No More Learning

He smites him in
the face, and they wrangle. We are fascinated by their shame, and
loiter, till Virgil chides us and leads us away to that city turreted by
giants where great Nimrod blows his horn. Terrible things are in store
for us, and we go to meet them in Dante's raiment and with Dante's heart.
We traverse the marshes of the Styx, and Argenti swims to the boat
through the slimy waves. He calls to us, and we reject him. When we
hear the voice of his agony we are glad, and Virgil praises us for the
bitterness of our scorn. We tread upon the cold crystal of Cocytus, in
which traitors stick like straws in glass. Our foot strikes against the
head of Bocca. He will not tell us his name, and we tear the hair in
handfuls from the screaming skull. Alberigo prays us to break the ice
upon his face that he may weep a little. We pledge our word to him, and
when he has uttered his dolorous tale we deny the word that we have
spoken, and pass from him; such cruelty being courtesy indeed, for who
more base than he who has mercy for the condemned of God? In the jaws of
Lucifer we see the man who sold Christ, and in the jaws of Lucifer the
men who slew Caesar. We tremble, and come forth to re-behold the
stars. --_The Critic as Artist_.




THE LIMITATIONS OF GENIUS


The appeal of all Art is simply to the artistic temperament. Art does
not address herself to the specialist. Her claim is that she is
universal, and that in all her manifestations she is one. Indeed, so far
from its being true that the artist is the best judge of art, a really
great artist can never judge of other people's work at all, and can
hardly, in fact, judge of his own. That very concentration of vision
that makes a man an artist, limits by its sheer intensity his faculty of
fine appreciation. The energy of creation hurries him blindly on to his
own goal. The wheels of his chariot raise the dust as a cloud around
him. The gods are hidden from each other. They can recognise their
worshippers. That is all . . . Wordsworth saw in _Endymion_ merely a
pretty piece of Paganism, and Shelley, with his dislike of actuality, was
deaf to Wordsworth's message, being repelled by its form, and Byron, that
great passionate human incomplete creature, could appreciate neither the
poet of the cloud nor the poet of the lake, and the wonder of Keats was
hidden from him. The realism of Euripides was hateful to Sophokles.
Those droppings of warm tears had no music for him. Milton, with his
sense of the grand style, could not understand the method of Shakespeare,
any more than could Sir Joshua the method of Gainsborough. Bad artists
always admire each other's work. They call it being large-minded and
free from prejudice. But a truly great artist cannot conceive of life
being shown, or beauty fashioned, under any conditions other than those
that he has selected. Creation employs all its critical faculty within
its own sphere. It may not use it in the sphere that belongs to others.
It is exactly because a man cannot do a thing that he is the proper judge
of it. --_The Critic as Artist_.




WANTED A NEW BACKGROUND


He who would stir us now by fiction must either give us an entirely new
background, or reveal to us the soul of man in its innermost workings.
The first is for the moment being done for us by Mr. Rudyard Kipling. As
one turns over the pages of his _Plain Tales from the Hills_, one feels
as if one were seated under a palm-tree reading life by superb flashes of
vulgarity. The bright colours of the bazaars dazzle one's eyes. The
jaded, second-rate Anglo-Indians are in exquisite incongruity with their
surroundings. The mere lack of style in the story-teller gives an odd
journalistic realism to what he tells us. From the point of view of
literature Mr. Kipling is a genius who drops his aspirates. From the
point of view of life, he is a reporter who knows vulgarity better than
any one has ever known it. Dickens knew its clothes and its comedy. Mr.
Kipling knows its essence and its seriousness. He is our first authority
on the second-rate, and has seen marvellous things through keyholes, and
his backgrounds are real works of art. As for the second condition, we
have had Browning, and Meredith is with us. But there is still much to
be done in the sphere of introspection. People sometimes say that
fiction is getting too morbid. As far as psychology is concerned, it has
never been morbid enough. We have merely touched the surface of the
soul, that is all. In one single ivory cell of the brain there are
stored away things more marvellous and more terrible than even they have
dreamed of, who, like the author of _Le Rouge et le Noir_, have sought to
track the soul into its most secret places, and to make life confess its
dearest sins. Still, there is a limit even to the number of untried
backgrounds, and it is possible that a further development of the habit
of introspection may prove fatal to that creative faculty to which it
seeks to supply fresh material. I myself am inclined to think that
creation is doomed. It springs from too primitive, too natural an
impulse. However this may be, it is certain that the subject-matter at
the disposal of creation is always diminishing, while the subject-matter
of criticism increases daily. There are always new attitudes for the
mind, and new points of view. The duty of imposing form upon chaos does
not grow less as the world advances. There was never a time when
Criticism was more needed than it is now. It is only by its means that
Humanity can become conscious of the point at which it has arrived. --_The
Critic as Artist_.




