Chapter 26

Thy Godlike crime was to be kind, To render with thy precepts less The sum of human wretchedness, And strengthen Man with his own mind; But baffled as thou wert from high, Still in thy patient energy, In the endurance and repulse Of thine impenetrable Spirit, Which Earth and Heaven could not convulse, A mighty lesson we inherit: Thou art a symbol and a sign To Mortals of their fate and force; Like thee, Man is in part divine, A troubled stream from a pure source; And Man in portions can foresee His own funereal destiny; His wretchedness and his resistance, And his sad unallied existence: To which his Spirit may oppose Itself--and equal to all woes, And a firm will, and a deep sense, Which even in torture can descry Its own concentred recompense, Triumphant where it dares defy, And making Death a Victory.

A SUMMING-UP

From 'Childe Harold's Pilgrimage'

I have not loved the world, nor the world me; I have not flattered its rank breath, nor bowed To its idolatries a patient knee,-- Nor coined my cheek to smiles,--nor cried aloud In worship of an echo: in the crowd They could not deem me one of such; I stood Among them, but not of them, in a shroud Of thoughts which were not their thoughts, and still could, Had I not filed my mind, which thus itself subdued.

I have not loved the world, nor the world me,-- But let us part fair foes. I do believe, Though I have found them not, that there may be Words which are things,--hopes which will not deceive, And virtues which are merciful, nor weave Snares for the failing: I would also deem O'er others' griefs that some sincerely grieve; That two, or one, are almost what they seem, That goodness is no name, and happiness no dream.

ON THIS DAY I COMPLETE MY THIRTY-SIXTH YEAR

Missolonghi, January 22d, 1824.

'Tis time this heart should be unmoved, Since others it hath ceased to move: Yet, though I cannot be beloved, Still let me love!

My days are in the yellow leaf; The flowers and fruits of love are gone: The worm, the canker, and the grief Are mine alone!

The fire that on my bosom preys Is lone as some volcanic isle; No torch is kindled at its blaze-- A funeral pile.

The hope, the fear, the jealous care, The exalted portion of the pain And power of love, I cannot share, But wear the chain.

But 'tis not _thus_, and 'tis not _here_, Such thoughts should shake my soul--nor _now_, Where glory decks the hero's bier, Or binds his brow.

The sword, the banner, and the field, Glory and Greece, around me see! The Spartan, borne upon his shield, Was not more free.

Awake! (not Greece--she _is_ awake!) Awake, my spirit! Think through _whom_ Thy life-blood tracks its parent lake, And then strike home!

Tread those reviving passions down, Unworthy manhood!--unto thee Indifferent should the smile or frown Of beauty be.

If thou regrett'st thy youth, _why live_? The land of honorable death Is here:--up to the field, and give Away thy breath!

Seek out--less often sought than found-- A soldier's grave, for thee the best; Then look around, and choose thy ground, And take thy rest.

FERNAN CABALLERO

(CECILIA BÖHL DE FABER)

(1796-1877)

England, France, and Spain have each produced within this century a woman of genius, taking rank among the very first writers of their respective countries. Fernan Caballero, without possessing the breadth of intellect or the scholarship of George Eliot, or the artistic sense of George Sand, is yet worthy to be named with these two great novelists for the place she holds in Spanish literature. Interesting parallels might be drawn between them, aside from the curious coincidence that each chose a masculine pen-name to conceal her sex, and to gain the ear of a generation suspicious of feminine achievements. Each portrayed both the life of the gentleman and that of the rustic, and each is at her best in her homelier portraitures.

Unlike her illustrious compeers, Fernan Caballero did not grow up amid the scenes she drew. In the scanty records of her life it does not appear whether, like George Sand, she had first to get rid of a rebellious self before she could produce those objective masterpieces of description, where the individuality of the writer disappears in her realization of the lives and thoughts of a class alien to her own. Her inner life cannot be reconstructed from her stories: her outward life can be told in a few words. She was born December 25th, 1796, in Morges, Switzerland, the daughter of Juan Nicholas Böhl de Faber, a German merchant in Cadiz, who had married a Spanish lady of noble family. A cultivated man he was, greatly interested in the past of Spain, and had published a collection of old Castilian ballads. From him Cecilia derived her love of Spanish folk-lore. Her earliest years were spent going from place to place with her parents, now Spain, now Paris, now Germany. From six to sixteen she was at school in Hamburg. Joining her family in Cadiz, she was married at the age of seventeen. Left a widow within a short time, she married after five years the wealthy Marquis de Arco-Hermaso. His palace in Seville became a social centre, for his young wife, beautiful, witty, and accomplished, was a born leader of society. She now had to the full the opportunity of studying those types of Spanish ladies and gentlemen whose gay, inconsequent chatter she has so brilliantly reproduced in her novels dealing with high life. The Marquis died in 1835, and after two years she again married, this time the lawyer De Arrom. Losing his own money and hers, he went as Spanish consul to Australia, where he died in 1863. She remained behind, retired to the country, and turned to literature. From 1857 to 1866 she lived in the Alcazar in Seville, as governess to the royal children of Spain. She died April 7th, 1877, in Seville,--somewhat solitary, for a new life of ideas flowing into Spain, and opposing her intense conservatism, isolated her from companionship.

