Chapter M: D'abbadie's Version (9)

The conjugation is exceedingly complicated. The Basque verb includes in a single verbal expression the relations of space; of one person to another--(1) subjective (the idea of neutrality, of action limited to its author), (2) objective (the idea of action on a direct object), and (3) attributive (the idea of an action done to bear on an object viewed indirectly, the idea of indirect action); the relations of time; the relations of state, corresponding to as many distinct moods; the variations of action, expressed by different voices; the distinctions of subject or object, marked by numerous personal forms; the conditions of time and state which are expressed by conjunctions in modern languages--to each of these relations is appropriated an affix, often considerably abbreviated and condensed, but almost always recognisable.

The primitive Basque verb--that is to say, in its full development--did not differ from that of other languages of the globe. It comprised only two moods, the indicative, and the conjunctive, which was derived from the indicative by a suffix; and three tenses, the present, the imperfect, and a kind of aorist indicating eventual possibility. There was only one secondary voice, the causative, formed by a special affix. To these forms it joined the signs of the direct and indirect object, which is the essential characteristic of incorporating idioms.

During its historic life, during its period of formal decay, the verb has experienced in Basque modifications which are not found to a similar extent elsewhere. The primitive conjugation, or, so to say, the simple and direct one of verbal nouns, has little by little fallen into disuse, and has been replaced by a singular combination of verbal nouns, of adjectives, and of some auxiliary verbs. Thus it is that the Escuara, in all its dialects, has developed eleven moods and ninety-one tenses (each of which has three persons in each number), variable according to the sex or rank of the person addressed; it receives besides a certain number of terminations, which perform the office of our conjunctions. Moreover, from the totality of these auxiliaries two parallel series have been formed, which, joined alternatively to nouns of action, produce the active and middle voices, or rather the transitive and intransitive. The auxiliaries of the periphrastic conjugation are almost the only verbs that have been preserved belonging to the simple primitive system.

With regard to syntax, the Basque resembles all agglutinative languages. The sentence is always simple. The phrases are generally short; relative pronouns are unknown. The complexity of the verb, which unites many ideas in a single word, contributes to this simplicity of the sentence, in which the subject and the attribute, with their respective complements, tend to form but one expression. This object is attained by the invariability of the adjectives, and especially by composition.

The adjective is placed after the noun it qualifies, whilst the genitive, on the contrary, precedes the governing noun.

Composition is of such common use in Basque, that it has caused several juxta-posed words to be contracted and reduced, so as to be partially confounded one with the other. This phenomenon is familiar to languages of the New World; it is this which properly constitutes polysynthetism, and which we must carefully distinguish from incorporation. This last word should be reserved to designate more particularly the phenomena of objective or attributive conjugation common to idioms of the second form.

The Basque vocabulary appears to be very poor. Although it is still imperfectly known (for the old books, and the names of places, as well as certain little studied dialectic variations, must have retained some words generally forgotten), we are yet able to assert that pure Basque terms do not express abstract ideas. Except in words borrowed from the Gascon, French, Spanish, and Latin, we find no trace of any advanced civilization, and we can discover but very few expressions which imply collectivity or generalization--e.g., there is no word which has the wide signification of our word "tree," of our "animal." "God" is simply, by anthropomorphism, "the Master on High." One and the same word translates our ideas of "will, desire, fancy, thought." Borrowed words are more numerous, from the fact that the influence of Aryan dialects has been felt through many ages; it is probably owing to their contact with the Indo-European races that the Basques, or those who used to speak the Basque, have any historical existence.

Thus, in order to study this singular idiom, it is necessary to understand thoroughly the history of the intervention of Latin in the Pyrenean region. No assistance is to be obtained from written documents, for there is not (and there cannot have been) any primitive Basque literature. The oldest book was published in 1545. [178] The second is the Protestant version of the New Testament, printed at La Rochelle by order of Jeanne d'Albret, in 1571. [179]

Another difficulty arises from the extreme variability of the language. There are, perhaps, not two villages where it is spoken absolutely in the same manner. This is natural enough among an unlettered people, and one which can only rise to the level of the surrounding civilization by forgetting its ancient language. These different varieties are easily grouped into secondary dialects. Prince L. L. Bonaparte recognises twenty-five of them, but they are reduced without difficulty to eight great dialects. A closer inspection further reduces these eight divisions to three; that is to say, the differences between the eight principal dialects are unequal, and admit of partial resemblances.

