XIV
FROM A SEVILLE HOUSETOP
IN winter Seville’s sky is sometimes for weeks entirely cloudless. Day after day opens and dies peacefully away like a perfect flower; or, if a strong cold wind drives across the day, it still blows in a heaven of limitless clear blue. But in early spring the sky is often veiled in a floating canopy of grey, or one may watch the white masses of clouds thin and melt on the blue. And the blue is no longer fixed, distant, and serene; even when apparently clear it has a vague movement of dissolving mists, an intangible white softness interlacing it. It is this quality of the sky, harmonizing so well with the soft lines and delicate colours of the city, that gives to Seville in spring its unfailing charm. Especially is that charm felt in the hour when men’s cigarettes begin to glow and dot the streets with tiny fire-flies, distinct as the white flowers worn by the women in their hair. The deep-red carnations and dark violets of the open flower-stalls fade into shadow; the light greens, lilacs, yellows, browns, and blues of the houses take a greyer tinge. The last sunshine throws its thinner radiance along the white lines of flat roofs that stand out in many levels and angles on the blue or blue-and-white sky, and the effect is of pearls and opals, not the flash of polished opals, but, as it were, blue veins of opal in white chalk. The west is filled with a level radiance of pure gold, and presently the eastern sky also changes from blue to a faint golden grey. One by one the hanging street lamps begin to shed their soft glow of white light, and overhead the first stars shine faintly and vanish and reappear. The bells of goats and the mellower note of cowbells are heard as they go their evening round to be milked, driven by a boy astride his donkey, or by an old man with faded-pink umbrella; or a donkey passes laden with oranges, the fruit’s gold gleaming through the twilight afterglow from between the netting of the panniers. A breath of country air invades the city; the day’s work is ended, and perhaps from some church or convent you may hear “a distant bell that seems to mourn the dying of the day”:
“Squilla di lontano
Che paia ’l giorno pianger che si muore.”
The swift Southern twilight soon dies, but this short hour more than any other embodies the magic of a Seville spring. For Seville at other times is “a city full of stirs, a tumultuous city, a joyous city.” It wakes to a discordant music of many street cries. All kinds of wares are hawked shrilly, with loud shouts, or slow, dirge-like chants. Later in the day come the more melodious cries of “Oranges! Water! Violets! Carnations!—¡Qué buenas naranjas! Agua, quien quiere agua! Violetas! Claveles!” But to the flat brick-paved housetops, surrounded with walls of different height, from three to twenty feet, all whitewashed to their level tops, these sounds of the street come faintly. The rattle of wheels over the cobbles is deadened, the bells of slowly driven cows and goats chime distantly; sometimes one hears the intricate whistle of the knife-grinder, or a barrel-organ plays an interminable dance to the clacking of castañets, that fascinates by its ceaseless repetition. But the sounds are vague and muffled, without harshness or stridency, and here reigns more uninterrupted quiet than in the cool marble patios below, with the frequent goings out and in through the door’s iron reja. On the walls or in the line of shade beneath them stand rows of plants—roses, geraniums, heliotrope, and especially carnations. From here the street sellers fill their open stalls and baskets with the huge carnations of spring, the smaller early carnations coming chiefly from Málaga. And the carnations never look more beautiful than seen, dark red or pink or yellow, against these walls of glistening white; one is fain to call them by their German or “soft Spanish name”—Nelken, claveles. The sun rising lights up the housetops so that they gleam like snow between the dark spaces of bronze or green or blue glazed tiles, slender-springing towers, and infrequent roofs, covered thickly in spring with grass, like small fields. Or on a night of moon the city has a phantom look of whited sepulchres, and if no moon looks round her with delight when the heavens are bare, there is an uninterrupted view of stars in the whole sky, as from a ship’s deck. At midday, when the sun is all fire and narrows the lines of shadow to mere rims of black, one may not look for more than an instant across the glaring radiance of white. In the morning there is an exquisite freshness. Little smoke rises from the houses—only an occasional tiny wraith of grey—but, beyond, a dense line goes up from the Cartuja factory of azulejos, and hangs black-purple on the blue sky—the morning sky streaked with waving outdrawn wisps of white mist-like cloud. There is a flapping of pigeons’ wings as they flutter from wall to wall, and the twittering of innumerable sparrows. The hours are marked by the crystal striking of many clocks that are heard only dim and intermittently from below in the street traffic. But it is at evening that the housetop has an almost magical charm, when the sun has set in a sky of delicate gold, and in the east long thin lines of white and faint purple cloud lie across a sky of lightest blue. Then the flowers along the wall give out all