i.tuting a.s.sonance in accordance with the peculiar traditions of Spanish prosody. I have made no attempt to imitate his form exactly.

I

Yes, come away with me--fields of Soria, quiet evenings, violet mountains, aspens of the river, green dreams of the grey earth, bitter melancholy of the crumbling city-- perhaps it is that you have become the background of my life.

Men of the high Numantine plain, who keep G.o.d like old--Christians, may the sun of Spain fill you with joy and light and abundance!

II

A frail sound of a tunic trailing across the infertile earth, and the sonorous weeping of the old bells.

The dying embers of the horizon smoke.

White ancestral ghosts go lighting the stars.

--Open the balcony-window. The hour of illusion draws near...

The afternoon has gone to sleep and the bells dream.

III

Figures in the fields against the sky!

Two slow oxen plough on a hillside early in autumn, and between the black heads bent down under the weight of the yoke, hangs and sways a basket of reeds, a child's cradle; And behind the yoke stride a man who leans towards the earth and a woman who, into the open furrows, throws the seed.

Under a cloud of carmine and flame, in the liquid green gold of the setting, their shadows grow monstrous.

IV

Naked is the earth and the soul howls to the wan horizon like a hungry she-wolf.

What do you seek, poet, in the sunset?

Bitter going, for the path weighs one down, the frozen wind, and the coming night and the bitterness of distance.... On the white path the trunks of frustrate trees show black, on the distant mountains there is gold and blood. The sun dies....

What do you seek, poet, in the sunset?

V

Silver hills and grey ploughed lands, violet outcroppings of rock through which the Duero traces its curve like a cross-bow about Soria, dark oak-wood, wild cliffs, bald peaks, and the white roads and the aspens of the river.

Afternoons of Soria, mystic and warlike, to-day I am very sad for you, sadness of love, Fields of Soria, where it seems that the rocks dream, come with me! Violet rocky outcroppings, silver hills and grey ploughed lands.

VI

We think to create festivals of love out of our love, to burn new incense on untrodden mountains; and to keep the secret of our pale faces, and why in the baccha.n.a.ls of life we carry empty gla.s.ses, while with tinkling echoes and laughing foams the gold must of the grape....

A hidden bird among the branches of the solitary park whistles mockery.... We feel the shadow of a dream in our wine-gla.s.s, and something that is earth in our flesh feels the dampness of the garden like a caress.

VII

I have been back to see the golden aspens, aspens of the road along the Duero between San Polo and San Saturio, beyond the old stiff walls of Soria, barbican towards Aragon of the Castilian lands.

These poplars of the river, that chime when the wind blows their dry leaves to the sound of the water, have in their bark the names of lovers, initials and dates.

Aspens of love where yesterday the branches were full of nightingales, aspens that to-morrow will sing under the scented wind of the springtime, aspens of love by the water that speeds and goes by dreaming, aspens of the bank of the Duero, come away with me.

VIII