Kitabı oku: «The Shadow of the Cathedral», sayfa 8

"How much you must have amused yourself about the world, eh, nephew? But that war was your perdition; without it you would now have had your stall in the choir, and who knows if you might not have come to be another Don Sebastian. The truth is, that from his childhood no one spoke half as much about him in the seminary as they did of you, and he certainly was no prodigy of learning. But you saw the world, and you took a fancy to those countries where they say the ladies are very pretty, and wear hats as large as parasols. You are a monster of ugliness now, but you were very smart, though I, who am your aunt, say so. And now you have come back so lean and suffering! You must have lived very fast; who knows what you have done in the world—sly boots! And your poor mother, who thought you would be a saint! God have mercy on us! Don't deny it; you have done no good and I hate lies. You did right to enjoy yourself and to take advantage of every opportunity, but the misfortune is that you should have returned as you are, for it is pitiful to see you, but I have known a great many like you. I don't know what evil spirit possesses people belonging to the church, but once they throw themselves into life, they don't know where to stop, and they burn the candle at both ends till there is next to nothing left; many of them, like you, have passed through the seminary."

One morning Gabriel asked a question of his aunt that he had been long thinking about, but that he had never before dared to put into words. He wanted to know all about his niece, Sagrario, and what had happened in his brother's house.

"You who are so kind, aunt, you will tell me; everyone seems afraid to speak about it; even my nephew the Tato, who is such a chatterer and skins everyone in the Claverias, is silent when I ask him. What happened, aunt?"

The old woman's face grew very sad.

"A great misfortune, my son, such as was never known before in the upper cloister. The madness of the world came into the Cathedral, and made a nest in the most honoured, most ancient, and most respectable house in the Claverias. We are all good people, though we have never seen as much of the world as can be seen from a skylight, and live here as though wrapped in cotton wool, but you Lunas have always been the best among the best, to say nothing of us Villalpandos, who come close behind. Ay! if your mother could raise her head! If your father were alive! But I lay all the blame on your brother, as being weak and a simpleton, having that cursed blindness of all fathers, who ignore the danger in the hope of marrying their daughters well."

"Well, but how was it, aunt? What passed between my niece and the cadet?"

"What happens frequently in the world, but what has never happened here before. A thousand times I said to my brother, 'See, Esteban, this young gentleman is not for your daughter'—very sympathetic, very lively, and wearing the uniform of the Academy like no one else, leader of a group of the wildest cadets in all their escapades about the town, besides a son of a great family—wealthy people who did not allow him to come to Toledo with his purse empty. And she—the poor Sagrario, crazy with love, flattered by her cadet, as proud as possible when she walked on Sundays through the Zocodover and the Miradero between her mother and that handsome young lover, that all the girls in the place envied her. The beauty of your niece was the talk of all Toledo; the girls in the college for noble ladies, nicknamed her the 'sacristana' of the Cathedral; but the poor girl lived only for her cadet, and she seemed to devour him with her beautiful blue eyes. That idiot, your brother, let him come to the house, proud of the honour that was being done to the family. You know, Gabriel, the eternal blindness of those middle-class Toledans, who encourage with pride the courtship of one of their girls by a cadet, though they are perfectly well aware that it is most rare that one of these courtships should end in marriage. There is no woman here with the slightest pretence to a pretty face who has escaped without her mouthful of love for one of those red pantaloons. Even I remember when I was a girl how I would smooth my hair and pull out my dress when I heard the rattle of a sword on the flags of the cloister. It is a blindness that descends from mothers to daughters, and the worst is, that those cursed ones have all their cousins and their lovers in their own country, and to them they return as soon as they leave the Academy."

"That is true, aunt, but what happened to my niece?"

"When the young man passed out a lieutenant, his family decided he ought to return to Madrid. The farewells were like a scene at the theatre. I believe that even your brother and that simpleton his wife, who is now in glory, wept as though the lover were theirs. The young people sat for hours with clasped hands, gazing into each other's eyes, as though they would devour each other. He was the calmest; he promised to come every Sunday and to write every day, and at first he did so, but before long many weeks passed without his coming, and the postman came up less often to the Claverias, and at last did not come at all—it was ended, the young lieutenant found other amusements in Madrid. Your poor niece was like one demented; the colour in her face faded, she was no longer like the beautiful ripe apricot, with the soft skin that made you long to bite it. She wept like a Magdalen in every corner—and one day the foolish girl fled—and up to now—"

"But where was she? Did no one search for her?"

