Mare Nostrum
(_OUR SEA_)
A Novel
By
Vicente Blasco Ibanez
AUTHOR OF
"The Four Horsemen of the Apocalypse,"
"The Shadow of the Cathedral,"
"Blood and Sand,"
"La Bodega," etc.
Authorized translation from the Spanish by Charlotte Brewster Jordan
Translator of "The Four Horsemen of the Apocalypse"
1919
CONTENTS
CHAPTER I CAPTAIN ULYSSES FERRAGUT
CHAPTER II MATER AMPHITRITE
CHAPTER III PATER OCEANUS
CHAPTER IV FREYA
CHAPTER V THE AQUARIUM OF NAPLES
CHAPTER VI THE WILES OF CIRCE
CHAPTER VII THE SIN OF ULYSSES
CHAPTER VIII THE YOUNG TELEMACHUS
CHAPTER IX THE ENCOUNTER AT MARSEILLES
CHAPTER X IN BARCELONA
CHAPTER XI "FAREWELL, I AM GOING TO DIE"
CHAPTER XII AHPHITRITE!... AMPHITRITE!
Mare Nostrum
CHAPTER I
CAPTAIN ULYSSES FERRAGUT
His first gallantries were with an empress. He was ten years old, and
the empress six hundred.
His father, Don Esteban Ferragut--third quota of the College of
Notaries--had always had a great admiration for the things of the past.
He lived near the cathedral, and on Sundays and holy days, instead of
following the faithful to witness the pompous ceremonials presided over
by the cardinal-archbishop, used to betake himself with his wife and
son to hear mass in _San Juan del Hospital_,--a little church sparsely
attended the rest of the week.
The notary, who had read Walter Scott in his youth, used to gaze on the
old and turreted walls surrounding the church, and feel something of
the bard's thrills about his own, his native land. The Middle Ages was
the period in which he would have liked to have lived. And as he trod
the flagging of the _Hospitolarios_, good Don Esteban, little, chubby,
and near-sighted, used to feel within him the soul of a hero born too
late. The other churches, huge and rich, appeared to him with their
blaze of gleaming gold, their alabaster convolutions and their jasper
columns, mere monuments of insipid vulgarity. This one had been erected
by the Knights of Saint John, who, united with the Templars, had aided
King James in the conquest of Valencia.
Upon crossing the covered passageway leading from the street to the
inner court, he was accustomed to salute the Virgin of the Conquest, an
image of rough stone in faded colors and dull gold, seated on a bench,
brought thither by the knights of the military order. Some sour orange
trees spread their branching verdure over the walls of the church,--a
blackened, rough stone edifice perforated with long, narrow,
window-like niches now closed with mud plaster. From the salient
buttresses of its reinforcements jutted forth, in the highest parts,
great fabled monsters of weather-beaten, crumbling stone.
In its only nave was now left very little of this romantic exterior.
The baroque taste of the seventeenth century had hidden the Gothic arch
under another semi-circular one, besides covering the walls with a coat
of whitewash. But the medieval reredos, the nobiliary coats of arms,
and the tombs of the Knights of Saint John with their Gothic
inscriptions still survived the profane restoration, and that in itself
was enough to keep up the notary's enthusiasm.
Moreover the quality of the faithful who attended its services had to
be taken into consideration. They were few but select, always the same.
Some of them would drop into their places, gouty and relaxed, supported
by an old servant wearing a shabby lace mantilla as though she were the
housekeeper. Others would remain standing during the service holding up
proudly their emaciated heads that presented the profile of a fighting
cock, and crossing upon the breast their gloved hands,--always in black
wool in the winter and in thread in the summer time. Ferragut knew all
their names, having read them in the _Trovas_ of Mosen Febrer, a
metrical composition in Provençal, about the warriors that came to the
neighborhood of Valencia from Aragon, Catalunia, the South of France,
England and remote Germany.
At the conclusion of the mass, the imposing personages would nod their
heads, saluting the faithful nearest them. "Good day!" To these, it was
as if the sun had just arisen: the hours before did not count. And the
notary with meek voice would enlarge his response: "Good day, Señor
Marquis!" "Good day, Señor Baron!" Although his relations never went
beyond this salutation, Ferragut used to feel toward these noble
personages the sympathy that the customers have for an establishment,
looking upon them with affectionate eyes for many years without
presuming to exchange more than a greeting with them.
