Part 15

The Magdalene is soon converted by the preaching of the Nazarene Prophet, and the scene closes by the triumphant entry into Jerusalem amid the waving of palm-branches, the strewing of flowers, and "sonorous metal blowing martial sounds." The pathetic and sublime lament, "Jerusalem! Jerusalem! thou that killest the prophets!" was delivered with great 'feeling and power.

The next act brings us before the judgment-seat of Pontius Pilate. This act is almost solely horrible. The Magdalene in her garb of penitence comes in to beg the release of Jesus of Nazareth. Pontius, who is represented as a gallant old gentleman, says he can refuse nothing to a lady. The prisoner is dragged in by two ferocious ruffians, who beat and buffet him with absurd and exaggerated violence. There is nothing more hideous than the awful concreteness of this show,--the naked helplessness of the prisoner, his horrible, cringing, overdone humility, the coarse kicking and cuffing of the deputy sheriffs. The Prophet is stripped and scourged at the pillar until he drops from exhaustion. He is dragged anew before Pilate and examined, but his only word is, "Thou hast said." The scene lasts nearly an hour. The theatre was full of sobbing women and children. At every fresh brutality I could hear the weeping spectators say, "Pobre Jesus!" "How wicked they are!" The bulk of the audience was of people who do not often go to theatres. They looked upon the revolting scene as a real and living fact. One hard-featured man near me clenched his fists and cursed the cruel guards. A pale, delicate-featured girl who was leaning out of her box, with her brown eyes, dilated with horror, fixed upon the scene, suddenly shrieked as a Roman soldier struck the unresisting Saviour, and fell back fainting in the arms of her friends.

The Nazarene Prophet was condemned at last. Gestas gives evidence against him, and also delivers Demas to the law, but is himself denounced, and shares their sentence. The crowd howled with exultation, and Pilate washed his hands in impotent rage and remorse. The curtain came down leaving the uncultivated portion of the audience in the frame of mind in which their ancestors a few centuries earlier would have gone from the theatre determined to serve God and relieve their feelings by killing the first Jew they could find. The diversion was all the better, because safer, if they happened to the good luck of meeting a Hebrew woman or child.

The Calle de Amargura--the Street of Bitterness--was the next scene. First came a long procession of official Romans,--lictors and swordsmen, and the heralds announcing the day's business. Demas appears, dragged along with vicious jerks to execution. The Saviour follows, and falls under the weight of the cross before the footlights. Another long and dreary scene takes place, of brutalities from the Roman soldiers, the ringleader of whom is a sanguinary Andalusian ingeniously encased in a tin barrel, a hundred lines of rhymed sorrow from the Madonna, and a most curious scene of the Wandering Jew. This worthy, who in defiance of tradition is called Samuel, is sitting in his doorway watching the show, when the suffering Christ begs permission to rest a moment on his threshold. He says churlishly, Anda!--"Begone!" "I will go, but thou shalt go forever until I come." The Jew's feet begin to twitch convulsively, as if pulled from under him. He struggles for a moment, and at last is carried off by his legs, which are moved like those of the walking dolls with the Greek names. This odd tradition, so utterly in contradiction with the picture the Scriptures give us of the meek dignity with which the Redeemer forgave all personal injuries, has taken a singular hold upon the imaginations of all peoples. Under varying names,---Ahasuerus, Salathiel, le Juif Errant, der ewige Jude,--his story is the delight and edification of many lands; and I have met some worthy people who stoutly insisted that they had read it in the Bible.

The sinister procession moves on. The audience, which had been somewhat cheered by the prompt and picturesque punishment inflicted upon the inhospitable Samuel, was still further exhilarated by the spectacle of the impenitent traitor Gestas, staggering under an enormous cross, his eyes and teeth glaring with abject fear, with an athletic Roman haling him up to Calvary with a new hempen halter.