Fernan Caballero began to publish when past fifty, attained instant success, and never again reached the high level of her first book. 'La Gaviota' (The Sea-Gull) appeared in 1849 in the pages of a Madrid daily paper, and at once made its author famous. 'The Family of Alvoreda,' an earlier story, was published after her first success. Washington Irving, who saw the manuscript of this, encouraged her to go on. Her novels were fully translated, and she soon had a European reputation. Her work may be divided into three classes: novels of social life in Seville, such as 'Elia' and 'Clemencia'; novels of Andalusian peasant life, as 'The Family of Alvoreda' ('La Gaviota' uniting both); and a number of short stories pointing a moral or embodying a proverb. She published besides, in 1859, the first collection of Spanish fairy tales.

Fernan Caballero created the modern Spanish novel. For two hundred years after Cervantes there are few names of note in prose fiction. French taste dominated Spanish literature, and poor imitations of the French satisfied the reading public. A foreigner by birth and a cosmopolitan by education, the clever new-comer cried out against this foreign influence, and set herself to bring the national characteristics to the front. She belonged to the old Spanish school, with its Catholicism, its prejudices, its reverence for the old, its hatred of new ideas and modern improvements. She painted thus Old Spain with a master's brush. But she especially loved Andalusia, that most poetic province of her country, with its deep-blue luminous sky, its luxuriant vegetation, its light-hearted, witty populace, and she wrote of them with rare insight and exquisite tenderness. Tasked with having idealized them, she replied:--"Many years of unremitting study, pursued _con amore_, justify me in assuring those who find fault with my portrayal of popular life that they are less acquainted with them than I am." And in another place she says:--"It is amongst the people that we find the poetry of Spain and of her chronicles. Their faith, their character, their sentiment, all bear the seal of originality and of romance. Their language may be compared to a garland of flowers. The Andalusian peasant is elegant in his bearing, in his dress, in his language, and in his ideas."

Her stories lose immensely in the translation, for it is almost impossible to reproduce in another tongue the racy native speech, with its constant play on words, its wealth of epigrammatic proverbs, its snatches of ballad or song interwoven into the common talk of the day. The Andalusian peasant has an inexhaustible store of bits of poetry, _coplas_, that fit into every occurrence of his daily life. Fernan Caballero gathered up these flowers of speech as they fell from the lips of the common man, and wove them into her tales. Besides their pictures of Andalusian rural life, these stories reveal a wealth of popular songs, ballads, legends, and fairy tales, invaluable alike to the student of manners and of folk-lore. She has little constructive skill, but much genius for detail. As a painter of manners and of nature she is unrivaled. In a few bold strokes she brings a whole village before our eyes. Nor is the brute creation forgotten. In her sympathy for animals she shows her foreign extraction, the true Spaniard having little compassion for his beasts. She inveighs against the national sport, the bull-fight; against the cruel treatment of domestic animals. Her work is always fresh and interesting, full of humor and of pathos. A close observer and a realist, she never dwells on the unlovely, is never unhealthy or sentimental. Her name is a household word in Spain, where a foremost critic wrote of 'La Gaviota':--"This is the dawn of a beautiful day, the first bloom of a poetic crown that will encircle the head of a Spanish Walter Scott."

Perhaps the best summary of her work is given in her own words, where she says:--

"In composing this light work we did not intend to write a novel, but strove to give an exact and true idea of Spain, of the manners of its people, of their character, of their habits. We desired to sketch the home life of the people in the higher and lower classes, to depict their language, their faith, their traditions, their legends. What we have sought above all is to paint after nature, and with the most scrupulous exactitude, the objects and persons brought forward. Therefore our readers will seek in vain amid our actors for accomplished heroes or consummate villains, such as are found in the romances of chivalry or in melodramas. Our ambition has been to give as true an idea as possible of Spain and the Spaniards. We have tried to dissipate those monstrous prejudices transmitted and preserved like Egyptian mummies from generation to generation. It seemed to us that the best means of attaining this end was to replace with pictures traced by a Spanish pen those false sketches sprung from the pens of strangers."

