Part 26

Ruy Diaz de Bivar was a hero after the Arab’s own heart:—

“Noble y leal, soldado y Caballero, Señor te apellido la gente Mora,”

as the lines run on his coffin in the town-hall at Burgos. Nothing being sacred to a critic, it has been contested that he was first called “Myo Cid,” or “My Lord,” by the Moors, but tradition and etymology agree too well for this to be reasonably doubted. It is certain that both Moors and Christians called him by his other title of Campeador in Spanish and Al-kambeyator in the form the Arabic writers gave it. It was derived from his gallantry in single combats and did not mean, as some have thought, “Champion of the Christians.”

It is entirely in keeping with the Cid’s Arab affinities that his horse should have attained a fame almost as great as his own. From Bucephalus to Copenhagen never was there a European horse equal in renown to Bavieca. His glory, is it not writ in nearly every one of the hundred ballads of the Cid? The choosing of Bavieca is one of the most striking events in the Cid’s youth. The boy asked his godfather, a fat, good-natured old priest, to give him a colt. The priest took him to a field where the mares and their colts were being exercised and told him to take the best. They were driven past him and he let all the handsomest go by; then a mare came up with an ugly and miserable-looking colt—“This,” he cried, “is the one for me!” His godfather was angry and called him a simpleton, but the lad only answered that the horse would turn out well and that “Simpleton” (“Bavieca”) should be his name.

Horses which begin as ugly ducklings and end as swans are an extensive breed. Count de Gubernatis, in his valuable work on “Zoological Mythology,” mentions Hatos, the magical horse of the Hungarians, as belonging to this class. If as old as the oldest legend, they are, in a sense, as new as the “outsider” which carries off one of the greatest prizes of the Turf. The choosing of Bavieca was in the mind of Cervantes when he described in his inimitable way the choosing of Rozinante (“ex-jade”), who never became anything but a rozin in the most present tense, except in the imagination of his master, but who will live for ever in his company, to bear witness to the indivisible oneness of the knight and his horse.

Completely Oriental in sentiment is the splendid ballad which relates how the Cid offered Bavieca to his king because it was not meet that a subject should have a horse so far more precious than any possessed by his lord. There is in this not only the act of homage but also the absorbing pride which made the Arab who was overtaking a horse-stealer, shout to him the secret sign at which his stolen mare would go her best, preferring to lose her than to vanquish her.

“O king, the thing is shameful that any man beside The liege lord of Castile himself should Bavieca ride. For neither Spain nor Araby could another charger bring So good as he, and certes, the best befits the king.”

The gorgeous simplicity of the original is missed by Lockhart in the succeeding verses, in which the Cid, before giving up the horse, mounts him to show his worth, his ermine mantle hanging from his shoulders. He will do, he says, in the presence of the king what he has not done for long except in battle with the Moor: he will touch Bavieca with his spurs. Then comes the maddest, wildest, yet most accomplished display of noble horsemanship that ever witched the world. One rein breaks and the beholders tremble for his life, but with ease and grace he guides the foaming and panting horse before the king and prepares to yield him up. Then Alfonso cries, God forbid that he should take him: he shall be accounted, indeed, as his, but shameful would it be

“That peerless Bavieca should ever be bestrid By any mortal but Bivar—‘Mount, mount again, my Cid!’”

There is a spot in Spain where we still seem to breathe the very air of chivalrous romance: the royal armoury at Madrid, in which the mail-clad knights with their plumes, their housings, their lances, their trophies, sit their fine horses as gallantly as if they were riding straight into the lists. There, and there alone, we can invoke the proper mise en scène for the gestes and jousts described in the Spanish ballads.

