Spanish Highways and Byways

Before the month was over we had, in a slow, grippe-chastened fashion, "done our Baedeker." We had our favorite courts and corridors in the magical maze of the Moorish palace; we knew the gardens and fountains of the Generalife, even to that many-centuried cypress beneath whose shade the Sultana Zoraya was wont to meet her Abencerrage lover; our fortunes had been told in the gypsy caves of the Albaicín; we had visited the stately Renaissance cathedral where, in a dim vault, the "Catholic Kings," Ferdinand and Isabella, take their royal rest; we had made a first acquaintance with the paintings of the fire-tempered Granadine, Alonso Cano, and paid our dubious respects to the convent of Cartuja, with its over-gorgeous ornament and its horrible pictures of Spanish martyrdoms inflicted by that "devil's bride," Elizabeth of England. We had explored the parks and streets of the strange old city, where we possessed, according to the terms of Spanish hospitality, several houses; but better than the clamorous town we liked our own wall-girdled height, with its songful wood of English elms, planted by the Duke of Wellington, its ever murmuring runlets of clear water, its jessamines and myrtles, its Arabian Nights of mosque and tower, and its far outlook over what is perhaps the most entrancing prospect any hill of earth can show. The sunset often found us leaning over the ivied wall beneath the Torre de la Vela, that bell-tower where the first cross was raised after the Christian conquest, gazing forth from our trellised garden-nook on a vast panorama of gray city all quaintly set with arch and cupola, of sweeping plain with wealth of olive groves, vineyards, orange orchards, pomegranates, aloes, and cypresses, bounded by glistening ranks of snow-cloaked mountains. From the other side of the Alhambra plateau, the fall is sheer to the silver line of the Darro. Across the river rises the slope of the Albaicín, once the chosen residence of Moorish aristocracy, but now dotted over, amid the thickets of cactus and prickly pear, with whitewashed entrances to gypsy caves. Beyond all shine the resplendent summits of the great Sierras.

Yet it is strange how homely are many of the memories that spring to life in me at the name of the Alhambra, – decorous donkeys, laden with water-jars, trooping up the narrow footpath to the old Fountain of Tears, herds of goats clinging like flies to the upright precipice, a lurking peasant darting out on his wife as she passes with a day's earnings hidden in her stocking and holding her close, with laughter and coaxing, while he persistently searches her clothing until he finds and appropriates that copper hoard, and our own cheery little house-drudge washing our linen in a wayside rivulet and singing like a bird as she rubs and pounds an unfortunate handkerchief between two haphazard stones: —

"I like to live in Granada,
It pleases me so well
When I am falling asleep at night
To hear the Vela bell."

There is the proud young mother, too, whom we came upon by chance over behind the Tower of the Princesses, where her pot of puchero was bubbling above a miniature bonfire, while the velvet-eyed baby boy sucked his thumb in joyous expectation. She often made us welcome, after that, to her home, – a dingy stone kitchen and bedroom, unfurnished save for pallet, a few cooking-utensils, a chest or two, and, fastened to the wall, a gaudy print of La Virgen de las Angustias, the venerated Patrona of Granada. But this wretched abode, the remains of what may once have been a palace, opened on a lordly pleasure-garden with walls inlaid with patterns of rainbow tiles, whose broken edges were hidden by rose bushes. There were pedestals and even fragments of images in this wild Eden, jets of sparkling water and walks of variegated marble. In the course of the month, English and Spanish callers climbed the hill to us and encompassed us with kindness, but we still maintained our incorrigible taste for low society and used to hold informal receptions on sunny benches for all the tatterdemalions within sight. Swarthy boys, wearied with much loafing, would thriftily lay aside their cigarettes to favor us with conversation, asking many questions about America, for whose recent action they gallantly declined to hold us responsible. "It was not the ladies that made the war," said these modern cavaliers of the Alhambra.

Their especial spokesman was a shambling orphan lad of some fifteen summers, with shrewd and merry eyes. Nothing pleased him better than to give an ornamental hitch to the shabby, bright-colored scarf about his thin, brown throat, and proceed to expound the political situation.

"You admire the Alhambra? I suppose you have no palaces in America because your Government is a republic. That is a very good thing. Our Government is the worst possible. All the loss falls on the poor. All the gain goes to the rich. But there are few rich in Spain. America is the richest country of all the world. When America fought us it was as a rich man, fed and clothed, fighting a poor man weak from famine. And the rich man took from the poor man all that he had. Spain has nothing left – nothing."