His son Ulysses was exceedingly bored as he followed the monotonous
incidents of the chanted mass in the darkened, almost deserted, church.
The rays of the sun, oblique beams of gold that filtered in from above,
illuminating the spirals of dust, flies and moths, made him think in a
homesick way of the lush green of the orchard, the white spots of the
hamlets, the black smoke columns of the harbor filled with steamships,
and the triple file of bluish convexities crowned with froth that were
discharging their contents with a sonorous surge upon the
bronze-colored beach.
When the embroidered mantles of the three priests ceased to gleam
before the high altar, and another priest in black and white appeared
in the pulpit, Ulysses would turn his glance toward a side chapel. The
sermon always represented for him a half hour of somnolence, peopled
with his own lively imaginings. The first thing that his eyes used to
see in the chapel of Santa Barbara was a chest nailed to the wall high
above him, a sepulcher of painted wood with no other adornment than the
inscription: "_Aqui yace Doña Constansa Augusta, Emperatriz de
Grecia_,"--Here lies Constance Augusta, Empress of Greece.
The name of Greece always had the power of exciting the little fellow's
imagination. His godfather, the lawyer Labarta, poet-laureate, could
not repeat this name without a lively thrill passing across his
grizzled beard and a new light in his eyes. Sometimes the mysterious
power of such a name evoked a new mystery and a more intense
interest,--Byzantium. How could that august lady, sovereign of remote
countries of magnificence and vision, have come to leave her remains in
a murky chapel of Valencia within a great chest like those that
treasured the remnants of old trumpery in the garrets of the notary?...
One day after mass Don Esteban had rapidly recounted her history to his
little son. She was the daughter of Frederick the Second of Suabia, a
Hohenstaufen, an emperor of Germany who esteemed still more his crown
of Sicily. In the palaces of Palermo,--veritable enchanted bowers of
Oriental gardens,--he had led the life both of pagan and savant,
surrounded by poets and men of science (Jews, Mahometans and
Christians), by Oriental dancers, alchemists, and ferocious Saracen
Guards. He legislated as did the jurisconsults of ancient Rome, at the
same time writing the first verses in Italian. His life was one
continual combat with the Popes who hurled upon him excommunication
upon excommunication. For the sake of peace he had become a crusader
and set forth upon the conquest of Jerusalem. But Saladin, another
philosopher of the same class, had soon come to an agreement with his
Christian colleague. The position of a little city surrounded with
untilled land and an empty sepulcher was really not worth the trouble
of decapitating mankind through the centuries. The Saracen monarch,
therefore, graciously delivered Jerusalem over to him, and the Pope
again excommunicated Frederick for having conquered the Holy Land
without bloodshed.
"He was a great man," Don Esteban used to murmur. "It must be admitted
that he was a great man...."
He would say this timidly, regretting that his enthusiasm for that
remote epoch should oblige him to make this concession to an enemy of
the Church. He shuddered to think of those sacrilegious books that
nobody had seen, but whose paternity Rome was accustomed to attribute
to this Sicilian Emperor--especially _Los Tres Impostores_ (The Three
Imposters), in which Frederick measured Moses, Jesus and Mahomet, by
the same standard. This royal author was, moreover, the most ancient
journalist of history, the first that in the full thirteenth century
had dared to appeal to the judgment of public opinion in his
manifestoes against Rome.
His daughter had married an Emperor of Byzantium, Juan Dukas Vatatzés,
the famous "Vatacio," when he was fifty and she fourteen. She was a
natural daughter soon legitimized like almost all his progeny,--a
product of his free harem, in which were mingled Saracen beauties and
Italian marchionesses. And the poor young girl married to "Vatacio the
heretic," by a father in need of political alliances had lived long
years in the Orient as a _basilisa_ or empress, arrayed in garments of
stiff embroidery representing scenes from the holy books, shod with
buskins laced with purple which bore on their soles eagles of
gold,--the highest symbol of the majesty of Rome.
