No More Learning

PREFACE


A word regarding the circumstances under which this translation was made
will be pardoned by all children of dear mothers.

Mrs. Cornelia Frances Bates (1826-1908), a graduate of Mount Holyoke in
the days of Mary Lyon and the widow of a Congregational minister, took
up the study of Spanish at the age of seventy-one. Until her death ten
years later, the proverbial ten years of "labor and sorrow," her Spanish
readings and translations were a keen intellectual delight. Her Spanish
Bible, from which she had committed many passages to memory, was found
at her death no less worn than her English one. Even a few hours before
dying, she repeated in Spanish, without the failure of a syllable, the
Shepherd's Psalm and the Lord's Prayer.

So youthful was her spirit that, of the various modern Spanish works
with which she became acquainted, nothing fascinated her so much as
Becquer's strange, romantic tales. The wilder they were, the brighter
would be the eager face, under its soft white cap, bent over the
familiar little green volumes and the great red dictionary. Seeing the
pleasure she took in these legends and learning that no complete English
translation existed, I suggested that we unite in a "Becquer Book. " Her
full share of the work was promptly done; mine was delayed; and the
volume--which we had meant to inscribe to my sister--becomes her own
memorial.

Gratitude for helpful suggestions is due to the late Mr. Frederick
Gulick of Auburndale, Mass. , formerly of San Sebastian, and to Senorita
Carolina Marcial, formerly of Seville and now of Wellesley College.
Especial and most cordial acknowledgment is made of the critical reading
given the entire manuscript by Miss Alice H. Bushee of the _Colegio
Internacional_, Madrid.

K. L. B.




CONTENTS


PAGE

PREFACE v

GUSTAVO ADOLFO BECQUER xi

FOREWORD 1

MASTER PEREZ THE ORGANIST 5

_A Tale of Seville_

THE EMERALD EYES 23

_A Legend of the Moncayo_

THE GOLDEN BRACELET 32

_A Tale of Toledo_

THE RAY OF MOONSHINE 40

_A Tale of Soria_

THE DEVIL'S CROSS 52

_A Legend of the Eastern Pyrenees_

THREE DATES 72

_Reminiscences of Toledo_

THE CHRIST OF THE SKULL 93

_A Legend of Toledo_

THE WHITE DOE 105

_A Legend of Aragon_

THE PASSION ROSE 126

_A Legend of Toledo_

BELIEVE IN GOD 137

_A Legend of the Montagut Valley in Tarragona_

THE PROMISE 151

_A Legend of Soria_

THE KISS 163

_A Tale of Toledo_

THE SPIRITS' MOUNTAIN 179

_A Legend of Soria_

THE CAVE OF THE MOOR'S DAUGHTER 189

_A Legend of Fitero_

THE GNOME 196

_A Tale of the Moncayo_

THE MISERERE 214

_A Legend of Fitero_

STRANGE! 226

_A Story of Madrid_

WITHERED LEAVES 239

_A Phantasy_

THE SET OF EMERALDS 244

_A story of Madrid_

THE TAVERN OF THE CATS 252

_An Idyl of Andalusia_

ALL SOULS' NIGHT 266

_In Madrid_




ILLUSTRATIONS


THE CATHEDRAL, TOLEDO _Frontispiece_

PAGE

THE CATHEDRAL, SEVILLE 8

A CITY SQUARE, TOLEDO 32

THE BRIDGE OF TOLEDO 40

CLOISTER OF SAN JUAN DE LOS REYES 74

THE VISAGRA GATE 94

A MOORISH WINDOW 126

THE MONASTERY OF MONTSERRAT 146

AN ANCIENT CASTLE 156

PALACE OF CARLOS V, TOLEDO 164

A MOUNTAIN PASS 182

A MOUNTAIN GROTTO 190

GIRLS AT THE FOUNTAIN 198

A MONASTERY COURT 216

A SENORITA 246

A RUINED CLOISTER 266




GUSTAVO ADOLFO BECQUER


The writer of these tales was a young poet, oppressed by illness, care
and poverty. His brief life held many troubles. Born in Seville,
February 17, 1836, of a distinguished family that came to Andalusia from
Flanders at about the end of the sixteenth century, he was but five
years old, the fourth of eight little sons, when he lost his father. The
bereavement was greater than anyone knew, for Don Jose Dominguez
Becquer, a genre painter of repute, could have given this imaginative
child, a genius in germ, parental sympathy and guidance in an unusual
degree. Less than five years later, the mother died, and the disposition
of the orphans became a puzzling problem for relatives and friends.
Gustavo, who had already attended the day school of San Antonio Abad,
was admitted, through the efforts of an uncle, to the _Colegio de San
Telmo_, a naval academy, maintained by the government, on the banks of
the Guadalquivir. This famous school of Seville was originally founded
by the companions of Columbus in gratitude to St. Elmo, patron of
mariners. Here Gustavo found a friend of congenial tastes, Narciso
Campillo, with whom he composed and presented before their admiring
mates what Senor Campillo, who also made a name for himself in Spanish
letters, has described as "a fearful and extravagant drama. " But Gustavo
had enjoyed barely a year of this new life when Isabella II suppressed
the academy, bestowing building and grounds on her newly wedded sister,
the Duchesse de Montpensier. Visitors to modern Seville know well the
_Palacio de Santelmo_, with the fountains playing in its marble courts,
with its gardens of orange trees, palms and aloes, of trellised roses
and luxuriant tropic shrubs; but who gives a thought there to the exiled
boy thrown again, at the age of ten, upon the chances of the world?

