The Land of The Blessed Virgin; Sketches and Impressions in Andalusia Part 4

Contrast with this pattern of excellence, eminently praiseworthy if somewhat dull, Don Juan Tenorio, who stands in exactly the same relation to the Andalusians as does John Bull to the English. He is a worthless, heartless creature, given over to the pursuit of emotion. The main lines of the story are well known. The legend, so far as Seville is concerned, (industrious persons have found a.n.a.logues throughout the world,) appears to be founded on fact. There actually lived a Comendador de Calatrava who was killed by Don Juan after the abduction of his daughter. The perfect amorist, according to the _Cronica de Sevilla_, was then inveigled into the church where lay his enemy and a.s.sa.s.sinated by the Franciscans, who spread the pious fiction that the image of his victim, descending from its pedestal, had itself exacted vengeance. It was an unfortunate invention, for the catastrophe has proved a stumbling-block to all that have dealt with the subject. The Spaniards of Molina's day may not have minded the clumsy _deus ex machina_, but later writers have been able to make nothing of it. In Moliere's play, for instance, the grotesque statue is absurdly inapposite, for his Don Juan is a wit and a cynic, a courtier of Louis XIV., with whose sins avenging G.o.ds are out of all proportion. Love for him is an intellectual exercise and a pastime. 'Constancy,' he says, 'is only good for fools.

We owe ourselves to pretty women in general, and the mere fact of having met one does not absolve us from our duty to others. The birth of pa.s.sion has an inexplicable charm, and the pleasure of love is in variety.' And Zorilla, whose version is the most poetic of them all, has succeeded in giving only a ridiculous exhibition of waxworks.

But the monk, Tirso de Molina, who was the first to apply literary form to the legend, alone gives the character in its primitive simplicity. He drew the men of his time; and his compatriots, recognising themselves, have made the work immortal. For Spain, at all events, the type has been irrevocably fixed. Don Juan Tenorio was indeed a Spaniard of his age, a man of turbulent instincts, with a love of adventure and a fine contempt for danger, of an overwhelming pride; careful of his own honour, and careless of that of others. He looked upon every woman as lawful prey and hesitated at neither perjury nor violence to gain his ends; despair and tears left him indifferent. Love for him was purely carnal, with nothing of the timid flame of pastoral romance, nor of the chivalrous and metaphysic pa.s.sion of Provence; it was a fierce, consuming fire which quickly burnt itself out. He was a vulgar and unoriginal seducer who stole favours in the dark by pretending to be the lady's chosen lover, or induced guileless maids to trust him under promise of marriage, then rode away as fast as his horse could carry him. The monotony of his methods and their success are an outrage to the intelligence of the s.e.x. But for all his scoffing he remained a true Catholic, devoutly believing that the day would come when he must account for his acts; and he proposed, when too old to commit more sins, to repent and make his peace with the Almighty.

It is significant that the Andalusians have thus chosen Don Juan Tenorio, for he is an abstract, with the lines somewhat subdued by the advance of civilisation, of the national character. For them his vices, his treachery, his heartlessness, have nothing repellent; nor does his inconstancy rob him of feminine sympathy. He is, indeed, a far greater favourite with the ladies than John Bull. The Englishman they respect, they know he will make a good husband and a model father; but he is too monogamous to arouse enthusiasm.

XVI

[Sidenote: Women of Andalusia]

It is meet and just that the traveller who desires a closer acquaintance with the country wherein he sojourns than is obtained by the c.o.c.kney tripper, should fall in love. The advantages of this proceeding are manifold and obvious. He will acquire the language with a more rapid facility; he will look upon the land with greater sympathy and hence with sharper insight; and little particularities of life will become known to him, which to the dreary creature who surveys a strange world from the portico of an expensive hotel, must necessarily lie hid. If I personally did not arrive at that delectable condition the fault is with the immortal G.o.ds rather than with myself; for in my eagerness to learn the gorgeous tongue of Calderon and of Cervantes, I placed myself purposely in circ.u.mstances where I thought the darts of young Cupid could never fail to miss me. But finally I was reduced to Ollendorf's Grammar. However, these are biographical details of interest to none but myself; they are merely to serve as preface for certain observations upon the women whom the traveller in the evening sees hurrying through the Sierpes on their way home.

