The BRIDGE of
SAN LUIS REY

By

THORNTON WILDER

Illustrated by
AMY DREVENSTEDT

1927

ALBERT & CHARLES BONI: NEW YORK

Copyright, 1927, by
ALBERT & CHARLES BONI, INC.

To My Mother

CONTENTS

PART ONE: PERHAPS AN ACCIDENT
PART TWO: THE MARQUESA DE MONTEMAYOR
PART THREE: ESTEBAN
PART FOUR: UNCLE PIO
PART FIVE: PERHAPS AN INTENTION

ILLUSTRATIONS

First Plate
Second Plate
Third Plate
Fourth Plate
Fifth Plate
Sixth Plate
Seventh Plate
Eighth Plate
Ninth Plate
Tenth Plate

PART ONE: PERHAPS AN ACCIDENT

ON Friday noon, July the twentieth, 1714, the finest bridge in all Peru broke and precipitated five travellers into the gulf below. This bridge was on the highroad between Lima and Cuzco and hundreds of persons passed over it every day. It had been woven of osier by the Incas more than a century before and visitors to the city were always led out to see it. It was a mere ladder of thin slats swung out over the gorge, with handrails of dried vine. Horses and coaches and chairs had to go down hundreds of feet below and pass over the narrow torrent on rafts, but no one, not even the Viceroy, not even the Archbishop of Lima, had descended with the baggage rather than cross by the famous bridge of San Luis Rey. St. Louis of France himself protected it, by his name and by the little mud church on the further side. The bridge seemed to be among the things that last forever; it was unthinkable that it should break. The moment a Peruvian heard of the accident he signed himself and made a mental calculation as to how recently he had crossed by it and how soon he had intended crossing by it again. People wandered about in a trance-like state, muttering; they had the hallucination of seeing themselves falling into a gulf.

There was a great service in the Cathedral. The bodies of the victims were approximately collected and approximately separated from one another, and there was great searching of hearts in the beautiful city of Lima. Servant girls returned bracelets which they had stolen from their mistresses, and usurers harangued their wives angrily, in defense of usury. Yet it was rather strange that this event should have so impressed the Limeans, for in that country those catastrophes which lawyers shockingly call the "acts of God" were more than usually frequent. Tidal waves were continually washing away cities; earthquakes arrived every week and towers fell upon good men and women all the time. Diseases were forever flitting in and out of the provinces and old age carried away some of the most admirable citizens. That is why it was so surprising that the Peruvians should have been especially touched by the rent in the bridge of San Luis Rey.

Everyone was very deeply impressed, but only one person did anything about it, and that was Brother Juniper. By a series of coincidences so extraordinary that one almost suspects the presence of some Intention, this little red-haired Franciscan from Northern Italy happened to be in Peru converting the Indians and happened to witness the accident.

It was a very hot noon, that fatal noon, and coming around the shoulder of a hill Brother Juniper stopped to wipe his forehead and to gaze upon the screen of snowy peaks in the distance, then into the gorge below him filled with the dark plumage of green trees and green birds and traversed by its ladder of osier. Joy was in him; things were not going badly. He had opened several little abandoned churches and the Indians were crawling in to early Mass and groaning at the moment of miracle as though their hearts would break. Perhaps it was the pure air from the snows before him; perhaps it was the memory that brushed him for a moment of the poem that bade him raise his eyes to the helpful hills. At all events he felt at peace. Then his glance fell upon the bridge, and at that moment a twanging noise filled the air, as when the string of some musical instrument snaps in a disused room, and he saw the bridge divide and fling five gesticulating ants into the valley below.

Anyone else would have said to himself with secret joy: "Within ten minutes myself...!" But it was another thought that visited Brother Juniper: "Why did thin happen to those five?" If there were any plan in the universe at all, if there were any pattern in a human life, surely it could be discovered mysteriously latent in those lives so suddenly cut off. Either we live by accident and die by accident, or we live by plan and die by plan, And on that instant Brother Juniper made the resolve to inquire into the secret lives of those five persons, that moment falling through the air, and to surprise the reason of their taking off.

It seemed to Brother Juniper that it was high time for theology to take its place among the exact sciences and he had long intended putting it there. What he had lacked hitherto was a laboratory. Oh, there had never been any lack of specimens; any number of his charges had met calamity,—spiders had stung them; their lungs had been touched; their houses had burned down and things had happened to their children from which one averts the mind. But these occasions of human woe had never been quite fit for scientific examination. They had lacked what our good savants were later to call proper control. The accident had been dependent upon human error, for example, or had contained elements of probability. But this collapse of the bridge of San Luis Rey was a sheer Act of God. It afforded a perfect laboratory. Here at last one could surprise His intentions in a pure state.

You and I can see that coming from anyone but Brother Juniper this plan would be the flower of a perfect skepticism. It resembled the effort of those presumptuous souls who wanted to walk on the pavements of Heaven and built the Tower of Babel to get there. But to our Franciscan there was no element of doubt in the experiment. He knew the answer. He merely wanted to prove it, historically, mathematically, to his converts,—poor obstinate converts, so slow to believe that their pains were inserted into their lives for their own good. People were always asking for good sound proofs; doubt springs eternal in the human breast, even in countries where the Inquisition can read your very thoughts in your eyes.

This was not the first time that Brother Juniper had tried to resort to such methods. Often on the long trips he had to make (scurrying from parish to parish, his robe tucked up about his knees, for haste) he would fall to dreaming of experiments that justify the ways of God to man. For instance, a complete record of the Prayers for Rain and their results. Often he had stood on the steps of one of his little churches, his flock kneeling before him on the baked street. Often he had stretched his arms to the sky and declaimed the splendid ritual. Not often, but several times, he had felt the virtue enter him and seen the little cloud forming on the horizon. But there were many times when weeks went by ... but why think of them? It was not himself he was trying to convince that rain and drought were wisely apportioned.

Thus it was that the determination rose within him at the moment of the accident. It prompted him to busy himself for six years, knocking at all the doors in Lima, asking thousands of questions, filling scores of notebooks, in his effort at establishing the fact that each of the five lost lives was a perfect whole. Everyone knew that he was working on some sort of memorial of the accident and everyone was very helpful and misleading. A few even knew the principal aim of his activity and there were patrons in high places.

The result of all this diligence was an enormous book, which as we shall see later, was publicly burned on a beautiful Spring morning in the great square. But there was a secret copy and after a great many years and without much notice it found its way to the library of the University of San Marco. There it lies between two great wooden covers collecting dust in a cupboard. It deals with one after another of the victims of the accident, cataloguing thousands of little facts and anecdotes and testimonies, and concluding with a dignified passage describing why God had settled upon that person and upon that day for His demonstration of wisdom. Yet for all his diligence Brother Juniper never knew the central passion of Doña María's life; nor of Uncle Pio's, not even of Esteban's. And I, who claim to know so much more, isn't it possible that even I have missed the very spring within the spring?