His godmother, Dona Manuela Monchay, opened her doors to the waif, and
in her comfortable home he dwelt for the next eight years. His schooling
was over, but he read his way through Dona Manuela's library and, at
fourteen, entered the studio of a Seville painter; here for two years he
trained his talent for drawing. Then he changed to the rival studio,
that of his father's brother, who was sufficiently impressed by the
lad's literary promise to have him taught a little Latin. Meanwhile his
godmother, childless and well-to-do, was urging him to adopt a
mercantile career. Had he consented, it is supposed that she would have
made him her heir, and his manhood, instead of the exhausting struggle
it was for bread and shelter, might have been, from the worldly point of
view, prosperous enough. But the visionary youth, who, says his friend
Correa,[1] "had learned to draw while he was yet learning to write,
whose unbounded passion for reading had given him wider horizons than
those of book-keeping, and who could never do a sum in mental
arithmetic," would not betray his ideal. While his prudent godmother was
making her own plans for his future, he was composing with Campillo the
opening cantos of an epic on _The Conquest of Seville_, or wandering
alone on the banks of the Guadalquivir, his "majestic Betis, the river
of nymphs, naiads and poets, which, crowned with belfries and laurels,
flows to the sea from a crystal amphora. " In the shade of the white
poplars he would lie and dream "of an independent, blissful life, like
that of the bird, which is born to sing, while God provides it with
food, . . . that tranquil life of the poet, which glows with a soft lustre
from generation to generation. " And when that life should be over, he
saw his grateful city, the Sultana of Andalusia, laying her poet down
"to dream the golden dream of immortality on the banks of the Betis,
whose praise I should have sung in splendid odes, in that very spot
where I used to go so often to hear the sweet murmur of its waves. " His
pensive fancy loved to picture that white cross under the poplars whose
green and silver leaves, as they rustled in the wind, would seem to be
praying for his soul, while the birds in their branches would carol at
dawn a joyous resurrection hymn. And when the river reeds and the wild
morning-glories, his favorite "blue morning-glories with a disk of
carmine at the heart," hovered over by "golden insects with wings of
light," should have grown up about the marble, hiding his time-blurred
name with a leafy curtain, what matter? "Who would not know that I was
sleeping there? " And so, to escape commercial drudgery and realize these
fair visions, the young Andalusian, at eighteen, the mid-point of his
life, with no more than sufficed for the costs of the journey to Madrid,
started forth on his quest of glory.

It may truly be said of Becquer that, like Hakluyt's staunch old
worthies, he was "content to take his adventure gladly. " Nobody ever
knew how narrow were the straits of those first years in Madrid. He had
to turn his hand to anything, from odds and ends of journalism to a
day's job of fresco-painting. Homesick, hungry, ill, he kept through it
all a brave buoyancy of spirits and a manly reticence as to his
sufferings. "He was never known," testifies Correa, "to complain of his
hard life or his physical distresses, nor to curse his fate. Silent as
long as he was unhappy, he would find voice only to express a moment's
pleasure. " He made fun of his troubles, which he, more easily than
grosser souls, could indeed forget in the ecstatic contemplation of
beauty or in giving form to the crowding fantasies that clamored in his
brain. A friend, more concerned over his privations than was Becquer
himself, found him a position as copyist in an office of one of the
state departments at a salary of one hundred and fifty dollars a year.
The poet, more out of gratitude for the intended kindness than from any
sense of personal relief, for he would rather starve body than mind,
undertook the irksome employment. But the national finances, under the
drain of the Carlist wars and the popular uprisings and official
corruption of Isabella's disastrous reign, had become so embarrassed
that economy in the public service was imperative, and Becquer was
pointed out--perhaps, after all, by his good angel--for a victim. In the
_Direccion de Bienes Nacionales_, as in other departments, superfluous
men were to be weeded out. The Director, as chance would have it, came
into the office one day when all the clerks were gathered about
Becquer's stool, eagerly looking over his shoulders, lost in admiration
of the sketches that his facile pen was turning off. The Director,
joining the group and peering with the rest, demanded: "What is this? "
Not recognizing the voice, the culprit, absorbed in the joy of art,
innocently answered: "This is Ophelia, plucking the leaves from her
garland. That old uncle is a grave-digger. Over there"--At this point
the awful silence smote his senses and he looked up only to meet the
verdict: "Here is one that can be spared. "

But although Becquer thus failed to serve his country with proper zeal
in the only direct opportunity she afforded him, the touch of the
capital, with its sense of impending crisis, its call for patriotic
leadership, had given a new turn to his dreams. Or perhaps it would be
truer to say that the Gothic cathedrals, old castles and ruined abbeys
so abundant in Castile, though not in the Crowned City itself, had
fastened the hold of the feudal world, with its military ideals, upon
his imagination. In these days he longed--or fancied that he longed--to
be "a thunderbolt of war," to exert a mighty influence on the destinies
of Spain, so that every revolution of the future might be, as it were, a
personification of himself, but most of all he indulged his musings in
the glorious picture of a warrior's death and burial. He would have
chosen, his "thirst for triumphs and acclaim assuaged, to fall in
battle, hearing as the last sound of earth the shrill clamor of the
trumpets of my valiant hosts,--to be borne upon a shield, wrapped in the
folds of my tattered banner, emblem of a hundred victories, finding the
peace of the grave in the depths of one of those holy cloisters where
dwells eternal silence and to which the centuries lend majesty and a
mysterious, indefinable hue. " And then the artist in him revelled in all
the detailed beauty of that visioned tomb "bathed in dusky shadow," on
which his statue, "of richest, transparent alabaster," with sword on
breast and couchant lion at the feet, was to sleep an august sleep under
the hushed watch of long-robed, praying angels.

Meanwhile, bad lodging and uncertain fare were telling on his delicate
constitution. In one respect, Becquer was always fortunate--in friends.
Early in his Madrid life he had won the faithful affection of Correa,
another young literary aspirant leading a hand-to-mouth existence, but
of vigorous physique and practical capabilities. When in the third year
of his struggle Becquer fell seriously ill--"horribly" ill, says
Correa--this devoted comrade not only nursed him through, but, finding
among the poet's papers a long legend purporting to be an East Indian
tradition, managed to get it published in _La Cronica_,--the beginning
of success. This legend, _The Chieftain of the Crimson Hands_, has to do
with the expiation of a fratricide by a pilgrimage up the Ganges to its
far sources in the Himalayas, that in the most secret of those sacred
springs the clinging bloodstains might be washed away. But after forty
moons of weary travel across the broad plains of India up into the very
shadow of the dread Himalayan wall, a law of the pilgrimage was broken,
and Vishnu could no longer shield the slayer from the wrath of Siva,
who, himself the Destroyer, resents all other destruction as an
infringement on his great prerogative.

Another Indian subject, _The Creation_, on which Becquer had tried his
hand with a peculiarly light, ironic touch, yielded a more
characteristic result. The fable tells how Brahma, utterly bored by the
contemplation of his own perfections, took to chemistry. The astonished
cherubs fluttered on their thousand-colored wings about the smoking,
roaring tower where the Deity had his laboratory and where his eight
arms and sixteen hands were all kept busy with managing his test-tubes
and retorts, for he was shaping worlds to people space. But one day,
tired of his experiments, he went out to take the air and, for all his
omniscience, absent-mindedly failed to lock the door. In swarmed the
cherubs, ripe for mischief, and lost no time in turning everything
topsy-turvy. They flung the parchments into the fire, pulled the
stoppers out of the flasks, overturned the great glass vessels, breaking
not a few of them and spilling their contents, and wound up their
meddling by blowing a ridiculous, soap-bubble planet of their own. This
imperfect globe, all awry, with flattened poles and with contradictory
elements, heat and cold, joy and grief, good and evil, life and death,
at war within itself, went rolling so grotesquely on its axis, that the
peals of cherubic laughter brought Brahma hurrying back. In his vexation
he was about to crush that preposterous, misformed world, our world, but
the appealing cries of the celestial children moved him to let them toss
their absurd toy out into the ether among his own beautiful,
self-consistent, harmonious spheres. Ever since, the cherubs have been
trundling it about the sky, to the amazement of the other planets and
the despair of us poor mortals; but it will not last. "There is nothing
more tender nor more terrible than the hands of little children; in
these the plaything cannot long endure. "