WITHOUT FRONTIERS


Goethe--you will not misunderstand what I say--was a German of the
Germans. He loved his country--no man more so. Its people were dear to
him; and he led them. Yet, when the iron hoof of Napoleon trampled upon
vineyard and cornfield, his lips were silent. 'How can one write songs
of hatred without hating? ' he said to Eckermann, 'and how could I, to
whom culture and barbarism are alone of importance, hate a nation which
is among the most cultivated of the earth and to which I owe so great a
part of my own cultivation? ' This note, sounded in the modern world by
Goethe first, will become, I think, the starting point for the
cosmopolitanism of the future. Criticism will annihilate
race-prejudices, by insisting upon the unity of the human mind in the
variety of its forms. If we are tempted to make war upon another nation,
we shall remember that we are seeking to destroy an element of our own
culture, and possibly its most important element. As long as war is
regarded as wicked, it will always have its fascination. When it is
looked upon as vulgar, it will cease to be popular. The change will of
course be slow, and people will not be conscious of it. They will not
say 'We will not war against France because her prose is perfect,' but
because the prose of France is perfect, they will not hate the land.
Intellectual criticism will bind Europe together in bonds far closer than
those that can be forged by shopman or sentimentalist. It will give us
the peace that springs from understanding. --_The Critic as Artist_.




THE POETRY OF ARCHAEOLOGY


Infessura tells us that in 1485 some workmen digging on the Appian Way
came across an old Roman sarcophagus inscribed with the name 'Julia,
daughter of Claudius. ' On opening the coffer they found within its
marble womb the body of a beautiful girl of about fifteen years of age,
preserved by the embalmer's skill from corruption and the decay of time.
Her eyes were half open, her hair rippled round her in crisp curling
gold, and from her lips and cheek the bloom of maidenhood had not yet
departed. Borne back to the Capitol, she became at once the centre of a
new cult, and from all parts of the city crowded pilgrims to worship at
the wonderful shrine, till the Pope, fearing lest those who had found the
secret of beauty in a Pagan tomb might forget what secrets Judaea's rough
and rock-hewn sepulchre contained, had the body conveyed away by night,
and in secret buried. Legend though it may be, yet the story is none the
less valuable as showing us the attitude of the Renaissance towards the
antique world. Archaeology to them was not a mere science for the
antiquarian; it was a means by which they could touch the dry dust of
antiquity into the very breath and beauty of life, and fill with the new
wine of romanticism forms that else had been old and outworn. From the
pulpit of Niccola Pisano down to Mantegna's 'Triumph of Caesar,' and the
service Cellini designed for King Francis, the influence of this spirit
can be traced; nor was it confined merely to the immobile arts--the arts
of arrested movement--but its influence was to be seen also in the great
Graeco-Roman masques which were the constant amusement of the gay courts
of the time, and in the public pomps and processions with which the
citizens of big commercial towns were wont to greet the princes that
chanced to visit them; pageants, by the way, which were considered so
important that large prints were made of them and published--a fact which
is a proof of the general interest at the time in matters of such
kind. --_The Truth of Masks_.




THE ART OF ARCHAEOLOGY


Indeed archaeology is only really delightful when transfused into some
form of art. I have no desire to underrate the services of laborious
scholars, but I feel that the use Keats made of Lempriere's Dictionary is
of far more value to us than Professor Max Muller's treatment of the same
mythology as a disease of language. Better _Endymion_ than any theory,
however sound, or, as in the present instance, unsound, of an epidemic
among adjectives! And who does not feel that the chief glory of
Piranesi's book on Vases is that it gave Keats the suggestion for his
'Ode on a Grecian Urn'? Art, and art only, can make archaeology
beautiful; and the theatric art can use it most directly and most
vividly, for it can combine in one exquisite presentation the illusion of
actual life with the wonder of the unreal world. But the sixteenth
century was not merely the age of Vitruvius; it was the age of Vecellio
also. Every nation seems suddenly to have become interested in the dress
of its neighbours. Europe began to investigate its own clothes, and the
amount of books published on national costumes is quite extraordinary. At
the beginning of the century the _Nuremberg Chronicle_, with its two
thousand illustrations, reached its fifth edition, and before the century
was over seventeen editions were published of Munster's _Cosmography_.
Besides these two books there were also the works of Michael Colyns, of
Hans Weigel, of Amman, and of Vecellio himself, all of them well
illustrated, some of the drawings in Vecellio being probably from the
hand of Titian.

