Part 8

The performance consists of three 'turns' only, and these are repeated every hour. The company boasts generally of a male singer, a female singer, and of the corps de ballet, which is made up of six persons. Spain is the stronghold of the out-of-date, and I suppose it alone preserves the stiff muslin ballet-skirts which delighted our fathers. To see half-a-dozen dancers thus attired in a remote Andalusian music-hall is so entirely unexpected that it quite takes the breath away. But by the time the traveller reaches Seville he must be used to disillusion, and he must be ingenuous indeed if he expects the Spaniards to have preserved their national costume for the most national of their pastimes. Yet the dances are still Spanish; and even if the pianoforte has ousted the guitar, the castanets give, notwithstanding, a characteristic note which the aggressive muslin and the pink, ill-fitting tights cannot entirely destroy.

* * *

But I remember one dancer who was really a great artist. She was ill-favoured, of middle age, thin; but every part of her was imbued with grace, expressive, from the tips of her toes to the tips of her fingers. The demands of the public sometimes forced upon her odious ballet-skirts, sometimes she wasted her talent on the futilities of skirt-dancing; but chiefly she loved the national measures, and her phenomenal leanness made her only comfortable in the national dress. She travelled from place to place in Spain with another woman whom she had taught to dance, and whose beauty she used cleverly as a foil to her own uncomeliness; and so wasted herself in these low resorts, earning hardly sufficient to keep body and soul together. I wish I could remember her name.

When she began to dance you forgot her ugliness; her gaunt arms gained shape, her face was transfigured, her dark eyes flashed, and her mouth and smile said a thousand eloquent things. Even the nape of her neck, which in most women has no significance, with her was expressive. A consummate actress, she exhibited all her skill in the bolero, which represents a courtship; she threw aside the castanets and wrapped herself in a mantilla, while her companion, dressed as a man, was hidden in a capa. The two passed one another, he trying to see the lady's face, which she averted, but not too strenuously; he pursued, she fled, but not too rapidly. Dropping his cloak, the lover attacked with greater warmth, while alternately she repelled and lured him on. At last she too cast away the mantilla. They seized the castanets and danced round one another with all manner of graceful and complicated evolutions, making love, quarrelling, pouting, exhibiting every variety of emotion. The dance grew more passionate, the steps flew faster, till at last, with the music, both stopped suddenly dead still. This abrupt cessation is one of the points most appreciated by a Spanish audience. 'Ole!' they cry,'bien parado!'

But when, unhampered by a partner, this nameless, exquisite dancer gave full play to her imagination, there was no end to the wildness of her fancy, to the intricacy and elaboration of her measures, to the gay audacity of her movements. She performed a hundred feats, each more difficult than the other--and all impossible to describe.

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Then, between Christmas and Lent, at midnight on Saturdays and Sundays, the tables and the chairs are cleared away for the masked ball; and you will see the latest mode of Spanish dance. The women are of the lowest possible class; some, with a kind of savage irony, disguised as nuns, others in grotesque dominos of their own devising; but most wear every-day clothes with great shawls draped about them. The men are of a corresponding station, and through the evening wear their broad-brimmed hats. On the stage is a brass band, which plays one single tune till day-break, and to that one single measure is danced--the habanera.

In this alone may people take part as in any round dance. The couples hold one another in the very tightest embrace, the lady clasping her arms round her partner's neck, while he places both his about her waist. They go round the room very slowly, immediately behind one another; it is a kind of straight polka, with a peculiar, rhythmic swaying of the body; the feet are not lifted off the floor, and you do not turn at all. The highest gravity is preserved throughout, and the whole performance is--well, very oriental.

XVIII

I arrived in Seville on the Eve of the Immaculate Conception. All day people had been preparing to celebrate the feast, decorating their houses with great banners of blue and white; and at night the silent, narrow streets had a strange appearance, for in every window were lighted candles, throwing around them a white, unusual glare; they looked a little like the souls of infants dead. All day the bells of a hundred churches had been ringing, half drowned by the rolling peals of the Giralda.

