The door of the cave, fitted flat against the hillside, seemed to lead into the bowels of the earth. The cave, literally scooped out of the mountain, was divided into four decent whitewashed rooms, comfortable and clean enough. We went directly from the road into the largest; it was of fair size, with rough beams running across the ceiling and with a tiled floor. We were expected; great preparations had been made for our visit. A row of rush-bottomed chairs stood against the wall. Beautifully polished copper saucepans of many sizes were placed on a shelf, with some wild peonies stuck in a beer bottle. I somehow fancied that the saucepans would be for sale if we took a fancy to them. A small inner room, perfectly dark, led from the living room; it had a bed with a white crocheted quilt. On the left of the entrance was a cave room that served as a kitchen; on the right, a sort of property room,—where half a dozen women and girls with powdered faces and fresh flowers in their hair were waiting. The eldest, a fierce old woman with a beak like a parrot’s, dusted a chair for me.
“This is my house,” she said. Pointing to the King, “He is my son, these are all my family.” She seemed surprised at my asking if there was any other cave as good as hers.
“No,” she said, “this is the best; cool in summer, warm in winter, and clean, as you can see.”
The musicians, the King’s son and another youth with oiled hair and clean new jackets, took their places, twanged their guitars and the fiesta flamanca began. First a dance by two women, while the others sat by, clapping their hands, tapping with their feet, keeping time to the music.
“More power!” cried the King.
“Dalé, dalé,” droned the chorus. The guitars twanged louder, the hand-clapping redoubled. Little by little the dancers woke up. The youngest woman was sixty, the oldest girl ten. This was a little disappointing to Patsy, though they all did their best and gave us good measure. The children were evidently students being carefully trained; the old women were all good artists, and intent on preserving and handing down the traditions of their art,—but the thing was somehow curiously academic! The old mother took a tambourine from the wall and shook out the music from it in fine style. “Tire yourselves!” she cried. After the second dance, she handed a tray with glasses of wine. Each succeeding dance was better than the last. The best of all was the one the old woman gave us at the end. Only once was there an approach to what Maria had hinted at. A woman with a bad face gave us a Jaleo, a gross, wriggling dance with unpleasant contortions of the body, wonderful as an exhibition of skill and strength, but not quite decent, and lacking the grace, the beauty, and the dignity of the old woman’s performance.
“Haven’t we had enough?” said Patsy, at the end of half an hour. “You saw those men tip the wink to our coachman as we passed? The whole village is on its good behavior. We are not to be shocked, annoyed, or begged from; it’s all put down in the bill we must pay the ruffian King for protecting us from his tribe, preventing us from seeing the real thing and giving us this fake show.”
Patsy was all wrong—because he was disappointed in the age of the performers! You can see a young and handsome Spanish dancing girl in any music hall in Madrid. The gypsy cave in the mountainside, where the dancers of the past and the dancers of the future meet, was worth a trip to Granada!