Human beauty is the most arbitrary of things, and the Englishman, accustomed to the cla.s.sic type of his own countrywomen, will at first perhaps be somewhat disappointed with the excellence of Spain. It consists but seldom in any regularity of feature, for their appeal is to the amorist rather than to the sculptor in marble. Their red lips carry suggestions of burning kisses, so that his heart must be hard indeed who does not feel some flutterings at their aspect. The teeth are small, very white, regular. Face and body, indeed, are but the expression of a pa.s.sionate nature.

But when I write of Spanish women I think of you, Rosarito; I find suddenly that it is no impersonal creature that fills my mind, but you--you! When I state solemnly that their greatest beauty lies in their hair and eyes, it is of you I think; it is your dark eyes that were l.u.s.trous, soft as velvet, caressing sometimes, and sometimes sparkling with fiery glances. (Alas! that I can find but hackneyed phrases to describe those heart-disturbers!) And when I say that the eyebrows of a Spanish woman are not often so delicately pencilled as with many an English girl, I remember that yours were thick; and the luxuriance gave you a certain tropical and savage charm. And your hair was plentiful and curling, intensely black; I believe it was your greatest care in life.

Don't you remember how often you explained to me that nothing was so harmful as to brush it, and how proud you were that it hung in glorious locks to your very knees?

Hardly any girl in Seville is too poor to have a _peinadora_ to do her hair; and these women go from house to house, combing and arranging the coiffure for such infinitesimal sums as half a _real_, which is little more than a penny.

Again I try to be impersonal. The complexion ranges through every quality from dark olive to pearly white; but yours, Rosarito, was like the very finest ivory, a perfect miracle of delicacy and brilliance; and the blood in the cheeks shone through with a rich, soft red. I used to think it was a colour by itself, not to be found on palettes, the carnation of your cheeks, Rosarito. And none could walk with such graceful dignity as you; it was a pleasure to watch your perfect ease, your self-command. Your feet, I think, were somewhat long; but your hands were wonderful, very small, admirably modelled, with little tapering fingers, and the most adorable filbert nails. Don't you remember how I used to look at them, and turn them over and discuss them point by point? And if ever I kissed their soft, warm palms, (I think it possible, though I have no vivid recollections,) remember that I was twenty-three; and it was certainly an appropriate gesture in the little comedy which to our mutual entertainment we played so gravely.

Now, as I write, my heart goes pit-a-pat, thinking of you, Rosarito; and I'm sure that if we had over again that charming time, I should fall head over ears in love. Oh, you know we were both fibbing when we vowed we adored one another; I am a romancer by profession, and you by nature.

We parted joyously, and you had the grace not to force a tear, and neither of our hearts was broken. Where are you now, I wonder; and do you ever think of me?

The whole chapter of Andalusian beauty is unfolded in the tobacco factory at Seville. Six thousand women work there, at little tables placed by the columns which uphold the roof; they are of all ages, of all types; plain, pretty, commonplace, beautiful; and ten, perhaps, are lovely. The gipsies are disappointing, not so comely as the pure Spaniards; and they attract only by the sphinx-like mystery of their copper-coloured skin, by their hard, unfathomable eyes.

The Sevillans are perhaps inclined to stoutness, but that is a charm in their lover's sight, and often have a little down on the upper lip, than which, when it amounts to no more than a shadow, nothing can be more enchanting. They look with malicious eyes as you saunter through room after room in the factory; it is quite an experience to run the gauntlet of their numerous tongues, making uncomplimentary remarks about your person, sometimes to your embarra.s.sment offering you the carnation from their hair, or other things. Their clothes are suspended to the pillars, and their costume in summer is more adapted for coolness than for the inspection of decorous foreigners. They may bring with them babies, and many a girl will have a cradle by her side, which she rocks with one foot as her fingers work nimbly at the cigarettes.