At first she had reigned in Nicaea, refuge of the Greek Emperors while
Constantinople was in the power of the Crusaders, founders of a Latin
dynasty; then, when Vatacio died, the audacious Miguel Paleólogo
reconquered Constantinople, and the imperial widow found herself
courted by this victorious adventurer. For many years she resisted his
pretensions, finally maneuvering that her brother Manfred should return
her to her own country, where she arrived just in time to receive news
of her brother's death in battle, and to follow the flight of her
sister-in-law and nephews. They all took refuge in a castle defended by
Saracens in the service of Frederick, the only ones faithful to his
memory.
The castle fell into the power of the warriors of the Church, and
Manfred's wife was conducted to a prison where her life was shortly
after extinguished. Obscurity swallowed up the last remnants of the
family accursed by Rome. Death was always hovering around the
_basilisa_. They all perished--her brother Manfred, her half-brother,
the poetic and lamented Encio, hero of so many songs, and her nephew,
the knightly Coradino, who was to die later on under the axe of the
executioner upon attempting the defense of his rights. As the Oriental
empress did not represent any danger for the dynasty of Anjou, the
conqueror let her follow out her destiny, as lonely and forsaken as a
Shakespearian Princess.
As the widow of the late Emperor she was supposed to have a rental of
three thousand _besantes_ of fine gold. But this remote rental never
arrived, and almost as a pauper she embarked with her niece, Constanza,
in a ship going toward the perfumed shores of the Gulf of Valencia,
where she entered the convent of Santa Barbara. In the poverty of this
recently founded convent, the poor Empress lived until the following
century, recalling the adventures of her melancholy destiny and seeing
in imagination the palace of golden mosaics on Lake Nicaea, the gardens
where "Vatacio" had wished to die under a purple tent, the gigantic
walls of Constantinople, and the arches of Saint Sophia, with its
hieratic galaxies of saints and crowned monarchs.
From all her journeys and glittering fortunes she had preserved but one
thing--a stone--the sole baggage that accompanied her upon disembarking
on the shore of Valencia. It was a fragment from Nicodemia that had
miraculously sent forth water for the baptism of Santa Barbara.
The notary used to point out this rough, sacred stone inlaid in a
baptismal font of Holy Water. Without ceasing to admire these historic
bits of knowledge, Ulysses, nevertheless, used to receive them with a
certain ingratitude.
"My godfather could explain things to me in a better way.... My
godfather knows more."
When surveying the chapel of Santa Barbara during the Mass, he used
always to turn his eyes away from the funeral chest. The thought of
those bones turned to dust filled him with repugnance. That Doña
Constanza did not exist for him. The one who was interesting to him was
the other one, a little further on who was painted in a small picture.
Doña Constanza had had leprosy--an infirmity that in those days was not
permitted to Empresses--so Santa Barbara had miraculously cured her
devotee. In order to perpetuate this event, Santa Barbara was depicted
on the canvas as a lady dressed in a full skirt and slashed sleeves,
and at her feet was the _basilisa_ in the dress of a Valencian peasant
arrayed in great jewels. In vain Don Esteban affirmed that this picture
had been painted centuries after the death of the Empress. The child's
imagination vaulted disdainfully over such difficulties. Just as she
appeared on the canvas, Doña Constanza must have been--flaxen-haired,
with great black eyes, exceedingly handsome and a little inclined to
stoutness, perhaps, as was becoming to a woman accustomed to trailing
robes of state and who had consented to disguise herself as a
country-woman, merely because of her piety.
The image of the Empress obsessed his childish thoughts. At night when
he felt afraid in bed, impressed by the enormousness of the room that
served as his sleeping chamber, it was enough for him to recall the
sovereign of Byzantium to make him forget immediately his disquietude
and the thousand queer noises in the old building. "Doña Constanza!"...
And he would go off to sleep cuddling the pillow, as though it were the
head of the _basilisa_, his closed eyes continuing to see the black
eyes of the regal Señora, maternal and affectionate.
All womankind, on coming near him, took on something of that other one
who had been sleeping for the past six centuries in the upper part of
the chapel wall. When his mother, sweet and pallid Doña Cristina, would
stop her fancy work for an instant to give him a kiss, he always saw in
her smile something of the Empress. When Visenteta, a maid from the
country--a brunette, with eyes like blackberries, rosy-cheeked and
soft-skinned--would help him to undress, or awaken him to take him to
school, Ulysses would always throw his arms around her as though
enchanted by the perfume of her vigorous and chaste vitality.