Nor was it merely from books and treatises that they acquired their
knowledge. The development of the habit of foreign travel, the increased
commercial intercourse between countries, and the frequency of diplomatic
missions, gave every nation many opportunities of studying the various
forms of contemporary dress. After the departure from England, for
instance, of the ambassadors from the Czar, the Sultan and the Prince of
Morocco, Henry the Eighth and his friends gave several masques in the
strange attire of their visitors. Later on London saw, perhaps too
often, the sombre splendour of the Spanish Court, and to Elizabeth came
envoys from all lands, whose dress, Shakespeare tells us, had an
important influence on English costume. --_The Truth of Masks_.




HEROD SUPPLIANT


Non, non, vous ne voulez pas cela. Vous me dites cela seulement pour me
faire de la peine, parce que je vous ai regardee pendant toute la soiree.
Eh! bien, oui. Je vous ai regardee pendant toute la soiree. Votre
beaute m'a trouble. Votre beaute m'a terriblement trouble, et je vous ai
trop regardee. Mais je ne le ferai plus. Il ne faut regarder ni les
choses ni les personnes. Il ne faut regarder que dans les miroirs. Car
les miroirs ne nous montrent que des masques . . . Oh! Oh! du vin! j'ai
soif . . . Salome, Salome, soyons amis. Enfin, voyez . . . Qu'est-ce que
je voulais dire? Qu'est-ce que c'etait? Ah! je m'en souviens! . . .
Salome! Non, venez plus pres de moi. J'ai peur que vous ne m'entendiez
pas . . . Salome, vous connaissez mes paons blancs, mes beaux paons
blancs, qui se promenent dans le jardin entre les myrtes et les grands
cypres. Leurs becs sont dores, et les grains qu'ils mangent sont dores
aussi, et leurs pieds sont teints de pourpre. La pluie vient quand ils
crient, et quand ils se pavanent la lune se montre au ciel. Ils vont
deux a deux entre les cypres et les myrtes noirs et chacun a son esclave
pour le soigner. Quelquefois ils volent a travers les arbres, et
quelquefois ils couchent sur le gazon et autour de l'etang. Il n'y a pas
dans le monde d'oiseaux si merveilleux. Il n'y a aucun roi du monde qui
possede des oiseaux aussi merveilleux. Je suis sur que meme Cesar ne
possede pas d'oiseaux aussi beaux. Eh bien! je vous donnerai cinquante
de mes paons. Ils vous suivront partout, et au milieu d'eux vous serez
comme la lune dans un grand nuage blanc . . . Je vous les donnerai tous.
Je n'en ai que cent, et il n'y a aucun roi du monde qui possede des paons
comme les miens, mais je vous les donnerai tous. Seulement, il faut me
delier de ma parole et ne pas me demander ce que vous m'avez
demande. --_Salome_.




THE TETRARCH'S REMORSE


Salome, pensez a ce que vous faites. Cet homme vient peut-etre de Dieu.
Je suis sur qu'il vient de Dieu. C'est un saint homme. Le doigt de Dieu
l'a touche. Dieu a mis dans sa bouche des mots terribles. Dans le
palais, comme dans le desert, Dieu est toujours avec lui . . . Au moins,
c'est possible. On ne sait pas, mais il est possible que Dieu soit pour
lui et avec lui. Aussi peut-etre que s'il mourrait, il m'arriverait un
malheur. Enfin, il a dit que le jour ou il mourrait il arriverait un
malheur a quelqu'un. Ce ne peut etre qu'a moi. Souvenez-vous, j'ai
glisse dans le sang quand je suis entre ici. Aussi j'ai entendu un
battement d'ailes dans l'air, un battement d'ailes gigantesques. Ce sont
de tres mauvais presages. Et il y en avait d'autres. Je suis sur qu'il
y en avait d'autres, quoique je ne les aie pas vus. Eh bien! Salome,
vous ne voulez pas qu'un malheur m'arrive? Vous ne voulez pas
cela. --_Salome_.