Historically, it seems certain that the Cid died at Valencia in July, 1099, an access of grief that his captains—who, owing to his ill-health, were obliged to replace him—had failed to hold the Moors in check. King Alfonso came to the assistance of his noble widow, Jimena, but finally Valencia had to be abandoned; all the Christians left the town and the Cid’s body was borne to his distant Northern home. Such is the historical outline, sufficiently pathetic in itself but adorned with additions, not all of them, perhaps, invented in the sublime legend of the Last Ride. It is said that the Cid, knowing that his last hour was near, refrained from any food except certain draughts of rose-water in which were dissolved the myrrh and balsam sent to him by the great Sultan of Persia. He gave particular instructions as to how his body was to be anointed with the myrrh and balsam which remained in the golden caskets, and how it was to be set upright on Bavieca, fully saddled and armed, to be still a terror to the Moors, who were to be kept in complete ignorance of his death. All this was done and a great victory was won over the Moors, who thought they saw their dreaded enemy once more commanding in person. Then the victors started on the long journey to San Pedro de Cardeña, near Burgos, the Cid riding his horse by day, supported by an artful contrivance, and by night placed on a dummy horse wrought by Gil Diaz, his devoted servitor. Jimena, with all the Cid’s men, followed in his train. On the way the procession is joined by the Cid’s two daughters and by a great mass of people who mourned in their hearts for Spain’s greatest hero, but they wore rich and gay apparel, for the Cid had forbidden the wearing of mourning. So Cardeña was reached, and tenderly and lovingly Ruy Diaz lifted the Cid’s body for the last time from Bavieca’s back—never more to bear a man. The glorious war-horse lived for two years, led to water each day by Gil Diaz. On his death, at more than forty years of age and leaving not unworthy descendants behind him, he was buried, according to the Cid’s express desire, in a deep and ample grave, “so that no dog might disturb his bones,” near the gate of the Convent, and two elms were planted to mark the spot. When Gil Diaz died, full of years and richly provided for by the Cid’s daughters, he was laid to rest beside the horse he had loved and tended so faithfully.

In this narrative, condensed from the Chronicles, the curious particular will have been noticed of the gift by the “Great Sultan of Persia” to the Christian warrior of those precious spices and aromatic gums which seem to have been the secret treasure of old Persia, forming a priceless offering reserved for the very greatest personages. The strangeness of bringing in the Sultan of Persia almost suggests that there was truth in the assertion that he had sent presents to the Cid. Over the sea and over the fruitful fields the radiance of noble deeds travels, as Pinder said of old. A little after the march of the Thousand, the Arabs of the desert were heard discussing round their camp-fires the exploits of Garibaldi. If the fame of the Cid reached Persia, as it is very likely that it did, he would have found fervent admirers among a people which was still electrified by the epic poem of Firdusi, who died within a year or two of the Cid’s birth. In that epic is told the story of the Persian Campeador—the Champion Rustem, who not only in his title but in all we know of his general bearings has so great a resemblance to the Cid that it is a wonder if no historical “discoverer” has derived one from the other, the more so since there have not been wanting writers who denied the Cid’s existence. And if Ruy Diaz de Bivar has his analogue in Rustem, has not Bavieca a perfect counterpart in Rakush?

It is the horse not his master that leads me into the mazes of the Shah Nameh, but something of Rustem must be told to make Rakush’s story intelligible. Like Siegfried, Rustem was of extraordinary size and strength: he looked a year old on the day of his birth. When he was still a child a white elephant broke loose and began trampling the people to death: Rustem ran to the rescue and slew it. A little time after this his father, whose name was Zal, called the boy and showed him all his horses, desiring him to choose that which pleased him best, but not one was powerful enough or spirited enough to satisfy him. Unlike the Cid, Rustem wanted a horse that looked as perfect as he really was. After examining them all and trying many, he noticed at a little distance a mare followed by a marvellously beautiful foal. Rustem got ready his noose to throw about the foal’s neck, and while he did so, a stable-man whispered to him that this foal was, indeed, worth anything to secure; the dam, named Abresh, was famous, while the sire had been no mortal creature but a djinn. The foal’s name was Rakush (“Lightning”), a name given to a dappled or piebald horse, and his coat, that was as soft as silk, looked like rose-leaves strewn on a saffron ground. Several persons who had tried already to capture the foal had been killed by the mare, who allowed no one to go near it.

In fact, no sooner has Rustem lassoed the foal than its mother rushes towards him ready to seize him with her white teeth, which glisten in the sun. Rustem utters a loud cry which so startles the mare that she pauses for an instant: then, with clenched fist, he rains blow on blow on her head and neck till she drops down to die. It was done in self-defence: still, it is a barbaric prelude.

Rustem continued to hold Rakush with his free hand while he conquered the mare, but now the colt drags him hither and thither like an inanimate object: the dauntless youth has to strive long for the mastery, but he does not rest till the end is achieved. The horse is broken in at one breath, after the fashion of American cow-boys. It should be noticed that legendary heroes always break in their own horses—no other influence has been ever brought to bear on the horse but their own. Rakush has found a master indeed, but a master worthy of him. He has recognised that there is one—only one—fit to rule him. Like all true heroes’ horses, he will suffer no other mortal to mount him: if Barbary really allowed Bolingbroke to ride him it was a sure sign that his poor royal master was no hero. This same characteristic belonged also to Julius Cæsar’s horse, which was a remarkable animal in more ways than one, as he was reported to have feet like a human being. I have no doubt that Soloman’s white mare, Koureen, followed the same rule as well as the angel Gabriel’s reputed steed, Haziûm, though I have not found record of the fact.