The eight dialects are: (1) The Labourdine, (2) The Souletine, (3) The Eastern Lower-Navarrese, (4) The Western Lower-Navarrese, (5) The Northern Upper-Navarrese, (6) The Southern Upper-Navarrese, (7) The Guipuzcoan, (8) The Biscayan. The Souletine and the two Lower-Navarrese dialects form the first group, which may be called the Oriental division. The Biscayan alone forms the Western, and the four others form the Central group. These names are taken from territorial divisions. La Soule was formerly a province feudatory to Navarre, and now embraces, within the French department of the Basses-Pyrénées, the cantons of Mauléon and Tardets, as well as some parishes of the canton of St. Palais, in the arrondissement of Mauléon. The Labourd, a viscounty, vassal of the Duchy of Aquitaine, corresponded to the cantons of Bayonne (excepting the city itself and three other parishes), of St. Jean de Luz, of Ustaritz, of Espelette, and part of Hasparren, in the arrondissement of Bayonne. The remaining part of the two French arrondissements which we have just named composes Lower Navarre, which is again subdivided into the districts of Cize, Mixe, Arberoue, Ostabaret, and the valleys of Osses and Baigorry. This was originally the sixth merindad of Navarre, a kingdom which extended into Spain as far as the Ebro, from Garde and Cortés on the one side to Vera and Viana on the other. Basque is still spoken along the French frontier and in several valleys forming the upper part of the territory. Guipuzcoa contains the cantons (partidos) of St. Sebastian, Tolosa, Azpeitia, and Vergara. Biscay comprises all the territory between Ondarroa and the river of Sommorostro, between La Carranza and the Peña de Gorbea.

The dialects do not correspond exactly to the territorial subdivisions whose names they bear. Thus the Western Lower-Navarrese is spoken in a part of the ancient Labourd; the Biscayan in Guipuzcoa. Lastly, on the Spanish maps, there is another Basque province, Alava; but Basque is scarcely spoken there, excepting in a narrow strip along the northern frontier. The dialect of these Alavese districts is included in the Biscayan. To resume, the Biscayan dialect is now spoken in Alava, Biscay, and the western third part of Guipuzcoa, in Vergara, and in Las Salinas; the Guipuzcoan in almost all the rest of Guipuzcoa; the Northern Upper-Navarrese in some villages of Guipuzcoa on the French frontier, in Fontarabie, Irun, and in the northern part of Navarre; the Southern Upper-Navarrese in the rest of Basque Navarre; the Labourdine in the south-western part of the arrondissement of Bayonne; the Western Lower-Navarrese in the north-eastern part of the same arrondissement; the Souletine is spoken in the two cantons of Mauléon and Tardets, and at Esquiule in the arrondissement of Oloron; the Eastern Lower-Navarrese extends into the arrondissement of Bayonne as far as St. Pierre d'Irube, by Meharrin, Ayherre, Briscous, Urcuit.

Of these arrondissements, of these provinces, none is entirely Basque in a linguistic point of view, except Guipuzcoa. Navarre is only half so, Alava only a tenth part. A little less than a fourth part has to be subtracted from Biscay, and certain Gascon villages from the arrondissements of Mauléon and Bayonne in France. Neither Bayonne, nor Pampeluna, nor Bilbao are Basque. [180] And, moreover, skirting the districts where the Basque is the native idiom of the majority of the inhabitants, on many points there is an intermediate zone in which Basque is known only by a minority of the population; nevertheless, this zone must be included in the geographical area of the idiom, since the persons who speak Basque in it know it as their native language, and have never learnt it. This zone is most extensive in Navarre, but exists also in Alava and in Biscay. In France there is no analogous mixed zone; and, as M. P. Broca remarks ("Sur l'Origine et la Repartition de la Langue Basque," Paris, 1875, p. 39), "the demarcation is brusque, and may be indicated by a single line." The Basques, moreover, in this respect, present some curious points for study. "In the valley of Roncal the men speak Spanish together; with the women they speak Basque, as do the women to each other. A similar state of things is to be observed at Ochagavia in Salazar. But this custom is not observed in the Roncalese villages of Uztarroz and Isaba, where the men among themselves speak indifferently Basque or Spanish." (Prince L. L. Bonaparte, "Etudes sur les Dialects d'Aezcoa," &c., p. 3).

