THE INFIDEL, or the Fall of Mexico, _a romance, by the author of
Calavar_. Philadelphia: Carey, Lea & Blanchard.
The second effort of the author of Calavar, gives us no reason for
revoking the favorable opinion which we expressed of his powers as a
writer of fictitious narrative, in noticing the first. On the
contrary, that opinion is confirmed and strengthened by a perusal of
the Infidel. It is a work of great power, and although, as was the
case with Calavar, it is chiefly occupied with the delineation of
scenes of slaughter and violence--with the stratagems of war--the
plots of conspirators--the stirring incidents of siege and sortie--and
the thrilling details of individual prowess or general onslaught--yet
it abounds in passages which give a pleasing relief to the almost too
frequently recurring incidents of peril and adventure. It is true that
this work does not possess, to by far the same extent, those
enchanting descriptions of natural scenery, which abounded in Calavar:
but the cause of this is probably to be found in the fact, that the
scene of action is the same in both works, and in a natural aversion
of the author to repeat his own pictures. Still, as a whole, we think
the Infidel fully equal to its predecessor, and in some respects
superior. The principal female character is drawn with far greater
vigor, than marked the heroine of Calavar, although the prominent
features in the sketch of the impassioned _Monjonaza_, are of a
masculine kind. She is indeed a most powerful and eccentric creation,
and adds much to the interest of the narrative. Still we think it
problematical whether the author is capable of success in a purely
feminine picture of female character. Zelahualla, the daughter of
Montezuma, a gentler being than La Monjonaza, does not give him a
claim to such a distinction, as she is brought forward but seldom, and
sustains no important part in the action of the drama.
The period at which the narrative of the Infidel commences, is a few
months after the disastrous retreat of the Spaniards from Mexico,
during the "Noche Triste," so powerfully described in Calavar. Cortes
had re-organized his forces, re-united his allies, and was preparing
for the siege of Mexico, now rendered strong in its defences by the
valor, enterprise and activity of the new emperor, Guatimozin. Tezcuco
is the scene of the earlier events, where Cortes was engaged in
completing his preparations, part of which consisted in the
construction of a fleet of brigantines, to command the sea of Anahuac,
and co-operate in the meditated attack upon the great city.
The hero of the story, Juan Lerma, a former protege of Cortes, but who
has fallen under his displeasure, is the pivot on which the main
interest of the work is made to turn. He is imprisoned, and ultimately
rescued by Guatimozin, who carries him to Mexico. The details of a
treasonable plot against the Captain General, headed by Villafana, one
of the most complicated of villains, is skilfully interwoven with this
portion of the narrative. The mysterious _Monjonaza_ is also a
prominent character in the scenes at Tezcuco.
The action changes in the second volume to Mexico, where the
unfortunate Lerma is retained by the Emperor, who is described as
possessing all the noble virtues of christianity, although his pagan
faith gives the title to the book.
The details of the siege are given in the same powerful style as
characterised the combats in Calavar. Indeed it is in descriptions of
battles, that we think the author excels, and is transcendently
superior to any modern writer. When his armies meet, he causes us to
feel the shock, and to realize each turn of fortune by a minuteness of
description, which is never confused. When his heroes engage hand to
hand, we see each blow, each parry, each advantage, each vicissitude,
with a thrilling distinctness. The war cry is in our ears--the
flashing of steel--the muscular energy--the glowing eyes--the dilating
forms of the warriors, are before us. The effect of such delineations
it is difficult to describe; they arouse in us whatever of martial
fire we possess, until we feel like the war horse viewing a distant
combat, "who smelleth the battle afar off, the voice of the captains,
and the shouting." Another point of excellence in our author, is the
manner in which he paints to us the vastness of a barbarian multitude.
His descriptions of myriads, appeal to the sense with graphic effect.
Although we do not generally indulge in long extracts from works like
this, yet, as it is difficult otherwise to convey an idea of the
spirit with which such scenes are presented by the author, we take
from the second volume the description of the battle of the
ambuscades, the last successful struggle made by Guatimozin to repel
the besiegers, who had already hemmed in the city on the several
causeways, and mostly destroyed the water suburbs. The Mexicans, as a
part of their system of defence, had perforated the causeways at short
intervals, with deep ditches, which were conquered by the Spaniards,
one by one, after the most obstinate resistance. Cortes, with his
followers, on the occasion described, had forced one of the dikes, and
with his characteristic impetuosity, pursued the flying Mexicans into
the city, attended by about twenty horsemen only, the foot being far
in the rear. The enemy gave way with apparent signs of fear, which was
not habitual, and Cortes had already been advised that an ambuscade
was evidently contemplated; but the frenzy of battle made him deaf to
prudent counsel: