CHAPTER XXII.
FAREWELL.
Strange and wonderful to tell! Nela, who had never in her life had a room, nor clothes, nor shoes, nor food, nor sympathy, nor relations, nor any earthly thing of her own, not even a name--was buried in a style which caused no small amount of envy among the living in Socartes. This posthumous splendor was the bitterest irony ever known in these metalliferous regions. Señorita Florentina, acting on her generous impulses, consoled herself for the disappointment of not having been able to help Nela alive, by the satisfaction of doing honor to her hapless remains after death. Some hard-hearted materialists criticised her severely; but, for our part, we regarded it as an additional proof of her refined kind-heartedness.
When Nela was carried to the grave, the curious who came to gaze at her, thought her almost pretty--wonderful to say! At least so they said. It was the first time a compliment had ever been paid her. The funeral was magnificent, and the priests of Villamojada opened their mouths wide in astonishment when they found themselves receiving money to pray for the soul of La Canela’s daughter. It was bewildering, amazing, to think that a being whose social importance had been about equal to that of a worm or a fly, should prove the occasion of so much burning of tapers, of so much hanging of drapery, and of making so many choristers and sacristans hoarse. Nay, it was so astounding as to be positively amusing; nothing else was talked of for at least six weeks.
The surprise, and indeed--to be frank--the indignation of this worthy little world, culminated one day when two waggons, loaded with enormous blocks of fine white stone, were descried approaching by the high-road. In Señana’s mind, particularly, a hideous subversion of ideas took place, a cataclysm resulting in mental chaos, when she brought herself to believe that those fine white stones were to build Nela’s tomb. If an ox had taken to flying or her husband to making speeches, it could not have roused her from her stupefaction.
The parish registers of Villamojada were searched, for of course it was indispensable that she should have a name now she was dead, though she had done without one during her life; as is proved by this very history, where she has borne various names. And this indispensable requisite having been found, and duly placed on the records of the dead, the magnificent tomb, which stood up proudly among the rustic crosses of the graveyard at Aldeacorba, had this epitaph engraved on it:
R. I. P.
MARÍA MANUELA TELLEZ.
RECALLED TO HEAVEN
October the 12th, 186 ...
And a wreath of flowers prettily carved in the marble, crowned the inscription. Many months later, when Florentina and Pablo Penáguilas had been some time married and no one--to tell the truth, for truth is the first consideration--no one in Aldeacorba de Suso remembered Nela any longer, some travellers of the tourist genus, in crossing that part of the country, happened to observe the grand marble sepulchre erected in the cemetery by the piety and affection of an exemplary friend, and were struck with admiration. Without more ado they proceeded to write down in their note-book these remarks, which were subsequently published under the title of “Sketches from Cantábria,” in an English newspaper.
“The most remarkable object to be seen at Aldeacorba is a magnificent monument, erected in the cemetery over the grave of a young lady of rank, famous in that part of the country for her beauty. Doña Mariquita Manuela Tellez belonged to one of the noblest and wealthiest families in Cantábria, that of Tellez Giron y de Trastamara. Witty, romantic, and capricious, she took a fancy to wander about the roads, playing the guitar and singing Calderon’s odes, and she would dress herself up in rags to enable her to mix with the herd of beggars, pick-pockets, troubadours, bull-fighters, friars, _hidalgos_, gypsies, and muleteers, which at the great _kermesas_, constitute that motley scene of Spanish low life which still exists and always must exist, independent and picturesque, in spite of the railways and newspapers which have begun to force their way into the Spanish Peninsula.
“The _abad_[6] of Villamojada wept as he told us of the whims, the virtues, and the beauty of this wealthy gentlewoman, who, whenever she appeared at the balls, banquets, or _cañas_ of Madrid, was distinguished for her aristocratic deportment. The number of _romanceros_, sonnets and madrigals composed in honor of this noble damsel by all the Spanish poets, is beyond all calculation.”[7]
On reading this I saw at once that the worthy reporters had dreamed dreams. I determined to tell the truth, and the truth, as I have told it, has resulted in this book.