their scent. Swallows whirl and swerve far overhead or lightly skim the hundred levels of whitewashed turret and wall. The claveles fade slowly in the growing dusk; the wide, uneven plain of glowing walls gradually becomes indistinct and blurred; finally the sky, too, is moulded to a perfect symmetry of grey, and perhaps an immense orange-coloured moon climbs slowly above the city. Seville is lovely in winter, when the sky is a cold, serene blue, and night by night the stars glint and glitter; lovely in spring, when everywhere, in roof and patio and garden, is a triumph of green, when the oranges still hang on the orange-trees in flower—like yellow crocuses peering from the snow—and the corn is already high in the olives beyond the river; lovely in summer, when the greens are parched and shrivelled, and a hot wind blows heavily across the fainting housetops, or in nights of sultry stillness the intense glow from many a lighted patio falls across the velvet darkness of the narrow streets. Lovely at all times, but never more lovely than in the temperate days of spring, when a hundred bells are ringing for the Feast of Resurrection, and the flowers from countless roofs are gathered for the fête; when, in scenes of fairy magic, the slow pasos move with their myriad candles burning through the twilight, along the crowded streets and plazas to the Cathedral, while still peacefully above its Court of Oranges the tall Giralda looks across the city that hems it in, to the wide dehesas of Andalucía, to the green fields and olive-covered hills beyond the gently flowing Guadalquivir, and to the distant line of the Sierra Morena.
XV
FEBRUARY IN ANDALUCÍA
NOT one perhaps in a hundred of those who visit Seville and Granada sees more than a glimpse of the beautiful country and curious villages of Andalucía; yet there is much pleasure and interest to be had from a journey through all this region. In February an early start with the sun will enable the traveller on horseback or on foot to accomplish a fair day’s journey, since the sun has not yet begun to burn and force him to rest for some six central hours of the day, as later in the year. And the outlines on every side are exquisitely clear, the sky usually cloudless, and streams flow where later there will be but dry channels. In parts the fields and roadside spaces are blue and purple with dwarf-irises (the peasants call them simply lirios, lilies), and the almond-trees are in flower; and at no time of the year is there a greater and more delightful contrast between spring in the valley and winter on the hills. Near Seville the immense plains stretch interminably to the faint mountains, brown and dull-green pastures of heather and dwarf-palm, flecked with silver-white streaks of water; herds of cattle, glossy black with white horns, pigs, horses, and great flocks of sheep graze there. Or the country is gently undulating like Sussex downs, but with softlier-moulded outlines and a horizon of faint blue mountains, in February exquisitely distinct in faintness. A village often entirely covers one of the small hills, not a house venturing forward to form an outskirt, but all clustered and compact. Steep, perfectly straight streets of sharp narrow cobbles, without side pavements, run up to the church at the top through rows of low, whitewashed houses, of a single storey and of a dazzling whiteness. At evening the labourers come in from the far distant fields in a continuous line, on foot or on mules and donkeys, and children go out to meet them and are given a ride back into the village. Sometimes their return is of several kilomètres, over deep earthy or stony paths, and, with their gleaming mattocks (pioches, azadones) over their shoulders, they are now to be seen clearly outlined on the evening sky, and now are lost from view in one of the many hollows of the hills. Far and near there is no tree, “neither bush nor shrub to bear off any weather at all,” and the winds seem to have sifted and moulded the hills into softly folding mounds and hollows. In February the winds still blow occasionally with icy breath, and you will meet men on crimson and magenta-tasselled mules and donkeys, closely wrapped in old-fashioned capas of brown, only their eyes visible. On the road there are few travellers—charcoal-burners coming down with troops of laden donkeys from the hills, or a slow cart drawn by a string of mules, the driver lazily asleep, and the reins appearing from between the soles of his sandals,[92] or a troop of gipsies, or orange sellers with the panniers of their mules brimmed with oranges, now selling at six reales, a little over a shilling, the hundred. Sometimes the country is all grey-pinched and icy, and but a little further (as near snow-white Arcos de la Frontera) are great hedges of shrubs and aloes and brambles and cactus, with a sound of bees, and hovering white and yellow butterflies, and wide spaces of tall branched flowers of asphodel and grey scented rosemary. Or in a corner of windswept hills you may find a sheltered huerta with thick hedge of tall black cypresses; the oranges crowd the trees with gold, and the almond-trees shed across the dusty road a thick carpet of broken flowers, pink and white. To Grazalema leads only a steep and narrow foot-path after one has left the road not far from Algodonales (pronounced by