The preceding description justifies the opinion advanced at the beginning of this notice. The Basque is an agglutinative idiom, and must be placed, in a morphological point of view, between the Finnic family, which is simply incorporating, and the North American incorporating and polysynthetic families. But we must not conclude thence that the Escuara is a near relation either of the Finnic or of the Magyar, of the Algonquin or of the Irokese. The relationship of two or more languages cannot, in fact, be concluded merely from a resemblance of their external physiognomy. To prove a community of origin, it is indispensable that (if compared at the same stage of development) their principal grammatical elements should not only be analogous in their functions, but should also have a certain phonetic resemblance, in order to render the hypothesis of their original identity admissible. It is better to abstain from asserting that such languages are derived from the same source, if the significant roots--which, after all, constitute the proper basis, the true originality of a language--should be found to be totally different. At present, no language has been discovered which presents any root-likeness to the Basque, analogous to that which exists between the Sanscrit, Greek, and Gothic, or between Arabic and Hebrew.

Nevertheless, there are in the world minds so devoted to the worship of their own fixed ideas, so smitten with their own metaphysical dreams, so full of faith in the necessity of the unity of language, that they have acquired the habit of torturing the radical elements of a language, and of making them flexible and variable to an inconceivable degree. They pass their lives in seeking etymologies, such as those which Schleicher calls "Etymologizerungen ins blanc hinein," and in discovering phonetic miracles--worthy children of those students of the last centuries who, in the general ignorance of the science of language, traced up all languages to Hebrew. The adventurous spirits to whom I allude have invented a theory of languages in which the vocabulary is incessantly renewed, and have formed the great "Turanian" family, in which everything which is neither Aryan, nor Semitic, nor Chinese, must be perforce included. In this olla podrida, where the Japanese elbows the Esquimaux, and the Australian shakes hands with the Turkish, where the Tamul fraternizes with the Hungarian, a place is carefully reserved for the Basque. Many amateurs, more daring still, have wedded the Escuara, or at least those who speak it, to the soi-disant Khamitic tribes of Egypt; others have united them to the ancient Phoenicians; others have seen in them the descendants of the Alans; others again, thanks to the Atlantides, make them a colony of Americans. It is not long since it was seriously affirmed, and in perfect good faith, that the Basques and the Kelts, the Welsh or Bretons, understood each other, and could converse at length, each using his native tongue. I refer these last to the poet Rulhière:

"La contrariété tient souvent au langage:
On peut s'entendre moins parlant un même son,
Que si l'un parlait Basque et l'autre Bas-Breton."

The more serious of these foes of negative conclusions, of these refiners of quintessences, assert that the ancestors of the Basques are incontestably the Iberians. In the first place I will remark that, supposing this proved, the Basques, or, if you will, the Iberians, would not be the less isolated; for how could the Iberian, any more than the Basque, be allied to the Keltic or to the Carthaginian? But this Iberian theory is not yet at all proved, and it will be easy to show it to be so in a few words. It reposes first of all on the following à priori--the Iberians have occupied all Spain and the south of Gaul, but the Escuara lives still at the foot of the Pyrénées; therefore the Escuara is a remnant of the language of the Iberians. The error of the syllogism is patent; the conclusion does not follow, and is wrongly deduced from the premises. As to the direct proofs, they are reduced to essays of interpretation, either of inscriptions called Iberian or Keltiberian, or of numismatic legends, or of proper, and especially of topographical names. [181] The inscriptions and legends are written in characters evidently of Phoenician origin, but their interpretation is anything but certain. All the readings, all the translations into Basque, proposed by MM. Boudard, Phillips, and others, are disputed by the linguists who are now studying the Basque. The names collected from ancient authors form a more solid basis; but the explanations proposed by W. von Humboldt, and after him by many etymologists without method, [182] are equally for the most part inadmissible. The Iberian theory is not proved, though it is perfectly possible.