* * * * *
We must now bid farewell forever to this tomb. We will fix our eyes on another object, seek out another figure--searching diligently, for he whom we want is but a small personage, a minute insect, as it were, no larger on the face of the earth than the Phylloxera on the vine. But we have found him--there he is, tiny, squalid, a mere atomy. But he lives and breathes, and will grow great in time. Listen to his story, for it is an interesting one I promise you.
Well, Sir....
But no; it does not belong to this book. If you like the history of Marianela, in good time you shall hear that of Celipin.
THE END.
Footnotes:
[1] “Es tan linda su boca que no pide.”
[2] A Spanish silver coin, equal in value to the U. S. dollar.
[3] A silver coin containing two reales.
[4] The copper piece is a _cuarto_. A _real_ contains 34 _maravedis_ and is worth about the same as the U. S. dime. The smallest Spanish coin is the _maravedi_. Four _maravedis_ make a _cuarto_.
[5] Trunkmaker’s street.
[6] In some provinces the rector of a parish.
[7] The point of this passage in the original is the misuse of Spanish words and the introduction of others which are not Spanish. Thus _Hidalgo_ means a nobleman; and _Kermesas_, Fr., _Kermesse_, Dutch, _Kermis_, is a name for a fair peculiar to Holland and Belgium.
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ELIANE
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The Eleventh Commandment
A ROMANCE
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ANTON GIULIO BARRILI
From the Italian by Clara Bell
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“There is more to the work than appears on the surface, many passages being fruitful subjects for psychological meditation. The characters are all well drawn, especially those of the serious-minded prior, the obese and tractable uncle, and the grandiloquent sub-prefect. The author is an unusually good painter of human nature, and the ease and naturalness of his style is refreshing. No fault is to be found with the translation.”--_Boston Evening Transcript, May 20, 1882._
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A Whimsical Wooing
BY
ANTON GIULIO BARRILI Author of “The Eleventh Commandment.”
FROM THE ITALIAN BY CLARA BELL
“Some months ago we had occasion to praise a pleasant novel of modern Italian life by the author of the above story. The present is not less deserving of praise. It is just the very thing to play as an afterpiece. Cast into purely dramatic form indeed, without any change at all--it would form a sparkling little comedietta for a private theatrical party. The little volume is most charming; it is very brief, but every line sparkles; and we find it all too short.”--_Toronto Mail._
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“A ROMANCE OF A SOUL.”
ERNESTINE
_A NOVEL_
BY
WILHELMINE von HILLERN
From the German by S. BARING-GOULD.
“‘Ernestine’ is a work of positive genius. An English critic has likened the conception of the heroine in her childhood to George Eliot’s Maggie Tulliver, and truly there is a certain resemblance; but there is in the piece a much stronger suggestion of George Eliot’s calm mastery of the secret springs of human action, and George Eliot’s gift of laying bare the life of a human soul, than of likeness between particulars, characters or situations here and those with which we are familiar in George Eliot’s work.”--_New York Evening Post, Feb. 17, 1881._
“Ernestine in her childhood somewhat reminds us of Maggie Tulliver in the Mill on the Floss, and in her maidenhood of Mr. Tennyson’s Princess. For many a year as child and woman she grieved that she had not been born a man. In fact, she was a downright and fearless champion of woman’s rights. But in the end she yields, and as we take leave of her, we hear her saying to her husband, ‘I thank God that I am a woman and that I am yours.’ Very pretty, though perhaps too sad, are the opening scenes in which we first make her acquaintance.”
“There are many humorous touches throughout the work which afford a pleasant relief to the more pathetic portions.”
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THE HOUR WILL COME
_A TALE OF AN ALPINE CLOISTER_
BY
WILHELMINE VON HILLERN
From the German by CLARA BELL.