the peasants in a torrent of vowels Aooae) and crossed the river Guadalete. In the valley the oranges gleam in myriads, and the hills immediately above are coloured with a continuous spray of almond-trees in flower, entirely covering their sides, and sometimes crowning them in triumph. And far above, over woods of cork and evergreen oak from which rise frail blue lines of smoke from charcoal-burners’ fires, appear two or three peaks of snow clear against a pale blue sky. The path goes up along hedges of brambles through asphodels and hundreds of trailing periwinkles, with stepping-stones and flowing streams; here and there a snow-white olive-oil mill with sentinel cypresses. And, below, the pale snow-fed Guadalete flows swiftly over white stones through groves of oranges. From a distance Grazalema gives the fanciful idea of broken shells on a stony shore, with its houses of white and pink and brown, many of them overhanging and seeming to grow out of steep rocks. From the village a path leads through corkwoods, the stripped trunks of the trees a deep maroon colour, to Ronda on its sheer hill. From Antequera to Málaga by road is some fifty kilomètres, and here, too, are wonderful contrasts and sudden change from winter to summer. In the unsheltered plains round Bobadilla the almond-trees show no sign of flower, and the grey mountains above the stern frowning towers of Antequera are ice-bound. Turning the pass, appears a magnificent view of six or seven serrated hill-ranges to the line of sea beyond hidden Málaga—on the left a fantastically jagged range, sprinkled in parts with snow; on the right a long line of snow-mountains that ends in a bare range rising purple from the sea. And the ice soon grows thin and vanishes, giving place to irises, tiny jonquils, and periwinkles, and descending half-way down the mountain side, to Villanueva, the almond-trees have already lost half their blossoms, grass and white dusty road and dark new-ploughed soil are thickly strewn with their petals, and the fields of broad beans are in scented black and white flower. Along the coast full summer reigns, the balconies are heavy with trailing flowers, the sea is deepest blue, and the wind blows half-sultrily across the fields of beans and the faded-green leaves of sugar-cane, with their scent of hay. Sometimes the road is lined with poplars, and ox-carts go laden with grass and trefoil and leaves from the sugar-canes. Elsewhere the road winds inland through grey rocky hills and woods of strong-scented pines, with glimpses of blue sea; or passes high above cliffs, the sea swelling dull green immediately below or foaming round dark rocks. From Motril or some other point one may go up to Granada, the Sierra Nevada appearing and altering continually; and thoughts of the Alhambra and other names of magic shorten the road, though it has many a beautiful view and village, such as Pino to the left on the mountain side, with its white houses and deep red-brown roofs. But of the many fair districts of Andalucía perhaps the most delightful in scenery is that lying between the Guadalquivir and La Mancha, a region of brushwood and mountain. The road from Marmolejo runs up through hills covered with shrubs of every shade of green, from grey-blue to shrill yellow, many of them scented, lentiscus, escalonia, adelfa, cistus, rosemary, and a hundred more; even in February the mid-day sun scents the whole air with them. Near the village of Cardeña, some thirty miles from Marmolejo, a ruin is supposed to be that of the inn where many scenes of “Don Quixote” occurred, but only a few stones remain. Leaving the village in early morning in frost and ice in order to go down to Montoro on the Guadalquivir, the road at first is wild, bordered by oak-trees, with flocks of sheep, a few patches of corn, many magpies, the plaining of birds and the occasional whirr of a partridge. Yet even here in a few hollows are vines and almond-trees, and spaces of scented plants and wild yellow jonquils, with white or brown or yellow butterflies, a humming of bees and rustling of lizards. The road now cuts through hills of scented shrubs, so various and ordered with such careful harmony as could be rivalled by no garden planted by man. On either side are range and range of hills shrub-covered, dull green, brown and blue, brown where the shrubs have been cut for firing. To the right is a wide deep gorge with tiny river far below, and glimpses of blue distances and valleys of more hills. To the left more hills, and across a blue distance of hill valleys the Sierra de Jaen with its beautiful pyramid-shaped peak of deepest snow, and far to the right of it the two more pointed peaks of Granada’s Sierra Nevada, marvellously clear in distance. Between them and the Sierra de Jaen runs the snow-sprinkled range above the village of Los Villares de Jaen. In the transparent might of even a February noon the more distant and the higher of the near hills are purple, and the great snow-mountains below the snow-line grow faint and grey. Montoro is a beautiful quaint town rising above the Guadalquivir in seven or eight storeys of houses of red stone and whitewash. The tall church-tower, also of red stone, stands massively above the town, and precipitously steep and cobbled streets lead up to it. Houses look sheer down from windows, balconies, and gardens