Some say that we shall never know and that to the gods we are like the flies that the boys kill on a summer day, and some say, on the contrary, that the very sparrows do not lose a feather that has not been brushed away by the finger of God.

PART TWO: THE MARQUESA DE MONTEMAYOR

ANY Spanish schoolboy is required to know today more about Doña María, Marquesa de Montemayor, than Brother Juniper was to discover in years of research. Within a century of her death her letters had become one of the monuments of Spanish literature and her life and times have ever since been the object of long studies. But her biographers have erred in one direction as greatly as the Franciscan did in another; they have tried to invest her with a host of graces, to read back into her life and person some of the beauties that abound in her letters, whereas all real knowledge of this wonderful woman must proceed from the act of humiliating her and of divesting her of all beauties save one.

She was the daughter of a cloth-merchant who had acquired the money and the hatred of the Limeans within a stone's-throw of the Plaza. Her childhood was unhappy: she was ugly; she stuttered; her mother persecuted her with sarcasms in an effort to arouse some social charms and forced her to go about the town in a veritable harness of jewels. She lived alone and she thought alone. Many suitors presented themselves, but as long as she could she fought against the convention of her time and was determined to remain single. There were hysterical scenes with her mother, recriminations, screams and slamming of doors. At last at twenty-six she found herself penned into marriage with a supercilious and ruined nobleman and the Cathedral of Lima fairly buzzed with the sneers of her guests. Still she lived alone and thought alone, and when an exquisite daughter was born to her she fastened upon her an idolatrous love. But little Clara took after her father; she was cold and intellectual. At the age of eight she was calmly correcting her mother's speech and presently regarding her with astonishment and repulsion. The frightened mother became meek and obsequious but she could not prevent herself from persecuting Doña Clara with nervous attention and a fatiguing love. Again there were hysterical recriminations, screams and slamming of doors. From the offers of marriage that fell to her, Doña Clara deliberately chose the one that required her removal to Spain. So to Spain she went, to that land from which it takes six months to receive an answer to one's letter. The leave-taking before so long a voyage became in Peru one of the formal services of the Church. The ship was blessed and as the space widened between the vessel and the beach both companies knelt and sang a hymn that never failed to sound weak and timid in all that open air. Doña Clara sailed with most admirable composure, leaving her mother to gaze after the bright ship, her hand pressing now her heart and now her mouth. Blurred and streaked became her view of the serene Pacific and the enormous clouds of pearl that hang forever motionless above it.

Left alone in Lima the Marquesa's life grew more and more inward. She became increasingly negligent in her dress and like all lonely people she talked to herself audibly. All her existence lay in the burning center of her mind. On that stage were performed endless dialogues with her daughter, impossible reconciliations, scenes eternally recommenced of remorse and forgiveness. On the street you beheld an old woman her red wig fallen a little over one ear, her left cheek angry with a leprous affection, her right with a complementary adjustment of rouge. Her chin was never dry; her lips were never still. Lima was a city of eccentrics, but even there she became its jest as she drove through the streets or shuffled up the steps of its churches. She was thought to be continuously drunk. Worse things were said of her and petitions were afloat that she be locked up. She had been denounced three times before the Inquisition. It is not impossible that she might have been burned had her son-in-law been less influential in Spain and had she not somehow collected a few friends about the viceregal court who suffered her for her oddity and her wide reading.

The distressing character of the relations between mother and daughter were further embittered by misunderstandings over money. The Condesa received a handsome allowance from her mother and frequent gifts. Doña Clara soon became the outstanding woman of intelligence at the Spanish court. All the wealth of Peru would have been insufficient to maintain her in the grandiose style she fancied for herself. Strangely enough her extravagance proceeded from one of the best traits in her nature: she regarded her friends, her servants and all the interesting people in the capital, as her children. In fact there seemed only one person in the world towards whom she did not expend herself in kind offices. Among her protégés was the cartographer De Blasiis (whose Maps of the New World was dedicated to the Marquesa de Montemayor amid the roars of the courtiers at Lima who read that she was the "admiration of her city and a rising sun in the West"); another was the scientist Azuarius whose treatise on the laws of hydraulics was suppressed by the Inquisition as being too exciting. For a decade the Condesa literally sustained all the arts and sciences of Spain; it was not her fault that nothing memorable was produced in that time.

About four years after Doña Clara's departure Doña María received her permission to visit Europe. On both sides the visit was anticipated with resolutions well nourished on self-reproach: the one to be patient, the other to be undemonstrative. Both failed. Each tortured the other and was on the point of losing her mind under the alternations of self-rebuke and the outbursts of passion. At length one day Doña María rose before dawn, daring no more than to kiss the door behind which her daughter was sleeping, took ship and returned to America. Henceforth letter-writing had to take the place of all the affection that could not be lived.

Hers were the letters that in an astonishing world have become the text-book of schoolboys and the ant-hill of the grammarians. Doña María would have invented her genius had she not been born with it, so necessary was it to her love that she attract the attention, perhaps the admiration, of her distant child. She forced herself to go out into society in order to cull its ridicules; she taught her eye to observe; she read the masterpieces of her language to discover its effects; she insinuated herself into the company of those who were celebrated for their conversation. Night after night in her baroque palace she wrote and rewrote the incredible pages, forcing from her despairing mind those miracles of wit and grace, those distilled chronicles of the viceregal court. We know now that her daughter barely glanced at the letters and that it is to the son-in-law that we owe their preservation.

The Marquesa would have been astonished to learn that her letters were immortal. Yet many critics have accused her of keeping one eye on posterity and point to a number of letters that have all the air of being bravura pieces. To them it seems impossible that Doña María should have put herself to the same pains to dazzle her daughter that most artists expend on dazzling the public. Like her son-in-law they misunderstood her: the Conde delighted in her letters, but he thought that when he had enjoyed the style he had extracted all their richness and intention, missing (as most readers do) the whole purport of literature, which is the notation of the heart. Style is but the faintly contemptible vessel in which the bitter liquid is recommended to the world. The Marquesa would even have been astonished to learn that her letters were very good, for such authors live always in the noble weather of their own minds and those productions which seem remarkable to us are little better than a day's routine to them.

This was the old woman who hour by hour would sit upon her balcony, her odd straw hat casting a purple shadow across her lined and yellow face. How often as she turned her pages with her gemmed hands, she would ask herself, almost with amusement, whether the constant pain at her heart had an organic seat. She wondered whether a subtle doctor cutting through to that battered throne could at last discover a sign and lifting his face to the amphitheatre cry out to his students: "This woman has suffered, and her suffering has left its mark upon the structure of her heart." This idea had so often visited her that one day she wrote it into a letter and her daughter scolded her for an introspective and for making a cult of sorrow.