The Basques do not present, in an anthropological point of view, as far as we know at present, any original and well-defined characteristic other than their language. [183] Nothing in their manners or customs is peculiar to them. It is in vain that some writers have tried to discover the strange custom of the "couvade" among them, a custom still observed, it is said, by the natives of South America and in the plains of Tartary. It consists in the husband, when his wife is confined, going to bed with the new-born infant, and there he "couve," "broods over it," so to say. No modern or contemporaneous writer has found this custom among the Basques; and as to historical testimony, it is reduced to a passage of Strabo--which nothing proves to be applicable to the ancestors of the present Basques--and to certain allusions in writers of the last two centuries. These allusions always refer to the Béarnais, the dialect whence the word "couvade" is borrowed.

Prince L. L. Bonaparte has discovered that in the Basque dialect of Roncal the moon is called "Goicoa;" Jaungoicoa is the word for "God" in Basque, and would mean "the Lord Moon," or rather "our Lord the Moon." He cites, with reference to this, "the worship of the moon by the ancient Basques." The only evidence in favour of this worship is a passage of Strabo (Lib. iii., iv. 16), where it is said that the Keltiberians, and their neighbours to the north, honour a certain anonymous God by dances before their doors at night during the full moon. But it must be proved that the Keltiberians and their neighbours to the north were Basques.

Another passage of Strabo has furnished arguments to the "Iberists." He says (Lib. iii., iv. 18) that among the Cantabrians the daughters inherited, to the detriment of their brothers. M. Eugène Cordier has endeavoured, after Laferrière ("Histoire du Droit Français"), to establish that this arrangement is the origin of the right of primogeniture without distinction of sex, and which is found more or less in all the "coutumes" of the Western Pyrénées. He has developed this theory in an interesting essay, "Sur l'Organisation de la Famille chez les Basques" (Paris, 1869). But an able lawyer of Bayonne, M. Jules Balasque, has shown in Vol. II. of his remarkable "Etudes Historiques sur la Ville de Bayonne" (Bayonne, 1862-75) that there is nothing peculiar to the Basques in this fact; and we can only recognise in it, as in the opposite custom of "juveignerie" in certain northern "coutumes," an application of a principle essentially Keltic or Gallic for the preservation of the patrimony.

In conclusion, I beg my readers to excuse the brevity of the preceding notes; but, pressed for time, and overwhelmed with a multitude of occupations, it has not been possible for me to do more. If I am still subject to the reproach which Boileau addresses to those who, in striving to be concise, become obscure, I have at least endeavoured to conform to the precept of the Tamul poet, Tiruvalluva--"To call him a man who lavishes useless words, is to call a man empty straw" (I. Book, xx. chap., 6th stanza).

Bayonne, August 28, 1876.

BASQUE POETRY.

I.--PASTORALES.

Perhaps there is no people among whom versification is so common, and among whom really high-class poetry is so rare, as among the Basques. The faculty of rhyming and of improvisation in verse is constantly to be met with. Not unusually a traveller in one of the country diligences, especially on a market-day, will be annoyed by the persistent crooning of one of the company, like Horace of old, more or less under the inspiration of Bacchus; and if he enquire what the man is about, he will be told that he is reciting a narrative in verse of all the events of the past day, mingled probably with more or less sarcastic reflections on the present company, and with especial emphasis on the stranger. At the yearly village fêtes, when the great match of Jeu de Paume au Rebot has been lost or won, prizes are sometimes given for improvisation on themes suggested at the moment, and the rapidity of the leading improvisatori [184] is something marvellous. Moreover, there are two species of native Drama. One, the Pastorale, the more regular and important, is now confined to the Vallée of La Saison and the Souletin district. The other, the Charivari, or Mascarade, more unfettered and impromptu, giving free rein to the invention of the actors, is occasionally, but rarely, acted in all districts of the Pays Basque.