“_The Hour Will Come: A Tale of an Alpine Cloister_, by Wilhelmine von Hillern, is a charming story, perhaps somewhat old-fashioned in regard to plot, but gracefully and thoughtfully written, and full of interest in its admirable painting of character. It has a fine local color, and its descriptions are strikingly vivid and picturesque. It belongs to the best class of modern German fiction, and will be read with pleasure and satisfaction by every person of taste. The translation, by Clara Bell, may be warmly praised for its spirit and its easy flow.”--_Boston Saturday Evening Gazette, Oct. 9, 1880._
“_The Hour Will Come_” is the title of a translation by Miss Clara Bell from the German original of Wilhelmine von Hillern, author of that beautiful romance “Geier-Wally.” “The Hour Will Come” is hardly less interesting, its plot being one of the strongest and most pathetic that could well be imagined. The time is the Middle Ages, and Miss Von Hillern has achieved a remarkable success in reproducing the rudeness, the picturesqueness and the sombre coloring of those days. Those who take up “The Hour Will Come” will not care to lay it down again until they have read it through.--_Baltimore Gazette, Wednesday, October 13, 1880._
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HIGHER THAN THE CHURCH
_AN ART LEGEND OF ANCIENT TIMES_
BY
WILHELMINE von HILLERN
From the German by MARY J. SAFFORD
“Mary J. Safford translates acceptably a very charming short story from the German of Wilhelmine von Hillern. If it was not told by the sacristan of Breisach, it deserves to have been. It has the full flavor of old German and English love tales, such as have been crystallized in the old ballads. The Emperor, the gifted boy, his struggles with the stupidity of his townsmen, his apparently hopeless love above him; these form the old delightful scene, set in a Düreresque border. There are touches here and there which refer to the present. The sixteenth century tale has a political moral that will appeal to Germans who believe that Alsatia, once German in heart as well as in tongue, ought to be held by force to the Fatherland till she forgets her beloved France.”--_N. Y. Times, Dec. 4th, 1881._
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RANTHORPE
A NOVEL
BY
GEORGE HENRY LEWES
It is not difficult to explain why “Ranthorpe” was not a success in the ordinary sense of a popular novel; but the explanation will probably give the reason why it has been since recalled to the attention of the reading world. It was of too didactic a quality to suit the tastes of novel-readers in search of mere sensation. It is full of moralizings, and, although the topics are secular enough, it is rather preachy. But there is a good deal of wisdom in it that is not without its use. The hero of the book runs a literary career, goes first into poetry and fails, then into the drama, and his tragedy is d----d. The main interest of the volume is in the copious side discussions on the causes of failure in literary adventure, and we have a vivid and readable illustration of ideas which the author subsequently developed in his review articles on “The Principles of Success in Literature.” From this point of view the book is instructive, while the plot keeps up the reader’s interest in the usual way.--_The Popular Science Monthly._
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A PRACTICAL METHOD
FOR
Learning Spanish
BY
A. RAMOS DIAZ DE VILLEGAS
“Spanish is not under any circumstances a difficult language to learn. It has in its construction and pronunciation an encouraging directness very unlike the grammatical involutions of German and the delicate sound-shadings of French. Working in accordance with the rules of almost any ‘system,’ a diligent student can in a very little while acquire a fair mastery of the language; though it is true that some of the ‘systems’ are much more difficult than others. One of the simplest and best of them all is ‘A Practical Method for Learning Spanish,’ by Señor A. Ramos Diaz de Villegas, just now published by William S. Gottsberger, New York. The ‘method’ of Señor de Villegas comprehends a collection of anecdotes arranged in short lines with an English translation, similarly arranged, on the corresponding opposite page; familiar phrases, with idiomatic renderings in English in parallel columns; a vocabulary of words in common use, and a complete list of the Spanish irregular verbs. It will be observed that this method hardly can be called original; that it is more or less that of Morales, of Velazquez, of Prendergast, and that some of its features are found in Ollendorff and in Ahn; but in simplicity of arrangement and directness of purpose it is superior to all of these--Prendergast possibly excepted. It certainly is what it is called--a practical method for learning Spanish. With a relatively small outlay of mental exertion it produces exceptionally good results.”--_Philadelphia Times, June 24, 1882._
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* * * * *
Transcriber’s Notes
Spelling and hyphenation have been retained as in the original publication, except as follows:
Obvious punctuation errors and typos repaired:
Page 1, “a sleepy world died gently away” replaced by “a sleepy world died gently away.”