"Visenteta!... Oh, Visenteta!..." And he was thinking of Doña
Constanza; Empresses must be just that fragrant.... Just like that must
be the texture of their skin!... And mysterious and incomprehensible
thrills would pass over his body like light exhalations, bubbling up
from the slime that is sleeping in the depths of all infancy and coming
to the surface during adolescence.
His father guessed in part this imaginary life upon seeing his pet
plays and readings.
"Ah, comedian!... Ah, play-actor!... You are like your godfather."
He used to say this with an ambiguous smile in which were equally
mingled his contempt for useless idealism and his respect for the
artist--a respect similar to the veneration that the Arabs feel for the
demented, believing their insanity to be a gift from God.
Doña Cristina was very anxious that this only son, as spoiled and
coddled as though he were a Crown Prince, should become a priest. To
see him intone his first Mass!... Then a canon; then a prelate! Who
knew if perhaps when she was no longer living, other women might not
admire him when preceded by a cross of gold, trailing the red state
robe of a cardinal-archbishop, and surrounded by a robed staff--envying
the mother who had given birth to this ecclesiastical magnate!...
In order to guide the inclinations of her son she had installed a
chapel in one of the empty rooms of the great old house. Ulysses'
school companions on free afternoons would hasten thither, doubly
attracted by the enchantment, of "playing priest" and by the generous
refreshment that Doña Cristina used to prepare for all the parish
clergy.
This solemnity would begin with the furious pealing of some bells
hanging over the parlor door, causing the notary's clients, seated in
the vestibule waiting for the papers that the clerks were just
scribbling off at full speed, to raise their heads in astonishment. The
metallic uproar rocked the edifice whose corners had seemed so full of
silence, and even disturbed the calm of the street through which a
carriage only occasionally passed.
While some of his chums were lighting the candles on the shrines and
unfolding the sacred altar cloths of beautiful lace work made by Doña
Cristina, the son and his more intimate friends were arraying
themselves before the faithful, covering themselves with surplices and
gold-worked vestments and putting wonderful caps on their heads. The
mother, who was peeping from behind one of the doors, had to make a
great effort not to rush in and devour Ulysses with kisses. With what
grace he was imitating the mannerisms and genuflections of the chief
priest!...
Up to this point all went perfectly. The three officiating near the
pyramid of lights were singing at the top of their lungs, and the
chorus of the faithful were responding from the end of the room with
tremors of impatience. Suddenly surged forth Protest, Schism and
Heresy. Those at the altar had already done more than enough. They must
now give up their chasubles to those who were looking on in order that
they, in their turn, might exercise the sacred ministry. That was what
they had agreed upon. But the clergy resisted with the haughtiness and
majesty of acquired right, and impious hands began pulling off the garb
of the saints, profaning them and even tearing them. Yells, kicks,
images and wax candles on the floor!... Scandal and abominations as
though the Anti-Christ were already born!... The prudence of Ulysses
put an end to the struggle: "What if we should go up in the _pòrche_ to
play?..."
The _pòrche_ was the immense garret of the great old house, so all
accepted the plan with enthusiasm. Church was over! And like a flock of
birds they went flying up the stairs over the landings of multi-colored
tiles with their chipped glaze, disclosing the red brick underneath.
The Valencian potters of the eighteenth century had adorned these tiles
with Berber and Christian galleys, birds from nearby Albufera,
white-wigged hunters offering flowers to a peasant girl, fruits of all
kinds, and spirited horsemen on steeds that were half the size of their
bodies parading before houses and trees that scarcely reached to the
knees of their prancing coursers.
The noisy group spread themselves over the upper floor as in the most
terrible invasions of history. Cats and mice fled together to the
far-away corners. The terrified birds sped like arrows through the
skylights of the roof.
The poor notary!... He had never returned empty-handed when called
outside of the city by the confidence of the rich farmers, incapable of
believing in any other legal science than his. That was the time when
the antique dealers had not yet discovered rich Valencia, where the
common people dressed in silks for centuries, and furniture, clothing
and pottery seemed always to be impregnated with the light of steady
sunshine and with the blue of an always clear atmosphere.