The Pastorale, or Tragedy, is certainly a representative and survival of the Mediæval Mystery, or Miracle Play; and in the remoter districts is acted almost as seriously as is the Ammergau Passion Play. It is an open-air performance, which unites in interminable length, and in the same piece, tragedy and comedy, music, dancing, and opera. Though undoubtedly the oldest form in which Basque poetry of any kind is preserved, it can have no claim to be an indigenous product. The subjects of the older Pastorales are drawn from three sources--from the Bible; from the lives of the Saints, or Hagiology; from the Chansons de Geste and Romances of Chivalry. None of the extant Pastorales, even in their earliest form, would, we think, be anterior to the thirteenth century. The anachronisms, the prejudices, the colouring, the state of education evinced, are all those of the date when the Chansons de Geste and the Legenda Aurea were the favourite literature of high and low; the epoch at the close of which flourished the brilliant petty courts of Gaston de Foix at Orthez, and of the Black Prince at Bordeaux. The anachronisms make Charlemagne a contemporary of the Crusaders; Mahomet is an idol, and in the shape of a wooden puppet sits on a cross-bar over one of the stage-entrances, where he is worshipped by all his followers as they pass in and out. The make-up of the characters and the dresses are conventional. But though we cannot assign any higher antiquity even to the original form of any of the extant Pastorales--we say original form, because they have been edited and re-edited generation after generation by almost every prompter at each successive representation--yet several of the accessories and part of the stage-business point to possibly older traditions. The stage, at least in the more inaccessible villages, where alone the Pastorales are now to be seen in anything like their genuine form, may still be described as "modicis pulpita tignis." It is generally constructed against a house in the "Place" of the village, and is composed of boards resting on inverted barrels; one or more sheets, suspended from cross-bars, hide the house walls, and form the background; to this drapery bunches of flowers and flags are affixed, and thus is formed the whole "scenery"; the rest is open air and sky. Usually behind the sheet, though sometimes in front on a chair, sits the prompter, or stage-director; at the corners and sides of the stage are the stage-keepers, armed with muskets, which are fired off at certain effective moments, and always at the end of a fight. But there are four points in which a Pastorale recalls more ancient traditions: (1) The sexes are never mingled; the Pastorale being played either entirely by men, or entirely by women. [185] (2) The speech is always a kind of recitative or chant, varying in time according to the step of the actors. (3) There is a true chorus. (4) The feet and metre of the verse correspond to the step and march of the actors, and to the dancing of the chorus.

Now, as to (1), the effect is not unpleasing; the boy-lady or the boy-angel is often one of the most successful actors, and makes an excellent substitute for the real lady. There is no coarseness in his acting; on the contrary, there is a certain reserve of movement caused by the unwonted dress, which looks like a pleasing modesty, and makes the boy appear really lady-like. His get-up is generally unexceptionable.

We have once only had an opportunity of seeing a girl's Pastorale, "Ste. Helène," at Garindein, in April of the present year, 1879. Unfortunately it was interrupted, almost as soon as commenced, by violent rain. The costumes were very modest and pretty. The heroines of the piece wore blue or scarlet-jackets, with long white skirts; the lady-heroes had shorter skirts and white unmentionables. The Pastorale of "Ste. Helène" has nothing to do with the mother of Constantine the Great, or with the Invention of the Cross. It is an olla podrida of old legends. The opening scene is taken from "The King who wished to marry his own daughter" (see above, p. 165.) A King Antoina wishes to marry his daughter Helène, and for that purpose procures a dispensation from the Pope, who appears on the scene, attended by an angel. Helène, however, still refuses, and escapes; she embarks for England, but the captain of the vessel falls outrageously in love with her (cf. "Juan Dekos," p. 148). A shipwreck saves her from his persecutions; she lands alone in England, is seen by Henry, King of England, who falls in love with her and forthwith marries her, in spite of his mother's objections. He is forced to go to the wars; Helène gives birth to twin boys, but the queen-mother changes the letter, and sends word to the King that she is confined of two puppies (cf. "The singing tree, the bird which tells the truth, and the water that makes young," p. 177). Ste. Helène is condemned to death; Clarice, her maid, offers to die in her stead, but both escape; the boys, who were supposed to have been murdered, at last reappear, and all ends happily as in the legends. The part of the "Satans" was taken by three middle-aged men, in buff breeches and white stockings, who danced very well. The preliminary procession on horseback, and the opening scene on the stage, were exceedingly pretty.