THE TETRARCH'S TREASURE


Moi, je suis tres calme. Je suis tout a fait calme. Ecoutez. J'ai des
bijoux caches ici que meme votre mere n'a jamais vus, des bijoux tout a
fait extraordinaires. J'ai un collier de perles a quatre rangs. On
dirait des lunes enchainees de rayons d'argent. On dirait cinquante
lunes captives dans un filet d'or. Une reine l'a porte sur l'ivoire de
ses seins. Toi, quand tu le porteras, tu seras aussi belle qu'une reine.
J'ai des amethystes de deux especes. Une qui est noire comme le vin.
L'autre qui est rouge comme du vin qu'on a colore avec de l'eau. J'ai
des topazes jaunes comme les yeux des tigres, et des topazes roses comme
les yeux des pigeons, et des topazes vertes comme les yeux des chats.
J'ai des opales qui brulent toujours avec une flamme qui est tres froide,
des opales qui attristent les esprits et ont peur des tenebres. J'ai des
onyx semblables aux prunelles d'une morte. J'ai des selenites qui
changent quand la lune change et deviennent pales quand elles voient le
soleil. J'ai des saphirs grands comme des oeufs et bleus comme des
fleurs bleues. La mer erre dedans, et la lune ne vient jamais troubler
le bleu de ses flots. J'ai des chrysolithes et des beryls, j'ai des
chrysoprases et des rubis, j'ai des sardonyx et des hyacinthes, et des
calcedoines et je vous les donnerai tous, mais tous, et j'ajouterai
d'autres choses. Le roi des Indes vient justement de m'envoyer quatre
eventails faits de plumes de perroquets, et le roi de Numidie une robe
faite de plumes d'autruche.
J'ai un cristal qu'il n'est pas permis aux
femmes de voir et que meme les jeunes hommes ne doivent regarder qu'apres
avoir ete flagelles de verges. Dans un coffret de nacre j'ai trois
turquoises merveilleuses. Quand on les porte sur le front on peut
imaginer des choses qui n'existent pas, et quand on les porte dans la
main on peut rendre les femmes steriles. Ce sont des tresors de grande
valeur. Ce sont des tresors sans prix. Et ce n'est pas tout. Dans un
coffret d'ebene j'ai deux coupes d'ambre qui ressemblent a des pommes
d'or. Si un ennemi verse du poison dans ces coupes elles deviennent
comme des pommes d'argent. Dans un coffret incruste d'ambre j'ai des
sandales incrustees de verre. J'ai des manteaux qui viennent du pays des
Seres et des bracelets garnis d'escarboucles et de jade qui viennent de
la ville d'Euphrate. . . Enfin, que veux-tu, Salome? Dis-moi ce que tu
desires et je te le donnerai. Je te donnerai tout ce que tu demanderas,
sauf une chose. Je te donnerai tout ce que je possede, sauf une vie. Je
te donnerai le manteau du grand pretre. Je te donnerai le voile du
sanctuaire. --_Salome_.