"Oh, don't say that! Spain has the Alhambra, and beautiful churches, beautiful pictures."

"Can one eat churches and pictures, my lady?"

"And a fertile soil. What country outblooms Andalusia?"

His half-shod foot kicked the battle-trampled earth of the immortal hill contemptuously.

"Soil! Yes. All the world has soil. It serves to be buried in."

This budding politician graced us with his company one Sunday afternoon, when we went down into Granada to see a religious procession. Our Lady of Lourdes, escorted by a distinguished train of ecclesiastical and civic dignitaries, with pomp of many shining lights and sonorous instruments, with peal of church bells and incongruous popping of fireworks, passed through extended ranks of candle-bearing worshippers, along thronged streets, where every balcony was hung with the national red and yellow, to the Church of Mary Magdalene. There the sacred guest was entertained with a concert, and thence conducted, with the same processional state, amid the same reverent salutations of the multitude, back to her own niche. Our youthful guide showed himself so devout on this occasion, kneeling whenever the image, borne aloft in a glory of flowers and tapers, passed us, and gazing on every feature of the pageant with large-eyed adoration, that we asked him, as we climbed the hill again, if he would like to be a priest. But he shrugged his shoulders. "There are better Christians in Spain than the priests," he answered.

The son of the house, Don Pepe, a young man of five and twenty, who usually attended us on any difficult excursion, was also frankly outspoken in his disapproval of the clergy. He could hardly hold his countenance in passing a Franciscan friar. "There walks the ruin of Spain," he muttered once, with bitter accent, turning to scowl after the bareheaded, brown-frocked figure so common in Granada streets. We had, indeed, our own little grudge against the friars, for they were the only men of the city who forced us off the narrow sidewalks out into the rough and dirty road. All other Granadines, from dandies to gypsies, yielded us the strip of pavement with ready courtesy, but the friars, three or four in Indian file, would press on their way like graven images and drive us to take refuge among the donkeys.

This escort of ours, formally a Catholic, was no more a lover of State than of Church. He was eager to get to work in the world and, finding no foothold, charged up his grievance against the Government. He was firmly persuaded that Madrid had sold the Santiago and Manila victories to Washington for sums of money down, – deep down in official pockets. But his talk, however angry, would always end in throwing out the hands with a gesture of despair.

"But what use in revolutions? Spain is tired – tired of tumult, tired of bloodshed, tired of deceit and disappointment. A new government would only mean the old dogs with new collars. We, the people, are always the bone to be gnawed bare. What use in anything? Let it go as God wills."

The Silvela and Polavieja ministry came in during our stay at Granada, and the Liberal and Republican chorus against what was known as the Reactionary Government swelled loud. "It means the yoke of the Jesuits," growled our burly host. Our Alhambra dream suffered frequent jars from these ignoble confusions of to-day. When we were musing comfortably on the melancholy fortunes of Boabdil, a cheap newspaper would be thrust before our eyes with an editorial headed "Boabdil Sagasta." It is always best to do what one must. Since we could not be left in peace to the imagination of plumy cavaliers, stars of Moslem and Christian chivalry, who sowed this mount so thick with glorious memories, we turned our thoughts to the poor soldiers from Cuba, especially during the week throughout which they paraded the cities of Spain in rag-tag companies under rude flags with the ruder motto: "Hungry Repatriados." Their appearance was so woful that it became a by-word. A child, picking up from a gutter one day a mud-stained, dog-eared notebook, cried gleefully, "It's a repatriado." There was no glamour here, but the courage and sacrifice, the love and anguish, held good.

Granada had borne her share in Spain's last war sorrow. So many of her sons were drafted for the Antilles that her anger against America waxed hot. A few months before our arrival every star-spangled banner that could be hunted out in shop or residence was trampled and burned in the public squares. The Washington Irving Hotel hastened to take down its sign, and even the driver of its omnibus was sternly warned by the people to erase those offensive American names from his vehicle on pain of seeing it transformed into a chariot of fire. A shot, possibly accidental, whistled through the office of the English consul, who was given to understand, in more ways than one, that Spain made little difference between "the cloaked enemy" and the foe in the field. Meanwhile, month after month, the recruits were marched to the station, and the City Fathers, who came in all municipal dignity to bid the lads godspeed, were so overwhelmed by the weeping of the women that they forgot the cream of their speeches.

