The Gallicians and Asturians retain among many of their aboriginal dances and tunes, a wild Pyrrhic jumping, which, with their shillelah in hand, is like the Gaelic Ghillee Callum, and is the precise Iberian armed dance which Hannibal had performed at the impressive funeral of Gracchus. These quadrille figures are intricate and warlike, requiring, as was said of the Iberian performances, much leg-activity, for which the wiry sinewy active Spaniards are still remarkable. These are the Morris dances imported from Gallicia by our John of Gaunt, who supposed they were Moorish. The peasants still dance them in their best costumes, to the antique castanet, pipe, and tambourine. They are usually directed by a master of the ceremonies, or what is equivalent, a parti-coloured fool, Μωρος; which may be the etymology of Morris.
GADITANIAN GIRLS.
These comparsas, or national quadrilles, were the hearty welcome which the peasants were paid to give to the sons of Louis Philippe at Vitoria; such, too, we have often beheld gratis, and performed by eight men, with castanets in their hands, and to the tune of a fife and drum, while a Bastonero, or leader of the band, clad in gaudy raiment like a pantaloon, directed the rustic ballet; around were grouped payesas y aldeanas, dressed in tight bodices, with pañuelos on their heads, their hair hanging down behind in trensas, and their necks covered with blue and coral beads; the men bound up their long locks with red handkerchiefs, and danced in their shirts, the sleeves of which were puckered up with bows of different-coloured ribands, crossed also over the back and breast, and mixed with scapularies and small prints of saints; their drawers were white, and full as the bragas of the Valencians, like whom they wore alpargatas, or hemp sandals laced with blue strings; the figure of the dance was very intricate, consisting of much circling, turning, and jumping, and accompanied with loud cries of viva! at each change of evolution. These comparsas are undoubtedly a remnant of the original Iberian exhibitions, in which, as among the Spartans and wild Indians, even in relaxations a warlike principle was maintained. The dancers beat time with their swords on their shields, and when one of their champions wished to show his contempt for the Romans, he executed before them a derisive pirouette. Was this remembered the other day at Vitoria?
But in Spain at every moment one retraces the steps of antiquity; thus still on the banks of the Bætis may be seen those dancing-girls of profligate Gades, which were exported to ancient Rome, with pickled tunnies, to the delight of wicked epicures and the horror of the good fathers of the early church, who compared them, and perhaps justly, to the capering performed by the daughter of Herodias. They were prohibited by Theodosius, because, according to St. Chrysostom, at such balls the devil never wanted a partner. The well-known statue at Naples called the Venere Callipige is the representation of Telethusa, or some other Cadiz dancing-girl. Seville is now in these matters, what Gades was; never there is wanting some venerable gipsy hag, who will get up a funcion as these pretty proceedings are called, a word taken from the pontifical ceremonies; for Italy set the fashion to Spain once, as France does now. These festivals must be paid for, since the gitanesque race, according to Cervantes, were only sent into this world as “fishhooks for purses.” The callees when young are very pretty—then they have such wheedling ways, and traffic on such sure wants and wishes, since to Spanish men they prophesy gold, to women, husbands.
GIPSY DANCE.
The scene of the ball is generally placed in the suburb Triana, which is the Transtevere of the town, and the home of bull-fighters, smugglers, picturesque rogues, and Egyptians, whose women are the premières danseuses on these occasions, in which men never take a part. The house selected is usually one of those semi-Moorish abodes and perfect pictures, where rags, poverty, and ruin, are mixed up with marble columns, figs, fountains and grapes; the party assembles in some stately saloon, whose gilded Arab roof—safe from the spoiler—hangs over whitewashed walls, and the few wooden benches on which the chaperons and invited are seated, among whom quantity is rather preferred to quality; nor would the company or costume perhaps be admissible at the Mansion-house; but here the past triumphs over the present; the dance which is closely analogous to the Ghowasee of the Egyptians, and the Nautch of the Hindoos, is called the Ole by Spaniards, the Romalis by their gipsies; the soul and essence of it consists in the expression of certain sentiment, one not indeed of a very sentimental or correct character. The ladies, who seem to have no bones, resolve the problem of perpetual motion, their feet having comparatively a sinecure, as the whole person performs a pantomime, and trembles like an aspen leaf; the flexible form and Terpsichore figure of a young Andalucian girl—be she gipsy or not—is said by the learned, to have been designed by nature as the fit frame for her voluptuous imagination.
OPERA IN SPAIN.
Be that as it may, the scholar and classical commentator will every moment quote Martial, &c., when he beholds the unchanged balancing of hands, raised as if to catch showers of roses, the tapping of the feet, and the serpentine, quivering movements. A contagious excitement seizes the spectators, who, like Orientals, beat time with their hands in measured cadence, and at every pause applaud with cries and clappings. The damsels, thus encouraged, continue in violent action until nature is all but exhausted; then aniseed brandy, wine, and alpisteras are handed about, and the fête, carried on to early dawn, often concludes in broken heads, which here are called “gipsy’s fare.” These dances appear to a stranger from the chilly north, to be more marked by energy than by grace, nor have the legs less to do than the body, hips, and arms. The sight of this unchanged pastime of antiquity, which excites the Spaniards to frenzy, rather disgusts an English spectator, possibly from some national malorganization, for, as Molière says, “l’Angleterre a produit des grands hommes dans les sciences et les beaux arts, mais pas un grand danseur—allez lire l’histoire.” However indecent these dances may be, yet the performers are inviolably chaste, and as far at least as ungipsy guests are concerned, may be compared to iced punch at a rout; young girls go through them before the applauding eyes of their parents and brothers, who would resent to the death any attempt on their sisters’ virtue.
During the lucid intervals between the ballet and the brandy, La caña, the true Arabic gaunia, song, is administered as a soother by some hirsute artiste, without frills, studs, diamonds, or kid gloves, whose staves, sad and melancholy, always begin and end with an ay! a high-pitched sigh, or cry. These Moorish melodies, relics of auld lang syne, are best preserved in the hill-built villages near Ronda, where there are no roads for the members of Queen Christina’s Conservatorio Napolitano; wherever l’académie tyrannizes, and the Italian opera prevails, adieu, alas! to the tropes and tunes of the people: and now-a-days the opera exotic is cultivated in Spain by the higher classes, because, being fashionable at London and Paris, it is an exponent of the civilization of 1846. Although the audience in their honest hearts are as much bored there as elsewhere, yet the affair is pronounced by them to be charming, because it is so expensive, so select, and so far above the comprehension of the vulgar. Avoid it, however, in Spain, ye our fair readers, for the second-rate singers are not fit to hold the score to those of thy own dear Haymarket.
MUSIC IN VENTAS.