SALOME ANTICIPATES DR. STRAUSS


Ah! tu n'as pas voulu me laisser baiser ta bouche, Iokanaan. Eh bien! je
la baiserai maintenant. Je la mordrai avec mes dents comme on mord un
fruit mur. Oui, je baiserai ta bouche, Iokanaan. Je te l'ai dit, n'est-
ce pas? je te l'ai dit. Eh bien! je la baiserai maintenant . . . Mais
pourquoi ne me regardes-tu pas, Iokanaan? Tes yeux qui etaient si
terribles, qui etaient si pleins de colere et de mepris, ils sont fermes
maintenant. Pourquoi sont-ils fermes? Ouvre tes yeux! Souleve tes
paupieres, Iokanaan. Pourquoi ne me regardes-tu pas? As-tu peur de moi,
Iokanaan, que tu ne veux pas me regarder? . . . Et ta langue qui etait
comme un serpent rouge dardant des poisons, elle ne remue plus, elle ne
dit rien maintenant, Iokanaan, cette vipere rouge qui a vomi son venin
sur moi. C'est etrange, n'est-ce pas? Comment se fait-il que la vipere
rouge ne remue plus? . . . Tu n'as pas voulu de moi, Iokanaan. Tu m'as
rejetee. Tu m'as dit des choses infames. Tu m'as traitee comme une
courtisane, comme une prostituee, moi, Salome, fille d'Herodias,
Princesse de Judee! Eh bien, Iokanaan, moi je vis encore, mais toi tu es
mort et ta tete m'appartient. Je puis en faire ce que je veux. Je puis
la jeter aux chiens et aux oiseaux de l'air. Ce que laisseront les
chiens, les oiseaux de l'air le mangeront . . . Ah! Iokanaan, Iokanaan,
tu as ete le seul homme que j'ai aime. Tous les autres hommes
m'inspirent du degout. Mais, toi, tu etais beau. Ton corps etait une
colonne d'ivoire sur un socle d'argent. C'etait un jardin plein de
colombes et de lis d'argent. C'etait une tour d'argent ornee de
boucliers d'ivoire. Il n'y avait rien au monde d'aussi blanc que ton
corps. Il n'y avait rien au monde d'aussi noir que tes cheveux. Dans le
monde tout entier il n'y avait rien d'aussi rouge que ta bouche. Ta voix
etait un encensoir qui repandait d'etranges parfums, et quand je te
regardais j'entendais une musique etrange! Ah! pourquoi ne m'as-tu pas
regardee, Iokanaan? Derriere tes mains et tes blasphemes tu as cache ton
visage. Tu as mis sur tes yeux le bandeau de celui qui veut voir son
Dieu. Eh bien, tu l'as vu, ton Dieu, Iokanaan, mais moi, moi . . . tu ne
m'as jamais vue. Si tu m'avais vue, tu m'aurais aimee. Moi, je t'ai vu,
Iokanaan, et je t'ai aime. Oh! comme je t'ai aime. Je t'aime encore,
Iokanaan. Je n'aime que toi . . . J'ai soif de ta beaute. J'ai faim de
ton corps. Et ni le vin, ni les fruits ne peuvent apaiser mon desir. Que
ferai-je, Iokanaan, maintenant? Ni les fleuves ni les grandes eaux, ne
pourraient eteindre ma passion. J'etais une Princesse, tu m'as
dedaignee. J'etais une vierge, tu m'as defloree. J'etais chaste, tu as
rempli mes veines de feu . . . Ah! Ah! pourquoi ne m'as-tu pas regardee,
Iokanaan? Si tu m'avais regardee tu m'aurais aimee. Je sais bien que tu
m'aurais aimee, et le mystere de l'amour est plus grand que le mystere de
la mort. Il ne faut regarder que l'amour. --_Salome_.




THE YOUNG KING


All rare and costly materials had certainly a great fascination for him,
and in his eagerness to procure them he had sent away many merchants,
some to traffic for amber with the rough fisher-folk of the north seas,
some to Egypt to look for that curious green turquoise which is found
only in the tombs of kings, and is said to possess magical properties,
some to Persia for silken carpets and painted pottery, and others to
India to buy gauze and stained ivory, moonstones and bracelets of jade,
sandal-wood and blue enamel and shawls of fine wool.

But what had occupied him most was the robe he was to wear at his
coronation, the robe of tissued gold, and the ruby-studded crown, and the
sceptre with its rows and rings of pearls. Indeed, it was of this that
he was thinking to-night, as he lay back on his luxurious couch, watching
the great pinewood log that was burning itself out on the open hearth.
The designs, which were from the hands of the most famous artists of the
time, had been submitted to him many months before, and he had given
orders that the artificers were to toil night and day to carry them out,
and that the whole world was to be searched for jewels that would be
worthy of their work. He saw himself in fancy standing at the high altar
of the cathedral in the fair raiment of a King, and a smile played and
lingered about his boyish lips, and lit up with a bright lustre his dark
woodland eyes.