The knowledge that she would never be loved in return acted upon her ideas as a tide acts upon cliffs. Her religious beliefs went first, for all she could ask of a god, or of immortality, was the gift of a place where daughters love their mothers; the other attributes of Heaven you could have for a song. Next she lost her belief in the sincerity of those about her. She secretly refused to believe that anyone (herself excepted) loved anyone. All families lived in a wasteful atmosphere of custom and kissed one another with secret indifference. She saw that the people of this world moved about in an armour of egotism, drunk with self-gazing, athirst for compliments, hearing little of what was said to them, unmoved by the accidents that befell their closest friends, in dread of all appeals that might interrupt their long communion with their own desires. These were the sons and daughters of Adam from Cathay to Peru. And when on the balcony her thoughts reached this turn, her mouth would contract with shame for she knew that she too sinned and that though her love for her daughter was vast enough to include all the colours of love, it was not without a shade of tyranny: she loved her daughter not for her daughter's sake, but for her own. She longed to free herself from this ignoble bond; but the passion was too fierce to cope with. And then on that green balcony a strange warfare would shake the hideous old lady, a singularly futile struggle against a temptation to which she would never have the opportunity of succumbing. How could she rule her daughter when her daughter saw to it that four thousand miles lay between them? Nevertheless Doña María wrestled with the ghost of her temptation and was worsted on every occasion. She wanted her daughter for herself; she wanted to hear her say: "You are the best of all possible mothers"; she longed to hear her whisper: "Forgive me."

About two years after her return from Spain there took place a series of inconspicuous events that had a great deal to tell about the inner life of the Marquesa. Only the faintest allusion to them occurs in the Correspondence, but as that is found in Letter XXII which contains other signs I shall do my best to give a translation and commentary of the first part of the letter:

"Are there no doctors in Spain? Where are those good men from Flanders that used to help you so? Oh, my treasure, how can we punish you enough for letting your cold endure so many weeks? Don Vicente, I implore you to make my child see reason. Angels of Heaven, I implore you to make my child see reason. Now that you are better, I beg of you, resolve that when the first warning of a cold comes you will steam yourself well and go to bed. Here in Peru I am helpless; I can do nothing. Do not be self-willed, beloved. God bless you. I am enclosing in today's packet the gum of some tree which the sisters of San Tomás peddle from door to door. Whether it be of much use I know not. It can do no harm. I am told that in the convent the silly sisters inhale it so diligently that one cannot smell the incense at Mass. Whether it be worth anything I know not; try it.

"Rest easy, my love, I am sending His Mos. Catholic Majesty the perfect gold chain." (Her daughter had written her: "The chain arrived in good condition and I wore it at the christening of the Infante. His Most Catholic Majesty was gracious enough to admire it and when I told Him that you had given it me He sent you His compliments upon your taste. Do not fail to send Him one as like it as possible; send it at once, by way of the Chamberlain.") "He need never know that in order to obtain it I had to walk into a picture. Do you remember that in the sacristy of San Martín there is a portrait by Velasquez of the Viceroy who founded the monastery and of his wife and brat? and that his wife is wearing a gold chain? I resolved that only that chain would do. So one midnight I slipped into the sacristy, climbed upon the robing-table like a girl of twelve and walked in. The canvas resisted for a moment, but the painter himself came forward to lift me through the pigment. I told him that the most beautiful girl in Spain wished to present the finest gold chain that could be found to the most gracious king in the world. It was as simple as that, and there we stood talking, we four, in the gray and silvery air that makes a Velasquez. Now I keep thinking about a more golden light; I keep looking at the Palace: I must pass the evening in a Titian. Would the Viceroy let me?

"But His Excellency has the gout again. I say 'again' because the flattery of the court insists that there are times when he is free of it. This being Saint Mark's day His Excellency started out to visit the University where twenty-two new doctors were being brought into the world. He had hardly been carried from his divan to his coach when he screamed and refused to go any farther. He was carried back to his bed where he broke a most delicious cigar and sent for the Perichole. And while we listened to long doctrinal addresses, more or less in Latin, he heard all about us, more or less in Spanish, from the reddest and cruellest lips in town." (Doña María permitted herself this passage, although she had just read in her daughter's last letter: "How many times must I tell you to be more cautious in the things you say in your letters? They often show signs of having been opened on the journey. Nothing could be more ill-judged than your remarks on the you-know-what-I-mean at Cuzco. Such remarks are not funny, even though Vicente did compliment you upon them in his postscript, and they might get us into a great deal of trouble with Certain Persons here in Spain. I continue to be astonished that your indiscretions have not long since led to your being ordered to retire to your farm.")

"There was a great press at the Exercises and two women fell from the balcony, but God in His goodness saw that they fell on Doña Merced. All three are badly hurt, but will be thinking of other things within a year. The President was speaking at the moment of the accident and being short-sighted could not imagine what the disturbance of cries and talk and falling bodies could be about. It was very pleasant to see him bowing, under the impression that he was being applauded.

"Speaking of the Perichole, and of applause, you should know that Pepita and I decided to go to the Comedia this evening. The public still idolizes its Perichole; it even forgives her her years. We are told that she saves what she can, every morning, by passing alternate pencils of ice and fire across her cheeks." (Translation falls especially short of this conceit which carries the whole flamboyance of the Spanish language. It was intended as an obsequious flattery of the Condesa, and was untrue. The great actress was twenty-eight at this time; her cheeks had the smoothness and polish of dark yellow marble and would certainly have retained that quality for many years. Apart from the cosmetics required by her performances the only treatment Camila Perichole afforded her face was to throw cold water at it twice a day, like a peasant woman at a horse trough.) "That curious man they call Uncle Pio is by her all the time. Don Rubío says that he cannot make out whether Uncle Pio is her father, her lover, or her son. The Perichole gave a wonderful performance. Scold me all you like for a provincial ninny, you have no such actresses in Spain." And so on.

