Part 18

To me history, with its hopes bound to be frustrated and its useless efforts, sometimes is so terrible that I can hardly read. I feel myself like one who lives, knowing the inevitable future, and yet is powerless to help. I see the acts of the poor human puppets, and know the disaster that must follow. I wonder if the Calvinists ever realised the agony of that dark God of theirs, omniscient and yet so strangely weak, to whom the eternal majesty of heaven was insufficient to save the predestined from everlasting death.

* * *

On March 22, 1491, began the last siege of Granada.

Ferdinand marched his army into the plain and began to destroy the crops, taking one by one the surrounding towns. He made no attempt upon the city itself, and hostilities were confined to skirmishes beneath the walls and single combats between Christian knights and Muslim cavaliers, wherein on either side prodigies of valour were performed. Through the summer the Moors were able to get provisions from the Sierra Nevada, but when, with winter, the produce of the earth grew less and its conveyance more difficult, famine began to make itself felt. The Moors consoled themselves with the hope that the besieging army would retire with the cold weather, for such in those days was the rule of warfare; but Ferdinand was in earnest. When an accidental fire burned his camp, he built him a town of solid stone and mortar, which he named Santa Fè. It stands still, the only town in Spain wherein a Moorish foot has never trod. Then the Muslims understood at last that the Spaniard would never again leave that fruitful land.

And presently they began to talk of surrender; Spanish gold worked its way with Boabdil's councillors, and before winter was out the capitulation was signed.

On the second day of the new year the final scene of the tragedy was acted. Early in the morning, before break of day, Boabdil had sent his mother and his wife with the treasure to precede him to the Alpuxarras, in which district, by the conditions of the treaty, Ferdinand had assigned him a little kingdom. Himself had one more duty to perform, and at the prearranged hour he sallied forth with a wretched escort of fifty knights. On the Spanish side the night had been spent in joy and feasting; but how must Boabdil have spent his, thinking of the inevitable morrow? To him the hours must have sped like minutes. What must have been the agony of his last look at the Alhambra, that jewel of incalculable price? Mendoza, the cardinal, had been sent forward to occupy the palace, and Boabdil passed him on the hill.

Soon he reached Ferdinand, who was stationed near a mosque surrounded by all the glory of his Court, pennons flying, and knights in their magnificent array. Boabdil would have thrown himself from his horse in sign of homage to kiss the hand of the king of Arragon, but Ferdinand prevented him. Then Boabdil delivered the keys of the Alhambra to the victor, saying: 'They are thine, O king, since Allah so decrees it; use thy success with clemency and moderation.' Moving on sadly he saluted Isabella, and passed to rejoin his family; the Christians processioned to the city with psalm-singing.

But when Boabdil was crossing the mountains he turned to look at the city he had lost, and burst into tears.

'You do well,' said his mother, 'to weep like a woman for what you could not defend like a man.'

'Alas!' he cried, 'when were woes ever equal to mine?'

It was not to be expected that the pious Kings of Castille and Arragon would keep their word, and means were soon invented to hound the wretched Boabdil from the principality they had granted. He crossed to Africa, and settled in Fez, of which the Sultan was his kinsman. It is pathetic to learn that there he built himself a palace in imitation of the Alhambra. At last, after many years, he was killed in an obscure battle fighting against the Sultan's rebels, and the Arab historian finishes the account of him with these words: 'Wretched man! who could lose his life in another's cause, though he dared not die in his own! Such was the immutable decree of destiny. Blessed be Allah, who exalteth and abaseth the kings of the earth according to His divine will, in the fulfilment of which consists that eternal justice which regulates all human affairs.'

In the day of El Makkary, the historian of the Moorish Empire, Boabdil's descendants had so fallen that they were nothing but common beggars, subsisting upon the charitable allowances made to the poor from the funds of the mosques.

One generation passeth away and another generation cometh: but the earth abideth for ever.

XXXV

People say that in Granada the beggars are more importunate than in any other Spanish town, but throughout Andalusia their pertinacity and number are amazing. They are licensed by the State, and the brass badge they wear makes them demand alms almost as a right. It is curious to find that the Spaniard, who is by no means a charitable being, gives very often to beggars--perhaps from superstitious motives, thinking their prayers will be of service, or fearing the evil eye, which may punish a refusal. Begging is quite an honourable profession in Spain; mendicants are charitably termed the poor, and not besmirched, as in England, with an opprobrious name.

I have never seen so many beggars as in Andalusia; at every church door there will be a dozen, and they stand or sit at each street corner, halt, lame and blind. Every possible deformity is paraded to arouse charity. Some look as though their eyes had been torn out, and they glare at you with horrible bleeding sockets; most indeed are blind, and you seldom fail to hear their monotonous cry, sometimes naming the saint's day to attract particular persons: 'Alms for the love of God, for a poor blind man on this the day of St. John!' They stand from morning till night, motionless, with hand extended, repeating the words as the sound of footsteps tells them some one is approaching; and then, as a coin is put in their hands, say gracefully: 'Dios se lo pagara! God will repay you.'

In Spain you do not pass silently when a beggar demands alms, but pray his mercy for God's love to excuse you: 'Perdone Usted por el amor de Dios!' Or else you beseech God to protect him: 'Dios le ampare!' And the mendicant, coming to your gate, sometimes invokes the Immaculate Virgin.

'Ave Maria purissima!' he calls.

