Sometimes they would fall a-shouting all together, and then keep quiet as if listening. By-and-by I began to hear answering yells, that seemed to converge upon us from all directions.
We were in the thick of it. It was Manuel’s boat, as Castro had guessed, and the other boats were rallying upon it gropingly, keeping up a succession of yells:
“Ohe! Ohe! Where, where?”
And the people in Manuel’s boat howled back at them, “Ohe! Ohe...e! This way; here!”
Suddenly he struck the guitar a mighty blow, and chanted in an inspired and grandiose strain:
“Steer—for—the—song.”
His fingers ran riot among the strings, and above the jingling his voice, forced to the highest pitch, declaimed, as in the midst of a tempest:
“I adore the saints in the glory of heaven And, on the dust of the earth, The print of her footsteps.”
He was improvising. Sometimes he gasped; the rill of softened tinkle ran on, and, glaring watchfully, I fancied I could detect his shape in the white vapour, like a shadow thrown from afar by a tallow dip upon a snowy sheet—the lank droop of his posturing, the greasy locks, the attentive poise of his head, the sentimental rolling of his lustrous and enormous eyes.
I had not forgotten his astonishing display in the cabin of the schooner when, after the confiding of his woes and his ambitions, he had favoured me with a sample of his art. As at that time, when he had been nursing his truculent conceit, he sang, and the unsteady twanging of his guitar lurched and staggered far behind his voice, like a drunken slave in the footsteps of a raving master. Tinkle, tinkle, twang! A headlong rush of muddled fingering; a sudden bang, like a heavy stumble.