Poor Folk in Spain

by Jan Gordon; Cora Gordon

The bargain concluded, Ramirez picked up one of the unfinished instruments. He handed it to Jan, exhorting him to explore with a finger the exquisite workmanship of its interior. He rapped on the belly with his knuckle, and at the sound of its deep musical boom he smiled for the first time. Ramirez, having thawed, did not freeze up again. He began explaining the novel shape of his instrument, a shape which had been worked out for him by a mathematical philosopher. He said that the guitar was the most difficult of musical instruments to make, requiring a volume of tone which had to be produced from strings easy to pluck and finger. A problem very difficult to solve.

"And the guitar I made for you," he said, turning to Perez, "you gave it to S——?"

"Yes," said Perez.

"See here," said Ramirez, turning to us, "I make a guitar, an excellent one, one of my best. This fellow comes to see me, he hears the instrument. He says to me, 'Ramirez, keep that guitar for me, and I will at once go to work in a French munition factory, and I will work like a slave, and every week I will send you money until the guitar is paid for.' And I agree. And he goes and makes aeroplanes, and does honest work for the first time in his life, I believe, and every week he sends money to me. And the week it is all paid up he stops work and goes off with the guitar. And he is crazy about the instrument. And he goes back to Spain and then he hears S—— playing. He is so enraptured by the wonderful playing of the man, that he runs home, fetches his guitar, and thrusts it into S—— 's hands, exclaiming: 'Here is an instrument worthy of you. It is too good for me, for I am a mere bungler beside you.' And so he gives away the guitar that he has laboured for. Ah yes, you villain, I have heard of you."

As we went down the hill, Perez tried to explain away this generosity so characteristic of his impulsive nature.

"It is not as though I would have played on the instrument again after having heard S—— touch it. Every time that I wished to play I would have thought, 'Ah yes, but if only he were playing it and not I.' And I had to give it to him, or perhaps I would never have been able to play again."

He asked us to come that evening to a certain small café in the Rue Campagne Premier; some other Spaniards were to come also and there was to be playing and singing. We were to come after the legal closing time, and we were to thump on the shutters.

In the night, in the dark, we rapped upon the rusty iron shutters, and one by one, like conspirators, were admitted into the dimly-lit café. It was a small place, characteristic of Paris, a combination of buvette with zinc bar, and cheap restaurant with marble-topped tables. Five years ago a good meal could be bought here for less than a franc. Behind the bar bottles and glass vats reached up to the ceiling; upon the dirty, green, oil-painted walls, cheap almanacs and trivial popular prints hung, together with excellent drawings and sketches, presented to Madame by her clients. One by one the invités slipped in. Madame and her two girl waitresses laughed and giggled at the kitchen door, while the patron, grey-moustached, hollow-eyed and cadaverous, uncorked the bottles of wine behind the bar.

Here again for several hours the Spaniards re-created Spain. Perez is a player of temperament. Half of his skill and art he appears to suck from his audience. Thus at first he plays but indifferently well; but any music will rouse a crowd of Spaniards. To the growing excitement Perez responds, playing the better for it, thus creating more enthusiasm, and these interchanges continue, until he reaches the limit of his ability. But he is so sensitive to his audience that one indifferent person can take the edge off all his power. This night there was no one unresponsive. The playing of Perez became more and more brilliant. With his nails be rasped deep chords from his responsive instrument; to and fro he beat the strings in the remorseless rhythm of Jota Arragonesa. In the dimly lit café the dark figures and the sallow faces of the Spaniards were crowded about him in an irregular circle. "Olé! Olé!" they cried, and clapped their hands in time with the music. The air within the café throbbed and pulsated with the music. "Mais, c'est très bien," exclaimed Madame at intervals from her corner. "C'est très amusant, hein?" Two of the younger men were murmuring to the waitresses and were making them titter.

"Come," exclaimed Perez at last, "enough of this piece playing. Let us have a song. Vamos! who will sing?"