Among the new tales of Spanish valor told us on the Alhambra hill was this: —

When lots were drawn for military service, one blithe young scapegrace found in his hand a fortunate high number, but, walking away in fine feather over his luck, he met the mother of a friend of his, sobbing wildly as she went. Her son had been drafted, and the two hundred dollars of redemption money was as far beyond her reach as those dazzling crests of the Sierra Nevada are above the lame beggar at the Alhambra gate. Then the kindly fellow, troubled by her grief and mindful of the fact that, orphan as he was, his own parting would be at no such cost of tears, offered to serve in her boy's stead. Her passion of gratitude could not let his service go all unrecompensed. Poorest of the poor, she went about among her humble friends, lauding his deed, until she had collected, peseta by peseta, the sum of sixteen dollars, which she thrust into his hands to buy comforts for the campaign. But another sobbing mother sought him out. He had saved her neighbor's son; would he not save hers? Laughing at her logic and moved by her faith in him, he answered: "I am only one man, señora. I cannot go in place of two. But here are sixteen dollars. If you can find a substitute at such a price, the money is yours."

Sixteen dollars is a fortune to hunger and nakedness, and the substitute was found. As the year wore on those two mothers did not let the city forget its light-hearted hero, and a great assembly gathered at the station to honor his return. A remnant of his comrades descended from the train, but as for him, they said, he had died in Cuba of the fever months before.

His was no poetic death like that of the Abencerrages. Happy Abencerrages! They knew the Alhambra in the freshness of her beauty. Their last uplifted glances looked upon the most exquisite ceilings in the world. Their blood left immortal stains on the marble base of the fountain. But this young Spaniard, in his obscure Cuban grave, only one out of the eighty thousand, will promptly be forgotten. No importa. There must be something better than glory for the man who does more than his duty.

IV

A FUNCTION IN GRANADA

"O Love Divine, Celestial Purity,
Pity my cries!
My soul is prone before a clouded throne.
Let thy keen light arise,
Pierce this obscurity
And free my dream-bound eyes!"

    – Ganivet's Last Poem.
The civilization of Spain, streaked as it is with Oriental barbarisms, belated and discouraged as the end of the nineteenth century finds it, is still in many respects finer than our own. In everything that relates to grace and charm of social intercourse, to the dignified expression of reverence, compassion, and acknowledgment, Spain puts us to the blush. I was especially touched in Granada by the whole-souled sympathy and veneration with which the city rendered public honors to one of its sons, Angel Ganivet, who died in the preceding winter, a poet hardly thirty.

Although I had glanced over obituary notices of this Spanish writer in the Paris papers, I had but a vague idea of his work and life, and sought, before the night of the memorial ceremonies, for further information. I appealed, first of all, to our table waiter, whose keen black eyes instantly turned sad and tender.

"Pobre! Pobre! He threw himself into the river at Riga, in Russia, where he was consul. It was at the close of the war. And he such a genius! So young! So true a Spaniard! But all Granada will be at the theatre. He left his play to Granada, asking that it be seen here first of all. I have never read his books, but I have met him in the streets, and lifted my hat to him for a wise caballero who cared greatly for Spain."

My next appeal was to our kind neighbor, the English consul, who assured me laughingly that he, like myself, was vainly ransacking the few bookstores of Granada for Ganivet's works.

"The first time I ever heard the name," he added, "was some three or four years ago, when I noticed an old gentleman standing often in front of my house, and gazing at the British coat-of-arms above my door. He told me one day when I drew him into talk that he had a nephew, Angel Ganivet, roaming in foreign lands. 'But he does not forget his old uncle,' said he. 'I always receive my little pension prompt to the day, and so I like to look at the foreign shields about the city, and remember my nephew, far away, who remembers me.' That was a trifle, of course, but it gave me a kindly feeling for the young fellow, and I'm sorry he came to such an end. They found him in the river, you know. I dare say it was suicide, and likely enough the defeat of Spain had its share in causing his despondency; but nobody knows. He was a zealous patriot, I understand, and all Granada seems to take his death to heart."