It is on this visit to the theatre that further matter hangs. She decided to go to the Comedia where the Perichole was playing Doña Leonor in Moreto's Trampa Adelante; perhaps some material could be derived from the visit for her daughter's next letter. She took with her Pepita, a little girl about whom later we shall learn much. Doña María had borrowed her from the orphanage connected with the Convent of Santa María Rosa de las Rosas to be her companion. The Marquesa sat in her box gazing with flagging attention at the brilliant stage. Between the acts it was the Perichole's custom to lay aside the courtly rôle and appear before the curtain to sing a few topical songs. The malicious actress had seen the Marquesa arrive and presently began improvising couplets alluding to her appearance, her avarice, her drunkenness, and even to her daughter's flight from her. The attention of the house was subtly directed to the old woman and a rising murmur of contempt accompanied the laughter of the audience. But the Marquesa, deeply moved by the first two acts of the comedy, scarcely saw the singer and sat staring before her, thinking about Spain. Camila Perichole became bolder and the air was electric with the hatred and glee of the crowd. At last Pepita plucked the Marquesa's sleeve and whispered to her that they should go. As they left the box the house arose and burst into a roar of triumph; the Perichole flung herself into a frenzied dance, for she saw the manager at the back of the hall and knew that her salary had been increased. But the Marquesa remained unaware of what had taken place; in fact she was quite pleased, for during the visit she had contrived a few felicitous phrases, phrases (who knows) that might bring a smile to her daughter's face and might make her murmur: "Really, my mother is charming."

In due time the report reached the Viceroy's ears that one of his aristocrats had been openly baited in the theatre. He summoned the Perichole to the Palace and ordered her to call upon the Marquesa and to apologize. The trip was to be made barefoot and in a black dress. Camila argued and fought, but all she gained was a pair of shoes.

The Viceroy had three reasons for insisting. In the first place the singer had taken liberties with his court. Don Andrés had contrived to make exile endurable by building up a ceremonial so complicated that it could be remembered only by a society that had nothing else to think about. He nursed his little aristocracy and its minute distinctions and any insult paid to a Marquesa was an insult to His Person. In the second place, Doña María's son-in-law was an increasingly important personage in Spain, laden with possibilities of injury to the Viceroy, nay with the possibility of supplanting him. The Conde Vicente d'Abuirre must not be vexed, even through his half-wit mother-in-law. Finally, the Viceroy was delighted to humble the actress. He suspected that she was deceiving him with a matador, perhaps with an actor,—between the flattery of the court and the inertia of gout he could not quite make out who it was; at all events, it was clear that the singer was beginning to forget that he was one of the first men in the world.

The Marquesa, beside not having heard the scurrilous songs, was in other ways unprepared for the actress's visit. You should know that after the departure of her daughter, Doña María had lighted upon a certain consolation: she had taken to drinking. Everyone drank chicha in Peru and there was no particular disgrace in being found unconscious on a feast day. Doña María had begun to discover that her feverish monologues had a way of keeping her awake all night. Once she took a delicate fluted glassful of chicha on retiring. Oblivion was so sweet that presently she stole larger amounts and tried dissimulating their effects from Pepita; she hinted that she was not well, and represented herself as going into a decline. At last she resigned all pretense. The boats that carried her letter to Spain did not leave oftener than once a month. During the week that preceded the making of the packet she observed a strict regimen and cultivated the city assiduously for material. At last on the eve of the post she wrote the letter, making up the bundle towards dawn and leaving it for Pepita to deliver to the agent. Then as the sun rose she would shut herself up in her room with some flagons and drift through the next few weeks without the burden of consciousness. Finally she would emerge from her happiness and prepare to go into a state of "training" in preparation for the writing of another letter.

Thus on the night following the scandal in the theatre she wrote Letter XXII and retired to bed with a carafe. All next day Pepita moved about the room, glancing anxiously at the figure on the bed. The next afternoon Pepita brought her needlework into the room. The Marquesa lay staring at the ceiling with wide-open eyes, talking to herself. Towards dusk Pepita was called to the door and informed that the Perichole had come to see the mistress. Pepita remembered the theatre very well and sent back word angrily that the mistress refused to see her. The man carried the message to the street door, but returned awestruck with the news that the Señora Perichole was armed with a letter from the Viceroy presenting her to the lady. Pepita tiptoed to the bed and started talking to the Marquesa. The glazed eyes moved to the girl's face. Pepita shook her gently. With great effort Doña María tried to fix her mind on what was being said to her. Twice she lay back, refusing to seize the meaning, but at last, like a general calling together in a rain and by night the dispersed division of his army she assembled memory and attention and a few other faculties and painfully pressing her hand to her forehead she asked for a bowl of snow. When it was brought her, she long and drowsily pressed handfuls of it against her temples and cheeks; then rising she stood for a long time leaning against the bed and looking at her shoes. At last she raised her head with decision, she called for her fur-trimmed cloak and a veil. She put them on and tottered into her handsomest reception room where the actress stood waiting for her.

Camila had intended to be perfunctory and if possible impudent, but now she was struck for the first time with the dignity of the old woman. The mercer's daughter could carry herself at times with all the distinction of the Montemayors and when she was drunk she wore the grandeur of Hecuba. For Camila the half-closed eyes had the air of weary authority and she began almost timidly:

"I come, señora, to make sure that you could not have misunderstood anything I said on the evening that Your Grace did me the honour to visit my theatre."

"Misunderstood? Misunderstood?" said the Marquesa.

"Your Grace might have misunderstood and thought that my words were intended to be disrespectful to Your Grace."

"To me?"

"Your Grace is not offended at her humble servant? Your Grace is aware that a poor actress in my position may be carried beyond her intentions ... that it is very difficult ... that everything...."

"How can I be offended, señora? All that I can remember is that you gave a beautiful performance. You are a great artist. You should be happy, happy. My handkerchief, Pepita...."

The Marquesa brought out these words very rapidly and vaguely, but the Perichole was confounded. A piercing sense of shame filled her. She turned crimson. At last she was able to murmur:

"It was in the songs between the acts of the comedy. I was afraid Your Grace ..."

"Yes, yes. I remember now. I left early. Pepita, we left early, did we not? But, señora, you are good enough to forgive my leaving early, yes, even in the middle of your admirable performance. I forget why we left. Pepita ... oh, some indisposition...."

It was impossible that anyone in the theatre could have missed the intention of the songs. Camila could only assume that the Marquesa, out of a sort of fantastic magnanimity, was playing the farce of not having noticed it. She was almost in tears: "But you are so good to overlook my childishness, señora,—I mean Your Grace. I did not know. I did not know your goodness, señora, permit me to kiss your hand."

Doña María held out her hand astonished. She had not for a long time been addressed with such consideration. Her neighbors, her tradespeople, her servants—for even Pepita lived in awe of her,—her very daughter had never approached her thus. It induced a new mood in her; one that must very likely be called maudlin. She became loquacious:

"Offended, offended at you, my beautiful, ... my gifted child? Who am I, a ... an unwise and unloved old woman, to be offended at you? I felt, my daughter, as though I were—what says the poet?—surprising through a cloud the conversation of the angels. Your voice kept finding new wonders in our Moreto. When you said:

and so on,—that was true! And what a gesture you made at the close of the First Day. There, with your hand so. Such a gesture as the Virgin made, saying to Gabriel: How is it possible that I shall have a child? No, no, you will begin to have resentment at me, for I am going to tell you about a gesture that you may remember to use some day. Yes, it would fit well into that scene where you forgive your Don Juan de Lara. Perhaps I should tell you that I saw it made one day by my daughter. My daughter is a very beautiful woman ... everyone thinks. Did ... did you know my Doña Clara, Señora?"