to the river far below, which flows over a weir above and below the town, so that there is a perpetual sound of rushing water. From Montoro one may follow the Guadalquivir, now a majestic river, through its olive groves to the famous bridge of Alcolea, and the low white line beneath bare hills and wooded mountains which is Córdoba, seen from the East. Everywhere on the roads and in the inns of Andalucía the peasants are courteous, pleasant, intelligent, picturesque; always ready to give any service in their power, often immensely ignorant. They will ask if “Ingalaterra” is not Spain’s border-country and confuse it with Gibraltar, or if the Queen was a Christian before her marriage. For the most part they cannot read or write;[93] yet they converse willingly on the most various subjects, especially on politics and religion, the mayor and the priest. Here a woman complains: “Nine children I had, and the nine are dead; it’s better so in these times of misery”; there a peasant describes the snowy Sierra in the month of August, how it glows whiter than lilies across the plain—más blanca, que una azucena; or tells how beautiful is the country in later spring when the quinces, apples, and pomegranates are in flower, que es un paraiso—a very paradise. As they sit round the candela, in the cold evenings of early spring, talk flows on into the night, always pleasant and courteous, as of one gran señor to another.
XVI
SOME CHARACTERISTICS OF SPANISH LITERATURE
THERE is not a literature in Europe more individual than that of Spain. It has been influenced greatly at various times by other countries, especially Italy and France, but in its many masterpieces it has a flavour of the soil, a local colouring that is all its own. Even when Spanish authors have borrowed most freely they have usually succeeded in casting their own individuality over their “honourable kind of thieving.” Who has a more individual genius than Juan Ruiz, the merry Archpriest of Hita? Yet it has been shown that his debt to French, Latin, and other authors is very considerable. In this form of borrowing—practised by Shakespeare—which is not a direct imitation but a loan of bricks to make them marble, there is in fact a high originality. The phrase in which the merits of the Marqués de Santillana have been summed up might be applied to the whole of Spanish literature: when it ceases to imitate it is inimitable. Santillana’s mountain songs—his serranillas are scented as it were with the thyme of the Castilian hills, whereas his sonnets in the Italian manner are colourless and artificial.
Mr. Fitzmaurice-Kelly speaks of “that forcible realistic touch, that alert vision, that intense impression of the thing seen and accurately observed which give to Spanish literature its peculiar stamp of authenticity.” The clear atmosphere of Spain, in which distant mountains seem to be close at hand, is also the atmosphere of Spanish literature. The Spaniard may have little subtlety of insight or critical judgment, but he has a directness of vision that has manifested itself in bigotry, brutality, and cynical satire, as well as in keen humour, straight-forwardness, and dignity of character. The realism which has produced the terrible Christs of the Cathedrals, with their long human hair and life-like wounds, or the polychrome statues of Spanish carvers, with a presentation of pain on the human face in all and more than all its horror—this realism may be due either to a hatred of all that is false and factitious or to a lack of sensibility, an inability to sympathize without a harsh shock, a thrill of terrified awe. What would the Greeks have said to these tortured features, these agonizing brows and flowing wounds? It is as false art to perpetuate in wood or stone the agony of a few culminating moments as it is to picture a face laughing or yawning, from whose perpetually open mouth we will soon turn with a laugh or a yawn. This realism has found a less harsh expression in Spanish literature, as in the sane and brilliant art of Velázquez. The brutality occasionally makes itself felt, as in some of Quevedo’s bitter writings, but most often the spirit is nobler and more human. In the twelfth-century “Poema del Cid” all the figures stand out in wonderful clearness, from the Cid himself to the nine years’ old child at Burgos, who tells the Cid that they dare not open their doors to him for fear of the King’s edict. And the events of the poem are brought to pass before our eyes with a joyful zest and rapidity and a stamp of truth that are worthy of Homer. We see the Cid ride with a hundred chosen knights across the Bridge of Alcántara and up Toledo’s narrow streets. We see him knocking at the gate of San Pedro de Cardeña to bid farewell to his wife Doña Jimena, and the abbot, who was saying Mass for the return of dawn, running out with lights and torches to welcome “him who was born in happy hour.” We see him again in battle as the pennants rise and fall, we hear “the sword’s griding screech” and the trampling of the horses at which the earth trembles. In “Celestina,” the long prose drama of the end of the fifteenth century, we have the same truth to life, though in very different scenes. Here it is not knights and battles, but common people of the street—the old hag Celestina, or Calisto’s servants—that are drawn with a master hand.