They are very oriental, these women with voluptuous forms; they have no education, and with all their charm are unutterably stupid; they do not read, and find even newspapers tiresome! Those whose circ.u.mstances do not force them to work for their living, love nothing better than to lie for long hours on a sofa, neither talking nor thinking, in easy gowns, untrammelled by tight-fitting things. In the morning they put on a _mantilla_ and go to ma.s.s, and besides, except to pay a polite visit on a friend or to drive in the Paseo, hardly leave the house. They are content with the simplest life. They adore their children, and willingly devote themselves entirely to them; they seem never to be bored.

For them the days must come and go without distinction. Their fleeting beauty leaves them imperceptibly; they grow fat, they grow thin, wrinkled, and gaunt; the years pa.s.s and their life proceeds without change. They do not think, they do not live: they merely exist, and they die, and that is the end of it. I suppose they are as happy as any one else. After all, taking it from one point of view, it matters very little what sort of life one leads, there are so many people in the world, such millions have come and gone, such millions will come and go.

If an individual makes no use of his hour what does it signify? He is only one among countless hordes. In the existence of these handsome creatures, so pa.s.sionate and yet so apathetic, there are no particular pleasures beside the simple joys of sense, but on the other hand, beyond the inevitable separations of death, there are no outstanding griefs.

They propagate their species, and that, perhaps, is the only quite certain duty that human beings have.

XVII

[Sidenote: The Dance]

Cervantes said that there was never born a Spanish woman but she was made to dance; and he might have added that in the South, at all events, most men share the enviable faculty. The dance is one of the most characteristic features of Andalusia, and as an amus.e.m.e.nt rivals in popularity even the bull-fight. The Sevillans dance on every possible occasion, and nothing pleases them more than the dexterity of professionals. Before a company has been a.s.sembled half an hour some one is bound to suggest that a couple should show their skill; room is quickly made, the table pushed against the wall, the chairs drawn back, and they begin. Even when men are alone in a tavern, drinking wine, two of them will often enough stand up to tread a _seguidilla_. On a rainy day it is the entertainment that naturally recommends itself.

Riding through the villages round Seville on Sundays it delighted me to see little groups making a circle about the house doors, in the middle of which were dancing two girls in bright-coloured clothes, with roses in their hair. A man seated on a broken chair was tw.a.n.ging a guitar, the surrounders beat their hands in time and the dancers made music with their castanets. Sometimes on a feast-day I came across a little band, arrayed in all its best, that had come into the country for an afternoon's diversion, and sat on the gra.s.s in the shade of summer or in the wintry sun. Whenever Andalusians mean to make merry some one will certainly bring a guitar, or if not the girls have their castanets; and though even these are wanting and no one can be induced to sing, a rhythmical clapping of hands will be sufficient accompaniment, and the performers will snap their fingers in lieu of castanets.

It is charming then to see the girls urge one another to dance; each vows with much dramatic gesture that she cannot, calling the Blessed Virgin to witness that she has strained her ankle and has a shocking cold. But some youth springs up and volunteers, inviting a particular damsel to join him. She is pushed forward, and the couple take their places. The man carefully puts down his cigarette, jams his broad-brimmed hat on his head, b.u.t.tons his short coat and arches his back! The spectators cry: '_Ole!_' The girl pa.s.ses an arranging hand over her hair. The measure begins. The pair stand opposite one another, a yard or so distant, and foot it in accordance with one another's motions. It is not a thing of complicated steps, but, as one might expect from its Moorish origin, of movements of the body. With much graceful swaying from side to side the executants approach and retire, and at the middle of the dance change positions. It finishes with a great clapping of hands, the maiden sinks down among her friends and begins violently to fan herself, while her partner, with a great affectation of nonchalance, takes a seat and relights his cigarette.