My next authority was an aged Granadine, a man of letters; but he had not read Ganivet's books.

"I have heard of him often," he said, "but I never met him. He was not much in Granada, although he seems to have had a romantic affection for the place. Bueno! Its pomegranates are worth remembering. But Ganivet liked to live in foreign countries, with the idea of understanding his own better by comparison. He was young; he still had hopes for Spain. Eighty years are on my head, and I have long done with hoping. I have served in my country's armies, I have served in her Government, I have seen much of Church and State, and since the night when they murdered General Prim I have seen nothing good. But Ganivet had faith in the national future, and the people, without waiting to ask on what that faith was founded, love him for it, and mourn his loss as if he had been their benefactor. They are all going to pour into the theatre to-morrow night to hear his symbolic drama, that not one in a hundred of them will try to understand, and the hundredth will get it all wrong."

The "function" took place in the Gran Teatro de Isabel la Católica, a name to conjure with throughout all Spain, and especially in Granada. The day set for the performance, and widely advertised by newspapers and posters for a month in advance, was a Wednesday. On Tuesday, in a fever lest we be too late, we arrived at the ticket office. We had our hurry all to ourselves. Apparently nobody else had as yet taken a seat. The office was empty, save for us and our attendant train of boys and beggars.

The official in charge, deaf, slow, and courteous, invited us into a private room and gave us rocking-chairs by the brasero, while he, with paper and pencil, laboriously added the price of our entradas to the price of our modest box, and spent five minutes in subtracting the amount from the figure of the small bill we handed him. The counting out of the change was another strain on his arithmetic, and, after all these toils, we were still without tickets. He said he would "write them out at home," and we might send some one for them the next day. But he affably offered to show us the theatre, and led us through black passages to a great dusky space, where, while he struck match after match, we could catch glimpses of pit and balconies, and even a far-off stage, with a group of actors gathered about a lamp, rehearsing the play. In Wednesday morning's paper, however, they announced with entire nonchalance that they were not ready yet, and would postpone the representation until Thursday.

On Thursday evening the theatre, choking full though it was, hardly presented a brilliant appearance. Granada is not Madrid, nor Seville, and the best the Granadines had to offer their dead poet was the tribute of their presence in such guise as they could command. The big, barnlike theatre, with its rows of broken lamp-chimneys, looked shabby, and the rag-tag proportion of the audience was so great that it overflowed the Paraiso into the aisles and doorways and all conceivable corners. People were so jumbled and crumpled together that, with reminiscences of my traveller's hold-all, I found myself wondering if they would ever shake out smooth again.

Whole families were there, from the infant in arms that invariably screamed when the actors were reciting any passage of peculiar delicacy, to the dozing old grandfather, who kept dropping his cigarette out of his mouth in a way that threatened to set us all on fire. The gentlemen, even in the boxes and the stalls, were generally ungloved, and we did not see a dress suit in the house. Cloaks and neckties were ablaze with color as usual, but the masculine toilets eluded our stricter observation; for when the curtain was up, our eyes were all for the stage, and between acts your Spaniard sits with hat on head, enveloped in a cloud of tobacco smoke.

But the Andalusian ladies made amends for everything. By some prehistoric agreement, Spanish women have yielded the rainbow to the men, reserving for their own attire the quiet elegance of black or the festive beauty of pure white. The dress that evening, even in the principal boxes, was conspicuously simple. But the clear brunette complexions, the delicate contours, the rich black hair worn high and crowned with natural flowers, the waving fans and flashing glances, cast a glamour over the whole scene.

The memorial rites themselves made up in quantity whatever they might lack in quality, continuing from eight o'clock till two. An orchestra, organized from Granada musicians for this occasion, opened the programme. The bust of Ganivet, wrought by a young Granada sculptor, was reverently unveiled. The star actor, Fuentes of Granada, who had undertaken with his troupe to present his fellow-townsman's drama purely as a labor of love, read an interpretation written by one of Granada's leading critics. The orchestra was in evidence again, introducing the first act, entitled "Faith." After this the orchestra played Bretón's serenade, "In the Alhambra," and the curtain rose for the second act on so natural a scene-painting of the famous fortress that the audience went wild with enthusiasm, and the blushing artist, also a Granadine, had to be literally shoved from the wings upon the stage to receive his plaudits.