It was not literature like this that the Spanish periodicals were
seeking in the stormy fifties. It was a time of the keenest political
strife, when even poets and novelists were bought by one party or
another and made to fight in the midst of the newspaper arena. But no
extremity could bring Becquer to be a politician's tool. "Incapable of
hatred," says Correa, "he never placed his enviable powers as a writer
at the service of animosity . . . nor was his noble character fitted for
adulation or assiduous servility. " Yet in his own way he played the
patriot by earnest effort, continued unceasingly throughout his life, to
assist in recording by pen and pencil the architectural beauties and
devout traditions of Spain before these should have utterly perished
under the march of progress. Putting politics out of his mind as a
matter of little moment, Becquer undertook, with a few kindred spirits,
what might have proved, with adequate support, a monumental work on the
Spanish churches. As it was, there appeared only one volume, to which he
contributed the Introduction, the chapters on the famous Toledo
monastery, _San Juan de los Reyes_, and a number of drawings. In his
story _Three Dates_, more descriptive than narrative, we catch a few
fleeting glimpses of him, always with his sketch-book, pursuing his
artistic and archaeological researches in Toledo. A similar errand, in
all probability, took him to Soria, an ancient city peculiarly rich in
mediaeval buildings, situated on the Douro, to the north-east of Madrid.
In Soria he found several of his legends and, less fortunately, a wife,
Carta Esteban y Navarro. The marriage, which took place about 1861, soon
resulted in separation. Becquer retained possession of the children, two
baby boys, for whom he tenderly cared, as best he could in his Bohemian
life, until the last.

It would seem to have been the unwonted sense of an assured income that
gave him courage to undertake the support of a wife, for in this year
1861 his constant friend Correa obtained for him a position on the staff
of a new Madrid daily, _El Contemporaneo_, a journal into whose labors
he threw himself with a zest far beyond his strength and which he came
to love with a touching enthusiasm. "_El Contemporaneo_ is not for me a
newspaper like any other; its columns are yourselves, my friends, my
comrades in hope or disappointment, in failure or triumph, in joy or
bitterness. " It was in _El Contemporaneo_ that many of his legends
appeared. But even as he thus became more and more closely identified
with the life of Madrid, homesickness grew upon him for his own
Andalusia "with her golden days and luminous, transparent nights,"--for
his own Seville, "with her Giralda of lace-work mirrored in the
trembling Guadalquivir, . . . with her barred windows and her serenades,
her iron door-screens and her night watchmen that chant the hour, her
shrines and her stories, her brawls and her music, her tranquil nights
and fiery afternoons, her rosy dawns and azure twilights,--Seville, with
all the traditions that twenty centuries have heaped upon her brow, with
all the pageantry and festal beauty of her southern nature, with all
the poetry that imagination lends to a beloved memory. "

He re-visited Seville, if _The Tavern of the Cats_ can be taken as
testimony, at about this time, and may so have renewed intercourse with
his family, for in 1862 his next older brother, Valeriano, who,
following in their father's path, had entered on a promising career as a
painter of Andalusian types, came to him in Madrid. Valeriano, too, was
of frail physique; he, too, had been unhappy in his marriage; yet the
brothers affectionately joined such forces as they had and set up, with
the little children, a makeshift for a home. But in a year or two some
wasting illness, apparently the early stages of consumption, forced the
poet to leave "the Court" and seek renewal of health in the mountain
valley of Veruela. During this sojourn he gathered several legends of
the Moncayo, that precipitous granite wall--known to Martial as the
haunt of AEolus--which bars Old Castile from Aragon and divides the basin
of the Douro, the river of Soria, from that of the Ebro, the river of
Saragossa. To Becquer its snowy crests looked "like the waves of a
motionless, gigantic sea. " But the main literary result of that
retirement is found in the series of eight exquisite letters, _From My
Cell_, the high-water mark of Becquer's prose, sent back to _El
Contemporaneo_. In these he gives a vivid, humorous account of his
journey, by rail to Tudela, by diligence to Tarazona, and by mule up the
Moncayo to Veruela, in whose walled and towered old Cistercian abbey he
found an austere refuge. He had his Shakespeare with him and his Byron,
but the event of the day, in the earlier weeks of his banishment, was
the arrival of the mounted postman with _El Contemporaneo_. He could not
wait for it in the Gothic cloisters, but would wander halfway down the
poplar avenue to the Black Cross of Veruela and, seated at its foot on
one of the marble steps, would wait sometimes the afternoon long
listening for the far-off beat of the horse's hoofs. The journal came
to him like a personal greeting from the life he had left behind. He
loved even the odor of the damp paper and the printer's ink, an odor
that brought back to him "the incessant pounding and creaking of the
presses" and all the eager activity of those hurrying nights in which
the words "came palpitating from the pen. " But with sunset the feverish
memories of Madrid fell from him and his thoughts took on the serenity
of faith, "the faith in something grander, in a coming, unknown destiny
beyond this life, the faith in eternity. " Again he found himself
dreaming of death, but not now of a poet's cherished grave beside the
Guadalquivir, not now of a great patriot's tomb in some sublime
cathedral, but of a mound in a village burial-plot, forgotten under
nettles, thistles and grass. Long tormented by insomnia, it seemed sweet
to him to slumber in such untroubled peace, "wrapt in a light cloak of
earth," without having over him "even the weight of a sepulchral stone. "
As the mountain air brought strength, he began to ramble over the
Moncayo, sketching and gathering up traditions, while through _El
Contemporaneo_ he passionately urged the claims of the past, and
proposed the state organization of archaeological expeditions in groups
made up of an artist, an architect and a man of letters, to explore the
provinces for their hidden, perishing traces of that bygone Spain of
Roman, Visigoth, Moor, mailed knight and saintly vision. Bent, as ever,
on doing his part in this unprized service, he wrote out, in the quiet
and leisure that had been so seldom his, masterly descriptions of the
market-place of Tarazona, and of the peasant-women of the Amazonian
hamlet of Anon. In the sixth letter he narrates, with a pen almost
unendurably graphic, the recent doing to death of a reputed hereditary
witch, a wretched old woman whom the superstitious Aragonese peasants
had, in very truth, hunted to a peak of the Moncayo off which, bleeding
from stones and knives, she had been thrust down the precipice. In the
seventh and eighth letters he goes on to relate, in his most attractive
manner, two local legends of witchcraft,--one of the necromancer who
built in a night the castle of Trasmoz, and one of the pious priest who
exorcised the witches that had come, in course of time, to make its
ruined tower their tryst, only to have his work undone by the girlish
vanity of his niece. She tampered with the holy water and restored to
the witches the freedom of the castle in return for their kind offices
in scrambling down her chimney, gray cats, black cats, all manner of
cats, the night before a festival, and stitching up for her such
fascinating finery that she forthwith won a husband.