A long intermission followed, devoted to putting babies to sleep,--for there were hundreds of them, wide-eyed and strong-lunged,--to smoking the hasty cigarette, to discussing the next combination of Prim or the last scandal in the gay world. The carpenters were busy behind the scenes building the mountain. When the curtain rose, it was worth waiting for. It was an admirable scene. A genuine Spanish mountain, great humpy undulations of rock and sand, gigantic cacti for all vegetation, a lurid sky behind, but not over-colored. A group of Roman soldiers in the foreground, in the rear the hill, and the executioners busily employed in nailing the three victims to their crosses. Demas was fastened first; then Gestas, who, when undressed for execution, was a superb model of a youthful Hercules. But the third cross still lay on the ground; the hammering and disputing and coming and going were horribly lifelike and real.

At last the victim is securely nailed to the wood, and the cross is slowly and clumsily lifted and falls with a shock into its socket. The soldiers huzza., the fiend in the tin barrel and another in a tin hat come down to the footlights and throw dice for the raiment. "Caramba! curse my luck!" says our friend in the tin case, and the other walks off with the vestment.

The Passion begins, and lasts an interminable time. The grouping is admirable, every shifting of the crowd in the foreground produces a new and finished picture, with always the same background of the three high crosses and their agonizing burdens against that lurid sky. The impenitent Gestas curses and dies; the penitent Demas believes and receives eternal rest. The Holy Women come in and group themselves in picturesque despair at the foot of the cross. The awful drama goes on with no detail omitted,--the thirst the sponge dipped in vinegar, the cry of desolation, the spear-thrust, the giving up of the ghost. The stage-lights are lowered. A thick darkness--of crape--comes down over the sky. Horror falls on the impious multitude, and the scene is deserted save by the faithful.

The closing act opens with a fine effect of moon and stars. "Que linda luna!" sighed a young woman beside me, drying her tears, comforted by the beauty of the scene. The central cross is bathed in the full splendor that is denied the others. Joseph of Abarimathea (as he is here called) comes in with ladders and winding-sheets, and the dead Christ is taken from the cross. The Descent is managed with singular skill and genuine artistic feeling. The principal actor, who has been suspended for an hour in a most painful and constrained posture, has a corpse-like rigidity and numbness. There is one moment when you can almost imagine yourself in Antwerp, looking at that sublimest work of Rubens. The Entombment ends, and the last tableau is of the Mater Dolorosa in the Solitude. I have rarely seen an effect so simple, and yet so striking,--the darkened stage, the softened moonlight, the now Holy Rood spectral and tall against the starry sky, and the Dolorous Mother, alone in her sublime sorrow, as she will be worshipped and revered for coming aeons.

A curious observation is made by all foreigners, of the absence of the apostles from the drama. They appear from time to time, but merely as supernumeraries. One would think that the character of Judas was especially fitted for dramatic use. I spoke of this to a friend, and he said that formerly the false apostle was introduced in the play, but that the sight of him so fired the Spanish heart that not only his life, but the success of the piece was endangered. This reminds one of Mr. A. Ward's account of a high-handed outrage at "Utiky," where a young gentleman of good family stove in the wax head of "Jewdas Iscarrit," characterizing him at the same time as a "pew-serlanimous cuss."

"To see these Mysteries in their glory," continued my friend, "you should go into the small towns in the provinces, uncontaminated with railroads or unbelief. There they last several days The stage is the town, the Temple scene takes place in the church, the Judgment at the city hall, and the procession of the Via Crucis moves through all the principal streets. The leading roles are no joke,--carrying fifty kilos of wood over the mud and cobble-stones for half a day. The Judas or Gestas must be paid double for the kicks and cuffs he gets from tender-hearted spectators,--the curses he accepts willingly as a tribute to his dramatic ability. His proudest boast in the evening is Querian matarme,--'They wanted to kill me!' I once saw the hero of the drama stop before a wine-shop, sweating like rain, and positively swear by the life of the Devil, he would not carry his gallows a step farther unless he had a drink. They brought him a bottle of Valdepenas, and he drained it before resuming his way to Golgotha. Some of us laughed thoughtlessly, and narrowly escaped the knives of the orthodox ruffians who followed the procession."