"Your brother seemed quite dazed. Poor Esteban! several nights we found him half dressed in the upper cloister, as stiff as a post, gazing up at the heavens with eyes that looked like glass. He became furious if any of us spoke of searching for the child; the scandal was past remedy, and he did not wish to aggravate it by her return, bringing back a lost one to the Holy Metropolitan Church, and to the honoured house of the Lunas. For more than a year everyone in the Claverias seemed crushed by this blow; it seemed as though we were all in mourning. You see, that such a thing should occur in the Cathedral where the years pass by in blessed peace without any of us saying one word louder than the other! And then I remembered you. It seemed impossible that from these Lunas, so quiet and steady, should have sprung a girl with sufficient pluck to run away to Madrid, where she had never been before, to join a man, without fear of God or of her own people. To whom could I liken the unhappy child? To her uncle, to Gabriel who passed for a saint, but who, nevertheless, after fighting like a wolf, wandered all over the world just like a gipsy."

Gabriel made no protest at the conception his aunt had formed of his past.

"And after her flight? What did you know about the child?"

"At first a good deal, but latterly not a word. The two were living in Madrid together, peacefully and quietly, away from the world, as though they were man and wife. This lasted for a good while, and I, hearing about it, began to wonder if I had not been mistaken, and that the man we had blamed so much had repented and would end by marrying Sagrario. But at the end of the year everything was ended; he grew tired, and the family intervened, in order that the escapade should not cut short the career they had marked out for the young man. They even sought the aid of the police, to frighten the child, so that she should not molest the young officer in the first angry transports of her desertion. Afterwards—nothing certain is known. Now and again those who have gone to Madrid told me a little; some of them had seen her, but it would have been far better if they had not seen her. It is a disgrace, Gabriel; a dishonour for your family which is mine. This unhappy girl is the worst of the worst. I heard that she had been very ill, and I believe that she is so still. Just imagine, what a life! And for five years! What will have happened to the unfortunate girl! And to think that she is my sister's daughter!"

The Señora Tomasa spoke with deep feeling.

"Afterwards, Gabriel, you know what happened here; your poor sister-in-law died, we hardly knew why, it was only a matter of a few days; possibly she may have died of the shame, as she died saying that the fault was entirely hers. It broke one's heart to see the state your brother was in after all this. Esteban has never been good for much, and now after this affair of his daughter he seemed to become quite imbecile. Ay, nephew! I also have felt it greatly, even though you see me so happy, and so satisfied with life, every now and then the remembrance of that unhappy girl strikes me here, in my head, and I eat badly and sleep worse, thinking that a girl who, after all, is of our own blood, is wandering lost over the world, a plaything for men, without anyone sheltering her, as though she were all alone, as though she had no family."

The Señora Tomasa wiped her eye with the point of her forefinger, her voice shook and the tears fell over her wrinkled old cheeks.

"Aunt, you are very kind," said Gabriel, "but you ought to have searched more for this poor girl; you ought to have recovered her, to have saved her, to have brought her back here. We must be merciful to the weakness of others, especially when that other is one of our own flesh."

"Ay, son! Who do you say it to? A thousand times I have thought this, but I was afraid of your brother. He is like a bit of dough, but he turns into a wild beast if you speak to him of his daughter. Even if we found her and brought her here he would not receive her; he would be as angry as if you were proposing some sacrilege to him. He could not calmly bear her presence in the house which was that of your forefathers. Besides, though he does not say so, he fears the scandal among the neighbours in the Claverias who know what had happened. This is the easiest part to arrange, as they would be very careful not to open their mouths when I am among them. But your brother frightens me, and I do not dare."

"I will help you," said Gabriel firmly. "Let us seek for the child, and once we have found her I will undertake to manage Esteban."

"It will be most difficult to find her. For a long time we have heard nothing. Doubtless those who do see her are careful to say nothing for fear of paining us. But I will try and find out—we will see, Gabriel—we will think about her."

"And the canons? and the cardinal? Will they not oppose the return of the poor girl to the Claverias?"