His brother followed Becquer to Veruela and together they made trial of
the neighboring Baths of Fitero in Navarre, but they were in Madrid
again by 1865, often sorely put to it in the effort to carry the costs
of their little household. If one of the children fell ill and a doctor
must be called in, a friend might be entreated for an emergency loan of
three or four dollars; but as a rule these invalid brothers bore their
burden unassisted. Valeriano drew woodcuts for such market as he could
find, talking, says Correa, of "the great pictures he would paint as
soon as he could get the canvases," and Gustavo translated the trashy
French novels that were in demand, writing, in the intervals of such
hack work, an occasional fantasy of delicate beauty, as _Withered
Leaves_, and ever looking forward to the time when he should have golden
hours of calm in which he might give his higher and more mystical
conceptions fitting utterance. Twice it seemed as if the way were
opening. Isabella's last prime minister, Luis Gonzalez Bravo, became
interested in the poet and made him censor of novels. Becquer
immediately availed himself of the comparative leisure thus afforded to
gather together a volume of his poems, which Gonzalez Bravo was
proposing to print at his own expense. Then burst the long-gathering
storm of 1868, the genial, unprincipled queen was dethroned, and her
prime minister of literary tastes fled to the frontier with such
precipitation that the precious manuscript entrusted to his keeping was
lost. Becquer, with that scrupulous honor well known to his friends,
promptly resigned his censorship; Valeriano's pension for the study of
national types was withdrawn; and the year 1869 saw them again in
straits. Yet they took daily comfort in their close brotherly love and
their artistic sympathies, even though, in those troublous times, their
joint enthusiasm for the beauties of Toledo once landed them in jail.
They were then temporarily residing, with their little family, in their
favorite city, "the city sombre and melancholy _par excellence_," and
had sallied out, one evening, to contemplate its ghostly charms by
moonlight. Their disordered dress, long beards, excited gestures and
eager talk roused the suspicion of a brace of Civil Guards, who, drawing
near and overhearing such dangerous terms as "apses, squinches, ogives,"
seized the conspirators without more ado and lodged them, for their
further artistic illumination, in one of the historic dungeons of
Toledo. The next morning the editorial room of _El Contemporaneo_
resounded with merriment as a letter from Becquer went the rounds,--a
letter "all full," says Correa, "of sketches representing in detail the
probable passion and death of both innocents. " The entire staff united
in a written protest and explanation to the jailer, and it was long
remembered in that office with what shining eyes and peals of laughter
the delivered prisoners, on their return, set out their adventure in
exuberant wit of words and pencil.

The second opportunity came with the founding of that now famous
periodical, _La Ilustracion de Madrid_; but it came too late. Becquer
was appointed director and looked to for regular contributions, while
Valeriano furnished many of the illustrations. The management had large
schemes in hand, including a _Library of Great Authors_, for which
Becquer began a translation of Dante. But now, when a certain degree of
freedom, relief and recognition had been at last attained, the strained
and fretted cord of life gave way. The first number of _La Ilustracion_
appeared January 12, 1870. On September 23, Valeriano died in his
brother's arms. On December 22, the poet, surrounded by devoted friends
to whom, with his failing breath, he commended his children, sank
exhausted into that mysterious repose on which, from boyhood, his
musings had so often dwelt. But his mocking destiny was not yet content.
His body was buried in one of those crowded city cemeteries always so
repugnant to him, San Nicolas in Madrid. His younger son did not live to
manhood; the elder, his namesake, went wrong.

His loyal friends, after raising what money they could for the children,
gathered together and published in three small volumes the most
characteristic of Becquer's writings,--a series of lyrical poems,[2] the
letters _From My Cell_,[3] some legends and tales of unequal merit;[4]
and a few miscellaneous articles[3] on architecture, literature and the
like.

The _Rimas_ almost immediately established Becquer's fame. He is counted
to-day among the chief lyrists of the nineteenth century. These poignant
snatches of song pass, in theme, from life to love and from love to
death. So far as they give, or purport to give, a history of the poet's
heart, they tell of passion at first requited, then of estrangement and
despair. It is supposed that a certain Julia Espin y Guillen, later the
wife of Don Benigno Quiroga Ballesteros, a living Spaniard of
distinction, figures to some extent in the _Rimas_. The house of her
father, director of the orchestra in the _Teatro Real_, was a resort of
young musicians, artists and men of letters, and here Becquer, during
his earlier years in Madrid, was a frequent guest. There seems little
doubt that his youthful devotion was given, though in silence, to this
disdainful brunette, but the poems likewise tell of a love "of gold and
snow. " There is a green-eyed maiden, too, whom he essays to comfort for
this peculiarity,--though, indeed, eyes of jewel green, strangely
fascinating, are not rare in Spain. He may have had her in mind in
writing his legend of _The Emerald Eyes_. And one of the most beautiful
lyrics follows out the slight thread of story in _Three Dates_,
representing the poet as gazing night after night up from that ancient
Toledo square, with its glorified rubbish-heap, to the ogive windows of
the convent where the nun who had so thrilled his imagination was
immured. Over the spirit of Becquer, to whom the immaterial was ever
more real than the material, no one actual woman held lasting sway. He
tells the truth of the matter in his eleventh lyric:

I am black and comely; my lips are glowing;
I am passion; my heart is hot;
The rapture of life in my veins is flowing.
For me thou callest? --I call thee not.

Pale is my forehead and gold my tresses;
Endless comforts are locked in me,
Treasure of hearthside tendernesses.
'Tis I whom thou seekest? --Nay, not thee.

I am a dream, afar, forbidden.
Vague as the mist on the mountain-brow,
A bodiless glory, haunting, hidden;
I cannot love thee. --Oh, come! come thou!