"Her Grace often did me the honour of visiting my theatre. I knew the Condesa well by sight."

"Do not remain so, on one knee, my child.—Pepita, tell Jenarito to bring this lady some sweet-cakes at once. Think, one day we fell out, I forget over what. Oh, there is nothing strange in that; all we mothers from time to time.... Look, can you come a little closer? You must not believe the town that says she was unkind to me. You are a great woman with a beautiful nature and you can see further than the crowd sees in these matters.—It is a pleasure to talk to you. What beautiful hair you have! What beautiful hair!—She had not a warm impulsive nature, I know that. But, oh, my child, she has such a store of intelligence and graciousness. Any misunderstandings between us are so plainly my fault; is it not wonderful that she is so quick to forgive me? This day there fell one of those little moments. We both said hasty things and went off to our rooms. Then each turned back to be forgiven. Finally only a door separated us and there we were pulling it in contrary ways. But at last she ... took my ... face ... thus, in her two white hands. So! Look!"

The Marquesa almost fell out of her chair as she leaned forward, her face streaming with happy tears, and made the beatific gesture. I should say the mythical gesture, for the incident was but a recurring dream.

"I am glad you are here," she continued, "for now you have heard from my own lips that she is not unkind to me, as some people say. Listen, señora, the fault was mine. Look at me. Look at me. There was some mistake that made me the mother of so beautiful a girl. I am difficult. I am trying. You and she are great women. No, do not stop me: you are rare women, and I am only a nervous ... a foolish ... a stupid woman. Let me kiss your feet. I am impossible. I am impossible. I am impossible."

Here indeed the old woman did fall out of her chair and was gathered up by Pepita and led back to her bed. The Perichole walked home in consternation and sat for a long time gazing into her eyes in the mirror, her palms pressed against her cheeks.

But the person who saw most of the difficult hours of the Marquesa was her little companion, Pepita. Pepita was an orphan and had been brought up by that strange genius of Lima, the Abbess Madre María del Pilar. The only occasion upon which the two great women of Peru (as the perspective of history was to reveal them) met face to face was on the day when Doña María called upon the directress of the Convent of Santa María Rosa de las Rosas and asked if she might borrow some bright girl from the orphanage to be her companion. The Abbess gazed hard at the grotesque old woman. Even the wisest people in the world are not perfectly wise and Madre María del Pilar who was able to divine the poor human heart behind all the masks of folly and defiance, had always refused to concede one to the Marquesa de Montemayor. She asked her a great many questions and then paused to think. She wanted to give Pepita the worldly experience of living in the palace. She also wanted to bend the old woman to her own interests. And she was filled with a sombre indignation, for she knew she was gazing at one of the richest women in Peru, and the blindest.

She was one of those persons who have allowed their lives to be gnawed away because they have fallen in love with an idea several centuries before its appointed appearance in the history of civilization. She hurled herself against the obstinacy of her time in her desire to attach a little dignity to women. At midnight when she had finished adding up the accounts of the House she would fall into insane vision of an age when women could be organized to protect women, women travelling, women as servants, women when they are old or ill, the women she had discovered in the mines of Potosi, or in the workrooms of the cloth-merchants, the girls she had collected out of doorways on rainy nights. But always the next morning she had to face the fact that the women in Peru, even her nuns, went through life with two notions: one, that all the misfortunes that might befall them were merely due to the fact that they were not sufficiently attractive to bind some man to their maintenance and, two, that all the misery in the world was worth his caress. She had never known any country but the environs of Lima and she assumed that all its corruption was the normal state of mankind. Looking back from our century we can see the whole folly of her hope. Twenty such women would have failed to make any impression on that age. Yet she continued diligently in her task. She resembled the swallow in the fable who once every thousand years transferred a grain of wheat, in the hope of rearing a mountain to reach the moon. Such persons are raised up in every age; they obstinately insist on transporting their grains of wheat and they derive a certain exhilaration from the sneers of the bystanders. "How queerly they dress!" we cry. "How queerly they dress!"

Her plain red face had great kindliness, and more idealism than kindliness, and more generalship than idealism. All her work, her hospitals, her orphanage, her convent, her sudden journeys of rescue, depended upon money. No one harbored a fairer admiration for mere goodness, but she had been obliged to watch herself sacrificing her kindliness, almost her idealism, to generalship, so dreadful were the struggles to obtain her subsidies from her superiors in the church. The Archbishop of Lima, whom we shall know later in a more graceful connection, hated her with what he called a Vatinian hate and counted the cessation of her visits among the compensations for dying.

Lately she had felt not only the breath of old age against her cheek, but a graver warning. A chill of terror went through her, not for herself, but for her work. Who was there in Peru to value the things she had valued? And rising one day at dawn she had made a rapid journey through her hospital and convent and orphanage, looking for a soul she might train to be her successor. She hurried from empty face to empty face, occasionally pausing more from hope than conviction. In the courtyard she came upon a company of girls at work over the linen and her eyes fell at once upon a girl of twelve who was directing the others at the trough and at the same time recounting to them with great dramatic fire the less probable miracles in the life of Saint Rose of Lima. So it was that the search ended with Pepita. The education for greatness is difficult enough at any time, but amid the sensibilities and jealousies of a convent it must be conducted with fantastic indirection. Pepita was assigned to the most disliked tasks in the House, but she came to understand all the aspects of its administration. She accompanied the Abbess on her journeys, even though it was in the capacity of custodian of the eggs and vegetables. And everywhere, by surprise, hours would open up in which the Directress suddenly appeared and talked to her at great length, not only on religious experience, but on how to manage women and how to plan contagious wards and how to beg for money. It was a step in this education for greatness that led to Pepita's arriving one day and entering upon the crazy duties of being Doña María's companion. For the first two years she merely came for occasional afternoons, but finally she came to the palace to live. She never had been taught to expect happiness, and the inconveniences, not to say terrors, of her new position did not seem to her excessive for a girl of fourteen. She did not suspect that the Abbess, even there, was hovering above the house, herself estimating the stresses and watching for the moment when a burden harms and not strengthens.

