The houses are generally not more than one story high, built around an open court, on which all rooms open. In the middle of this is a fountain; no home is complete without a fountain, and no fountain is complete without its surroundings of palms, plants, and flowers. In one of the rooms you can see where the volante reposes for the night. You only see these glories at night. When the heavy bolts are drawn back you and everybody can look in from the street on the family gathering, basking in rocking-chairs around the fountain, and in oriental, somnolent conversation.
CUBA, February.
The annual soirée of the Governor and his wife took place last night. The Captain of the Port came to fetch us. The palace is, like all other official buildings, magnificent on the outside, but simple and severe within. There was a fine staircase, and all the rooms were brilliantly lighted, but very scantily furnished, according to our ideas. We must have gone through at least six rooms before we reached the host and hostess. Every room was exactly alike: in each was a red strip of carpet, half a dozen rocking-chairs placed opposite one another, a cane- bottomed sofa, a table with nothing on it, and walls ditto. There are never any curtains, and nothing is upholstered. This is the typical Cuban salon.
There was an upright piano and a pianist at it when we entered, but the resonance was so overpowering that I could not hear what he was playing. Laura and I (after having been presented to a great many people) were invited to sit in the rocking-chairs. The gentlemen either stood out in the corridor or else behind the chair of a lady and fanned her. Dulces and ices were passed round, and every one partook of them, delighted to have the opportunity to do something else than talk.
When the pianist had finished his Chopin a lady sang, accompanied by her son, who had brought a whole pile of music. She courageously attacked the Cavatina of "Ernani." The son filled up the places in her vocalization which were weak by playing a dashing chord. She was a stout lady and very warm from her exertions, and the more she exerted herself the more frequently the vacancies occurred; and the son, perspiring at every pore, had difficulty to fill them up with the chords, which became louder and more dashing.
Countess Ceballos, with much hemming and hawing, begged me to sing. I felt all eyes fixed on me; but my eyes were riveted to the little, low piano- stool on which I should have to sit. It seemed miles below the piano-keys. "How could I play on it?" Evidently none but long-bodied performers had been before me, for when I asked for a cushion, in order to raise myself a little, nothing could be found but a very bulgy bed-pillow, which was brought, I think, from the mother country. There was a sort of Andalusian swagger about it.
The dream "that I dwelt in marble halls" was no longer a dream. Here I was singing in one. I sang "Ma Mère était Bohémienne," and another song which had an easy accompaniment. It took me a little moment to temper my voice to these shorn rooms.
The charge of musketry which followed was deafening, though only gentlemen clapped their hands; ladies don't rise to such exertion in Cuba. I sang "Beware!" as a parting salute. The Captain of the Port came up, flushed with pride, and said, in his best English, "I am all proudness!"
Panelas (large pieces of frosted sugar, to be melted in water) and other sweets were passed about at intervals.
Shaking hands is a great institution here. No one wears gloves except at the opera, so that one's hands are in a perpetual state of fermentation, especially after one of these functions, when making acquaintances, expressing thanks, and everything else are done through the medium of the hands. One can literally say that one wrings one's hands.