Becquer himself was wont to ascribe the premature death of poets, that
breaking of the harp while yet the golden chords have yielded but their
least of melodies, to a restless fulness of life, the imprisoned vapor
that bursts the vessel. This appears with pathetic emphasis in the
_Introduction_ that he wrote, not long before his death, for a projected
volume of tales and fantasies. He felt that he must rid his fevered
brain of their importunity, but he had begun to give expression to only
one, _The Woman of Stone_, when death broke the magic pen. The story
remains a fragment,[5] not passing beyond its opening pages of rich
artistic description, nor can its course be clearly conjectured even
though in _The Kiss_, and in the closing passages of his _Literary
Letters to a Woman_, his imagination hovers about the theme. He left,
like Hawthorne, many tantalizing titles that suggest the greatness of
our loss. That drama on "The Brothers of Sorrow," that poem on the
discovery of America, those Andalusian novels on "The Last Minstrel,"
"To Live or Not to Live," those Toledo legends on "The Foundress of
Convents," "_El Cristo de la Vega_," "The Angel Musicians," those
fantasies on "Light and Snow," "The Diana of the Indies," "The Life of
the Dead,"--these are but a few of the conceptions that teemed in his
mind but found no outlet to the world. It seemed to his friends, who
knew the man and had listened to his marvellous talk, that the scanty
handful of tales they could collect from newspapers here and there made
so inadequate a showing as almost to misrepresent his powers. Yet
however thwarted and wronged by circumstance this harvest of his
imagination may be, it deserves attention if only for its finer and less
obvious qualities. Becquer charges himself with a melancholy
temperament, and seldom, in fact, do we find in these pages the blither
humor playing in _The Set of Emeralds_; but the occasional morbidness of
his tone is due rather, it would seem, to illness and its consequent
despondency than to any native quality of his thought. He deals too much
in the horrible for modern taste, but he cannot claim, like Baudelaire,
to have "invented a new shudder. " Tales grounded in folk-lore are bound
to contain elements of superstitious terror, and the affinity of these
legends in that respect is rather with German balladry and the earlier
romanticism in general than with the genius of Poe. Becquer's truer
kinship is with Hawthorne, whose outer faculty of close and minute
observation is his as well as the inner preoccupation with mystery and
symbol. All the senses of this young Spaniard seem to have been of the
finest, his exquisite hearing entering into these tales as effectively
as his keen sight; but he is most himself in presence of the dim, the
fugitive, the impalpable. His mind was essentially mystical. His
religion was not without its human side. In brooding on the inequalities
of the mortal lot, he finds comfort in the reflection: "God, though
invisible, yet holds a hand outreached to lift a little the burden that
presses on the poor. " But faith in him was of the very fibre of
imagination. He even lent a certain sympathetic credence to the mediaeval
legends of the Church, at least when the spell of Toledo was upon him.
"Outside the place that guards their memory," he says, "far from the
precincts which still preserve their traces, and where we seem yet to
breathe the atmosphere of the ages that gave them being, traditions lose
their poetic mystery, their inexplicable hold upon the soul. At a
distance we question, we analyze, we doubt; but there faith, like a
secret revelation, illuminates the spirit, and we believe. " In a letter
from Veruela to a lady of his acquaintance, a letter relating a brief
but lovely legend[6] of an appearance of the Virgin, he asserts: "Only
the hand of faith can touch the delicate flowers of tradition. " "God,"
he elsewhere says, "is the glowing, eternal centre of all beauty. "

The writer of these tales described himself thus: "I have a special
predilection for all that which cannot be vulgarized by the touch and
the judgment of the indifferent multitude. If I were to paint
landscapes, I would paint them without figures. I like the fleeting
ideas that slip away without leaving a trace on the understandings of
practical folk, like a drop of water over a marble shelf. In the cities
I visit, I seek the narrow, lonely streets; in the edifices I examine,
the dusky nooks and corners of the inner courts, where grass springs up,
and moisture enriches with its patches of greenish color the parched
tint of the wall; in the women who impress me, the hint of mystery that
I think I see shining with wavering light in the depths of their eyes,
like the glimmer of a lamp that burns unknown and unsuspected in the
sanctuary of their hearts; even in the blossoms of a shrub, I believe
there is for me something more potent and exciting in the one that
hides beneath the leaves and there, concealed, fills the air with
fragrance, unprofaned by human gaze. In all this I find a certain
unsullied purity of feelings and of things. "

Becquer goes on to admit that this "pronounced inclination sometimes
degenerates into extravagances. "




FOREWORD


In dim corners of my mind there sleep, hidden away and naked, the
freakish children of my imagination, waiting in silence for art to
clothe them with language that it may present them in decency upon the
stage of the world.

My Muse, as fruitful as the marriage-bed of poverty, and like those
parents who bring to birth more children than they have means to rear,
is ever conceiving and bearing in the mystic sanctuary of the
intelligence, peopling it with innumerable creations, to which not my
utmost effort nor all the years that are left to me of life, will be
sufficient to give form.

And here within me I sometimes feel them, all unclad and shapeless as
they are, huddled and twisted together in confusion indescribable,
stirring and living with a dim, strange life, similar to that of those
myriad germs which seethe and quiver in eternal generation within the
secret places of the earth, without winning strength enough to reach the
surface and transform themselves, at the kiss of the sun, into flowers
and fruits.
Valeriano drew woodcuts for such market as he could
find, talking, says Correa, of "the great pictures he would paint as
soon as he could get the canvases," and Gustavo translated the trashy
French novels that were in demand, writing, in the intervals of such
hack work, an occasional fantasy of delicate beauty, as _Withered
Leaves_, and ever looking forward to the time when he should have golden
hours of calm in which he might give his higher and more mystical
conceptions fitting utterance. Twice it seemed as if the way were
opening. Isabella's last prime minister, Luis Gonzalez Bravo, became
interested in the poet and made him censor of novels. Becquer
immediately availed himself of the comparative leisure thus afforded to
gather together a volume of his poems, which Gonzalez Bravo was
proposing to print at his own expense. Then burst the long-gathering
storm of 1868, the genial, unprincipled queen was dethroned, and her
prime minister of literary tastes fled to the frontier with such
precipitation that the precious manuscript entrusted to his keeping was
lost. Becquer, with that scrupulous honor well known to his friends,
promptly resigned his censorship; Valeriano's pension for the study of
national types was withdrawn; and the year 1869 saw them again in
straits. Yet they took daily comfort in their close brotherly love and
their artistic sympathies, even though, in those troublous times, their
joint enthusiasm for the beauties of Toledo once landed them in jail.
They were then temporarily residing, with their little family, in their
favorite city, "the city sombre and melancholy _par excellence_," and
had sallied out, one evening, to contemplate its ghostly charms by
moonlight. Their disordered dress, long beards, excited gestures and
eager talk roused the suspicion of a brace of Civil Guards, who, drawing
near and overhearing such dangerous terms as "apses, squinches, ogives,"
seized the conspirators without more ado and lodged them, for their
further artistic illumination, in one of the historic dungeons of
Toledo. The next morning the editorial room of _El Contemporaneo_
resounded with merriment as a letter from Becquer went the rounds,--a
letter "all full," says Correa, "of sketches representing in detail the
probable passion and death of both innocents. " The entire staff united
in a written protest and explanation to the jailer, and it was long
remembered in that office with what shining eyes and peals of laughter
the delivered prisoners, on their return, set out their adventure in
exuberant wit of words and pencil.