And in the music-halls the national dances are, with the national songs, the princ.i.p.al attraction. Seville possesses but one of these establishments; it is a queer place, merely the _patio_ of a private house, with a stage at one end, in which chairs and tables have been placed. On holiday nights it is crammed with students, with countrymen and artisans, with the general riff-raff of the town, and with women of no particular reputation. Now and then appears a gang of soldiers, giving a peculiar note with the uniformity of their brown holland suits; and occasionally a couple of British sailors come sauntering in with fine self-a.s.surance, their fair hair and red cheeks contrasting with the general swartness. You pay no entrance money, but your refreshment costs a _real_--which is twopence ha'penny; and for that you may enjoy not only a cup of coffee or a gla.s.s of manzanilla, but an evening's entertainment. As the night wears on the heat is oven-like, and the air is thick and grey with the smoke of countless cigarettes.

The performance consists of three 'turns' only, and these are repeated every hour. The company boasts generally of a male singer, a female singer, and of the _corps de ballet_, which is made up of six persons.

Spain is the stronghold of the out-of-date, and I suppose it alone preserves the stiff muslin ballet-skirts which delighted our fathers. To see half-a-dozen dancers thus attired in a remote Andalusian music-hall is so entirely unexpected that it quite takes the breath away. But by the time the traveller reaches Seville he must be used to disillusion, and he must be ingenuous indeed if he expects the Spaniards to have preserved their national costume for the most national of their pastimes. Yet the dances are still Spanish; and even if the pianoforte has ousted the guitar, the castanets give, notwithstanding, a characteristic note which the aggressive muslin and the pink, ill-fitting tights cannot entirely destroy.

But I remember one dancer who was really a great artist. She was ill-favoured, of middle age, thin; but every part of her was imbued with grace, expressive, from the tips of her toes to the tips of her fingers.

The demands of the public sometimes forced upon her odious ballet-skirts, sometimes she wasted her talent on the futilities of skirt-dancing; but chiefly she loved the national measures, and her phenomenal leanness made her only comfortable in the national dress. She travelled from place to place in Spain with another woman whom she had taught to dance, and whose beauty she used cleverly as a foil to her own uncomeliness; and so wasted herself in these low resorts, earning hardly sufficient to keep body and soul together. I wish I could remember her name.

When she began to dance you forgot her ugliness; her gaunt arms gained shape, her face was transfigured, her dark eyes flashed, and her mouth and smile said a thousand eloquent things. Even the nape of her neck, which in most women has no significance, with her was expressive. A consummate actress, she exhibited all her skill in the _bolero_, which represents a courtship; she threw aside the castanets and wrapped herself in a _mantilla_, while her companion, dressed as a man, was hidden in a _capa_. The two pa.s.sed one another, he trying to see the lady's face, which she averted, but not too strenuously; he pursued, she fled, but not too rapidly. Dropping his cloak, the lover attacked with greater warmth, while alternately she repelled and lured him on. At last she too cast away the _mantilla_. They seized the castanets and danced round one another with all manner of graceful and complicated evolutions, making love, quarrelling, pouting, exhibiting every variety of emotion. The dance grew more pa.s.sionate, the steps flew faster, till at last, with the music, both stopped suddenly dead still. This abrupt cessation is one of the points most appreciated by a Spanish audience.

'_Ole!_' they cry,'_bien parado!_'

But when, unhampered by a partner, this nameless, exquisite dancer gave full play to her imagination, there was no end to the wildness of her fancy, to the intricacy and elaboration of her measures, to the gay audacity of her movements. She performed a hundred feats, each more difficult than the other--and all impossible to describe.

Then, between Christmas and Lent, at midnight on Sat.u.r.days and Sundays, the tables and the chairs are cleared away for the masked ball; and you will see the latest mode of Spanish dance. The women are of the lowest possible cla.s.s; some, with a kind of savage irony, disguised as nuns, others in grotesque dominos of their own devising; but most wear every-day clothes with great shawls draped about them. The men are of a corresponding station, and through the evening wear their broad-brimmed hats. On the stage is a bra.s.s band, which plays one single tune till day-break, and to that one single measure is danced--the _habanera_.