The most striking fact in this species of exhibition is the evident and unquestioning faith of the audience. To all foreigners the show is at first shocking and then tedious; to the good people of Madrid it is a sermon, full of absolute truth and vivid reality. The class of persons who attend these spectacles is very different from that which you find at the Royal Theatre or the Comic Opera. They are sober, serious bourgeois, who mind their shops and go to mass regularly, and who come to the theatre only in Lent, when the gay world stays away. They would not dream of such an indiscretion as reading the Bible. Their doctrinal education consists of their catechism, the sermons of the curas, and the traditions of the Church. The miracle of St. Veronica, who, wiping the brow of the Saviour in the Street of Bitterness, finds his portrait on her handkerchief, is to them as real and reverend as if it were related by the evangelist. The spirit of inquiry which has broken so many idols, and opened such new vistas of thought for the minds of all the world, is as yet a stranger to Spain. It is the blind and fatal boast of even the best of Spaniards that their country is a unit in religious faith. Nunca se disputo en Espana,--"There has never been any discussion in Spain,"--exclaims proudly an eminent Spanish writer. Spectacles like that which we have just seen were one of the elements which in a barbarous and unenlightened age contributed strongly to the consolidation of that unthinking and ardent faith which has fused the nation into one torpid and homogeneous mass of superstition. No better means could have been devised for the purpose. Leaving out of view the sublime teachings of the large and tolerant morality of Jesus, the clergy made his personality the sole object of worship and reverence. By dwelling almost exclusively upon the story of his sufferings, they excited the emotional nature of the ignorant, and left their intellects untouched and dormant. They aimed to arouse their sympathies, and when that was done, to turn their natural resentment against those whom the Church considered dangerous. To the inflamed and excited worshippers, a heretic was the enemy of the crucified Saviour, a Jew was his murderer, a Moor was his reviler. A Protestant wore to their bloodshot eyes the semblance of the torturer who had mocked and scourged the meek Redeemer, who had crowned his guileless head with thorns, who had pierced and slain him. The rack, the gibbet, and the stake were not enough to glut the pious hate this priestly trickery inspired. It was not enough that the doubter's life should go out in the blaze of the crackling fagots, but it must be loaded in eternity with the curses of the faithful.

Is there not food for earnest thought in the fact that faith in Christ, which led the Puritans across the sea to found the purest social and political system which the wit of man has yet evolved from the tangled problems of time, has dragged this great Spanish people down to a depth of hopeless apathy, from which it may take long years of civil tumult to raise them? May we not find the explanation of this strange phenomenon in the contrast of Catholic unity with Protestant diversity? "Thou that killest the prophets!"--the system to which this apostrophe can be applied is doomed. And it matters little who the prophets may be.

THE CRADLE AND THE GRAVE OF CERVANTES

In Rembrandt Peale's picture of the Court of Death a cadaverous shape lies for judgment at the foot of the throne, touching at either extremity the waters of Lethe. There is something similar in the history of the greatest of Spanish writers. No man knew, for more than a century after the death of Cervantes, the place of his birth and burial. About a hundred years ago the investigations of Rios and Pellicer established the claim of Alcala de Henares to be his native city; and last year the researches of the Spanish Academy have proved conclusively that he is buried in the Convent of the Trinitarians in Madrid. But the precise spot where he was born is only indicated by vague tradition; and the shadowy conjecture that has so long hallowed the chapel and cloisters of the Calle Cantarranas has never settled upon any one slab of their pavement.

It is, however, only the beginning and the end of this most chivalrous and genial apparition of the sixteenth century that is concealed from our view. We know where he was christened and where he died. So that there are sufficiently authentic shrines in Alcala and Madrid to satisfy the most sceptical pilgrims.

I went to Alcala one summer day, when the bare fields were brown and dry in their after-harvest nudity, and the hills that bordered the winding Henares were drab in the light and purple in the shadow. From a distance the town is one of the most imposing in Castile. It lies in the midst of a vast plain by the green water-side, and the land approach is fortified by a most impressive wall emphasized by sturdy square towers and flanking bastions. But as you come nearer you see this wall is a tradition. It is almost in ruins.