“Celestina” gives some inkling of the picaresque novels to come, of which the flower and cream is “Lazarillo de Tormes” (1554 is the date of our earliest edition), to be followed by “Guzmán de Alfarache,” “El Buscón,” and a long posterity in Spain, France, and England. This is no tale of true love like the “Celestina,” but of gnawing hunger and of the ingenious efforts of Lazarillo to procure himself bread. His successive masters, the blind beggar, the miserly priest, the penniless Castilian gentleman, the rascally seller of Papal bulls, are sketched in the autobiography of their servant Lazarillo, with the keen eye of famine, and are unforgettable, as is Lazarillo himself, whose name has become the common name in Spain for a blind man’s guide, just as Victor Hugo’s immortal Gavroche gave his name to the Paris gamin. It is, in fact, a masterpiece of seven short chapters, lively in every sentence, of a direct and biting humour, perhaps the most graphic story ever penned. A few terse phrases throw a scene or a character into amazingly high relief, and the picture is as fresh and living to-day as when it first appeared three and a half centuries ago. No other country and no other language could have produced a piece of realism so cynically bare, so completely charming. It has the caustic pithiness of Spanish proverbs, the bitter flavour of harsh Iberia. It belongs to life rather than to literature, but life portrayed with the restraint and force of a consummate art. It was early translated into English as “The Marvelus Dedes and the Lyf of Lazaro de Tormes.” The authorship of “Lazarillo” has been ascribed to this man and to that, and there has been great argument about it and about, without the least degree of certainty. The name of Hurtado de Mendoza is frequently to be found upon the title-page. Born in 1503, he was alive when the novel appeared; he was an author; he could write in trenchant, nay, in scurrilous style, as his letters concerning the Pope show—he calls him an old rascal, vellaco; but these are hardly conclusive proofs. Whoever the author, the work still reigns supreme, though many may have thought with Ginés de Pasamonte in “Don Quixote” that it would be an evil moment for “Lazarillo” when their memoirs appeared. Half a century after “Lazarillo” the same faithfulness to picaresque reality, with a broader outlook and a more universal sympathy, is to be found in the “Novelas Ejemplares” of Cervantes. Rinconete and Cortadillo, the eponymous heroes of one of his best-known stories, are closely related to Lazarillo; they are in fact the Lazarillos of the South of Spain. On the realism of “Don Quixote” it is unnecessary to lay stress. Mr. Fitzmaurice-Kelly, referring to its immediate triumph, says: “To contemporary readers the charm of ‘Don Quixote’ lay in its amalgamation of imaginative and realistic elements, in its accumulated episodes, in its infinite sympathy and its persuasive humour. There was no question, then, as to whether ‘Don Quixote’ was a well of symbolic doctrine. The canvas was crowded with types familiar to every one who had eyes to see his companions on the dusty highways of Spain. The wenches who served Don Quixote with stockfish and black bread; the lad Andrés, flayed in the grove of oaks by Juan Haldudo the Rich of Quintanar; the goatherds seated round the fire on which the pot of salted goat was simmering; the three lively needle-makers from the Colt of Córdoba; the midnight procession escorting the dead body from Baeza to Segovia, and chanting dirges on the road; the dozen galley-slaves tramping on, strung together like beads on an iron chain; all these are observed and presented with masterly precision of detail.”[94]