In this alone may people take part as in any round dance. The couples hold one another in the very tightest embrace, the lady clasping her arms round her partner's neck, while he places both his about her waist.

They go round the room very slowly, immediately behind one another; it is a kind of straight polka, with a peculiar, rhythmic swaying of the body; the feet are not lifted off the floor, and you do not turn at all.

The highest gravity is preserved throughout, and the whole performance is--well, very oriental.

XVIII

[Sidenote: A Feast Day]

I arrived in Seville on the Eve of the Immaculate Conception. All day people had been preparing to celebrate the feast, decorating their houses with great banners of blue and white; and at night the silent, narrow streets had a strange appearance, for in every window were lighted candles, throwing around them a white, unusual glare; they looked a little like the souls of infants dead. All day the bells of a hundred churches had been ringing, half drowned by the rolling peals of the Giralda.

It had been announced that the archbishop would himself officiate at the High Ma.s.s in the Blessed Virgin's honour; and early in the morning the cathedral steps were crowded with black-robed women, making their way to the great sacristy where was to be held the service. I joined the throng, and entering through the darkness of the porch, was almost blinded by the brilliant altar, upon which stood a life-sized image of the Virgin, surrounded by a huge aureole, with great bishops, all of silver, on either side. It was ablaze with the light of many candles, so that the nave was thrown into deep shadow, and the kneeling women were scarcely visible.

The canons in the choir listlessly droned their prayers. At last the organ burst forth, and a long procession slowly came into the chapel, priests in white and blue, the colours of the Virgin, four bishops in mitres, the archbishop with his golden crozier; and preceding them all, in odd contrast, the beadle in black, with a dark periwig, bearing a silver staff. From the choir in due order they returned to the altar, headed this time by three pairs of acolytes, bearing great silver candlesticks, and by incense-burners, that filled the church with rich perfume.

When the Ma.s.s was finished, a young dark man in copious robes of violet ascended the pulpit and muttered a text. He waited an instant to collect himself, looking at the congregation; then turning to the altar began a pa.s.sionate song of praise to the Blessed Virgin, unsoiled by original sin. He described her as in a hundred pictures the great painter of the Immaculate Conception has portrayed her--a young and graceful maid, clothed in a snowy gown of ample folds, with an azure cloak, a maid mysteriously pure; her hair, floating on the shoulders in luxurious ringlets, was an aureole more glorious than the silver rays which surrounded the great image; her dark eyes, with their languid lashes, her mouth, with the red lips, expressed a beautiful and immaculate virtue. It might have been some earthly woman of whom the priest spoke, one of those Andalusians that knelt below him, flashing quick glances at the gallant who negligently leaned against a pillar.

The archbishop sat on his golden throne--a thin, small man with a wrinkled face, with dead and listless eyes; in his gorgeous vestments he looked hardly human, he seemed a puppet, sitting stilly. At the end of the sermon he went back to the altar, and in his low, broken voice read the prayers. And then turning towards the great congregation he gave the plenary absolution, for which the Pope's Bull had been read from the pulpit steps.

In the afternoon, when the sun was going down behind the Guadalquivir, over the plain, I went again to the cathedral. The canons in the choir still droned their chant in praise of the Blessed Virgin, and in the greater darkness the altar shone more magnificently. The same procession filed through the nave, some priests were in black, some in violet, some in the Virgin's colours; but this time the archbishop wore gorgeous robes of scarlet, and as he knelt at the altar his train spread to the chancel steps. From the side appeared ten boys and knelt before the altar, and stood in two lines facing one another. They were dressed like pages of the seventeenth century, with white stockings and breeches, and a doublet of blue and silver, holding in their hands hats with long feathers. The archbishop, kneeling in front of the throne, buried his face in his hands.