The crenellated towers are good for nothing but to sketch. A short walk from the station brings you to the gate, which is well defended by a gang of picturesque beggars, who are old enough to have sat for Murillo, and revoltingly pitiable enough to be millionaires by this time, if Castilians had the cowardly habit of sponging out disagreeable impressions with pennies. At the first charge we rushed in panic into a tobacco-shop and filled our pockets with maravedis, and thereafter faced the ragged battalion with calm.

It is a fine, handsome, and terribly lonesome town. Its streets are wide, well built, and silent v as avenues in a graveyard. On every hand there are tall and stately churches, a few palaces, and some two dozen great monasteries turning their long walls, pierced with jealous grated windows, to the grass-grown streets. In many quarters there is no sign of life, no human habitations among these morose and now empty barracks of a monkish army. Some of them have been turned into military casernes, and the bright red and blue uniforms of the Spanish officers and troopers now brighten the cloisters that used to see nothing gayer than the gowns of cord-girdled friars. A large garrison is always kept here. The convents are convenient for lodging men and horses. The fields in the vicinity produce great store of grain and alfalfa,--food for beast and rider. It is near enough to the capital to use the garrison on any sudden emergency, such as frequently happens in Peninsular politics.

The railroad that runs by Alcala has not brought with it any taint of the nineteenth century. The army is a corrupting influence, but not modern. The vice that follows the trail of armies, or sprouts, fungus-like, about the walls of barracks, is as old as war, and links the present, with its struggle for a better life, to the old mediaeval world of wrong. These trim fellows in loose trousers and embroidered jackets are the same race that fought and drank and made prompt love in Italy and Flanders and butchered the Aztecs in the name of religion three hundred years ago. They have laid off their helmets and hauberks, and use the Berdan rifle instead of the Roman spear. But they are the same careless, idle, dissolute bread-wasters now as then.

The town has not changed in the least. It has only shrunk a little. You think sometimes it must be a vacation, and that you will come again when people return. The little you see of the people is very attractive. Passing along the desolate streets, you glance in at an open door and see a most delightful cabinet picture of domestic life. All the doors in the house are open. You can see through the entry, the front room, into the cool court beyond, gay with oleanders and vines, where a group of women half dressed are sewing and spinning and cheering their souls with gossip. If you enter under pretence of asking a question, you will be received with grave courtesy, your doubts solved, and they will bid you go with God, with the quaint frankness of patriarchal times.

They do not seem to have been spoiled by overmuch travel. Such impressive and Oriental courtesy could not have survived the trampling feet of the great army of tourists. On our pilgrim-way to the cradle of Cervantes we came suddenly upon the superb facade of the university. This is one of the most exquisite compositions of plateresque in existence. The entire front of the central body of the building is covered with rich and tasteful ornamentation. Over the great door is an enormous escutcheon of the arms of Austria, supported by two finely carved statues,--on the one side a nearly nude warrior, on the other the New World as a feather-clad Indian woman. Still above this a fine, bold group of statuary, representing, with that reverent naivete of early art, God the Father in the work of creation. Surrounding the whole front as with a frame, and reaching to the ground on either side, is carved the knotted cord of the Franciscan monks. No description can convey the charming impression given by the harmony of proportion and the loving finish of detail everywhere seen in this beautifully preserved fagade. While we were admiring it an officer came out of the adjoining cuartel and walked by us with jingling spurs. I asked him if one could go inside. He shrugged his shoulders with a Quien sabe? indicating a doubt as profound as if I had asked him whether chignons were worn in the moon. He had never thought of anything inside. There was no wine nor pretty girls there. Why should one want to go in? We entered the cool vestibule, and were ascending the stairs to the first court, when a porter came out of his lodge and inquired our errand. We were wandering barbarians with an eye to the picturesque, and would fain see the university, if it were not unlawful. He replied, in a hushed and scholastic tone of voice, and with a succession of confidential winks that would have inspired confidence in the heart of a Talleyrand, that if our lordships would give him our cards he had no doubt he could obtain the required permission from the rector. He showed us into a dim, claustral-looking anteroom, in which, as I was told by my friend, who trifles in lost moments with the integral calculus, there were seventy-two chairs and one microscopic table. The wall was decked with portraits of the youth of the college, all from the same artist, who probably went mad from the attempt to make fifty beardless faces look unlike each other. We sat for some time mourning over his failure, until the door opened, and not the porter, but the rector himself, a most courteous and polished gentleman in the black robe and three-cornered hat of his order, came in and graciously placed himself and the university at our disposition. We had reason to congratulate ourselves upon this good fortune. He showed us every nook and corner of the vast edifice, where the present and the past elbowed each other at every turn: here the boys' gymnasium, there the tomb of Valles; here the new patent cocks of the water-pipes, and there the tri-lingual patio where Alonso Sanchez lectured in Arabic, Greek, and Chaldean, doubtless making a choice hash of the three; the airy and graceful paraninfo, or hall of degrees, a masterpiece of Moresque architecture, with a gorgeous panelled roof, a rich profusion of plaster arabesques, and, horresco referens, the walls covered with a bright French paper. Our good rector groaned at this abomination, but said the Gauls had torn away the glorious carved panelling for firewood in the war of 1808, and the college was too poor to restore it. His righteous indignation waxed hot again when we came to the beautiful sculptured pulpit of the chapel, where all the delicate details are degraded by a thick coating of whitewash, which in some places has fallen away and shows the gilding of the time of the Catholic kings.