A few of Pepita's trials were physical: for example, the servants in the house took advantage of Doña María's indisposition; they opened up the bedrooms of the palace to their relatives; they stole freely. Alone Pepita stood out against them and suffered a persecution of small discomforts and practical jokes. Her mind, similarly, had its distresses: when she accompanied Doña María on her errands in the city, the older woman would be seized with the desire to dash into a church, for what she had lost of religion as faith she had replaced with religion as magic. "Stay here in the sunlight, my dear child; I shall not be long," she would say. Doña María would then forget herself in a reverie before the altar and leave the church by another door. Pepita had been brought up by Madre María del Pilar to an almost morbid obedience and when after many hours she ventured into the church and made sure that her mistress was no longer there, still she returned to the street-corner and waited while the shadows fell gradually across the square. Thus waiting in public she suffered all the torture of a little girl's self-consciousness. She still wore the uniform of the orphanage (which a minute's thoughtfulness on the part of Doña María could have altered) and she suffered hallucinations wherein men seemed to be staring at her and whispering—nor were these always hallucinations. No less her heart suffered, for on some days Doña María would suddenly become aware of her and would talk to her cordially and humorously, would let appear for a few hours all the exquisite sensibility of the Letters; then, on the morrow she would withdraw into herself again and, while never harsh, would become impersonal and unseeing. The beginnings of hope and affection that Pepita had such need to expend would be wounded. She tiptoed about the palace, silent, bewildered, clinging only to her sense of duty and her loyalty to her "mother in the Lord," Madre María del Pilar, who had sent her there.

Finally a new fact appeared that was to have considerable effect on the lives of both the Marquesa and her companion: "My dear mother," wrote the Condesa, "the weather has been most exhausting and the fact that the orchards and gardens are in bloom only makes it the more trying. I could endure flowers if only they had no perfume. I shall therefore ask your permission to write you at less length than usual. If Vicente returns before the post leaves he will be delighted to finish out the leaf and supply you with those tiresome details about myself which you seem to enjoy so. I shall not go to Grignan in Provence as I expected this Fall, as child will be born in early October."

What child? The Marquesa leaned against the wall. Doña Clara had foreseen the exhausting importunities that this news would waken in her mother and had sought to mitigate them by the casualness of her announcement. The ruse did not succeed. The famous Letter XLII was the answer.

Now at length the Marquesa had something to be anxious about: her daughter was to become a mother. This event, which merely bored Doña Clara, discovered a whole new scale of emotions in the Marquesa. She became a mine of medical knowledge and suggestion. She combed the city for wise old women and poured into her letters the whole folk-wisdom of the New World. She fell into the most abominable superstition. She practiced a degrading system of taboos for her child's protection. She refused to allow a knot in the house. The maids were forbidden to tie up their hair and she concealed upon her person ridiculous symbols of a happy delivery. On the stairs the even steps were marked with red chalk and a maid who accidentally stepped upon an even step was driven from the house with tears and screams. Doña Clara was in the hands of malignant Nature who reserves the right to inflict upon her children the most terrifying jests. There was an etiquette of propitiation which generations of peasant women had found comforting. So vast an army of witnesses surely implied that there was some truth in it. At least it could do no harm, and Perhaps it did good. But the Marquesa did not only satisfy the rites of paganism; she studied the prescriptions of Christianity as well. She arose in the dark and stumbled through the streets to the earliest Masses. She hysterically hugged the altar-rails trying to rend from the gaudy statuettes a sign, only a sign, the ghost of a smile, the furtive nod of a waxen head. Would all be well? Sweet, sweet Mother, would all be well?

At times, after a day's frantic resort to such invocations, a revulsion would sweep over her. Nature is deaf. God is indifferent. Nothing in man's power can alter the course of law. Then on some street-corner she would stop, dizzy with despair, and leaning against a wall would long to be taken from a world that had no plan in it. But soon a belief in the great Perhaps would surge up from the depths of her nature and she would fairly run home to renew the candles above her daughter's bed.

At last the time came to satisfy the supreme rite of Peruvian households looking forward to this event: she made the pilgrimage to the shrine of Santa María de Cluxambuqua. If there resided any efficacy in devotion at all, surely it lay in a visit to this great shrine. The ground had been holy through three religions; even before the Incan civilization distraught human beings had hugged the rocks and lashed themselves with whips to wring their will from the skies. Thither the Marquesa was carried in her chair, crossing the bridge of San Luis Rey and ascending up into the hills toward that city of large-girdled women, a tranquil town, slow-moving and slow-smiling; a city of crystal air, cold as the springs that fed its many fountains; a city of bells, soft and musical, and tuned to carry on with one another the happiest quarrels. If anything turned out for disappointment in the town of Cluxambuqua the grief was somehow assimilated by the overwhelming immanence of the Andes and by the weather of quiet joy that flowed in and about the side-streets. No sooner did the Marquesa see from a distance the white walls of this town perched on the knees of the highest peaks than her fingers ceased turning the beads and the busy prayers of her fright were cut short on her lips.

She did not even alight at the inn, but leaving Pepita to arrange for their stay she went on to the church and knelt for a long time patting her hands softly together. She was listening to the new tide of resignation that was rising within her. Perhaps she would learn in time to permit both her daughter and her gods to govern their own affairs. She was not annoyed by the whispering of the old women in padded garments who sold candles and medals and talked about money from dawn to dark. She was not even distracted by an officious sacristan who tried to collect a fee for something or other and who, from spite, made her change her place under the pretext of repairing a tile on the floor. Presently she went out into the sunshine and sat on the steps of the fountain. She watched the little processions of invalids slowly revolving about the gardens. She watched three hawks plunging about the sky. The children who had been playing by the fountain stared at her for a moment, and went away alarmed, but a llama (a lady with a long neck and sweet shallow eyes, burdened down by a fur cape too heavy for her and picking her way delicately down an interminable staircase) came over and offered her a velvet cleft nose to stroke. The llama is deeply interested in the men about her, is even fond of pretending that she too is one of them and of inserting her head into their conversations as though in a moment she would lift her voice and contribute a wan and helpful comment. Soon Doña María was surrounded by a number of these sisters who seemed on the point of asking her why she clapped her hands so and how much her veiling cost a yard.

Doña María had arranged that any letters arriving from Spain should be brought to her at once by a special messenger. She had travelled slowly from Lima and even now as she sat in the square a boy from her farm ran up and put into her hand a large packet wrapped in parchment and dangling some nuggets of sealing-wax. Slowly she undid the wrappings. With measured stoic gestures she read first an affectionate and jocose note from her son-in-law; then her daughter's letter. It was full of wounding remarks rather brilliantly said, perhaps said for the sheer virtuosity of giving pain neatly. Each of its phrases found its way through the eyes of the Marquesa, then, carefully wrapped in understanding and forgiveness it sank into her heart. At last she arose, gently dispersed the sympathetic llamas, and with a grave face returned to the shrine.