"Bah! The thing happened some time ago, and few of them will remember it; besides, we might place the girl in a convent, where she would be looked after and quiet, and cause scandal to no one."

"No, not that, aunt. It is a cruel remedy. We have no right to try and save this poor girl at the cost of her liberty."

"You are right," said the old woman, after a few moments' reflection. "I don't care much for these nuns myself. Where would she be more likely to follow a good example than in the heart of her own family? We will bring her back to this house if she repents and wishes for peace. And I will scratch out the eyes of the first woman in the Claverias who dares to say anything against her. My son-in-law will probably pretend to be scandalised, but I will settle him. It would be much better if he did not wink at the walks that Juanito, that cadet nephew of Don Sebastian's, takes in the cloister whenever my granddaughter stands at the door. The crackbrained fellow dreams of nothing less than becoming related to the cardinal, and seeing his daughter a general's wife; he might remember poor Sagrario. And as far as regards Don Sebastian, you may be quite easy, Gabriel. He will say nothing but that we ought to bring the child back—and what should he say? People ought to be charitable one to another, and none more than they; for after all, Gabriel, believe me—they are only men, nothing but men!"

CHAPTER V

The people of the Primacy always received with obstinate silence the slightest allusion to the reigning prelate. It was a traditional custom in the Claverias, and Gabriel remembered to have noticed the same in his childhood.

If they spoke of the preceding archbishop, these people, so used to grumbling, like all those who live in solitude, would loose their tongues and comment on his history and his defects. There was nothing to fear from a dead prelate, and besides, it was an indirect praise to the living archbishop and his favourites to speak ill of the defunct. But if during the conversation the name of His reigning Eminence arose, they were all silent, raising their hands to their caps to salute, as though the prince of the church were able to see them from the neighbouring palace.

Gabriel, listening to his companions of the upper cloister, remembered the funeral judgment of the Egyptians. In the Primacy no one dared to speak the truth about the prelates, or to discuss their faults till death had taken possession of them.

The most that they dared to do was to comment on the disagreements among the canons, to compare their lists of those who saluted one another in the choir, or who glared at one another between versicle and antiphon like mad dogs ready to fly at one another, or to speak with wonder about a certain polemic discussed by the Doctoral and the Obrero in the Catholic papers in Madrid, which had lasted for three years, as to whether the deluge was partial or universal; answering each other's articles with an interval of four months.

A group of friends had collected round Gabriel. They sought him, feeling the necessity of his presence, experiencing that attraction exercised by those who are born to be leaders of men even though they remain silent. In the evenings they would meet in the dwelling of the bell-ringer, or when it was fine weather they would go out into the gallery above the Puerta del Perdon. In the mornings the assembly would be in the house of the shoemaker who mended the giants, a yellow little man, who suffered from continual pains in his head, which obliged him to wear sundry coloured handkerchiefs tied round his head in the fashion of a turban.

He was the poorest in all the Claverias; he had no appointment, and mended the giants without any remuneration in the hopes of succeeding to the first vacant place, feeling very grateful to those gentlemen of the Chapter who gave him his house rent free, on account of his wife being the daughter of a former old servant of the church. The smell of the paste and of the damp floor infected his house with the rank atmosphere of poverty. A hopeless fecundity aggravated this poverty; his sad, placid wife with her big yellow eyes appeared every year with a new baby tugging at her flabby breast, and several children crept along the cloister walls, dull and inert with hunger, with enormous heads and thin necks, always sickly, though none of them managed to die; afflicted by all the pains of anaemia, by boils that arose and vanished on their faces, and watery eruptions covering their hands. The shoemaker worked for the shops in the town, without, however, earning much money. From the rising of the sun one could hear the sound of his hammer in the cloister. This sole evidence of profane work attracted all the unoccupied to the miserable and evil-smelling dwelling. Mariano, the Tato, and a verger who also lived in the cloister, were those who most frequently met Gabriel, seated on the shoemaker's ragged and broken chairs, so low that one could touch the floor of red and dusty bricks with one's hands.

Often the bell-ringer would run to his tower to ring the usual bells, but his vacant place would be immediately occupied by an old organ-blower, or some of the servants from the sacristy, all attracted by what they heard of these meetings of the lower servants of the Primacy. The object of the assembly was to listen to Gabriel. The revolutionary wished to keep silence, and listened absently to their grumblings at the daily round of worship; but his friends longed to hear about those countries in which he had travelled, with all the curiosity of people who lived confined and isolated; listening to his descriptions of the beauties of Paris and the grandeur of London they would open their eyes like children listening to a fairy tale.

