Chapter VII: Part 7

So powerful is the influence of a great personality that in the Escorial you can think of no one but Philip II. He lived here only fourteen years, but every corridor and cloister seems to preserve the souvenir of his sombre and imperious genius. For two and a half centuries his feeble successors have trod these granite halls; but they flit through your mind pale and unsubstantial as dreams. The only tradition they preserved of their great descent was their magnificence and their bigotry. There has never been one utterance of liberty or free thought inspired by this haunted ground. The king has always been absolute here, and the monk has been the conscience-keeper of the king. The whole life of the Escorial has been unwholesomely pervaded by a flavor of holy water and burial vaults. There was enough of the repressive influence of that savage Spanish piety to spoil the freshness and vigor of a natural life, but not enough to lead the court and the courtiers to a moral walk and conversation. It was as profligate a court in reality, with all its masses and monks, as the gay and atheist circle of the Regent of Orleans. Even Philip, the Inquisitor King, did not confine his royal favor to his series of wives. A more reckless and profligate young prodigal than Don Carlos, the hope of Spain and Rome, it would be hard to find to-day at Mabille or Cremorne. But he was a deeply religious lad for all that, and asked absolution from his confessors before attempting to put in practice his intention of killing his father. Philip, forewarned, shut him up until he died, in an edifying frame of mind, and then calmly superintended the funeral arrangements from a window of the palace. The same mingling of vice and superstition is seen in the lessening line down to our day. The last true king of the old school was Philip IV. Amid the ruins of his tumbling kingdom he lived royally here among his priests and his painters and his ladies. There was one jealous exigency of Spanish etiquette that made his favor fatal. The object of his adoration, when his errant fancy strayed to another, must go into a convent and nevermore be seen of lesser men. Madame Daunoy, who lodged at court, heard one night an august footstep in the hall and a kingly rap on the bolted door of a lady of honor. But we are happy to say she heard also the spirited reply from within, "May your grace go with God! I do not wish to be a nun!"

There is little in these frivolous lives that is worth knowing,--the long inglorious reigns of the dwindling Austrians and the parody of greater days played by the scions of Bourbon, relieved for a few creditable years by the heroic struggle of Charles III. against the hopeless decadence. You may walk for an hour through the dismal line of drawing-rooms in the cheerless palace that forms the gridiron's handle, and not a spirit is evoked from memory among all the tapestry and panelling and gilding.

The only cheerful room in this granite wilderness is the library, still in good and careful keeping. A long, beautiful room, two hundred feet of bookcases, and tasteful frescos by Tibaldi and Carducho, representing the march of the liberal sciences. Most of the older folios are bound in vellum, with their gilded edges, on which the title is stamped, turned to the front. A precious collection of old books and older manuscripts, useless to the world as the hoard of a miser. Along the wall are hung the portraits of the Escorial kings and builders. The hall is furnished with marble and porphyry tables, and elaborate glass cases display some of the curiosities of the library,--a copy of the Gospels that belonged to the Emperor Conrad, the Suabian Kurz; a richly illuminated Apocalypse; a gorgeous missal of Charles V.; a Greek Bible, which once belonged to Mrs. Phoebus's ancestor Cantacuzene; Persian and Chinese sacred books; and a Koran, which is said to be the one captured by Don Juan at Lepanto. Mr. Ford says it is spurious; Mr. Madoz says it is genuine. The ladies with whom I had the happiness to visit the library inclined to the latter opinion for two very good reasons,--the book is a very pretty one, and Mr. Madoz's head is much balder than Mr. Ford's. Wandering aimlessly through the frescoed cloisters and looking in at all the open doors, over each of which a cunning little gridiron is inlaid in the woodwork, we heard the startling and unexpected sound of boyish voices and laughter. We approached the scene of such agreeable tumult, and found the theatre of the monastery full of young students rehearsing a play for the coming holidays. A clever-looking priest was directing the drama, and one juvenile Thespis was denouncing tyrants and dying for his country in hexameters of a shrill treble. His friends were applauding more than was necessary or kind, and flourishing their wooden swords with much ferocity of action. All that is left of the once extensive establishment of the monastery is a boys' school, where some two hundred youths are trained in the humanities, and a college where an almost equal number are educated for the priesthood.