Don Esteban, who believed himself obliged to be an antiquarian by
virtue of his membership in various local societies, was continually
filling up his house with mementoes of the past picked up in the
villages, or that his clients freely gave him. He was not able to find
wall space enough for the pictures, nor room in his salons for the
furniture. Therefore, the latest acquisitions were provisionally taking
their way to the _pòrche_ to await definite installation. Years
afterward, when he should retire from his profession, he might be able
to construct a medieval castle--the most medieval possible on the
coasts of the _Marina_; near to the village where he had been born, he
would put each object in a place appropriate to its importance.
Whatever the notary deposited in the rooms of the first floor would
soon make its appearance in the garret as mysteriously as though it had
acquired feet; for Doña Cristina and her servants, obliged to live in a
continual struggle with the dust and cobwebs of an edifice that was
slowly dropping to pieces, were beginning to feel a ferocious hatred of
everything old.
Up here on the top floor, discords and battles because of lack of
things to dress up in, were not possible among the boys. They had only
to sink their hands into any one of the great old chests, pulsing with
the dull gnawing of the wood-borers, whose iron fretwork, pierced like
lace, was dropping away from its supports. Some of the youngsters,
brandishing short, small swords with hilts of mother-of-pearl, or long
blades such as the Cid carried, would then wrap themselves in mantles
of crimson silk darkened by ages. Others would throw over their
shoulders damask counterpanes of priceless old brocade, peasant skirts
with great flowers of gold, farthingales of richly woven texture that
crackled like paper.
When they grew tired of imitating comedians with noisy clashing of
spades and death-blows, Ulysses and the other active lads would propose
the game of "Bandits and Bailiffs." But thieves could not go clad in
such rich cloths; their attire ought to be inconspicuous. And so they
overturned some mountains of dull-colored stuffs that appeared like
mere sacking in whose dull woven designs could be dimly discerned legs,
arms, heads, and branching sprays of metallic green.
Don Esteban had found these fragments already torn by the farmers into
covers for their large earthen jars of oil or into blankets for the
work-mules. They were bits of tapestry copied from cartoons of Titian
and Rubens which the notary was keeping only out of historic respect.
Tapestry then, like all things that are plentiful, had no special
merit. The old-clothes dealers of Valencia had in their storehouses
dozens of the same kind of remnants and when the festival of _Corpus
Christi_ approached they used them to cover the natural barricades
formed by the ground, instead of building new ones in the street
followed by the processions.
At other times, Ulysses repeated the same game under the name of
"Indians and Conquerors." He had found in the mountains of books stored
away by his father, a volume that related in double columns, with
abundant wood cuts, the navigations of Columbus, the wars of Hernando
Cortez, and the exploits of Pizarro.
This book cast a glamor over the rest of his existence. Many times
afterwards, when a man, he found this image latent in the background of
his likes and desires. He really had read few of its paragraphs, but
what interested him most were the engravings--in his estimation more
worthy of admiration than all the pictures in the garret.
With the point of his long sword he would trace on the ground, just as
Pizarro had done before his discouraged companions, ready on the Island
of Gallo to desist from the conquest: "Let every good Castilian pass
this line...." And the good Castilians--a dozen little scamps with long
capes and ancient swords whose hilts reached up to their mouths--would
hasten to group themselves around their chief, who was imitating the
heroic gestures of the conqueror. Then was heard the war-cry: "At them!
Down with the Indians!"
It was agreed that the Indians should flee and on that account they
were modestly clad in scraps of tapestry and cock feathers on their
head. But they fled treacherously, and upon finding themselves upon
_vargueños_, tables and pyramids of chairs, they began to shy books at
their persecutors. Venerable leather volumes decorated with dull gold,
and folios of white parchment fell face downward on the floor, their
fastenings breaking apart and spreading abroad a rain of printed or
manuscript pages and yellowing engravings--as though tired of living,
they were letting their life-blood flow from their bodies.
The uproar of these wars of conquest brought Doña Cristina to the
rescue. She no longer cared to harbor little imps who preferred the
adventurous whoops of the garret to the mystic delights of the
abandoned chapel. The Indians were most worthy of execration. In order
to make splendor of attire counterbalance the humility of their role,
they had slashed their sinful scissors into entire tapestries,
mutilating vestments so as to arrange upon their breasts the head of a
hero or goddess.