The shoemaker with his head bent, never ceasing his work, listened attentively to the recital of such marvels; when Gabriel was silent they all agreed on one point, those cities must be far more beautiful than Madrid; and just think how beautiful Madrid was! Even the shoemaker's wife, standing in the corner forgetful of her sickly children, would listen to Luna with wonder, her face enlivened by a feeble smile, which showed the woman through the animal resigned to misery, when Luna described the luxury of the women in foreign parts.

All these servants of the church felt their narrowed and dulled minds stirred by these descriptions of a distant world that they were never likely to see; the splendours of modern civilisation touched them much more nearly than the beauties of heaven as described in the sermons, and in the pungent and dusty atmosphere of the dirty little house they would see unrolled before their mind's eye beautiful and fantastic cities, and they would ask questions in all innocence as to the food and habits of those distant people, as though they believed them beings of a different species.

Towards evening, at the hour of the choir, when the shoemaker was working alone, Gabriel, tired of the monotonous silence of the cloister, would go down into the church.

His brother, in a woollen cloak with a white neck band, and a staff as long as an ancient alguacil's, stood as sentry in the crossways, to prevent the inquisitive passing between the choir and the high altar.

Two tablets of old gold with Gothic letters, hung on to one of the pilasters, set forth that anyone talking in a loud voice or making signs in the church would be excommunicated; but this menace of former centuries failed to impress the few people who came to vespers and gossiped behind one of the pillars with some of the church servants. The evening light, filtering through the stained glass, threw on the pavement great patches of colour, and the priests as they walked over this carpet of light would appear green or red according to the colours flashed from the windows.

In the choir the canons sang for themselves only in the emptiness of the church; the shutting of the iron gates of the screen, opened to admit some late-coming priest, echoed like explosions throughout the building, and above the choir the organ joined in at times between the plain song, but it sounded lazily, timidly, as though from necessity, and seemed to lament its feebleness in the gathering twilight.

Gabriel had not completed the round of the Cathedral before he was joined by his nephew, the Perrero, who left his conversation with the servers and acolytes, and with the errand boy belonging to the Secretary of the Chapter, whose fixed seat was at the door of the Chapter-house. Luna was always very much diverted by the pranks of the Tato, and the confidence and carelessness with which he moved about the temple, as though having been born in it deprived him of all feeling of respect The entry of a dog into the nave caused great excitement.

"Uncle," said he to Luna, "you shall see how I can open my cloak."

Seizing the two ends of his garment he advanced towards the dog with the contortions and bounds of a wrestler; the animal, knowing this of old, endeavoured to escape through the nearest door, but the Tato, cutting off his retreat, drove him into the nave, and, pretending to pursue him, drove him from chapel to chapel, finally rounding him up where he could give him some good sound whacks. The dismal howlings disturbed the singing of the canons, and the Tato laughed more than ever to see behind the iron railing of the choir, the angry gesture of the good Esteban threatening him with his wooden staff.

"Uncle," said the depraved Perrero one evening, "you, who think you know the Cathedral so well, have you ever seen the lively things in it?"

The wink of his eye, and the gesture accompanying the words showed that the things might very well be more than lively.

"I am always very much interested," he went on, "with the jokes the ancients allowed themselves. Come along, uncle, it will amuse you for a little; you, like all those who think they know the Cathedral, will have passed many times by these things without noticing them."

Going along the outside of the choir, the Tato led Gabriel to the front opposite the door del Perdon. Under the great medallion, which serves as a back to the Mount Tabor, the work of Berruguete, opens the little chapel of the Virgin of the Star. "Look well at that image, uncle. Is there another like it in all the world? She is a courtezan, a siren who would drive men mad if she only fluttered her eyelids."

For Gabriel this was no new discovery; from his childhood he had known that beautiful and sensual figure, with its worldly smile, its rounded outlines, and its eyes with their expression of wanton gaiety as though she were just going to dance.

The child in her arms was also laughing and placing his hand on the bosom of the beautiful woman, as though he intended to tear the covering from her breast. The image of painted stone, stuffed and gilt, wore a blue mantle strewn with stars, from whence its name.