(2) The recitative is always accompanied by music; generally a violin or two, a flute, the chirola, and the so-called Basque tambourine, a species of six-stringed guitar, beaten by a short stick, or plectrum. The tune is almost a monotone, but differs in time, being faster or slower according to the action of the piece; with the exception of those parts in which the chorus alone has possession of the stage, when the Saut Basque or other lively dancing airs are played. The strong, clear chant of the actor accompanying this music, which is never overpowering in its loudness, is heard much better and to a greater distance in the open air than any mere speaking would be; and, moreover, it prevents rant, without altogether effacing vivacity. For (3) there is a singular idea running through all these Basque Pastorales, according to which sanctity and nobility of character are associated with calmness of demeanour and tone, and villany and devilry of all kinds with restlessness and excitement. The angels and saints, the archbishops and bishops, move with folded hands and softly gliding steps; the heroes walk majestically slow; the common soldiers are somewhat more animated and careless in their gestures; the Saracens, the enemies, the villains, rush wildly about; but the chorus, or "Satans," are ever in restless, aimless, agitated movement, except when engaged in actual dancing. It is on these last, the chorus--of whom there should be three, or two at least--that the great fatigue and burden of the acting weighs. None but the most active and well-knit lads can play the part, and even them it tries severely. This chorus is invariably called "Satans;" their dress is always rigidly the same, and a pretty one it is--red beret or cap, red open jacket, white trousers with red stripes, red sashes, spartingues (hempen sandals) bound with red ribands; and they carry a little wand ornamented with red ribands and terminating in a three-forked hooked prong. [186] Blue is the colour consecrated to the good and virtuous; red to the enemy and the vicious, to the English, Saracens, and "Satans." The task of the "Satans" is not only to take part among the actors, but the difficulty of their utterance is much heightened by the compelled rapidity of their movements, while at intervals, when the stage is empty of other actors, they occupy the front corners of it, and dance the wild Saut Basque, singing at the same time some reflections on, or anticipations of, the action of the piece played, much like the chorus of a Greek tragedy; but, in addition to this, there is generally a comic interlude, more or less impromptu, and very slightly, if at all, connected with the main piece, wherein the "Satans" take the principal rôle, together with the best comedian of the other actors. This is done to relieve the tedium of the heavy tragedy, and, oddly enough, is often spoken partly in Gascon or in French, while only Basque is used in the Pastorale proper. (4) As will be judged from the above remarks, there is, perhaps, no spectacle in Europe from which the original relations of feet, line, pause, metre, verse, strophe, antistrophe, and rhythm in music, dance, and poetry can be better studied than at a Basque Pastorale. It will be seen there at a glance how far these terms are from being mere metaphors.

Now, when we add that many of the actors in these Pastorales cannot--scarcely any could before the present generation--read or write; that the Pastorales extend from three to seven thousand lines, distributed in ballad verses of four lines each, the second and fourth rhyming; and that the representations last from six to eight hours, our readers may imagine the amount of serious preparation required where every sentence has to be learned by heart from repetition of a reader or reciter. Consequently, to get up a Pastorale, a whole winter is not too long. The task is generally performed at home in the actor's family, or in a house where two or three meet together for the study, if neighbours. We have seen some pleasing instances of the pride the whole family take in the success of the actor. Asking once a pretty boy where he could have learnt to play his part of lady in so very ladylike a manner, he answered, "From my father and my mother in the winter." At another time we had as companion in a long day's walk a man upwards of sixty, who had been a "Satan" in his youth. He explained how very trying it is both to dance well and to sing at the same time so as to be clearly heard. His father had been a "Satan" before him, and had trained him for the occasion, and had made him eat two raw eggs before commencing. He spoke of the joy of the whole family when his performance was successful, though he lost his voice for several days afterwards. To show what his former agility must have been, he cleared every fence and obstacle in our path gallantly, despite his sixty years. These Pastorales are seldom, if ever, acted as a money speculation, but during the acting of them one or two young men, accompanied by a pretty girl, make the round of the spectators, offering a glass of wine, in quasi-payment for which you are expected to place a coin in the plate which the maiden carries. The amount collected is seldom much beyond what is required for the necessary expenses; more often it is below, but if anything remains it is spent on a grand feast to all the actors. The number of Pastorales in existence is variously stated at from seventy to two hundred. The former number we believe to be the nearer to the fact. The names of those best known are as follows:--

From the Bible and Hagiology.