Finding himself without playfellows, Ulysses discovered a new
enchantment in the garret life. The silence haunted by the creaking of
wood and the scampering of invisible animals, the inexplicable fall of
a picture or of some piled-up books, used to make him thrill with a
sensation of fear and nocturnal mystery, despite the rays of sunlight
that came filtering in through the skylights; but he began to enjoy
this solitude when he found that he could people it to his fancy. Real
beings soon annoyed him like the inopportune sounds that sometimes
awoke him from beautiful dreams. The garret was a world several
centuries old that now belonged entirely to him and adjusted itself to
all his fancies.
Seated in a trunk without a lid, he made it balance itself, imitating
with his mouth the roarings of the tempest. It was a caravel, a
galleon, a ship such as he had seen in the old books, its sails painted
with lions and crucifixes, a castle on the poop and a figure-head
carved on the prow that dipped down into the waves, only to reappear
dripping with foam.
The trunk, by dint of vigorous pushing, could be made to reach the
rugged coast at the corner of the old chest, the triangular gulf made
of two chests of drawers, and the smooth beach formed by some bundles
of clothes. And the navigator, followed by a crew as numerous as it was
imaginary, would leap ashore, sword in hand, scaling some mountains of
books that were the Andes, and piercing various volumes with the tip of
an old lance in order to plant his standard there. Oh, why had he not
been one of the conquerors?...
Fragments of a conversation between his godfather and his father, who
believed everything was already known regarding the surface of the
earth, left him unconvinced. Something must still be left for him to
discover! He was the meeting point of two families of sailors. His
mother's brothers had ships on the coast of Catalunia. His father's
ancestors had been valorous and obscure navigators, and there in the
_Marina_ was his uncle, the doctor, a genuine man of the sea.
When he grew tired of these imaginative orgies, he used to examine the
portraits of different epochs stowed away in the garret. He preferred
those of the women--noble dames with short-cropped, curled hair bound
by a knot of ribbon on the temple, like those that Velazquez loved to
paint, and long faces of the century following, with cherry-colored
mouth, two patches on the cheeks, and a tower of white hair. The memory
of the Grecian _basilisa_ appeared to emanate from these paintings. All
the high-born dames seemed to have something in common with her.
Among the portraits of the men there was one of a bishop that irritated
him by its absurd childishness. He appeared almost his own age, an
adolescent bishop, with imperious and aggressive eyes. These eyes used
to inspire the sensitive lad with a certain terror, and he therefore
decided to have done with them. "Take that!" and he ran his sword
through the old chipped picture, making two gashes replace the
challenging eyes. Then he added a few gashes more for good measure....
That same evening, his godfather having been invited to supper, the
notary spoke of a certain portrait acquired a few months before in the
neighborhood of Játiva, a city that he had always regarded with
interest on account of the Borgias having been born in one of its
suburbs. The two men were of the same opinion. That almost infantile
prelate could have been no other than Caesar Borgia, made Archbishop of
Valencia when sixteen years old by his father, the Pope. On their first
free day they would examine the portrait with particular attention....
And Ulysses, hanging his head, felt every mouthful sticking in his
throat.
For the fanciful lad, a pleasure even more intense and substantial than
his lonely games in the garret was a visit to his godfather's home; to
his childish eyes, this godparent, the lawyer, Don Carmelo Labarta, was
the personification of the ideal life, of glory, of poesy. The notary
was wont to speak of him with enthusiasm, yet pitying him at the same
time.
"That poor Don Carmelo!... The leading authority of the age in civilian
matters! By applying himself he might earn some money, but verses
attracted him more than lawsuits."
Ulysses used to enter his office with keen emotion. Above rows of
multicolored and gilded books that covered the walls, he saw some great
plaster heads with towering foreheads and vacant eyes that seemed
always to be contemplating an immense nothingness.