"Even you, who have read so much, uncle, may possibly not know the history of this chapel, which is far more ancient than the Cathedral. The woolstaplers, carders, and weavers of Toledo had their patroness here long before the church was built, and they only gave up their right to the ground on the condition that they should be entire masters of the chapel, and do in it whatever they pleased and in all this piece of the Cathedral as far as those nearest pillars. Oh! the trouble this wrought! On the days they held their feasts to the Virgin they never paid any heed to the canons in the choir, and they greatly disturbed all the offices with 'rabeles,'²² lutes and disorderly songs. If the canons begged them to be silent, they replied that it was they in the choir who ought to keep silence, considering that they were in their own chapel, which was far more ancient than the Cathedral. Did you know this, uncle?"

"Yes, I remember it now. The Archbishop Valero Loza brought a suit against them at the beginning of the eighteenth century; you can see his tomb at the foot of the altar. He lost his suit, and died from disappointment. He desired to be buried in that place, so that the insolent wool merchants should trample on him in death, even as they had vanquished him in his lifetime. The haughtiness of these ecclesiastical princes drove them to the proudest humility. But is this all you wished to show me?"

"You shall see better things than this. Let us say good-bye to the Virgin. But do look at her! What a face! What alluring eyes! The beautiful woman! I spend hours looking at her; she is my sweetheart.

Oh! the many nights I have dreamt of her."

They walked on a little towards the great doorway of the Cathedral, so as to obtain a better view of the exterior face of the choir. Above the three hollows or chapels that pierce it runs a frieze of ancient relievos, the work of some obscure mediaeval artist. Gabriel recognised these coarse sculptures as being contemporaneous with the Puerta del Reloj, and by far the most ancient work in the Cathedral.

"Look you, in the first medallion Adam and Eve are as naked as worms; but the Lord drives them out of Paradise, and they are obliged to dress themselves to appear in the world; and see what they do directly they get their clothes. But look at the fifth medallion on our right hand; the old gossip who cut that had a lively turn of mind."

Gabriel looked for the first time attentively at these forgotten sculptures. They were carved with all the naturalistic simplicity of the Middle Ages, with all the directness with which the artists represented their profane conceptions, with the desire to perpetuate the triumph of the flesh in some ignored corner of the mystical buildings, in order to testify that human life was not dead.

The Tato was delighted at the surprise on his uncle's face.

"Eh! what do you think of that? I discovered it wandering about the church. The canons sing every day on the other side of this wall without ever suspecting what gay doings they have over their heads. And the stained glass, uncle, look at it well. At first so many colours blind one and the forms are indistinct; besides, the lead cuts the figures and it is difficult to make out anything, but I know them to my fingers' ends. They are stories, things of their own times, that these glass-workers painted; the intrigues have been forgotten, and no one has disentangled them."

He pointed to the windows of the second nave, through which the evening light was shining with a ruddy glow.

"Look up there," went on the Perrero. "A gallant in a red cape and sword mounts by a rope ladder; at the window a nun is waiting for him. It seems something like the Don Juan Tenorio that they represent at All Saints'. Further on, you see those two in bed, and people knocking at the door. They must be the same pair of birds with the family surprising them. Then in the next window—look well at it—lovers, with scarcely any clothes beyond bare skin. These things belong to the days when people had no shame, when they went with their heads covered and the rest of their flesh bare."

Gabriel smiled at the whimsical ideas with which ancient art inspired the Perrero.

"But in the choir, uncle, there is also something to see. Let us go there; the service is over and the canons are coming out."

Luna felt overpowered by admiration as he always did on entering the choir. Those magnificent stalls, the work on one side of Philip of Burgundy, and on the other side of Berruguete, bewildered him with their profusion of marbles, jaspers, gildings, statues and medallions. It was the genius of Michael Angelo reviving in the Toledan Cathedral.

The Perrero examined the lower stalls, ferreting out among the Gothic relievos the discoveries enjoyed by his unwholesome curiosity. This first row of stalls, almost on a level with the ground, were occupied by the inferior clergy, and were anterior by half a century to the upper stalls; but in those fifty years art had made a great stride, from the hard and rigid Gothic to the flowing lines and good taste of the Renaissance. They had been carved by Maestre Rodrigo at the time when Christian Spain, roused to enthusiasm, was helping the Catholic kings with all its strength to complete the reconquest. On the backs of the stalls, and on the entablature of the frieze fifty-four carved pictures represented the principal incidents of the conquest of Granada.