So depressing is the effect of the Escorial's gloom and its memories, that when you issue at last from its massive doors, the trim and terraced gardens seem gay and heartsome, and the bleak wild scene is full of comfort. For here at least there is light and air and boundless space. You have emerged from the twilight of the past into the present day. The sky above you bends over Paris and Cheyenne. By this light Darwin is writing, and the merchants are meeting in the Chicago Board of Trade. Just below you winds the railway which will take you in two hours to Madrid,--to the city of Philip II., where the nineteenth century has arrived; where there are five Protestant churches and fifteen hundred evangelical communicants. Our young crusader, Professor Knapp, holds night schools and day schools and prayer meetings, with an active devotion, a practical and American fervor, that is leavening a great lump of apathy and death. These Anglo-Saxon missionaries have a larger and more tolerant spirit of propaganda than has been hitherto seen. They can differ about the best shape for the cup and the platter, but they use what they find to their hand. They are giving a tangible direction and purpose to the vague impulse of reform that was stirring, before they came, in many devout hearts. A little while longer of this state of freedom and inquiry, and the shock of controversy will come, and Spain will be brought to life.

Already the signs are full of promise. The ancient barriers of superstition have already given way in many places. A Protestant can not only live in Spain, but, what was once a more important matter, he can die and be buried there. This is one of the conquests of the revolution. So delicate has been the susceptibility of the Spanish mind in regard to the pollution of its soil by heretic corpses that even Charles I. of England, when he came a-wooing to Spain, could hardly gain permission to bury his page by night in the garden of the embassy; and in later days the Prussian Minister was compelled to smuggle his dead child out of the kingdom among his luggage to give it Christian burial. Even since the days of September the clergy has fought manfully against giving sepulture to Protestants; but Rivero, alcalde of Madrid and president of the Cortes, was not inclined to waste time in dialectics, and sent a police force to protect the heretic funerals and to arrest any priest who disturbed them. There is freedom of speech and printing. The humorous journals are full of blasphemous caricatures that would be impossible out of a Catholic country, for superstition and blasphemy always run in couples. It was the Duke de Guise, commanding the pope's army at Civitella, who cried in his rage at a rain which favored Alva, "God has turned Spaniard;" like Quashee, who burns his fetish when the weather is foul. The liberal Spanish papers overflowed with wit at the proclamation of infallibility. They announced that his holiness was now going into the lottery business with brilliant prospects of success; that he could now tell what Father Manterola had done with the thirty thousand dollars' worth of bulls he sold last year and punctually neglects to account for, and other levities of the sort, which seemed greatly relished, and which would have burned the facetious author two centuries before, and fined and imprisoned him before the fight at Alcolea. The minister having charge of the public instruction has promised to present a law for the prohibition of dogmatic doctrine in the national schools. The law of civil registry and civil marriage, after a desperate struggle in the Cortes, has gone into operation with general assent. There is a large party which actively favors the entire separation of the spiritual from the temporal power, making religion voluntary, and free, and breaking its long concubinage with the crown. The old superstition, it is true, still hangs like a malarial fog over Spain. But it is invaded by flashes and rays of progress. It cannot resist much longer the sunshine of this tolerant age.

Far up the mountain-side, in the shade of a cluster of chestnuts, is a rude block of stone, called the "King's Chair," where Philip used to sit in silent revery, watching as from an eyry the progress of the enormous work below. If you go there, you will see the same scene upon which his basilisk glance reposed,--in a changed world, the same unchanging scene,--the stricken waste, the shaggy horror of the mountains, the fixed plain wrinkled like a frozen sea, and in the centre of the perfect picture the vast chill bulk of that granite pile, rising cold, colorless, and stupendous, as if carved from an iceberg by the hand of Northern gnomes. It is the palace of vanished royalty, the temple of a religion which is dead. There are kings and priests still, and will be for many coming years. But never again can a power exist which shall rear to the glory of the sceptre and the cowl a monument like this. It is a page of history deserving to be well pondered, for it never will be repeated. The world which Philip ruled from the foot of the Guadarrama has passed away. A new heaven and a new earth came in with the thunders of 1776 and 1789. There will be no more Pyramids, no more Versailles, no more Escoriais. The unpublished fiat has gone forth that man is worth more than the glory of princes. The better religion of the future has no need of these massive dungeon-temples of superstition and fear. Yet there is a store of precious teachings in this mass of stone. It is one of the results of that mysterious law to which the genius of history has subjected the caprices of kings, to the end that we might not be left without a witness of the past for our warning and example,--the law which induces a judged and sentenced dynasty to build for posterity some monument of its power, which hastens and commemorates its ruin. By virtue of this law we read on the plains of Egypt the pride and the fall of the Pharaohs. Before the fagade of Versailles we see at a glance the grandeur of the Capetian kings and the necessity of the Revolution. And the most vivid picture of that fierce and gloomy religion of the sixteenth century, compounded of a base alloy of worship for an absolute king and a vengeful God, is to be found in this colossal hermitage in the flinty heart of the mountains of Castile.