After some time he rose from his seat, and leaning against the carved
penthouse of the chimney, looked round at the dimly-lit room. The walls
were hung with rich tapestries representing the Triumph of Beauty. A
large press, inlaid with agate and lapis-lazuli, filled one corner, and
facing the window stood a curiously wrought cabinet with lacquer panels
of powdered and mosaiced gold, on which were placed some delicate goblets
of Venetian glass, and a cup of dark-veined onyx. Pale poppies were
broidered on the silk coverlet of the bed, as though they had fallen from
the tired hands of sleep, and tall reeds of fluted ivory bare up the
velvet canopy, from which great tufts of ostrich plumes sprang, like
white foam, to the pallid silver of the fretted ceiling. A laughing
Narcissus in green bronze held a polished mirror above its head. On the
table stood a flat bowl of amethyst.

Outside he could see the huge dome of the cathedral, looming like a
bubble over the shadowy houses, and the weary sentinels pacing up and
down on the misty terrace by the river. Far away, in an orchard, a
nightingale was singing. A faint perfume of jasmine came through the
open window. He brushed his brown curls back from his forehead, and
taking up a lute, let his fingers stray across the cords. His heavy
eyelids drooped, and a strange languor came over him. Never before had
he felt so keenly, or with such exquisite joy, the magic and the mystery
of beautiful things.

When midnight sounded from the clock-tower he touched a bell, and his
pages entered and disrobed him with much ceremony, pouring rose-water
over his hands, and strewing flowers on his pillow. A few moments after
that they had left the room, he fell asleep. --_The Young King_.




A CORONATION


And when the Bishop had heard them he knit his brows, and said, 'My son,
I am an old man, and in the winter of my days, and I know that many evil
things are done in the wide world. The fierce robbers come down from the
mountains, and carry off the little children, and sell them to the Moors.
The lions lie in wait for the caravans, and leap upon the camels. The
wild boar roots up the corn in the valley, and the foxes gnaw the vines
upon the hill. The pirates lay waste the sea-coast and burn the ships of
the fishermen, and take their nets from them. In the salt-marshes live
the lepers; they have houses of wattled reeds, and none may come nigh
them. The beggars wander through the cities, and eat their food with the
dogs. Canst thou make these things not to be? Wilt thou take the leper
for thy bedfellow, and set the beggar at thy board? Shall the lion do
thy bidding, and the wild boar obey thee? Is not He who made misery
wiser than thou art? Wherefore I praise thee not for this that thou hast
done, but I bid thee ride back to the Palace and make thy face glad, and
put on the raiment that beseemeth a king, and with the crown of gold I
will crown thee, and the sceptre of pearl will I place in thy hand. And
as for thy dreams, think no more of them. The burden of this world is
too great for one man to bear, and the world's sorrow too heavy for one
heart to suffer. '

'Sayest thou that in this house? ' said the young King, and he strode past
the Bishop, and climbed up the steps of the altar, and stood before the
image of Christ.

He stood before the image of Christ, and on his right hand and on his
left were the marvellous vessels of gold, the chalice with the yellow
wine, and the vial with the holy oil. He knelt before the image of
Christ, and the great candles burned brightly by the jewelled shrine, and
the smoke of the incense curled in thin blue wreaths through the dome. He
bowed his head in prayer, and the priests in their stiff copes crept away
from the altar.

And suddenly a wild tumult came from the street outside, and in entered
the nobles with drawn swords and nodding plumes, and shields of polished
steel. 'Where is this dreamer of dreams? ' they cried. 'Where is this
King who is apparelled like a beggar--this boy who brings shame upon our
state? Surely we will slay him, for he is unworthy to rule over us. '

And the young King bowed his head again, and prayed, and when he had
finished his prayer he rose up, and turning round he looked at them
sadly.

And lo! through the painted windows came the sunlight streaming upon him,
and the sun-beams wove round him a tissued robe that was fairer than the
robe that had been fashioned for his pleasure. The dead staff blossomed,
and bare lilies that were whiter than pearls. The dry thorn blossomed,
and bare roses that were redder than rubies. Whiter than fine pearls
were the lilies, and their stems were of bright silver. Redder than male
rubies were the roses, and their leaves were of beaten gold.

He stood there in the raiment of a king, and the gates of the jewelled
shrine flew open, and from the crystal of the many-rayed monstrance shone
a marvellous and mystical light. He stood there in a king's raiment, and
the Glory of God filled the place, and the saints in their carven niches
seemed to move. In the fair raiment of a king he stood before them, and
the organ pealed out its music, and the trumpeters blew upon their
trumpets, and the singing boys sang.