The child could repeat their names like a fragment from a choir book,
from Homer to Victor Hugo. Then his glance would seek another head
equally glorious although less white, with blonde and grizzled beard,
rubicund nose and bilious cheeks that in certain moments scattered bits
of scale. The sweet eyes of his godfather--yellowish eyes spotted with
black dots--used to receive Ulysses with the doting affection of an
aging, old bachelor who needs to invent a family. He it was who had
given him at the baptismal font the name which had awakened so much
admiration and ridicule among his school companions; with the patience
of an old grand-sire narrating saintly stories to his descendants, he
would tell Ulysses over and over the adventures of the navigating King
of Ithaca for whom he had been named.
With no less devotion did the lad regard all the souvenirs of glory
that adorned his house--wreaths of golden leaves, silver cups, nude
marble statuettes, placques of different metals upon plush backgrounds
on which glistened imperishably the name of the poet Labarta. All this
booty the tireless Knight of Letters had conquered by means of his
verse.
When the Floral Games were announced, the competitors used to tremble
lest it might occur to the great Don Carmelo to hanker after some of
the premiums. With astonishing facility he used to carry off the
natural flower awarded for the heroic ode, the cup of gold for the
amorous romance, the pair of statues dedicated to the most complete
historical study, the marble bust for the best legend in prose, and
even the "art bronze" reward of philological study. The other aspirants
might try for the left-overs.
Fortunately he had confined himself to local literature, and his
inspiration would not admit any other drapery than that of Valencian
verse. Next to Valencia and its past glories, Greece claimed his
admiration. Once a year Ulysses beheld him arrayed in his frock coat,
his chest starred with decorations and in his lapel the golden cicada,
badge of the poets of Provence.
He it was who was going to be celebrated in the fiesta of Provençal
literature, in which he always played the principal role; he was the
prize bard, lecturer, or simple idol to whom other poets were
dedicating their eulogies--clerics given to rhyming, personifiers of
religious images, silk-weavers who felt the vulgarity of their
existence perturbed by the itchings of inspiration--all the brotherhood
of popular bards of the ingenuous and domestic brand who recalled the
_Meistersingers_ of the old German cities.
His godson always imagined him with a crown of laurel on his brows just
like those mysterious blind poets whose portraits and busts ornamented
the library. In real life he saw perfectly well that his head had no
such adornment, but reality lost its value before the firmness of his
conceptions. His godfather certainly must wear a wreath when he was not
present. Undoubtedly he was accustomed to wear it as a house cap when
by himself.
Another thing which he greatly admired about the grand man was his
extensive travels. He had lived in distant Madrid--the scene of almost
all the novels read by Ulysses--and once upon a time he had crossed the
frontier, going courageously into a remote country called the south of
France, in order to visit another poet whom he was accustomed to call
"My friend, Mistral." And the lad's imagination, hasty and illogical in
its decisions, used to envelop his godfather in a halo of historic
interest, similar to that of the conquerors.
At the stroke of the twelve o'clock chimes Labarta, who never permitted
any informality in table matters, would become very impatient, cutting
short the account of his journeys and triumphs.
"Doña Pepa!... We have a guest here."
Doña Pepa was the housekeeper, the great man's companion who for the
past fifteen years had been chained to the chariot of his glory. The
portières would part and through them would advance a huge bosom
protruding above an abdomen cruelly corseted. Afterwards, long
afterwards, would appear a white and radiant countenance, a face like a
full moon, and while her smile like a night star was greeting the
little Ulysses, the dorsal complement of her body kept on coming
in--forty carnal years, fresh, exuberant, tremendous.
The notary and his wife always spoke of Doña Pepa as of a familiar
person, but the child never had seen her in their home. Doña Cristina
used to eulogize her care of the poet--but distantly and with no desire
to make her acquaintance--while Don Esteban would make excuses for the
great man.
"What can you expect!... He is an artist, and artists are not able to
live as God commands. All of them, however dignified they may appear,
are rather carnal at heart. What a pity! such an eminent lawyer!... The
money that he could make...!"
His father's lamentations opened up new horizons to the little fellow's
suspicions. Suddenly he grasped the prime motive force of our
existence, hitherto only conjectured and enveloped in mystery. His
godfather had relations with a woman; he was enamored like the heroes
of the novels! And the boy recalled many of his Valencian poems, all
rhapsodizing a lady--sometimes singing of her great beauty with the
rapture and noble lassitude of a recent possession; at others
complaining of her coldness, begging of her that disposition of her
soul without which the gift of the body is as naught.