Page 4, “What am I to do? out there” replaced by “What am I to do? Out there”
Page 5, “What have we here?....” replaced by “What have we here? ...”
Page 6, “wait a minute!....” replaced by “wait a minute! ...”
Page 7, “Choto, Choto!....” replaced by “Choto, Choto!...”
Page 16, “the infinite sepulchre of the ocean” replaced by “the infinite sepulchre of the ocean.”
Page 17, “your throat?....” replaced by “your throat?...”
Page 43, ‘!--Oh dear, oh dear!”...’ replaced by ‘!--Oh dear, oh dear!” ...’
Page 44, “I....no.” replaced by “I ... no.”
Page 57, “and as she eat” replaced by “and as she ate”
Page 70, “Those lovely things....?” replaced by “Those lovely things...?”
Page 95, “very, very dearly..” replaced by “very, very dearly....”
Page 115, removed new paragraph between “But what is this?” and “Blood?”
Page 135, “Well, if....?” replaced by “Well, if...?”
Page 138, “Ah....! Look here the” replaced by “Ah...! Look here the”
Page 141, ‘“Good, good!” cried Nela, delighted, “But’ replaced by ’“Good, good!” cried Nela, delighted. “But’
Page 182, “respected woman!....” replaced by “respected woman!...”
Page 183, “Centenc’s house” replaced by “Centeno’s house”
Page 213, “make you promises?....” replaced by “make you promises?...”
Page 224, “All good kind souls!....” replaced by “All good kind souls!...”
Page 246, “‘And it cannot hurt me” replaced by ‘“And it cannot hurt me’
Page 253, “you are a charlatan!....” replaced by “you are a charlatan!...”
Page 258, ‘“It is fled!’’ replaced by ’“It is fled!”’
Page 262, “October the 12th, 186...” replaced by “October the 12th, 186....”
Advertisement: QUINTUS CLAUDIUS “--Grazer Morgenpost,” replaced by “--Grazer Morgenpost.”
Advertisement ERNESTINE ‘purposes of the dramatist’ replaced by ‘purposes of the dramatist”’
Advertisement: A TALE OF AN ALPINE CLOISTER “The Hour Will Come;” replaced by “The Hour Will Come:”
“they have read it through” replaced by “they have read it through.”
Advertisement: AN ART LEGEND OF ANCIENT TIMES “25 cents,” replaced by “25 cents.”
“WILLIAM S GOTTSBERGER” replaced by “WILLIAM S. GOTTSBERGER”
Advertisement: RANTHORPE “Bet there is” replaced by “But there is”
“40 cents,” replaced by “40 cents.”
Words written in two different ways:
birdlike/bird-like; “bird-like” was regularized to “birdlike”.
tramway/tram-way; “tramway” was regularized to “tram-way”.
_La terrible_/La terrible; “_La terrible_” was regularized to “La Terrible” -no italics-.
Carlos/Cárlos; “Carlos” was regularized to “Cárlos”.
Maria/María; “Maria” was regularized to “María”.
Socarte/Socartes; “Socarte” was regularized to “Socartes”.
ONE VOLUME./ONE VOLUME; “ONE VOLUME.” was regularized to “ONE VOLUME”.
TWO VOLUMES./TWO VOLUMES; “TWO VOLUMES.” was regularized to “TWO VOLUMES”.