THE BULL-FIGHT

From 'La Gaviota'

When after dinner Stein and his wife arrived at the place assigned for the bull-fight, they found it already filled with people. A brief and sustained animation preceded the fête. This immense rendezvous, where were gathered together all the population of the city and its environs; this agitation, like to that of the blood which in the paroxysms of a violent passion rushes to the heart; this feverish expectation, this frantic excitement,--kept, however, within the limits of order; these exclamations, petulant without insolence; this deep anxiety which gives a quivering to pleasure: all this together formed a species of moral magnetism; one must succumb to its force or hasten to fly from it.

Stein, struck with vertigo, and his heart wrung, would have chosen flight: his timidity kept him where he was. He saw in all eyes which were turned on him the glowing of joy and happiness; he dared not appear singular. Twelve thousand persons were assembled in this place; the rich were thrown in the shade, and the varied colors of the costumes of the Andalusian people were reflected in the rays of the sun.

Soon the arena was cleared.

Then came forward the picadores, mounted on their unfortunate horses, who with head lowered and sorrowful eyes seemed to be--and were in reality--victims marching to the sacrifice.

Stein, at the appearance of these poor animals, felt himself change to a painful compassion; a species of disgust which he already experienced. The provinces of the peninsula which he had traversed hitherto were devastated by the civil war, and he had had no opportunity of seeing these fêtes, so grand, so national, and so popular, where were united to the brilliant Moorish strategy the ferocious intrepidity of the Gothic race. But he had often heard these spectacles spoken of, and he knew that the merit of a fight is generally estimated by the number of horses that are slain. His pity was excited towards these poor animals, which, after having rendered great services to their masters,--after having conferred on them triumph, and perhaps saved their lives,--had for their recompense, when age and the excess of work had exhausted their strength, an atrocious death which by a refinement of cruelty they were obliged themselves to seek. Instinct made them seek this death; some resisted, while others, more resigned or more feeble, went docilely before them to abridge their agony. The sufferings of these unfortunate animals touched the hardest heart; but the amateurs had neither eyes, attention, nor interest, except for the bull. They were under a real fascination, which communicated itself to most of the strangers who came to Spain, and principally for this barbarous amusement. Besides, it must be avowed--and we avow it with grief--that compassion for animals is, in Spain, particularly among the men, a sentiment more theoretical than practical. Among the lower classes it does not exist at all.

The three picadores saluted the president of the fête, preceded by the banderilleros and the chulos, splendidly dressed, and carrying the capas of bright and brilliant colors. The matadores and their substitutes commanded all these combatants, and wore the most luxurious costumes.

"Pepe Vera! here is Pepe Vera!" cried all the spectators. "The scholar of Montés! Brave boy! What a jovial fellow! how well he is made! what elegance and vivacity in all his person! how firm his look! what a calm eye!"

"Do you know," said a young man seated near to Stein, "what is the lesson Montés gives to his scholars? He pushes them, their arms crossed, close to the bull, and says to them, 'Do not fear the bull--brave the bull!'"

Pepe Vera descended into the arena. His costume was of cherry-colored satin, with shoulder-knots and silver embroidery in profusion. From the little pockets of his vest stuck out the points of orange-colored scarfs. A waistcoat of rich tissue of silver and a pretty little cap of velvet completed his coquettish and charming costume of majo.

After having saluted the authorities with much ease and grace, he went like the other combatants to take his accustomed place. The three picadores also went to their posts, at equal distance from each other, near to the barrier. There was then a profound, an imposing silence. One might have said that this crowd, lately so noisy, had suddenly lost the faculty of breathing.

The alcalde gave the signal, the clarions sounded, and as if the trumpet of the Last Judgment had been heard, all the spectators arose with most perfect ensemble; and suddenly was seen opened the large door of the toril, placed opposite to the box occupied by the authorities. A bull whose hide was red precipitated himself into the arena, and was assailed by a universal explosion of cheers, of cries, of abuse, and of praise. At this terrible noise the bull, affrighted, stopped short, raised his head; his eyes were inflamed, and seemed to demand if all these provocations were addressed to him; to him, the athletic and powerful, who until now had been generous towards man, and who had always shown favor towards him as to a feeble and weak enemy. He surveyed the ground, turning his menacing head on all sides--he still hesitated: the cheers, shrill and penetrating, became more and more shrill and frequent. Then with a quickness which neither his weight nor his bulk foretold, he sprang towards the picador, who planted a lance in his withers. The bull felt a sharp pain, and soon drew back. It was one of those animals which in the language of bull-fighting are called "boyantes," that is to say, undecided and wavering; whence he did not persist in his first attack, but assailed the second picador. This one was not so well prepared as the first, and the thrust of his lance was neither so correct nor so firm; he wounded the animal without being able to arrest his advance. The horns of the bull were buried in the body of the horse, who fell to the ground. A cry of fright was raised on all sides, and the chulos surrounded this horrible group; but the ferocious animal had seized his prey, and would not allow himself to be distracted from his vengeance. In this moment of terror, the cries of the multitude were united in one immense clamor, which would have filled the city with fright if it had not come from the place of the bull-fight. The danger became more frightful as it was prolonged.