A MIRACLE PLAY

In the windy month of March a sudden gloom falls upon Madrid,--the reaction after the _folie gaiete_ of the Carnival. The theatres are at their gayest in February until Prince Carnival and his jolly train assault the town, and convert the temples of the drama into ball-rooms. They have not yet arrived at the wonderful expedition and despatch observed in Paris, where a half hour is enough to convert the grand opera into the masked ball. The invention of this process of flooring the orchestra flush with the stage and making a vast dancing-hall out of both is due to an ingenious courtier of the regency, bearing the great name of De Bouillon, who got much credit and a pension by it. In Madrid they take the afternoon leisurely to the transformation, and the evening's performance is of course sacrificed. So the sock and buskin, not being adapted to the cancan, yielded with February, and the theatres were closed finally on Ash Wednesday.

Going by the pleasant little theatre of Lope de Rueda, in the Calle Barquillo, I saw the office-doors open, the posters up, and an unmistakable air of animation among the loungers who mark with a seal so peculiar the entrance of places of amusement. Struck by this apparent levity in the midst of the general mortification, I went over to look at the bills and found the subject announced serious enough for the most Lenten entertainment,--Los Siete Dolores de Maria,--The Seven Sorrows of Mary,--the old mediaeval Miracle of the Life of the Saviour.

This was bringing suddenly home to me the fact that I was really in a Catholic country. I had never thought of going to Ammergau, and so, when reading of these shows, I had entertained no more hope of seeing one than of assisting at an auto-da-fe or a witch-burning. I went to the box-office to buy seats. But they were all sold. The forestallers had swept the board. I was never able to determine whether I most pitied or despised these pests of the theatre. Whenever a popular play is presented, a dozen ragged and garlic-odorous vagabonds go early in the day and buy as many of the best places as they can pay for. They hang about the door of the theatre all day, and generally manage to dispose of their purchases at an advance. But it happens very often that they are disappointed; that the play does not draw, or that the evening threatens rain, and the Spaniard is devoted to his hat. He would keep out of a revolution if it rained. So that, at the pleasant hour when the orchestra are giving the last tweak to the key of their fiddles, you may see these woebegone wretches rushing distractedly from the Piamonte to the Alcala, offering their tickets at a price which falls rapidly from double to even, and tumbles headlong to half-price at the first note of the opening overture. When I see the forestaller luxuriously basking at the office-door in the warm sunshine, and scornfully refusing to treat for less than twice the treasurer's figures, I feel a divided indignation against the nuisance and the management that permits it. But when in the evening I meet him haggard and feverish, hawking his unsold places in desperate panic on the sidewalk, I cannot but remember that probably a half dozen dirty and tawny descendants of Pelayo will eat no beans to-morrow for those unfortunate tickets, and my wrath melts, and I buy his crumpled papers, moist with the sweat of anxiety, and add a slight propina, which I fear will be spent in aguardiente to calm his shattered nerves.

This day the sky looked threatening, and my shabby hidalgo listened to reason, and sold me my places at their price and a _petit verre._

As we entered in the evening the play had just begun. The scene was the interior of the Temple at Jerusalem, rather well done,--two ranges of superimposed porphyry columns with a good effect of oblique perspective, which is very common in the Spanish theatres. St. Simeon, in a dress suspiciously resembling that of the modern bishop, was talking with a fiery young Hebrew who turns out to be Demas, the Penitent Thief, and who is destined to play a very noticeable part in the evening's entertainment. He has received some slight from the government authorities and does not propose to submit to it. The aged and cooler-blooded Simeon advises him to do nothing rash. Here at the very outset is a most characteristic Spanish touch. You are expected to be interested in Demas, and the only crime which could appeal to the sympathies of a Castilian crowd would be one committed at the promptings of injured dignity.