When the colt is broken in, he stands before his master perfect and without flaw. “Now I and my horse are ready to join the fighting-men in the field,” says Rustem as he places the saddle on his back, to the boundless joy of Zal, whose old, withered heart becomes as green as springtide with the thrill of fatherly pride.

So Rakush is richly caparisoned and Rustem rides away on him, beardless youth though he is, to command great armies, slay fearsome dragons, defeat the wiles of sorcerers, and do all the other feats with which the fresh fancy of a young nation embroidered the story of its favourite hero—for, it must be remembered, Firdusi did not invent Rustem any more than Tennyson invented Lancelot. I think there is every reason to believe that there was a real Rustem just as there was a real Cid; and that the first, like the second, was a combination of the guerrillero, the condottiere, the magnificent free-booter, with the knight-errant or paladin—a stamp which was impressed upon the other rôle by the personal quality of noble-mindedness possessed by the individual in each case. For years unnumbered the exploits of Rustem have entertained the Persian listener from prince to peasant, but the story will ever remain young because it is of those which reflect that which holds mankind spell-bound: the magnetic power of human personality.

One hears the clear, crisp clatter of the horse’s hoofs as they gallop through the epic. Docile as Rakush has become, his spirit is unbent; he is eager to fight his own battles and his master’s too. Like Baiardo, the horse in Ariosto, he uses his hoofs with deadly effect, and on one occasion there is a regular duel between him and another horse while Rustem is fighting its rider. His rashness inspires Rustem with much anxiety in their earlier journeys together. Quite at the beginning, when Rustem is on his way to liberate his captive king—his first “labour”—he lies down to sleep in a forest, leaving Rakush free to graze, and what is not his surprise when he wakes to find a large lion extended dead on the grass close by. Rakush killed the savage beast with teeth and heels while his master slept tranquilly. Rustem remonstrates with his too venturesome steed: Why did he fight the lion all alone? Why did he not neigh loudly and call for assistance? Had he reflected how terribly unfortunate it would be for Rustem if anything were to happen to him? Who would carry his heavy battle-axe and all his other accoutrements? He conjures Rakush to fight no more lions single-handed. Then and at other times Rustem talks to Rakush, but Rakush does not answer like the horse of Achilles. The Persians of the eleventh century had reached the stage of people who take their marvels with discrimination; they accepted Simurghs, white demons, phantom elks, giants, dragons, but they might have hesitated about a talking horse. Another of Rustem’s addresses to his horse was spoken after one of his first victories when the enemy was in full retreat: “My valued friend,” he said, “put forth thine utmost speed and bear me after the foe.” The noble animal certainly understood, for he bounded over the plain snorting as he flew along and tossing up his mane, and great was the booty which fell into his master’s hands. Rustem once said that with his arms and his trusty steed he would not mind fighting thirty thousand men. As a matter of fact, he never lacked followers, for he was of those captains who have only to stamp on the ground for there to spring up soldiers.

In the nineteenth century a “legendary hero” wandered with his horse over the plains of Uruguay much as Rustem wandered with Rakush. “In my nomad life in America,” writes Garibaldi, “after a long march or a day’s fighting, I unsaddled my poor tired horse and smoothed and dried his coat ... rarely could I offer him a handful of oats since those illimitable fields provide so little grain that oats are not often given to horses. Then, after leading him to water, I settled him for the night near my own resting-place. Well, when all this was done, which was no more than a duty to my faithful companion of toil and peril, I felt content, and if by chance he neighed, refreshed, or rolled on the green turf—oh, then I tasted la gentil voluttà d’esser pio!” Marvels are out of date, but feeling remains unchanged, and the “sweets of kindness” were known, surely, even to the earliest hero who made a friend of his horse and found him, in the solitude of the wild, no bad substitute for human friends.

In the story of Sohrab, one of the finest episodes in epic poetry, Rakush is introduced as the primary cause of it all. Tired with hunting in the forest, and perhaps inclined to sleep by a meal of roasted wild ass, which seems to have been his favourite game, Rustem lay down to rest under a tree, turning Rakush free to graze as was his wont. When he awoke the horse was nowhere to be seen! Rustem looked for his prints, a way of recovering stolen animals still practised with astonishing success in India. He found the prints and guessed that his favourite had been carried off by robbers, which was what had actually happened: a band of Tartar marauders lassoed the horse with their kamunds and dragged him home. Rustem followed the track over the border of the little state of Samengan, the king of which, warned of the approach of the hero of the age, went out to meet him on foot with great deference. The hero, however, was in no mood for compliments; full of wrath, he told the king that his horse had been stolen and that he had traced his footprints to Samengan. The king kept his presence of mind better than might have been expected; he made profuse excuses and declared that no effort should be spared to recover the horse—meanwhile he prayed Rustem to become his honoured guest.