Abraham, avec Sara and Agar S. Claudieus et Ste. Marsimissa Josué de Moïse Ste. Engrace Nabuchodonosor Ste. Helène, or Elaine S. Pierre Ste. Geneviève S. Jacques Les Trois Martyrs S. Jean Baptiste Ste. Agnes S. Louis Ste. Catherine S. Alexis Ste. Marguerite S. Roch La Destruction de Jerusalem

Classical.

Bacchus Alexandre

Chansons de Geste, etc.

Clovis Les Douze Pairs de France Mustafa, le Grand Turc Les Quatre Fils Aymon Astiaga Geneviève de Brabant Charlemagne Richard Sans Peur, Duc de Normandie [187] Thibaut Jeanne d'Arc Godefroi de Bouillon et la Jean Caillabit Deliverance de Jerusalem La Princesse de Gamatie Marie de Navarre Jean de Paris Roland Jean de Calais [188]

Modern.

Napoleon--(1) Le Consulat
(2) L'Empire
(3) Ste. Helène

We will now give a brief epitome of "Abraham" as a specimen, not of the best, but of the only one which we have at hand in MS., [189] for none of the Pastorales, we believe, have ever been printed in extenso. The dramatis personæ are:

The Eternal Father, who speaks chiefly in Latin quotations from the Vulgate, and always from behind the scenes, i.e., the suspended sheets mentioned above.

Three Angels--Michael, Raphael, Gabriel--all of whom mingle quotations from the Vulgate with their Basque.

Abraham, Sara, Agar, Isaac, and Ismael.

Lot, and Uxor (sic) Lot's wife.

Tina and Mina, Lot's daughters.

Salamiel and Nahason, shepherds of Abraham.

Sylva and Milla, shepherds of Lot.

Melchisedec.

Escol, a companion of Abraham.

All / Raphel (Amraphel) \ these | Arioch | Kings of the Turks (Turcac). names | Thadal | are | Chodorlaomor / from < Sennaab \ the | Bara | Vulgate. | Bersa > Good Kings. | Semeber | \ Bala /

Pharaon, King of Egypt.

Corion and Gober, Pharaon's courtiers.

Astaroch \ Telemar | Good Soldiers, defenders of the Holy Religion. Cormaim | Zuzite /

Chavoq and Chorre, good giants, killed by the Turkish kings.

Cocor, Patar; Maneton, and Catilie, inhabitants of Sodom. The last two are ladies. Maneton is a diminutive from Marie--Manon, Manette, Maneton; like Jeannette, Jeanneton, from Jeanne.

"Satans"--Satan and Bulgifer--who swear most frightfully in French, on the principle, perhaps, of omne ignotum pro magnifico, and because swearing, while more terrible, is less mischievous when uttered in a tongue "not understanded of the people."

Abraham is the model of a Christian, and Abraham and Pharaon both address their followers as "barons." Satan flatteringly addresses the shepherds by the Spanish title "Caballeros" when he wants to lead them into mischief. The actors are by no means so numerous as the "rôles"; one takes several successive parts, often without change of dress, a custom which heightens not a little the difficulty of following an acted Pastorale.

There is more dramatic unity in "Abraham," and the main plot is more skilfully conducted than might be expected from its title. The key-note of the action is given at once when Satan and Bulgifer appear on horseback in the "Place" in front of the stage, and announce their project of "tormenting Abraham," and of "weakening the Christian Faith." The plot then follows pretty closely the Bible narrative. Only it is Satan and Bulgifer who are the authors of all Abraham's misfortunes and vexations; although the angels constantly appear to save him when matters are at their worst. It is the "Satans" who inflame Pharaon in Egypt with the report and sight of Sara's beauty; it is they who stir up strife between Abraham's and Lot's herdsmen; they are delighted with the wickedness of the inhabitants of Sodom, which they direct to suit their own purposes; they stir up war against Abraham and Lot in the persons of the Turkish kings with Biblical names. These at first conquer Lot, and one by one slay all his partisans, including the good giants Chavoq and Chorre, whose corpses are carried off by Satan to be feasted upon, with the licorish exclamation: "O what cutlets! what a fine leg!!" Then they tempt Agar, and make her quarrel with Sara. In the scene preceding the destruction of Sodom, although the angels are present, the inhabitants round Lot's door are blinded, not by them, but "by some magician." Lot's wife, Uxor, when to be changed into a pillar of salt, ingeniously falls under the stage, and there the transformation takes place unseen. When Isaac is born, he is forthwith baptised. Agar and Ismael are driven into the desert, and are saved by the angel Gabriel. The play then gradually works up to the climax, the sacrifice of Isaac--the last and terrible temptation--in which the "Satans" tempt the "two Christians," Abraham and Isaac, to unbelief and disobedience, and are foiled as ever. After this, the action languishes, Abraham dies, and the Pastorale comes to an end. All the actors appear on the stage and chant the De Profundis, then the angels sing, and all unite in a concluding chant. We give a few verses from the scene of the sacrifice as a specimen of the whole:--