Ulysses imagined to himself a grand señora as beautiful as Doña
Constanza. At the very least, she must be a Marchioness. His godfather
certainly deserved that much! And he also imagined to himself that
their rendezvous must be in the morning, in one of the strawberry
gardens near the city, where his parents were accustomed to take him
for his breakfast chocolate after hearing the first dawn service on the
Sundays of April and May.
Much later, when seated at his godfather's table, he surprised the poet
exchanging glances over his head with the housekeeper, and began to
suspect that possibly Doña Pepa might be the inspiration of so much
lachrymose and enthusiastic verse. But his great loyalty rebelled
before such a supposition. No, no, it could not be possible; assuredly
there must be another!
The notary, who for long years had been friendly with Labarta, kept
trying to direct him with his practical spirit, like the boy who guides
a blind man. A modest income inherited from his parents was enough for
the poet to live upon. In vain his friend brought him cases that
represented enormous fees. The voluminous documents would become
covered with dust on his table and Don Esteban would have to saddle
himself with the dates in order that the end of the legal procedures
should not slip by.
His son, Ulysses would be a very different sort of man, thought the
notary. In his mind's eye he could see the lad as a great civilian
jurist like his godfather, but with a positive activity inherited from
his father. Fortune would enter through his doors on waves of stamped
paper.
Furthermore, he would also possess the notarial studio--the dusty
office with its ancient furniture and great wardrobes, with its screen
doors and green curtains, behind which reposed the volumes of the
protocol, covered with yellowing calfskin with initials and numbers on
their backs. Don Esteban realized fully all that his study represented.
"There is no orange grove," he would say in his expansive moments;
"there are no rice plantations that can produce what this estate does.
Here there are no frosts, nor strong sea winds, nor inundations."
The clientele was certain--people from the church, who had the devotees
back of them and considered Don Esteban as one of their class, and
farmers, many rich farmers. The families of the country folk, whenever
they heard any talk about smart men, always thought immediately of the
notary from Valencia. With religious veneration they saw him adjust his
spectacles in order to read as an expert the bill of sale or dowry
contract that his amanuenses had just drawn up. It was written in
Castilian and for the better understanding of his listeners he would
read it, without the slightest hesitation, in Valencian. What a man!...
Afterwards, while the contracting parties were signing it, the notary
raising the little glass window at the front, would entertain the
assembly with some local legends, always decent, without any illusions
to the sins of the flesh, but always those in which the digestive
organs figured with every degree of license. The clients would roar
with laughter, captivated by this funny eschatalogy, and would haggle
less in the matter of fees. Famous Don Esteban!... Just for the
pleasure of hearing his yarns they would have liked a legal paper drawn
up every month.
The future destiny of the notarial crown prince was the object of many
after-dinner conversations on the special days when the poet was an
invited guest.
"What do you want to be?" Labarta asked his godson.
His mother's supplicating glance seemed desperately to implore the
little fellow: "Say Archbishop, my king." For the good señora, her son
could not make his début in any other way than in a church career. The
notary always used to speak very positively from his own viewpoint,
without consulting the interested party. He would be an eminent
jurisconsult; thousands of dollars were going to roll toward him as
though they were pennies; he was going to figure in university
solemnities in a cloak of crimson satin and an academic cap announcing
from its multiple sides the tasseled glory of the doctorate. The
students in his lecture-room would listen to him most respectfully. Who
knew what the government of his country might not have in store for
him!...
Ulysses interrupted these images of future grandeur:
"I want to be a captain."
The poet approved. He felt the unreflective enthusiasm which all
pacific and sedentary beings have for the plume and the sword. At the
mere sight of a uniform his soul always thrilled with the amorous
tenderness of a child's nurse when she finds herself courted by a
soldier.
"Fine!" said Labarta. "Captain of what?... Of artillery?... Of the
staff?..."
A pause.
"No; captain of a ship."
Don Esteban looked up at the roof, raising his hands in horror. He well
knew who was guilty of this ridiculous idea, the one who had put such
absurd longings in his son's head!
And he was thinking of his brother, the retired doctor, who was living
in the paternal home over there in the _Marina:_--an excellent man, but
a little crazy, whom the people on the coast called the _Dotor_, and
the poet Labarta had nicknamed the _Triton_.