Emissaries were sent in all directions in search of Rakush and a grand entertainment was prepared for his master. Pleased and placated, Rustem, who had spared little time for luxury in his adventurous life, finally lay down on a delightful and beautifully adorned bed. How poetic was sleep when it was associated, not with an erection on four legs, but with a low couch spread with costly furs and rich Eastern stuffs! So Rustem reposed, when his eyes opened on a living dream, a maiden standing by his side, her lovely features illuminated by a lamp which a slave girl held. “I am the daughter of the king,” says the fair vision; “no one man has ever seen my face or even heard my voice. I have heard of thy wondrous valour....” Rustem, still wondering if he slept or woke, asked her what was her will? She answered that she loved him for his fame and glory, and that she had vowed to God she would wed no other man. Behold, God has brought him to her! She desires him to ask her hand to-morrow of her father and so departs, lighted on her way by the little slave.

Was ever anything more chaste in its self-abandonment than the avowal of this love, holy as Desdemona’s and irresistible as Senta’s? Nowhere in fiction can be found a more convincing illustration of the truth that the essential spring of woman’s love for man is hero-worship. On which truth, in spite of the illusions it covers, what is best in human evolution is largely built.

The king gave glad assent to the marriage, which was celebrated according to the rites of that country. Rustem tarried but one night with his bride: in the morning with weeping eyes she watched him galloping away on the recovered Rakush. Long she grieved, and only when a son was born was her sad heart comforted. The grandfather gave the boy the name of Sohrab. Rustem had left an amulet to be placed in the hair if God gave her a daughter but bound round the arm if a son were born.

In due course Rustem sent a gift of costly jewels to his wife Tahmineh, with inquiries whether the birth of a child had blessed the marriage? And now the mother of Sohrab made the fatal mistake of a deception which led to all the evil that followed; she sent word that a girl had been born because she was afraid that if Rustem knew that he had a son, he would take him from her. Rustem, disappointed in his hopes, thought no more about Samengan.

There is no hint that Tahmineh’s fibbing, which, like very many other “white lies,” ended in dire disaster, was in the slightest degree the moral as well as the actual cause of the fatality. Herodotus said that every Persian child was taught to ride and to speak the truth; by Firdusi’s time the second part of the instruction seems to have been neglected, for in the Shah Nameh he makes everybody give full rein to his powers of invention without the slightest scruple. The bad consequences are attributed to blind fate, not to seeing Nemesis.

What is so agonising in the doom of Sohrab is precisely the lack of moral cause such as exists in the Greek tragedies. Though we do not accept as a reality the Greek theory of retribution, we do accept it as a point of view, and it helps us, as it helped them, to endure the unspeakable horror of the Ædipus story.

Sohrab goes forth, with a boy’s enthusiasm, to conquer Persia as a present to his unknown father. The two meet, and are incited to engage in single combat, each not knowing the other. After a Titanic contest, Sohrab falls fatally wounded, and only then does Rustem discover his identity. Matthew Arnold’s poem has familiarised English readers with this wonderful scene, and though the “atmosphere” with which he surrounded it, is rather classical than Eastern, his “Sohrab and Rustum” remains the finest rendering of an Eastern story in English poetry. Some blind guide blamed him for “plagiarising” Firdusi: in a few points he might have done wisely to follow his original still more closely; at least, it is a pity that he did not enshrine in his own beautiful poem Sohrab’s touching words of comfort to his distracted father: “None is immortal—why this grief?” Brave, spotless, kind, Firdusi’s hero-victim who “came as the lightning and went as the wind” will always rank with the highest in the House of the Youthful Dead.

Sohrab had a horse as well as Rustem. This sort of repetition or variation which is often met with in Eastern literature pleases children, who like an incident much the better if they are already acquainted with it, but to the mature sense of the West it seems a fault in art. No doubt for this reason Matthew Arnold does not mention Sohrab’s horse, while doing full justice to Rakush. But connected with the young man’s charger there is a scene of the deepest human interest and pathos, when it is led back to his mourning, sonless mother who had watched him ride forth on it, rejoicing in its strength and in his own. It was chosen by him and saddled by him for the first time in his glad boyhood; now it is led back alone, with his arms and trappings hanging from the saddle-bows. In an agony of grief Tahmineh presses its hoofs to her breast and kisses head and face, covering them with her tears.