While Doña María was passing the late afternoon in the Church and in the Square, Pepita was left to prepare their lodging. She showed the porters where to lay down the great wicker hampers and set about unpacking the altar, the brazier, the tapestries and the portraits of Doña Clara. She descended into the kitchen and gave the cook exact instructions as to the preparations of a certain porridge upon which the Marquesa principally subsisted. Then she returned to the rooms and waited. She resolved to write a letter to the Abbess. She hung for a long time over the quill, staring into the distance with trembling lip. She saw the face of Madre María del Pilar, so red and scrubbed, and the wonderful black eyes. She heard her voice as at the close of supper (the orphans sitting with lowered eyes and folded hands) she commented on the events of the day, or as, by candlelight, she stood among the beds of the hospital and announced the theme for meditation during the night. But most clearly of all Pepita remembered the sudden interviews when the Abbess (not daring to wait until the girl was older) had discussed with her the duties of her office. She had talked to Pepita as to an equal. Such speech is troubling and wonderful to an intelligent child and Madre María del Pilar had abused it. She had expanded Pepita's vision of how she should feel and act beyond the measure of her years. And she had unthinkingly turned upon Pepita the full blaze of her personality, as Jupiter had turned his upon Semele. Pepita was frightened by her sense of insufficiency; she hid it and wept. And then the Abbess had cast the child into the discipline of this long solitude, where Pepita struggled, refusing to let herself believe that she had been abandoned. And now from this strange inn in these strange mountains, where the altitude was making her lightheaded, Pepita longed for the dear presence, the only real thing in her life.

She wrote a letter, all inkstains and incoherence. Then she went downstairs to see about fresh charcoal and to taste the porridge.

The Marquesa came in and sat down at the table. "I can do no more. What will be, will be," she whispered. She unbound from her neck the amulets of her superstition and dropped them into the glowing brazier. She had a strange sense of having antagonized God by too much prayer and so addressed Him now obliquely. "After all it is in the hands of another. I no longer claim the least influence. What will be, will be." She sat for a long time, her palms against her cheeks, making a blank of her mind. Her eyes fell on Pepita's letter. She opened it mechanically and started to read. She had read a full half of it before her attention was aware of the meaning of the words: "... but all this is nothing if you like me and wish me to stay with her. I oughtn't to tell you but every now and then the bad chambermaids lock me up in rooms and steal things and perhaps My Lady will think that I steal them. I hope not. I hope you are well and not having any trouble in the hospital or anywhere. Though I never see you I think of you all the time and I remember what you told me, my dear mother in God. I want to do only what you want, but if you could let me come back for a few days to the convent, but not if you do not wish it. But I am so much alone and not talking to anyone, and everything. Sometimes I do not know whether you have forgotten me and if you could find a minute to write me a little letter or something, I could keep it, but I know how busy you are...."

Doña María read no further. She folded the letter and put it aside. For a moment she was filled with envy: she longed to command another's soul as completely as this nun was able to do. Most of all she longed to be back in this simplicity of love, to throw off the burden of pride and vanity that hers had always carried. To quiet the tumult in her mind she picked up a book of devotion and tried to fix her attention upon the words. But after a moment she suddenly felt the need to reread the whole letter, to surprise, if possible, the secret of so much felicity.

Pepita returned bringing the supper in her hands, followed by a maid. Doña María watched her over the top of her book as she would have watched a visitor from Heaven. Pepita tiptoed about the room laying the table and whispering directions to her assistant.

"Your supper is ready, My Lady," she said at last.

"But, my child, you are going to eat with me?" In Lima Pepita generally sat down at the table with her mistress.

"I thought you would be tired, My Lady. I had my supper downstairs."

"She does not wish to eat with me," thought the Marquesa. "She knows me and has rejected me."

"Would you like me to read aloud to you while you are eating, My Lady?" asked Pepita, who felt that she had made a mistake.

"No. You may go to bed, if you choose."

"Thank you, My Lady."

Doña María had risen and approached the table. With one hand on the back of the chair she said haltingly: "My dear child, I am sending off a letter to Lima in the morning. If you have one you can enclose it with mine."

"No, I have none," said Pepita. She added hastily: "I must go downstairs and get you the new charcoal."

"But, my dear, you have one for ... Madre María del Pilar. Wouldn't you ...?"

Pepita pretended to be busy over the brazier. "No, I'm not going to send it," she said. She was aware during the long pause that followed that the Marquesa was staring at her in stupefaction. "I've changed my mind."

"I know she would like a letter from you, Pepita. It would make her very happy. I know."

Pepita was reddening. She said loudly: "The innkeeper said that there would be some new charcoal ready for you at dark. I'll tell them to bring it up now." She glanced hastily at the old woman and saw that she had not ceased from staring at her with great sad inquiring eyes. Pepita felt that these were not things one talked about, but the strange woman seemed to be feeling the matter so strongly that Pepita was willing to concede one more answer: "No, it was a bad letter. It wasn't a good letter."

Doña María fairly gasped. "Why, my dear Pepita, I think it was very beautiful. Believe me, I know. No, no; what could have made it a bad letter?"

Pepita frowned, hunting for a word that would close the matter.

"It wasn't ... it wasn't ... brave," she said. And then she would say no more. She carried the letter off into her own room and could be heard tearing it up. Then she got into bed and lay staring into the darkness, still uncomfortable at having talked in such a fashion. And Doña María sat down to her dish amazed.

She had never brought courage to either life or love. Her eyes ransacked her heart. She thought of the amulets and of her beads, her drunkenness ... she thought of her daughter. She remembered the long relationship, crowded with the wreckage of exhumed conversations, of fancied slights, of inopportune confidences, of charges of neglect and exclusion (but she must have been mad that day; she remembered beating upon the table). "But it's not my fault," she cried. "It's not my fault that I was so. It was circumstance. It was the way I was brought up. Tomorrow I begin a new life. Wait and see, oh my child." At I last she cleared away the table and sitting down wrote what she called her first letter, her first stumbling misspelled letter in courage. She remembered with shame that in the previous one she had piteously asked her daughter how much she loved her, and had greedily quoted the few and hesitant endearments that Doña Clara had lately ventured to her. Doña María could not recall those pages, but she could write some new ones, free and generous. No one else has regarded them as stumbling. It is the famous letter LVI, known to the Encyclopedists as her Second Corinthians because of its immortal paragraph about love: "Of the thousands of persons we meet in a lifetime, my child ..." and so on. It was almost dawn when she finished the letter. She opened the door upon her balcony and looked at the great tiers of stars that glittered above the Andes. Throughout the hours of the night, though there had been few to hear it, the whole sky had been loud with the singing of these constellations. Then she took a candle into the next room and looked at Pepita as she slept, and pushed back the damp hair from the girl's face. "Let me live now," she whispered. "Let me begin again."

