"THE ALHAMBRA"
Just before Irving's return to the United States in 1832, he prepared
for publication some sketches which he had made three or four years
before while living for a few months in the ruins of the Alhambra, the
ancient palace of the Moorish kings when they ruled the kingdom of
Granada. Next to the stories of "Rip Van Winkle" and the "Legend of
Sleepy Hollow," nothing that Irving has written has proved more
popular than this volume of "The Alhambra;" and it has made the
ancient ruin a place of pilgrimage for tourists in Europe ever since.
In this volume Irving not only describes in his own peculiarly
charming manner his experiences in the halls of the Alhambra itself,
but he gives many of the stories and legends of the place, most of
which were told to him by Mateo Ximenes, a "son of the Alhambra," who
acted as his guide. This is the way he came to secure Mateo's
services:
"At the gate were two or three ragged, super-annuated soldiers, dozing
on a stone bench, the successors of the Zegris and the Abencerrages;
while a tall, meagre valet, whose rusty-brown cloak was evidently
intended to conceal the ragged state of his nether garments, was
lounging in the sunshine and gossipping with the ancient sentinel on
duty. He joined us as we entered the gate, and offered his services to
show us the fortress.
"I have a traveler's dislike to officious ciceroni, and did not
altogether like the garb of the applicant.
"'You are well acquainted with the place, I presume?'
"'Nobody better; in fact, sir, I am a son of the Alhambra.'
"'The common Spaniards have certainly a most poetical way of
expressing themselves. 'A son of the Alhambra!' the appellation caught
me at once; the very tattered garb of my new acquaintance assumed a
dignity in my eyes. It was emblematic of the fortunes of the place,
and befitted the progeny of a ruin."
Accompanied by Mateo, the travelers pass on to "the great vestibule,
or porch of the gate," which "is formed by an immense Arabian arch, of
the horseshoe form, which springs to half the height of the tower. On
the keystone of this arch, is engraven a gigantic hand. Within the
vestibule, on the keystone of the portal, is sculptured, in like
manner, a gigantic key," emblems, say the learned, of Moorish
superstition and religious belief.
"A different explanation of these emblems, however, was given by the
legitimate son of Alhambra, and one more in unison with the notions of
the common people, who attach something of mystery and magic to
everything Moorish, and have all kinds of superstitions connected with
this old Moslem fortress. According to Mateo, it was a tradition
handed down from the oldest inhabitants, and which he had from his
father and grandfather, that the hand and key were magical devices on
which the fate of the Alhambra depended. The Moorish king who built it
was a great magician, or, as some believed, had sold himself to the
devil, and had laid the whole fortress under a magic spell. By this
means it had remained standing for several years, in defiance of
storms and earthquakes, while almost all other buildings of the Moors
had fallen to ruin and disappeared. This spell, the tradition went on
to say, would last until the hand on the outer arch should reach down
and grasp the key, when the whole pile would tumble to pieces, and all
the treasures buried beneath it by the Moors would be revealed."
The travelers at once made application to the governor for permission
to take up their residence in the palace of the Alhambra, and to their
astonishment and delight he placed his own suite of apartments at
their disposal, as he himself preferred to live in the city of
Granada.
Irving's companion soon left him, and he remained sole lord of the
palace. For a time he occupied the governor's rooms, which were very
scantily furnished; but one day he came upon an eerie suite of rooms
which he liked better. They were the rooms that had been fitted up for
the beautiful Elizabetta of Farnese, the second wife of Philip V.
"The windows, dismantled and open to the wind and weather, looked into
a charming little secluded garden, where an alabaster fountain
sparkled among roses and myrtles, and was surrounded by orange and
citron trees, some of which flung their branches into the chambers."
This was the garden of Lindaraxa.
"Four centuries had elapsed since the fair Lindaraxa passed away, yet
how much of the fragile beauty of the scenes she inhabited remained!
The garden still bloomed in which she delighted; the fountain still
presented the crystal mirror in which her charms may once have been
reflected; the alabaster, it is true, had lost its whiteness; the
basin beneath, overrun with weeds, had become the lurking-place of the
lizard, but there was something in the very decay that enhanced the
interest of the scene, speaking as it did of the mutability, the
irrevocable lot of man and all his works."
In spite of warnings of the dangers of the place, Irving had his bed
set up in the chamber beside this little garden. The first night was
full of frightful terrors. The garden was dark and sinister. "There
was a slight rustling noise overhead; a bat suddenly emerged from a
broken panel of the ceiling, flitting about the room and athwart my
solitary lamp; and as the fateful bird almost flouted my face with his
noiseless wing, the grotesque faces carved in high relief in the cedar
ceiling, whence he had emerged, seemed to mope and mow at me.
"Rousing myself, and half smiling at this temporary weakness, I
resolved to brave it out in the true spirit of the hero of the
enchanted house," says the narrator. So taking his lamp in his hand he
started out to make a midnight tour of the palace.
"My own shadow, cast upon the wall, began to disturb me," he
continues. "The echoes of my own footsteps along the corridors made me
pause and look around. I was traversing scenes fraught with dismal
recollections. One dark passage led down to the mosque where Yusef,
the Moorish monarch, the finisher of the Alhambra, had been basely
murdered. In another place I trod the gallery where another monarch
had been struck down by the poniard of a relative whom he had thwarted
in his love."
In a few nights, however, all this was changed; for the moon, which
had been invisible, began to "roll in full splendor above the towers,
pouring a flood of tempered light into every court and hall."
Says Irving, "I now felt the merit of the Arabic inscription on the
walls--'How beauteous is this garden; where the flowers of the earth
vie with the stars of heaven. What can compare with the vase of yon
alabaster fountain filled with crystal water? Nothing but the moon in
her fullness, shining in the midst of an unclouded sky!"
"On such heavenly nights," he goes on, "I would sit for hours at my
window inhaling the sweetness of the garden, and musing on the
checkered fortunes of those whose history was dimly shadowed out in
the elegant memorials around. Sometimes, when all was quiet, and the
clock from the distant cathedral of Granada struck the midnight hour,
I have sallied out on another tour and wandered over the whole
building; but how different from my first tour! No longer dark and
mysterious; no longer peopled with shadowy foes; no longer recalling
scenes of violence and murder; all was open, spacious, beautiful;
everything called up pleasing and romantic fancies; Lindaraxa once
more walked in her garden; the gay chivalry of Moslem Granada once
more glittered about the Court of Lions!
"Who can do justice to a moonlight night in such a climate and in such
a place? The temperature of a summer night in Andalusia is perfectly
ethereal. We seem lifted up into an ethereal atmosphere; we feel a
serenity of soul, a buoyancy of spirits, an elasticity of frame, which
render mere existence happiness. But when moonlight is added to all
this, the effect is like enchantment. Under its plastic sway the
Alhambra seems to regain its pristine glories. Every rent and chasm of
time; every moldering tint and weather-stain is gone; the marble
resumes its original whiteness; the long colonnades brighten in the
moonbeams; the halls are illuminated with a softened radiance--we
tread the enchanted palace of an Arabian tale!"
When one may journey with such a companion, through a whole volume of
enchantment and legend and moonlight, it is not strange that "The
Alhambra" has been one of the most widely read books ever produced by
an American writer.