The Tato did not look at these carvings of walnut or oak, with troops of horsemen and companies of soldiers scaling the walls of Moorish towns. What interested him most were the arms of the stalls, the handrails of the steps leading to the upper seats, and the salients dividing the stalls which served to rest the head, all covered with animals, grotesque beings, dogs, monkeys, big birds, friars, and little birds, all in difficult postures, some beautiful, some obscene. Hogs and frogs wound themselves up together in inextricable tangles, monkeys with ignoble gestures were mixed up with interlaced birds in never ending variety—it was a world of caricatures of voluptuousness, of monkey-like actions and satirical suggestions, in which appeared carnal passion with the most grotesque animal grimaces.

"Look here, uncle. Is not this capital—it is far the best."

And the Tato showed Gabriel the little chubby figure of a preaching friar with enormous donkey's ears.

When they came out of the choir Gabriel spied the Chapel-master close to the fresco of Saint Christopher. He had just emerged from a little door close to the giant, which led by a circular staircase to the musical archives. He was carrying under his arm a big book with dusty pages which he showed to Gabriel.

"I am taking it upstairs. You shall hear something out of it; it is worth the trouble."

And turning his eyes from the book to the little door close by he exclaimed:

"Ay! these archives, Gabriel, how it pains one! Each time I visit them I come out sadder. The vandals have been at work there; nearly all the music books have pages torn out, pieces cut out wherever there was an illuminated letter, a vignette or anything pretty. The señor canons do not care for music, neither do they understand it, and they are incapable of devoting a few pesetas so that it might be heard on festival days. It is quite enough for them to walk in procession to some piece of Rossini's; and as far as regards the organ, all they care about is that it must play slowly, very slowly. The slower it plays, the more religious they think it, even though the organist may be playing a Habanera."

He continued looking at the little door with melancholy eyes as though he were ready to weep over the decay of music.

"In there, Gabriel, are many beautiful works, that ought not to be forgotten as long as art lives in the world. In profane music we have not been great, but believe me that Spain has been far otherwise with religious authors. That is, provided that profane music and religious music really exist, which I doubt; for me there is only—music—and I think he will be a clever man who draws the line where one ends and where the other begins. Behind this wall of Saint Christopher's, the works of all the great Spanish musicians sleep, mutilated and covered with dust. Perhaps it is better they do sleep, when you hear what is sung in this choir! Here you will find Christobal Morales, who three hundred years ago was Chapel-master here, and began the reform of music twenty years before Palestrina. In Rome he shares the glory with the famous master; his portrait is in the Vatican, and his lamentations, his motets, and his Magnificat rest here, forgotten for centuries. And Victoria? Do you know him? Another of the same period; his jealous contemporaries called him 'Palestrina's monkey' taking all his works to be imitations, in consequence of his long sojourn in Rome; but, believe me, instead of being plagiarisms from the Italian, they are far superior. Here also is Rivera, a Toledan master who no one remembers, but in the archives there is a whole volume of his masses, and Romero de Avila, who more than anyone had studied the Muzarabé chants, and Ramos de Pareja, not the least musician of the fifteenth century, who wrote in Bologna his book 'De Musica Tractatus,' and destroyed the ancient system of Guido de Arezzo, discovering the tonality of sound; and the Monk Urena, who added the note 'si' to the scale, and Javier Garcia, who in the last century reformed music, leading it towards Italy (God forgive him!), a beaten track from which we have not yet emerged; and Nebra, the great organist of Carlos III., who, a century before Wagner was born, used musical discords. When he wrote the Requiem for the funeral of Dona Barbara di Braganza, foreseeing the surprise and difficulties that the musicians and singers would meet with in the innovations in his score, he wrote on the margin, 'This is to give notice that there are no mistakes in the score.' His Litany became so celebrated that it was forbidden to copy it, under pain of excommunication; but I think to-day the persons who remember it would be the excommunicated. Believe me, Gabriel, these archives are a pantheon of great men, but a pantheon, unluckily, from which no one emerges."