It had been announced that the archbishop would himself officiate at the High Mass in the Blessed Virgin's honour; and early in the morning the cathedral steps were crowded with black-robed women, making their way to the great sacristy where was to be held the service. I joined the throng, and entering through the darkness of the porch, was almost blinded by the brilliant altar, upon which stood a life-sized image of the Virgin, surrounded by a huge aureole, with great bishops, all of silver, on either side. It was ablaze with the light of many candles, so that the nave was thrown into deep shadow, and the kneeling women were scarcely visible.

The canons in the choir listlessly droned their prayers. At last the organ burst forth, and a long procession slowly came into the chapel, priests in white and blue, the colours of the Virgin, four bishops in mitres, the archbishop with his golden crozier; and preceding them all, in odd contrast, the beadle in black, with a dark periwig, bearing a silver staff. From the choir in due order they returned to the altar, headed this time by three pairs of acolytes, bearing great silver candlesticks, and by incense-burners, that filled the church with rich perfume.

When the Mass was finished, a young dark man in copious robes of violet ascended the pulpit and muttered a text. He waited an instant to collect himself, looking at the congregation; then turning to the altar began a passionate song of praise to the Blessed Virgin, unsoiled by original sin. He described her as in a hundred pictures the great painter of the Immaculate Conception has portrayed her--a young and graceful maid, clothed in a snowy gown of ample folds, with an azure cloak, a maid mysteriously pure; her hair, floating on the shoulders in luxurious ringlets, was an aureole more glorious than the silver rays which surrounded the great image; her dark eyes, with their languid lashes, her mouth, with the red lips, expressed a beautiful and immaculate virtue. It might have been some earthly woman of whom the priest spoke, one of those Andalusians that knelt below him, flashing quick glances at the gallant who negligently leaned against a pillar.

The archbishop sat on his golden throne--a thin, small man with a wrinkled face, with dead and listless eyes; in his gorgeous vestments he looked hardly human, he seemed a puppet, sitting stilly. At the end of the sermon he went back to the altar, and in his low, broken voice read the prayers. And then turning towards the great congregation he gave the plenary absolution, for which the Pope's Bull had been read from the pulpit steps.

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In the afternoon, when the sun was going down behind the Guadalquivir, over the plain, I went again to the cathedral. The canons in the choir still droned their chant in praise of the Blessed Virgin, and in the greater darkness the altar shone more magnificently. The same procession filed through the nave, some priests were in black, some in violet, some in the Virgin's colours; but this time the archbishop wore gorgeous robes of scarlet, and as he knelt at the altar his train spread to the chancel steps. From the side appeared ten boys and knelt before the altar, and stood in two lines facing one another. They were dressed like pages of the seventeenth century, with white stockings and breeches, and a doublet of blue and silver, holding in their hands hats with long feathers. The archbishop, kneeling in front of the throne, buried his face in his hands.

A soft melody, played by violins and 'cellos, broke the silence, and presently the ten pages began to sing:

Los cielos y la tierra alaben al Señor Con imnos de alabanza que inflamen al Señor.

It was a curious, old-fashioned music, reminding one a little of the quiet harmonies of Gluck. Then, putting on their hats, the pages danced, continuing their song; they wound in and out of one another, gravely footing it, swaying to and fro with the music very slowly. The measure was performed with the utmost reverence. Now and then the chorus came, and the fresh boys' voices, singing in unison, filled the church with delightful melody. And still the old archbishop prayed, his face buried in his hands.