The second opportunity came with the founding of that now famous
periodical, _La Ilustracion de Madrid_; but it came too late. Becquer
was appointed director and looked to for regular contributions, while
Valeriano furnished many of the illustrations. The management had large
schemes in hand, including a _Library of Great Authors_, for which
Becquer began a translation of Dante. But now, when a certain degree of
freedom, relief and recognition had been at last attained, the strained
and fretted cord of life gave way. The first number of _La Ilustracion_
appeared January 12, 1870. On September 23, Valeriano died in his
brother's arms. On December 22, the poet, surrounded by devoted friends
to whom, with his failing breath, he commended his children, sank
exhausted into that mysterious repose on which, from boyhood, his
musings had so often dwelt. But his mocking destiny was not yet content.
His body was buried in one of those crowded city cemeteries always so
repugnant to him, San Nicolas in Madrid. His younger son did not live to
manhood; the elder, his namesake, went wrong.

His loyal friends, after raising what money they could for the children,
gathered together and published in three small volumes the most
characteristic of Becquer's writings,--a series of lyrical poems,[2] the
letters _From My Cell_,[3] some legends and tales of unequal merit;[4]
and a few miscellaneous articles[3] on architecture, literature and the
like.

The _Rimas_ almost immediately established Becquer's fame. He is counted
to-day among the chief lyrists of the nineteenth century. These poignant
snatches of song pass, in theme, from life to love and from love to
death. So far as they give, or purport to give, a history of the poet's
heart, they tell of passion at first requited, then of estrangement and
despair. It is supposed that a certain Julia Espin y Guillen, later the
wife of Don Benigno Quiroga Ballesteros, a living Spaniard of
distinction, figures to some extent in the _Rimas_. The house of her
father, director of the orchestra in the _Teatro Real_, was a resort of
young musicians, artists and men of letters, and here Becquer, during
his earlier years in Madrid, was a frequent guest. There seems little
doubt that his youthful devotion was given, though in silence, to this
disdainful brunette, but the poems likewise tell of a love "of gold and
snow. " There is a green-eyed maiden, too, whom he essays to comfort for
this peculiarity,--though, indeed, eyes of jewel green, strangely
fascinating, are not rare in Spain. He may have had her in mind in
writing his legend of _The Emerald Eyes_. And one of the most beautiful
lyrics follows out the slight thread of story in _Three Dates_,
representing the poet as gazing night after night up from that ancient
Toledo square, with its glorified rubbish-heap, to the ogive windows of
the convent where the nun who had so thrilled his imagination was
immured. Over the spirit of Becquer, to whom the immaterial was ever
more real than the material, no one actual woman held lasting sway. He
tells the truth of the matter in his eleventh lyric:

I am black and comely; my lips are glowing;
I am passion; my heart is hot;
The rapture of life in my veins is flowing.
For me thou callest? --I call thee not.

Pale is my forehead and gold my tresses;
Endless comforts are locked in me,
Treasure of hearthside tendernesses.
'Tis I whom thou seekest? --Nay, not thee.

I am a dream, afar, forbidden.
Vague as the mist on the mountain-brow,
A bodiless glory, haunting, hidden;
I cannot love thee. --Oh, come! come thou!

Becquer himself was wont to ascribe the premature death of poets, that
breaking of the harp while yet the golden chords have yielded but their
least of melodies, to a restless fulness of life, the imprisoned vapor
that bursts the vessel. This appears with pathetic emphasis in the
_Introduction_ that he wrote, not long before his death, for a projected
volume of tales and fantasies. He felt that he must rid his fevered
brain of their importunity, but he had begun to give expression to only
one, _The Woman of Stone_, when death broke the magic pen. The story
remains a fragment,[5] not passing beyond its opening pages of rich
artistic description, nor can its course be clearly conjectured even
though in _The Kiss_, and in the closing passages of his _Literary
Letters to a Woman_, his imagination hovers about the theme. He left,
like Hawthorne, many tantalizing titles that suggest the greatness of
our loss. That drama on "The Brothers of Sorrow," that poem on the
discovery of America, those Andalusian novels on "The Last Minstrel,"
"To Live or Not to Live," those Toledo legends on "The Foundress of
Convents," "_El Cristo de la Vega_," "The Angel Musicians," those
fantasies on "Light and Snow," "The Diana of the Indies," "The Life of
the Dead,"--these are but a few of the conceptions that teemed in his
mind but found no outlet to the world. It seemed to his friends, who
knew the man and had listened to his marvellous talk, that the scanty
handful of tales they could collect from newspapers here and there made
so inadequate a showing as almost to misrepresent his powers. Yet
however thwarted and wronged by circumstance this harvest of his
imagination may be, it deserves attention if only for its finer and less
obvious qualities. Becquer charges himself with a melancholy
temperament, and seldom, in fact, do we find in these pages the blither
humor playing in _The Set of Emeralds_; but the occasional morbidness of
his tone is due rather, it would seem, to illness and its consequent
despondency than to any native quality of his thought. He deals too much
in the horrible for modern taste, but he cannot claim, like Baudelaire,
to have "invented a new shudder. " Tales grounded in folk-lore are bound
to contain elements of superstitious terror, and the affinity of these
legends in that respect is rather with German balladry and the earlier
romanticism in general than with the genius of Poe. Becquer's truer
kinship is with Hawthorne, whose outer faculty of close and minute
observation is his as well as the inner preoccupation with mystery and
symbol. All the senses of this young Spaniard seem to have been of the
finest, his exquisite hearing entering into these tales as effectively
as his keen sight; but he is most himself in presence of the dim, the
fugitive, the impalpable. His mind was essentially mystical. His
religion was not without its human side. In brooding on the inequalities
of the mortal lot, he finds comfort in the reflection: "God, though
invisible, yet holds a hand outreached to lift a little the burden that
presses on the poor. " But faith in him was of the very fibre of
imagination. He even lent a certain sympathetic credence to the mediaeval
legends of the Church, at least when the spell of Toledo was upon him.
"Outside the place that guards their memory," he says, "far from the
precincts which still preserve their traces, and where we seem yet to
breathe the atmosphere of the ages that gave them being, traditions lose
their poetic mystery, their inexplicable hold upon the soul. At a
distance we question, we analyze, we doubt; but there faith, like a
secret revelation, illuminates the spirit, and we believe. " In a letter
from Veruela to a lady of his acquaintance, a letter relating a brief
but lovely legend[6] of an appearance of the Virgin, he asserts: "Only
the hand of faith can touch the delicate flowers of tradition. " "God,"
he elsewhere says, "is the glowing, eternal centre of all beauty. "