There is a soft, gentle strain of music played pianissimo by the orchestra, and, surrounded by a chorus of mothers and maidens, the Virgin Mother enters with the Divine Child in her arms. The Madonna is a strapping young girl named Gutierrez, a very clever actress; and the Child has been bought in the neighboring toy-shop, a most palpable and cynical wax-doll. The doll is handed to Simeon, and the solemn ceremony of the Presentation is performed to fine and thoughtful music. St. Joseph has come in sheepishly by the flies with his inseparable staff crowned with a garland of lilies, which remain miraculously fresh during thirty years or so, and kneels at the altar, on the side opposite to Miss Gutierrez.

As the music ceases, Simeon starts as from a trance and predicts in a few rapid couplets the sufferings and the crucifixion of the child. Mary falls overwhelmed into the arms of her attendants, and Simeon exclaims, "Most blessed and most unfortunate among women! thy heart is to be pierced with Seven Sorrows, and this is the first." Demas rushes in and announces the massacre of the innocents, concluding with the appropriate reflection, "Perish the kings! always the murderers of the people." This sentiment is so much to the taste of the gamins of the paraiso that they vociferously demand an encore; but the Roman soldiers come in and commence the pleasing task of prodding the dolls in the arms of the chorus.

The next act is the Flight into Egypt. The curtain rises on a rocky ravine with a tinsel torrent in the background and a group of robbers on the stage. Gestas, the impenitent thief, stands sulky and glum in a corner, fingering his dagger as you might be sure he would, and informing himself in a growling soliloquy that his heart is consumed with envy and hate because he is not captain. The captain, one Issachar, comes in, a superbly handsome young fellow, named Mario, to my thinking the first comedian in Spain, dressed in a flashy suit of leopard hides, and announces the arrival of a stranger. Enters Demas, who says he hates the world and would fain drink its foul blood. He is made politely welcome. No! he will be captain or nothing. Issachar laughs scornfully and says _he_ is in the way of that modest aspiration. But Demas speedily puts him out of the way with an Albacete knife, and becomes captain, to the profound disgust of the impenitent Gestas, who exclaims, just as the profane villains do nowadays on every well-conducted stage, "Damnation! foiled again!"

The robbers pick up their idolized leader and pitch him into the tinsel torrent. This is also extremely satisfactory to the wide-awake young Arabs of the cock-loft. The bandits disperse, and Demas indulges in some fifty lines of rhymed reflections, which are interrupted by the approach of the Holy Family, hotly pursued by the soldiery of Herod. They stop under a sycamore tree, which instantly, by very clever machinery, bends down its spreading branches and miraculously hides them from the bloodthirsty legionaries. These pass on, and Demas leads the saintly trio by a secret pass over the torrent,--the Mother and Child mounted upon an ass and St. Joseph trudging on behind with his lily-decked staff, looking all as if they were on a short leave of absence from Correggio's picture-frame.

Demas comes back, calls up his merrymen, and has a battle-royal with the enraged legionaries, which puts the critics of the gallery into a frenzy of delight and assures the success of the spectacle. The curtain falls in a gust of applause, is stormed up again, Demas comes forward and makes a neat speech, announcing the author. Que salga! roar the gods,--"Trot him out!" A shabby young cripple hobbles to the front, leaning upon a crutch, his sallow face flushed with a hectic glow of pride and pleasure. He also makes a glib speech,--I have never seen a Spaniard who could not,--disclaiming all credit for himself, but lauding the sublimity of the acting and the perfection of the scene-painting, and saying that the memory of this unmerited applause will be forever engraved upon his humble heart.

Act third, the Lost Child, or Christ in the Temple. The scene is before the Temple on a festival day, plenty of chorus-girls, music, and flowers. Demas and the impenitent Gestas and Barabbas, who, I was pleased to see, was after all a very good sort of fellow, with no more malice than you or I, were down in the city on a sort of lark, their leopard skins left in the mountains and their daggers hid under the natty costume of the Judaean dandy of the period. Demas and Gestas have a quarrel, in which Gestas is rather roughly handled, and goes off growling like every villain, _qui se respecte,--_"I will have r-revenge." Barabbas proposes to go around to the cider-cellars, but Demas confides to him that he is enslaved by a dream of a child, who said to him, "Follow me--to Paradise;" that he had come down to Jerusalem to seek and find the mysterious infant of his vision. The jovial Barabbas seems imperfectly impressed by these transcendental fancies, and at this moment Mary comes in dressed like a Madonna of Guido Reni, and soon after St. Joseph and his staff. They ask each other where is the Child,--a scene of alarm and bustle, which ends by the door of the Temple flying open and discovering, shrined in ineffable light, Jesus teaching the doctors.