Between the second act, "Love," and the last act, "Death," came an andante elegiaco, "written expressly for this artistic solemnity" by a Granada composer. Here, again, the appreciation of the audience was unbounded, and nothing would do but the reluctant master must leave his box, struggle through the packed multitude to the conductor's stand, and take the baton himself for a second rendering from the first chord to the last. At the close of the third act the orchestra did its part once more, and the celebration ended, somewhat incongruously, with a lively bit of modern comedy.

There was imperfection enough, had one been disposed to look for it. The fifty members of the impromptu orchestra had hardly brought themselves into accord, the acting was not of the best Spanish quality, and the players had not half learned their parts. Every long declamation was a duet, the prompter's rapid undertone charging along beneath the actor's voice like a horse beneath its rider. But the audience understood, forgave, were grateful, and sat with sublime patience through the long pauses between the acts, repeating one to another, "They say Fuentes is studying his speeches." As the caustic old scholar had predicted, most of them, apparently, did not try to understand the allegory. They applauded the obviously poetic touches, the palpably dramatic situations, and when, in the Alhambra act, a gypsy air was sung, the galleries delightedly caught it up and chorused it over again.

But in general that nondescript assembly looked on in passive gravity while El Escultor de su Alma was rendered, as their poet had bidden, in their own theatre and for them. They may have gathered hints and snatches of that mystical message from the dead, whose lofty look, fixed in shining marble, dominated all the house.

The restless Spirit of Man, seeking the perfect Truth, tears himself loose from the bride of his youth, Heavenly Faith, and wanders in beggary through the world. Yet Truth for him can only be the child of his union with Faith, and in parting from one he has parted from both. In old age, almost maddened by his wanderings and woes, he meets his Truth again, full-grown and beautiful, but is so fierce and wild in his desire to possess her that only Death can reconcile them – Death and that Heavenly Faith who could not abandon him, though he had forsaken her.

Ganivet's mother, who, with his brothers, witnessed the play from behind the scenes, is said to have rejoiced in it as a last solemn assurance from her son of his secure repose in the Catholic faith of his fathers. It may not have meant so much to that great audience, many of whom could neither read nor write, but those tiers upon tiers of dark Spanish faces were full of earnestness and of a proud content. However it may have baffled their heads, this legacy of a play, in its Alhambra setting, spoke clearly to their hearts. One ragamuffin said to another, as an all-sufficient criticism, "He was thinking of Granada when he wrote it."

A few days later, I found and eagerly read Angel Ganivet's most significant booklet, Idearium, published in the autumn of 1896, in which he sets forth his dream for the future of his beloved country.

Ganivet claims that the deepest moral element in Spanish character is stoicism, "not the brutal and heroic stoicism of Cato, nor the serene and majestic stoicism of Marcus Aurelius, nor the rigid and extreme stoicism of Epictetus, but the natural and humane stoicism of Seneca." He holds that Seneca, himself a Spaniard, found his philosophy in the inherent genius of the country, and only gave voice to the indwelling soul of Spain. The Spanish church, cherishing this element, became a thing apart from the general Catholicism of Europe. The long warfare and incidental intercourse with the Moors stamped Spanish Christianity with its two other characteristic features of mysticism and fanaticism. "Mysticism was like a sanctification of African sensuality, and fanaticism was a turning against ourselves, when the Reconquest ended, of the fury accumulated during eight centuries of combat."

The author, muy español, is naturally muy católico, yet he protests against violence in the repression of other forms of religion. "Liberty should bring with it no fear." He believes that Spain is, above all, sui generis, independent and individual. The representative Spaniard is a free lance, striving and conquering by his own impulse and under his own direction, like the Cid of old or Cortes in the field of arms, like Loyola in the church, like Cervantes in letters. He lays stress on the achievements of Spanish art – the master paintings of Velázquez and Murillo, the master dramas of Lope de Vega and Calderon, as expressing, better than political history has expressed, that intensification of Spanish life resulting from the struggle against the Arabs "and making of our nation a Christian Greece."

He finds it logical and right that Spain, after her successive periods of Roman influence, Visigothic influence, Arab influence, and her modern era of colonial expansion, should now abandon foreign policies and concentrate all her vitality within her own borders. Not by the sword, but by the spirit, would he have Spain henceforth hold sway over mankind, and especially over the Spanish-descended peoples of South America.