The writer of these tales described himself thus: "I have a special
predilection for all that which cannot be vulgarized by the touch and
the judgment of the indifferent multitude. If I were to paint
landscapes, I would paint them without figures. I like the fleeting
ideas that slip away without leaving a trace on the understandings of
practical folk, like a drop of water over a marble shelf. In the cities
I visit, I seek the narrow, lonely streets; in the edifices I examine,
the dusky nooks and corners of the inner courts, where grass springs up,
and moisture enriches with its patches of greenish color the parched
tint of the wall; in the women who impress me, the hint of mystery that
I think I see shining with wavering light in the depths of their eyes,
like the glimmer of a lamp that burns unknown and unsuspected in the
sanctuary of their hearts; even in the blossoms of a shrub, I believe
there is for me something more potent and exciting in the one that
hides beneath the leaves and there, concealed, fills the air with
fragrance, unprofaned by human gaze. In all this I find a certain
unsullied purity of feelings and of things. "

Becquer goes on to admit that this "pronounced inclination sometimes
degenerates into extravagances. "




FOREWORD


In dim corners of my mind there sleep, hidden away and naked, the
freakish children of my imagination, waiting in silence for art to
clothe them with language that it may present them in decency upon the
stage of the world.

My Muse, as fruitful as the marriage-bed of poverty, and like those
parents who bring to birth more children than they have means to rear,
is ever conceiving and bearing in the mystic sanctuary of the
intelligence, peopling it with innumerable creations, to which not my
utmost effort nor all the years that are left to me of life, will be
sufficient to give form.

And here within me I sometimes feel them, all unclad and shapeless as
they are, huddled and twisted together in confusion indescribable,
stirring and living with a dim, strange life, similar to that of those
myriad germs which seethe and quiver in eternal generation within the
secret places of the earth, without winning strength enough to reach the
surface and transform themselves, at the kiss of the sun, into flowers
and fruits.

They go with me, destined to die with me, leaving no more trace than is
left by a midnight dream which the morning cannot recall. On certain
occasions and in face of this terrible idea, there rises in them the
instinct of life, and trooping in formidable though silent multitudes
they seek tumultuously a way of escape from amid the shadows of their
dwelling-place forth to the light. But alas! between the world of idea
and the world of form yawns an abyss which only the word can bridge, and
the word, timid and slothful, refuses to aid their efforts. Mute, dim
and powerless, after the unavailing struggle they fall back into their
old passivity. So fall, inert, into the hollows by the wayside, when the
wind ceases, the yellow leaves which the autumn storm blew up.

These seditions on the part of the rebel sons of my imagination explain
some of my attacks of fever; they are the cause, unrecognized by
science, of my excitements and depressions. And thus, although in ill
estate, have I lived till now, walking among the indifferent throngs of
men with this silent tempest in my head. Thus have I lived till now, but
all things reach an end, and to these must be put their period.

Sleeplessness and fantasy go on begetting and producing with monstrous
fecundity. Their creations, crowded already like the feeble plants of a
conservatory, strive one with another for the expanding of their unreal
existences, fighting for the drops of memory as for the scanty moisture
of a sterile land. It is needful to open a channel for the deep waters,
which, daily fed from a living spring, will at last break down the dike.

Go forth, then! Go forth and live with the only life I can give you. My
intellect shall supply you with nutriment enough to make you palpable; I
will clothe you, though in rags, so that you need not blush for
nakedness. I would like to fashion for each one of you a marvellous
stuff woven of exquisite phrases, in which you could fold yourselves
with pride, as in mantles of purple. I would like to engrave the form
that must contain you as the golden vase which holds a precious ointment
is engraved. But this may not be.

And yet, I need to rest. I need, just as the body through whose swollen
veins the life-blood surges with phlethoric force, is bled, to clear my
brain, inadequate to the lodging of so many grotesqueries.

Then gather here, like the misty trail that marks the passing of an
unknown comet, like atoms dispersed in an embryonic world which Death
fans through the air, until the Creator shall have spoken the _fiat lux_
that divides light from darkness.

I would not that in my sleepless nights you still should pass before my
eyes in weird procession, begging me with gestures and contortions to
draw you out from the limbo in which you lead these phantom, thin
existences into the life of reality. I would not that at the breaking of
this harp already old and cracked the unknown notes which it contained
should perish with the instrument. I would interest myself a little in
the world which lies without me, free at last to withdraw my eyes from
this other world that I carry within my head. Common sense, which is the
barrier of dreamland, is beginning to give way, and the people of the
different camps mingle and grow confused. It costs me an effort to know
which things I have dreamed and which have actually happened. My
affections are divided between real persons and phantasms of the
imagination. My memory shifts from one category to the other the names
of women who have died and the dates of days that have passed, with days
and women that have existed only in my mind. I must put an end to this
by flinging you all forth from my brain once and forever.

If to die is to sleep, I would sleep in peace in the night of death,
without your coming to be my nightmare, cursing me for having doomed you
to nothingness before you had been born. Go, then, to the world at whose
touch you came into being, and linger there, as the echo which life's
joys and griefs, hopes and struggles, found in one soul that passed
across the earth.

Perchance very soon must I pack my portmanteau for the great journey. At
any moment the spirit may free herself from the material that she may
rise to purer air. I would not, when this moment comes, take with me, as
the trivial baggage of a mountebank, the treasure of tinsel and tatters
that my Fancy has been heaping up in the rubbish chambers of the brain.




ROMANTIC LEGENDS OF SPAIN




MASTER PEREZ THE ORGANIST


In Seville, in the very portico of Santa Ines, and while, on Christmas
Eve, I was waiting for the Midnight Mass to begin, I heard this
tradition from a lay-sister of the convent.

As was natural, after hearing it, I waited impatiently for the ceremony
to commence, eager to be present at a miracle.

Nothing could be less miraculous, however, than the organ of Santa Ines,
and nothing more vulgar than the insipid motets with which that night
the organist regaled us.

On going out from the mass, I could not resist asking the lay-sister
mischievously:

"How does it happen that the organ of Master Perez is so unmusical at
present? "

"Why! " replied the old woman. "Because it isn't his. "

"Not his? What has become of it? "

"It fell to pieces from sheer old age, a number of years ago. "

"And the soul of the organist? "

"It has not appeared again since the new organ was set up in place of
his own. "

If anyone of my readers, after perusing this history, should be moved to
ask the same question, now he knows why the notable miracle has not
continued into our own time.