The boys ceased to sing, but continued the dance, marking the time now with castanets, and the mundane instrument contrasted strangely with the glittering altar and with the kneeling priests. I wondered of what the archbishop thought, kneeling so humbly--of the boys dancing before the altar, fresh and young? Was he thinking of their white souls darkening with the sins of the world, or of the troubles, the disillusionments of life, and the decrepitude? Or was it of himself--did he think of his own youth, so long past, so hopelessly gone, or did he think that he was old and worn, and of the dark journey before him, and of the light that seemed so distant? Did he regret his beautiful Seville with the blue sky, and the orange-trees bowed down with their golden fruit? He seemed so small and weak, overwhelmed in his gorgeous robes.

Again the ten boys repeated their song and dance and their castanets, and with a rapid genuflection disappeared.

The archbishop rose painfully from his knees and ascended to the altar. A priest held open a book before him, and another lighted the printed page with a candle; he read out a prayer. Then, kneeling down, he bent very low, as though he felt himself unworthy to behold the magnificence of the Queen of Heaven. The people fell to their knees, and a man's voice burst forth--Ave Maria, gratia plena; waves of passionate sound floated over the worshippers, upwards, towards heaven. And from the Giralda, the Moorish tower, the Christian bells rang joyfully. The archbishop turned towards the people; and when in his thin, broken voice he gave the benediction, one thought that no man in his heart felt such humility as the magnificent prince of the Church, Don Marcelo Spinola y Maestre, Archbishop of Seville.

The people flocked out quickly, and soon only a few devout penitents remained. A priest came, waving censers before the altar, and thick volumes of perfume ascended to the Blessed Virgin. He disappeared, and one by one the candles were extinguished. The night crept silently along the church, and the silver image sank into the darkness; at last two candles only were left on the altar, high up, shining dimly.

Outside the sky was still blue, bespattered with countless stars.

NOTE.--I believe there is no definite explanation of this ceremony, and the legend told me by an ancient priest that it was invented during the Moorish dominion so that Christian services might be held under cover of a social gathering--intruding Muslims would be told merely that people were there assembled to see boys dance and to listen to their singing--is more picturesque than probable. Rather does it seem analogous with the leaping of David the King before the Ark of Jehovah, when he danced before the Lord with all his might, girt with a linen Ephod; and this, if I may hazard an opinion, was with a view to amuse a deity apt to be bored or languid, just as Nautch girls dance to this day before the idols of the Hindus, and tops are spun before Krishna to divert him.

XIX

The Christian bells rang joyfully from the Moorish tower, the great old bells christened with holy oil, el Cantor the Singer, la Gorda the Great, San Miguel. I climbed the winding passage till I came to the terrace where stood the ringers, and as they pulled their ropes the bells swung round on their axles, completing a circle, with deafening clamour. The din was terrific, so that the solid masonry appeared to shake, and I felt the vibrations of the surrounding air. It was a strange sensation to shout as loud as possible and hear no sound issue from my mouth.

The Giralda, with its Moorish base and its Christian belfry, is a symbol of Andalusia. There is in the Ayuntamiento an old picture of the Minaret built by Djâbir the Moor, nearly one hundred feet shorter than the completed tower, but surmounted by a battlemented platform on which are huge brazen balls and an iron standard. These were overthrown by an earthquake, and later, when the discoveries of Christopher Columbus had poured unmeasured riches into Seville, the Chapter commissioned Hernan Ruiz to add a belfry to the Moorish base. Hernan Ruiz nearly ruined the mosque at Cordova, but here he was entirely successful. Indeed it is extraordinary that the two parts should be joined in such admirable harmony. It is impossible to give in words an idea of the slender grace of the Giralda, it does not look a thing of bricks and mortar, it is so straight and light that it reminds one vaguely of some beautiful human thing. The great height is astonishing, there is no buttress or projection to break the very long straight line as it rises, with a kind of breathless speed, to the belfry platform. And then the renaissance building begins, ascending still more, a sort of filigree work, excessively rich, and elegant beyond all praise. It is surmounted by a female figure of bronze, representing Faith and veering with every breeze, and the artist has surrounded his work with the motto: Nomen Domini Fortissima Turris.