And the people fell upon their knees in awe, and the nobles sheathed
their swords and did homage, and the Bishop's face grew pale, and his
hands trembled. 'A greater than I hath crowned thee,' he cried, and he
knelt before him.

And the young King came down from the high altar, and passed home through
the midst of the people. But no man dared look upon his face, for it was
like the face of an angel. --_The Young King_.




THE KING OF SPAIN


From a window in the palace the sad melancholy King watched them. Behind
him stood his brother, Don Pedro of Aragon, whom he hated, and his
confessor, the Grand Inquisitor of Granada, sat by his side. Sadder even
than usual was the King, for as he looked at the Infanta bowing with
childish gravity to the assembling counters, or laughing behind her fan
at the grim Duchess of Albuquerque who always accompanied her, he thought
of the young Queen, her mother, who but a short time before--so it seemed
to him--had come from the gay country of France, and had withered away in
the sombre splendour of the Spanish court, dying just six months after
the birth of her child, and before she had seen the almonds blossom twice
in the orchard, or plucked the second year's fruit from the old gnarled
fig-tree that stood in the centre of the now grass-grown courtyard. So
great had been his love for her that he had not suffered even the grave
to hide her from him. She had been embalmed by a Moorish physician, who
in return for this service had been granted his life, which for heresy
and suspicion of magical practices had been already forfeited, men said,
to the Holy Office, and her body was still lying on its tapestried bier
in the black marble chapel of the Palace, just as the monks had borne her
in on that windy March day nearly twelve years before. Once every month
the King, wrapped in a dark cloak and with a muffled lantern in his hand,
went in and knelt by her side calling out, '_Mi reina_! _Mi reina_! ' and
sometimes breaking through the formal etiquette that in Spain governs
every separate action of life, and sets limits even to the sorrow of a
King, he would clutch at the pale jewelled hands in a wild agony of
grief, and try to wake by his mad kisses the cold painted face.

To-day he seemed to see her again, as he had seen her first at the Castle
of Fontainebleau, when he was but fifteen years of age, and she still
younger. They had been formally betrothed on that occasion by the Papal
Nuncio in the presence of the French King and all the Court, and he had
returned to the Escurial bearing with him a little ringlet of yellow
hair, and the memory of two childish lips bending down to kiss his hand
as he stepped into his carriage. Later on had followed the marriage,
hastily performed at Burgos, a small town on the frontier between the two
countries, and the grand public entry into Madrid with the customary
celebration of high mass at the Church of La Atocha, and a more than
usually solemn _auto-da-fe_, in which nearly three hundred heretics,
amongst whom were many Englishmen, had been delivered over to the secular
arm to be burned.

Certainly he had loved her madly, and to the ruin, many thought, of his
country, then at war with England for the possession of the empire of the
New World. He had hardly ever permitted her to be out of his sight; for
her, he had forgotten, or seemed to have forgotten, all grave affairs of
State; and, with that terrible blindness that passion brings upon its
servants, he had failed to notice that the elaborate ceremonies by which
he sought to please her did but aggravate the strange malady from which
she suffered. When she died he was, for a time, like one bereft of
reason. Indeed, there is no doubt but that he would have formally
abdicated and retired to the great Trappist monastery at Granada, of
which he was already titular Prior, had he not been afraid to leave the
little Infanta at the mercy of his brother, whose cruelty, even in Spain,
was notorious, and who was suspected by many of having caused the Queen's
death by means of a pair of poisoned gloves that he had presented to her
on the occasion of her visiting his castle in Aragon. Even after the
expiration of the three years of public mourning that he had ordained
throughout his whole dominions by royal edict, he would never suffer his
ministers to speak about any new alliance, and when the Emperor himself
sent to him, and offered him the hand of the lovely Archduchess of
Bohemia, his niece, in marriage, he bade the ambassadors tell their
master that the King of Spain was already wedded to Sorrow, and that
though she was but a barren bride he loved her better than Beauty; an
answer that cost his crown the rich provinces of the Netherlands, which
soon after, at the Emperor's instigation, revolted against him under the
leadership of some fanatics of the Reformed Church. --_The Birthday of the
Infranta_.