There is in this chapel a picture of the Virgin appearing to the great cardinal whom we call Ximenez and the Spaniards Cisneros, which is precious for two reasons. The portrait of Ximenez was painted from life by the nameless artist, who, it is said, came from France for the purpose, and the face of the Virgin is a portrait of Isabella the Catholic. It is a good wholesome face, such as you would expect. But the thin, powerful profile of Ximenez is very striking, with his red hair and florid tint, his curved beak, and long, nervous lips. He looks not unlike that superb portrait Raphael has left of Cardinal Medici.

This university is fragrant with the good fame of Ximenez. In the principal court there is a fine medallion of the illustrious founder and protector, as he delighted to be drawn, with a sword in one hand and a crucifix in the other,--twin brother in genius and fortune of the soldier-priest of France, the Cardinal-Duke Richelieu. On his gorgeous sarcophagus you read the arrogant epitaph with which he revenged himself for the littleness of kings and courtiers:--

"Praetextam junxi sacco, galeamque galero, Frater, dux, praesul, cardineusque pater. Quin, virtute mea junctum est diadema cucullo, Dum mihi regnanti patuit Gesperia."

By a happy chance our visit was made in a holiday time, and the students were all away. It was better that there should be perfect solitude and silence as we walked through the noble system of buildings and strove to re-create the student world of Cervantes's time. The chronicle which mentions the visit of Francis I. to Alcala, when a prisoner in Spain, says he was received by eleven thousand students. This was only twenty years before the birth of Cervantes. The world will never see again so brilliant a throng of ingenuous youth as gathered together in the great university towns in those years of vivid and impassioned greed for letters that followed the revival of learning. The romance of Oxford or Heidelberg or Harvard is tame compared with that electric life of a new-born world that wrought and flourished in Padua, Paris, and Alcala. Walking with my long-robed scholarly guide through the still, shadowy courts, under Renaissance arches and Moorish roofs, hearing him talking with enthusiasm of the glories of the past and never a word of the events of the present, in his pure, strong, guttural Castilian, no living thing in view but an occasional Franciscan gliding under the graceful arcades, it was not difficult to imagine the scenes of the intense young life which filled these noble halls in that fresh day of aspiration and hope, when this Spanish sunlight fell on the marble and the granite bright and sharp from the chisel of the builder, and the great Ximenez looked proudly on his perfect work and saw that it was good.

The twilight of superstition still hung heavily over Europe. But this was nevertheless the breaking of dawn, the herald of the fuller day of investigation and inquiry.

It was into this rosy morning of the modern world that Cervantes was ushered in the season of the falling leaves of 1547. He was born to a life of poverty and struggle and an immortality of fame. His own city did not know him while he lived, and now is only known through him. Pilgrims often come from over distant seas to breathe for one day the air that filled his baby lungs, and to muse among the scenes that shaped his earliest thoughts.