And you, tired of giving, reply: 'Y por siempre! And for ever.'

He passes on, satisfied with your answer, and rings at the next door.

It is not only in Burgos that Théophile Gautier might have admired the beggar's divine rags; everywhere they wrap their cloaks about them in the same magnificent fashion. The capa, I suppose, is the most graceful of all the garments of civilised man, and never more so than when it barely holds together, a mass of rags and patches, stained by the rain and bleached by the sun and wind. It hangs straight from the neck in big simple lines, or else is flung over one shoulder with a pompous wealth of folds.

There is a strange immobility about Andalusian beggars which recalls their Moorish ancestry. They remain for hours in the same attitude, without moving a muscle; and one I knew in Seville stood day after day, from early morning till midnight, with hand outstretched in the same rather crooked position, never saying a word, but merely trusting to the passer-by to notice. The variety is amazing, men and women and children; and Seville at fair-time, or when the foreigners are coming for Holy Week, is like an enormous hospital. Mendicants assail you on all sides, the legless dragging themselves on their hands, the halt running towards you with a crutch, the blind led by wife or child, the deaf and dumb, the idiotic. I remember a woman with dead eyes and a huge hydrocephalic head, who sat in a bath-chair by one of the cathedral doors, and whenever people passed, cried shrilly for money in a high, unnatural voice. Sometimes they protrude maimed limbs, feetless legs or arms without hands; they display loathsome wounds, horribly inflamed; every variety of disease is shown to extort a copper. And so much is it a recognised trade that they have their properties, as it were: one old man whose legs had been shot away, trotted through the narrow streets of Seville on a diminutive ass, driving it into the shop-doors to demand his mite. Then there are the children, the little boys and girls that Murillo painted, barely covered by filthy rags, cherubs with black hair and shining eyes, the most importunate of all the tribe. The refusal of a halfpenny is followed impudently by demands for a cigarette, and as a last resort for a match; they wander about with keen eyes for cigar-ends, and no shred of a smoked leaf is too diminutive for them to get no further use from it.

And beside all these are the blind fiddlers, scraping out old-fashioned tunes that were popular thirty years ago; the guitarists, singing the flamenco songs which have been sung in Spain ever since the Moorish days; the buffoons, who extract tunes from a broomstick; the owners of performing dogs.

They are a picturesque lot, neither vicious nor ill-humoured. Begging is a fairly profitable trade, and not a very hard one; in winter el pobre can always find a little sunshine, and in summer a little shade. It is no hardship for him to sit still all day; he would probably do little else if he were a millionaire. He looks upon life without bitterness; Fate has not been very kind, but it is certainly better to be a live beggar than a dead king, and things might have been ten thousand times worse. For instance, he might not have been born a Spaniard, and every man in his senses knows that Spain is the greatest nation on earth, while to be born a citizen of some other country is the most dreadful misfortune that can befall him. He has his licence from the State, and a charitable public sees that he does not absolutely starve; he has cigarettes to smoke--to say that a blind man cannot enjoy tobacco is evidently absurd--and therefore, all these things being so, why should he think life such a woeful matter? While it lasts the sun is there to shine equally on rich and poor, and afterwards will not a paternal government find a grave in the public cemetery? It is true that the beggar shares it with quite a number of worthy persons, doubtless most estimable corpses, and his coffin even is but a temporary convenience--but still, what does it matter?

XXXVI

But the Moorish influence is nowhere more apparent than in the Spanish singing. There is nothing European in that quavering lament, in those long-drawn and monotonous notes, in those weird trills. The sounds are strange to the ear accustomed to less barbarous harmonies, and at first no melody is perceived; it is custom alone which teaches the sad and passionate charm of these things. A malagueña is the particular complaint of the maid sorrowing for an absent lover, of the peasant who ploughs his field in the declining day. The long notes of such a song, floating across the silence of the night, are like a new melody on the great harpsichord of human sorrow. No emotion is more poignant than that given by the faint sad sounds of a Spanish song as one wanders through the deserted streets in the dead of night; or far in the country, with the sun setting red in the cloudless sky, when the stillness is broken only by the melancholy chanting of a shepherd among the olive-trees.

An heritage of Moordom is the Spanish love for the improvisation of well-turned couplets; in olden days a skilful verse might procure the poet a dress of cloth-of-gold, and it did on one occasion actually raise a beggar-maid to a royal throne: even now it has power to secure the lover his lady's most tender smiles, or at the worst a glass of Manzanilla. The richness of the language helps him with his rhymes, and his southern imagination gives him manifold subjects. But, being the result of improvisation--no lady fair would consider the suit of a gallant who could not address her in couplets of his own devising--the Spanish song has a peculiar character. The various stanzas have no bearing upon one another; they consist of four or seven lines, but in either case each contains its definite sentiment; so that one verse may be a complete song, or the singer may continue as long as the muse prompts and his subject's charms occasion. The Spanish song is like a barbaric necklace in which all manner of different stones are strung upon a single cord, without thought for their mutual congruity.

Naturally the vast majority of the innumerable couplets thus invented are forgotten as soon as sung, but now and then the fortuitous excellence of one impresses it on the maker's recollection, and it may be preserved. Here is an example which has been agreeably translated by Mr. J. W. Crombie; but neither original nor English rendering can give an adequate idea of the charm which depends on the oriental melancholy of the music: