Spanish Highways and Byways

1. "A la limón, á la limón!
We haven't a bit of money.

2. "A la limón, á la limón!
But we have money in plenty.

1. "A la limón, á la limón!
What kind of money may yours be?

2. "A la limón, á la limón!
Oh, ours is money of eggshells.

1. "A la limón, á la limón!
An arch for the lords and ladies.

2. "A la limón, á la limón!
Right merrily we pass under."

Another lyric dialogue, whose fun is spent on the lean purses of students and the happy-go-lucky life of Andalusia, must have originated since the overthrow, in 1892, of the leaning tower of Saragossa. The stanzas are sung alternately by two rows of children, advancing toward each other and retreating with a dancing step.

1. "In Saragossa
– Oh, what a pity! —
Has fallen the tower,
Pride of the city.

2. "Fell it by tempest,
Fairies or witches,
The students will raise it,
For students have riches.

1. "Call on the students,
Call louder and louder!
They've only two coppers
To buy them a chowder.

2. "Chowder of students
Is sweeter than honey,
But the gay Andalusians
Have plenty of money.

1. "The gay Andalusians
Have fiddle and ballad,
But only two coppers
To buy them a salad.

2. "In Saragossa
– Oh, what a pity! —
Has fallen the tower,
Pride of the city."

Unchildlike innuendoes pervade that curious game of many variants in which the priest and abbess play a leading part. Two children are chosen for these dignitaries, while the others call out the names of such flowers, fruits, or vegetables as each may decide to personate. "I'm a cabbage." "I'm a jasmine." "I'm a cherry." Then the little sinners kneel in a circle, crying: —

"Through the door, up the stairs,
On the floor, say your prayers!"

and chant some childish gibberish, during which no one must laugh on pain of a forfeit. After this, all sing: —

"The house of the priest it cracked like a cup.
Half fell down and half stood up.
Sir Priest, Sir Priest, now tell us aright,
In whose house did you sleep last night?

Priest. With the rose slept I.
Rose. Fie, O fie!
I never saw your tonsured head.
Priest. Then with whom did you make your bed?
Rose. With the Pink.
Pink. I should think!
I never saw your petals red.
Rose. Then with whom did you make your bed?
Pink. With the lily.
Lily. Don't be silly!
I never heard your fragrant tread.
Pink. Then with whom did you make your bed?
Lily. With the priest.
Priest. Little beast!
If I went near you, may I fall dead!
Lily. Then with whom did you make your bed?
Priest. With the abbess, I.
Abbess. Oh, you lie!"

But this seems to be the conclusion of the game.

The most of these choral songs, however, are sweet and innocent, concerned with the natural interests of childhood, as this: —

"The shepherdess rose lightly
Larán – larán – larito,
The shepherdess rose lightly
From off her heather seat – O.

"Her goats went leaping homeward,
Larán – larán – larito,
Her goats went leaping homeward
On nimble little feet – O.

"With strong young hands she milked them,
Larán – larán – larito,
With strong young hands she milked them
And made a cheese for treat – O.