A BULL FIGHT


A procession of noble boys, fantastically dressed as _toreadors_, came
out to meet her, and the young Count of Tierra-Nueva, a wonderfully
handsome lad of about fourteen years of age, uncovering his head with all
the grace of a born hidalgo and grandee of Spain, led her solemnly in to
a little gilt and ivory chair that was placed on a raised dais above the
arena. The children grouped themselves all round, fluttering their big
fans and whispering to each other, and Don Pedro and the Grand Inquisitor
stood laughing at the entrance. Even the Duchess--the Camerera-Mayor as
she was called--a thin, hard-featured woman with a yellow ruff, did not
look quite so bad-tempered as usual, and something like a chill smile
flitted across her wrinkled face and twitched her thin bloodless lips.

It certainly was a marvellous bull-fight, and much nicer, the Infanta
thought, than the real bull-fight that she had been brought to see at
Seville, on the occasion of the visit of the Duke of Parma to her father.
Some of the boys pranced about on richly-caparisoned hobby-horses
brandishing long javelins with gay streamers of bright ribands attached
to them; others went on foot waving their scarlet cloaks before the bull,
and vaulting lightly over the barrier when he charged them; and as for
the bull himself, he was just like a live bull, though he was only made
of wicker-work and stretched hide, and sometimes insisted on running
round the arena on his hind legs, which no live bull ever dreams of
doing. He made a splendid fight of it too, and the children got so
excited that they stood up upon the benches, and waved their lace
handkerchiefs and cried out: _Bravo toro_! _Bravo toro_! just as
sensibly as if they had been grown-up people. At last, however, after a
prolonged combat, during which several of the hobby-horses were gored
through and through, and, their riders dismounted, the young Count of
Tierra-Nueva brought the bull to his knees, and having obtained
permission from the Infanta to give the _coup de grace_, he plunged his
wooden sword into the neck of the animal with such violence that the head
came right off, and disclosed the laughing face of little Monsieur de
Lorraine, the son of the French Ambassador at Madrid.

The arena was then cleared amidst much applause, and the dead
hobby-horses dragged solemnly away by two Moorish pages in yellow and
black liveries, and after a short interlude, during which a French
posture-master performed upon the tightrope, some Italian puppets
appeared in the semi-classical tragedy of _Sophonisba_ on the stage of a
small theatre that had been built up for the purpose. They acted so
well, and their gestures were so extremely natural, that at the close of
the play the eyes of the Infanta were quite dim with tears. Indeed some
of the children really cried, and had to be comforted with sweetmeats,
and the Grand Inquisitor himself was so affected that he could not help
saying to Don Pedro that it seemed to him intolerable that things made
simply out of wood and coloured wax, and worked mechanically by wires,
should be so unhappy and meet with such terrible misfortunes. --_The
Birthday of the Infanta_.




THE THRONE ROOM


It was a throne-room, used for the reception of foreign ambassadors, when
the King, which of late had not been often, consented to give them a
personal audience; the same room in which, many years before, envoys had
appeared from England to make arrangements for the marriage of their
Queen, then one of the Catholic sovereigns of Europe, with the Emperor's
eldest son. The hangings were of gilt Cordovan leather, and a heavy gilt
chandelier with branches for three hundred wax lights hung down from the
black and white ceiling. Underneath a great canopy of gold cloth, on
which the lions and towers of Castile were broidered in seed pearls,
stood the throne itself, covered with a rich pall of black velvet studded
with silver tulips and elaborately fringed with silver and pearls. On
the second step of the throne was placed the kneeling-stool of the
Infanta, with its cushion of cloth of silver tissue, and below that
again, and beyond the limit of the canopy, stood the chair for the Papal
Nuncio, who alone had the right to be seated in the King's presence on
the occasion of any public ceremonial, and whose Cardinal's hat, with its
tangled scarlet tassels, lay on a purple _tabouret_ in front. On the
wall, facing the throne, hung a life-sized portrait of Charles V. in
hunting dress, with a great mastiff by his side, and a picture of Philip
II. receiving the homage of the Netherlands occupied the centre of the
other wall. Between the windows stood a black ebony cabinet, inlaid with
plates of ivory, on which the figures from Holbein's Dance of Death had
been graved--by the hand, some said, of that famous master himself.

But the little Dwarf cared nothing for all this magnificence. He would
not have given his rose for all the pearls on the canopy, nor one white
petal of his rose for the throne itself.