SATAN AND BULGIFER; ABRAHAM AND ISAAC.

Satan.

Abraham, art thou ignorant?
What art thou thinking of?
Leave him in life;
Thou hast some wise hairs.

I tell thee to return
To the house with the child;
And there you shall live
With very great joy.

Abraham.

Ah! alas! wretched torment!
Always thus on this earth
Satan doth vex me
In all my doings.

Nevertheless, I take courage;
Yes, even now
To slay Isaac
I am ready on the instant.

He has given me the order,
The good God Himself,
That I sacrifice Isaac
On this mountain myself.

Bulgifer.

He who gave you this order
Was not God. No!
Go off to your house,
And take your young son.

Abraham.

My only son Isaac,
If I sacrifice him,
All of my race
I quickly destroy.

The good God had told me
That he would marry;
But if he dies now,
How can that be?

I trust, nevertheless,
On our Lord God;
I am willing to offer to Him,
To Him alone, my son.

At last Satan and Bulgifer go off, exclaiming:--

O, you accursed one!
You always overcome us;
To confusion always
You do put us.

But, if we no more tempt you,
We will tempt some one else;
And we will even take down
To hell some soul.

In despair we depart
For ever from thee;
And we leave you now
In a very sad case.

After a few words between father and son, Isaac then offers himself, and prays as follows:--

People, I pray you, look
On this poor innocent child;
I am about to leave the world,
And have done harm to none. (Music.)

O Lord! our Saviour!
Unjustly crucified!
Lord, I must also
Soon leave this world. (Music.)

O King of Heaven!
Who art powerful
Above all other,
Wise and triumphant. (Music.)

I ask pardon of Thee
For all my sins,
Wherewith I oft have offended
Thee from my birth.

He binds himself, and goes on:--

All those, O Lord!
Blot from remembrance;
To Thy glory, I pray,
Receive me immediately.

King of the Angels,
Prince of the Heaven,
May'st Thou grant me,
I pray Thee, Thy rest.

I ask Thee pardon
From my whole heart;
Succour me, O Lord!
With Thy holy hand.

I have not enough wit
To thank Thee therewith;
But if to Heaven I should go,
There will I praise Thee.

O Lord! I pray Thee, have pity!
Thou shouldest grant it me;
For to leave this world
I am determined.

Angel of the Lord,
Grant me strength,
Since Thou art
My Guide!

Lord, I commend
To Thee my spirit;
It is Thou Who first
Hast created me.

And O! great God! I pray,
If it be Thy will,
In the repose of the blessed
Place my soul.

Father,--whenever You will,--
Sacrifice me now;--
To find my God
I would depart.

Abraham is in the act of sacrificing when the Angel Gabriel seizes him from behind, and bids him not do it, &c., &c. Any foreigner who, unless he has a most charming interpreter or interpretress, can sit out a whole Pastorale would surely deserve the first prize in the school of patience.

The other kind of dramatic performance is much more irregular, and may assume various forms according to the circumstances which give occasion to it. It may be only a wild kind of carnival procession, the Mascarade, where each gesticulates as the character he represents; or a charivari in honour (?) of a dotard's marriage, wherein the advantages of celibacy over married life are sarcastically set forth; or it may take the form of a really witty impromptu comedy played on a tiny stage in honour of the marriage or the good fortune of the most popular persons of the village. One of the first kind is excellently described in Chaho's "Biarritz, entre les Pyréneés et l'Océan," vol. ii. pp. 84-121, to which we refer the reader. One of the last kind was acted at Louhossoa about 1866, on the double occasion of some marriages, and of the return of some young men from South America. There were three actors; the piece was witty and well played, and seemed to give the greatest satisfaction to the audience.