In the fourth act, Demas meets a beautiful woman by the city gate, in the loose, graceful dress of the Hetairai, and the most wonderful luxuriance of black curls I have ever seen falling in dense masses to her knees. After a conversation of amorous banter, he gives her a golden chain, which she assumes, well pleased, and gives him her name, La Magdalena. A motley crowd of street loafers here rushed upon the scene, and I am sure there was no one of Northern blood in the theatre that did not shudder for an instant at the startling apparition that formed the central figure of the group. The world has long ago agreed upon a typical face and figure for the Saviour of men; it has been repeated on myriads of canvases and reproduced in thousands of statues, till there is scarcely a man living that does not have the same image of the Redeemer in his mind. Well, that image walked quietly upon the stage, so perfect in make-up that you longed for some error to break the terrible vraisemblance. I was really relieved when the august appearance spoke, and I recognized the voice of a young actor named Morales, a clever light comedian of the Bressant type.

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.

We strolled away from the university through the still lanes and squares to the Calle Mayor, the only thoroughfare of the town that yet retains some vestige of traffic. It is a fine, long street bordered by stone arcades, within which are the shops, and without which in the pleasant afternoon are the rosy and contemplative shopkeepers. It would seem a pity to disturb their dreamy repose by offering to trade; and in justice to Castilian taste and feeling I must say that nobody does it. Halfway down the street a side alley runs to the right, called Calle de Cervantes, and into this we turned to find the birthplace of the romancer. On one side was a line of squalid, quaint, gabled houses, on the other a long garden wall. We walked under the shadow of the latter and stared at the house-fronts, looking for an inscription we had heard of. We saw in sunny doorways mothers oiling into obedience the stiff horse-tail hair of their daughters. By the grated windows we caught glimpses of the black eyes and nut-brown cheeks of maidens at their needles. But we saw nothing to show which of these mansions had been honored by tradition as the residence of Roderick Cervantes.

A brisk and practical-looking man went past us.

I asked him where was the house of the poet. He smiled in a superior sort of way, and pointed to the wall above my head: "There is no such house. Some people think it once stood here, and they have placed that stone in the garden-wall to mark the spot. I believe what I see. It is all child's play anyhow, whether true or false. There is better work to be done now than to honor Cervantes. He fought for a bigot king, and died in a monk's hood."

"You think lightly of a glory of Castile."

"If we could forget all the glories of Castile it would be better for us."

"Puede ser," I assented. "Many thanks. May your grace go with God!"

"Health and fraternity!" he answered, and moved away with a step full of energy and dissent. He entered a door under an inscription, "Federal Republican Club."

Go your ways, I thought, radical brother. You are not so courteous nor so learned as the rector. But this Peninsula has need of men like you. The ages of belief have done their work for good and ill. Let us have some years of the spirit that denies, and asks for proofs. The power of the monk is broken, but the work is not yet done. The convents have been turned into barracks, which is no improvement. The ringing of spurs in the streets of Alcala is no better than the rustling of the sandalled friars. If this Republican party of yours cannot do something to free Spain from the triple curse of crown, crozier, and sabre, then Spain is in doleful case. They are at last divided, and the first two have been sorely weakened in detail. The last should be the easiest work.

The scorn of my radical friend did not prevent my copying the modest tablet on the wall:--

"Here was born Miguel de Cervantes Saavedra, author of Don Quixote. By his fame and his genius he belongs to the civilized world; by his cradle to Alcala de Henares."

There is no doubt of the truth of the latter part of this inscription. Eight Spanish towns have claimed to have given birth to Cervantes, thus beating the blind Scian by one town; every one that can show on its church records the baptism of a child so called has made its claim. Yet Alcala, who spells his name wrong, calling him Carvantes, is certainly in the right, as the names of his father, mother, brothers, and sisters are also given in its records, and all doubt is now removed from the matter by the discovery of Cervantes's manuscript statement of his captivity in Algiers and his petition for employment in America, in both of which he styles himself "Natural de Alcala de Henares."