I.

"Do you see that man with the scarlet cloak and the white plume in his
hat,--the one who seems to wear on his waistcoat all the gold of the
galleons of the Indies,--that man, I mean, just stepping down from his
litter to give his hand to the lady there, who, now that she is out of
hers, is coming our way, preceded by four pages with torches? Well, that
is the Marquis of Moscoso, suitor to the widowed Countess of
Villapineda. They say that before setting his eyes upon this lady, he
had asked in marriage the daughter of a man of large fortune, but the
girl's father, of whom the rumor goes that he is a bit of a miser,--but
hush! Speaking of the devil--do you see that man coming on foot under
the arch of San Felipe, all muffled up in a dark cloak and attended by a
single servant carrying a lantern? Now he is in front of the outer
shrine.

"Do you notice, as his cloak falls back while he salutes the image, the
embroidered cross that sparkles on his breast?

"If it were not for this noble decoration, one would take him for a
shop-keeper from Culebras street. Well, that is the father in question.
See how the people make way for him and lift their hats.

"Everybody in Seville knows him on account of his immense fortune. That
one man has more golden ducats in his chests than our lord King Philip
maintains soldiers, and with his merchantmen he could form a squadron
equal to that of the Grand Turk----

"Look, look at that group of stately cavaliers! Those are the four and
twenty knights. Aha, aha! There goes that precious Fleming, too, whom,
they say, the gentlemen of the green cross have not challenged for
heresy yet, thanks to his influence with the magnates of Madrid. All he
comes to church for is to hear the music. But if Master Perez does not
draw from him with his organ tears as big as fists, then sure it is that
his soul isn't under his doublet, but sizzles in the Devil's frying-pan.
Alack, neighbor! Trouble, trouble! I fear there is going to be a fight.
I shall take refuge in the church; for, from what I see, there will be
hereabouts more blows than _Pater Nosters_. Look, look! The Duke of
Alcala's people are coming round the corner of San Pedro's square, and I
think I spy the Duke of Medinasidonia's men in Duenas alley. Didn't I
tell you?

"Now they have caught sight of each other, now the two parties stop
short, without breaking their order, the groups of bystanders dissolve,
the police, who on these occasions get pounded by both sides, slip away,
even the prefect, staff of office and all, seeks the shelter of the
portico,--and yet they say that there is law to be had.

"For the poor----

"There, there! already shields are shining through the dark. Our Lord
Jesus of All Power deliver us! Now the blows are beginning. Neighbor,
neighbor! this way--before they close the doors. But hush! What is this?
Hardly have they begun when they leave off. What light is that? Blazing
torches! A litter! It's His Reverence the Bishop.

"The most holy Virgin of Protection, on whom this very instant I was
calling in my heart, brings him to my aid. Ah! But nobody knows what I
owe to that Blessed Lady,--how richly she pays me back for the little
candles that I burn to her every Saturday. --See him! How beautiful he is
with his purple vestments and his red cardinal's cap! God preserve him
in his sacred chair as many centuries as I wish to live myself! If it
were not for him, half Seville would have been burned up by this time
with these quarrels of the dukes. See them, see them, the great
hypocrites, how they both press close to the litter of the prelate to
kiss his ring! How they drop behind and, mingling with his household
attendants, follow in his train! Who would dream that those two who
appear on such good terms, if within the half hour they should meet in a
dark street--that is, the dukes themselves--God deliver me from thinking
them cowards; good proof have they given of valor, warring more than
once against the enemies of Our Lord; but the truth remains, that if
they should seek each other--and seek with the wish to find--they would
find each other, putting end once for all to these continuous scuffles,
in which those who really do the fighting are their kinsmen, their
friends and their servants.

"But come, neighbor, come into the church, before it is packed full.
Some nights like this it is so crowded that there is not room left for a
grain of wheat. The nuns have a prize in their organist. When has the
convent ever been in such high favor as now? I can tell you that the
other sisterhoods have made Master Perez magnificent offers, but there
is nothing strange about that, for the Lord Archbishop himself has
offered him mountains of gold to entice him to the cathedral,--but he,
not a bit of it! He would sooner give up his life than his beloved
organ. You don't know Master Perez? True enough, you are a newcomer in
this neighborhood. Well, he is a saint; poor, but the most charitable
man alive. With no other relative than his daughter and no other friend
than his organ, he devotes all his life to watching over the innocence
of the one and patching up the registers of the other. Mind that the
organ is old. But that counts for nothing, he is so handy in mending it
and caring for it that its sound is a marvel. For he knows it so
perfectly that only by touch,--for I am not sure that I have told you
the poor gentleman is blind from his birth. And how patiently he bears
his misfortune! When people ask him how much

[Illustration: THE CATHEDRAL, SEVILLE]

he would give to see, he replies: 'Much, but not as much as you think,
for I have hopes. ' 'Hopes of seeing? ' 'Yes, and very soon,' he adds,
smiling like an angel. 'Already I number seventy-six years; however long
my life may be, soon I shall see God. '

"Poor dear! And he will see Him, for he is humble as the stones of the
street, which let all the world trample on them. He always says that he
is only a poor convent organist, when the fact is he could give lessons
in harmony to the very chapel master of the Cathedral, for he was, as it
were, born to the art. His father held the same position before him; I
did not know the father, but my mother--God rest her soul! --says that he
always had the boy at the organ with him to blow the bellows. Then the
lad developed such talent that, as was natural, he succeeded to the
position on the death of his father. And what a touch is in his hands,
God bless them! They deserve to be taken to Chicarreros street and there
enchased in gold. He always plays well, always, but on a night like this
he is a wonder. He has the greatest devotion for this ceremony of the
Midnight Mass, and when the Host is elevated, precisely at twelve
o'clock, which is the moment Our Lord Jesus Christ came into the world,
the tones of his organ are the voices of angels.

"But, after all, why should I praise to you what you will hear to-night?
It is enough to see that all the most distinguished people of Seville,
even the Lord Archbishop himself, come to a humble convent to listen to
him; and don't suppose that it is only the learned people and those who
are versed in music that appreciate his genius, but the very rabble of
the streets. All these groups that you see arriving with pine-torches
ablaze, chorusing popular songs, broken by rude outcries, to the
accompaniment of timbrels, tambourines and rustic drums, these, contrary
to their custom, which is to make disturbance in the churches, are still
as the dead when Master Perez lays his hands upon the organ, and when
the Host is elevated, you can't hear a fly; great tears roll down from
the eyes of all, and at the end is heard a sound like an immense sigh,
which is nothing else than the expulsion of the breath of the multitude,
held in while the music lasts. But come, come!