The bull tenaciously attacked the horse, who was overwhelmed with his weight and with his convulsive movements, while the unfortunate picador was crushed beneath these two enormous masses. Then was seen to approach, light as a bird with brilliant plumage, tranquil as a child who goes to gather flowers, calm and smiling at the same time, a young man, covered with silver embroidery and sparkling like a star. He approached in the rear of the bull; and this young man of delicate frame, and of appearance so distinguished, took in both hands the tail of the terrible animal, and drew it towards him. The bull, surprised, turned furiously and precipitated himself on his adversary, who without a movement of his shoulder, and stepping backward, avoided the first shock by a half-wheel to the right.

The bull attacked him anew; the young man escaped a second time by another half-wheel to the left, continuing to manage him until he reached the barrier. There he disappeared from the eyes of the astonished animal, and from the anxious gaze of the public, who in the intoxication of their enthusiasm filled the air with their frantic applause; for we are always ardently impressed when we see man play with death, and brave it with so much coolness.

"See now if he has not well followed the lesson of Montés! See if Pepe Vera knows how to act with the bull!" said the young man seated near to them, who was hoarse from crying out.

The Duke at this moment fixed his attention on Marisalada. Since the arrival of this young woman at the capital of Andalusia, it was the first time that he had remarked any emotion on this cold and disdainful countenance. Until now he had never seen her animated. The rude organization of Marisalada was too vulgar to receive the exquisite sentiment of admiration. There was in her character too much indifference and pride to permit her to be taken by surprise. She was astonished at nothing, interested in nothing. To excite her, be it ever so little, to soften some part of this hard metal, it was necessary to employ fire and to use the hammer.

Stein was pale. "My lord Duke," he said, with an air full of sweetness and of conviction, "is it possible that this diverts you?"

"No," replied the Duke; "it does not divert, it interests me."

During this brief dialogue they had raised up the horse. The poor animal could not stand on his legs; his intestines protruded and bespattered the ground. The picador was also raised up; he was removed between the arms of the chulos. Furious against the bull, and led on by a blind temerity, he would at all hazards remount his horse and return to the attack, in spite of the dizziness produced by his fall. It was impossible to dissuade him; they saw him indeed replace the saddle upon the poor victim, into the bruised flanks of which he dug his spurs.

"My lord Duke," said Stein, "I may perhaps appear to you ridiculous, but I do not wish to remain at this spectacle. Maria, shall we depart?"

"No," replied Maria, whose soul seemed to be concentrated in her eyes. "Am I a little miss? and are you afraid that by accident I may faint?"

"In such case," said Stein, "I will come back and take you when the course is finished." And he departed.

The bull had disposed of a sufficiently good number of horses. The unfortunate courser which we have mentioned was taken away--rather drawn than led by the bridle to the door, by which he made his retreat. The others, which had not the strength again to stand up, lay stretched out in the convulsions of agony; sometimes they stretched out their heads as though impelled by terror. At these last signs of life the bull returned to the charge, wounding anew with plunges of his horns the bruised members of his victims. Then, his forehead and horns all bloody, he walked around the circus affecting an air of provocation and defiance: at times he proudly raised his head towards the amphitheatre, where the cries did not cease to be heard; sometimes it was towards the brilliant chulos who passed before him like meteors, planting their banderillos in his body. Often from a cage, or from a netting hidden in the ornaments of a banderillero, came out birds, which joyously took up their flight. The first inventor of this strange and singular contrast could not certainly have had the intention to symbolize innocence without defense, rising above the horrors and ferocious passions here below, in its happy flight towards heaven. That would be, without doubt, one of those poetic ideas which are born spontaneously in the hard and cruel heart of the Spanish plebeian, as we see in Andalusia the mignonette plant really flourish between stones and the mortar of a balcony.

At the signal given by the president of the course, the clarions again sounded. There was a moment of truce in this bloody wrestling, and it created a perfect silence.

Then Pepe Vera, holding in his left hand a sword and a red-hooded cloak, advanced near to the box of the alcalde. Arrived opposite, he stopped and saluted, to demand permission to slay the bull.

Pepe Vera perceived the presence of the Duke, whose taste for the bull-fight was well known; he had also remarked the woman who was seated at his side, because this woman, to whom the Duke frequently spoke, never took her eyes off the matador.

He directed his steps towards the Duke, and taking off his cap, said, "_Brindo_ (I offer the honor of the bull) to you, my lord, and to the royal person who is near you."

At these words, casting his cap on the ground with an inimitable abandon, he returned to his post.

The chulos regarded him attentively, all ready to execute his orders. The matador chose the spot which suited him the best, and indicated it to his quadrilla.

"Here!" he cried out to them.