Two days later they started back to Lima, and while crossing the bridge of San Luis Rey the accident which we know befell them.

PART THREE: ESTEBAN

ONE morning twin boys were discovered in the foundlings' basket before the door of the Convent of Santa María Rosa de las Rosas. Names were found for them almost before the arrival of the wet-nurse, but the names were not as useful to them as our names are to most of us, for no one ever succeeded in telling the boys apart. There was no way of knowing who their parents were, but Limean gossips, noticing as the boys grew older how straight they held themselves and how silent and sombre they were, declared them to be Castilian and laid them in turn at all sorts of crested doorways. The person in the world who came nearest to being their guardian was the Abbess of the Convent. Madre María del Pilar had come to hate all men, but she grew fond of Manuel and Esteban. In the late afternoon she would call them into her office, send for some cakes from the kitchen, and tell them stories about the Cid and Judas Maccabeus and the thirty-six misfortunes of Harlequin. She grew to love them so, that she would catch herself gazing deep into their black and frowning eyes, looking for those traits that would appear when they grew to be men, all that ugliness, all that soullessness that made hideous the world she worked in. They grew up about the convent until they were a little past the age when their presence began to be a slight distraction to the dedicated sisters. From thence they became vaguely attached to all the sacristies in town: they trimmed all the cloister hedges; they polished every possible crucifix; they passed a damp cloth once a year over most of the ecclesiastical ceilings. All Lima knew them well. When the priest rushed through the streets carrying his precious burden into a sickroom either Esteban or Manuel was to be seen striding behind him, swinging a censer. As they grew older, however, they showed no desire for the clerical life. They gradually assumed the profession of the scribe. There were few printing presses in the New World and the boys soon made a fair living transcribing comedies for the theatre, ballads for the crowds, and advertisements for the merchants. Above all they were the copyists of the choirmasters and made endless parts of the motets of Morales and Vittoria.

Because they had no family, because they were twins, and because they were brought up by women, they were silent. There was in them a curious shame in regard to their resemblance. They had to live in a world where it was the subject of continual comment and joking. It was never funny to them and they suffered the eternal pleasantries with stolid patience. From the years when they first learned to speak they invented a secret language for themselves, one that was scarcely dependent on the Spanish for its vocabulary, or even for its syntax. They resorted to it only when they were alone, or at great intervals in moments of stress whispered it in the presence of others. The Archbishop of Lima was something of a philologist; he dabbled in dialects; he had even evolved quite a brilliant table for the vowel and consonant changes from Latin into Spanish and from Spanish into Indian-Spanish. He was storing up notebooks of quaint lore against an amusing old age he planned to offer himself back on his estates outside Segovia. So when he heard one day about the secret language of the twin brothers, he trimmed some quills and sent for them. The boys stood humiliated upon the rich carpets of his study while he tried to extract from them their bread and tree and their I see and I saw. They did not know why the experience was I so horrible to them. They bled. Long shocked silences followed each of the Archbishop's questions, until finally one or the other mumbled an answer. The priest thought for a while that they were merely in awe before his rank and before the luxury of his apartment, but at last, much perplexed, he divined the presence of some deeper reluctance and sadly let them go.

This language was the symbol of their profound identity with one another, for just as resignation was a word insufficient to describe the spiritual change that came over the Marquesa de Montemayor on that night in the inn at Cluxambuqua, so love is inadequate to describe the tacit almost ashamed oneness of these brothers. What relationship is it in which few words are exchanged, and those only about the details of food, clothing and occupation; in which the two persons have a curious reluctance even to glance at one another; and in which there is a tacit arrangement not to appear together in the city and to go on the same errand by different streets? And yet side by side with this there existed a need of one another so terrible that it produced miracles as naturally as the charged air of a sultry day produces lightning. The brothers were scarcely aware of it themselves, but telepathy was a common occurrence in their lives, and when one returned home the other was always aware of it when his brother was still several streets away.

Suddenly they discovered that they were tired of writing. They went down to the sea and found an occupation in loading and unloading vessels, not ashamed of working side by side with Indians. They drove teams across the provinces. They picked fruit. They were ferrymen. And always they were silent. Their sombre faces took on from these labors a male and gypsy cast. Their hair was seldom cut and under the dark mat their eyes looked up suddenly surprised and a little sullen. All the world was remote and strange and hostile except one's brother.

But at last the first shadow fell across this unity and the shadow was cast by the love of women. They had returned to the city and resumed the copying of parts for the theatre. One night the manager, foreseeing a thinning house, gave them a free admission. The boys did not like what they found there. Even speech was for them a debased form of silence; how much more futile is poetry which is a debased form of speech. All those allusions to honour, reputation, and the flame of love, all the metaphors about birds, Achilles and the jewels of Ceylon were fatiguing. In the presence of literature they had the same darkling intelligence that stirs for a time behind the eyes of a dog, but they sat on patiently, gazing at the bright candles and the rich clothes. Between the acts of the comedy the Perichole stepped out of her rôle, put on twelve petticoats and danced before the curtain. Esteban had some copying still to do, or pretended so, and went home early; but Manuel stayed on. The red stockings and shoes of the Perichole had made their impression.

Both brothers had fetched and carried their manuscripts up and down the dusty stairs behind the stage. There they had seen an irritable girl in a soiled bodice mending her stockings before a mirror while her stage director read aloud her lines for memorization. She had let fall upon the boys for a moment the detonation of her amazing eyes, immediately dissipated in her amused recognition that they were twins. Forthwith she had dragged them into the room and placed them side by side. Carefully, amusedly and remorselessly she had peered into every square inch of their faces, until finally laying one hand on Esteban's shoulder she had cried out: "This one is the younger!" That had been several years before and neither brother had thought of the episode again.

Henceforth all Manuel's errands seemed to lead him past the theatre. Late at night he would drift about among the trees beneath her dressing-room window. It was not the first time that Manuel had been fascinated by a woman (both brothers had possessed women, and often, especially during their years at the waterfront; but simply, latinly), but it was the first time that his will and imagination had been thus overwhelmed. He had lost that privilege of simple nature, the dissociation of love and pleasure. Pleasure was no longer as simple as eating; it was being complicated by love. Now was beginning that crazy loss of one's self, that neglect of everything but one's dramatic thoughts about the beloved, that feverish inner life all turning upon the Perichole and which would so have astonished and disgusted her had she been permitted to divine it. This Manuel had not fallen in love through any imitation of literature. It was not of him, at all events, that the bitterest tongue in France had remarked only fifty years before: that many people would never have fallen in love if they had not heard about it. Manuel read little; he had only been once to the theatre (where above all there reigns the legend that love is a devotion) and the Peruvian tavern-songs that he might have heard, unlike those of Spain, reflected very little of the romantic cult of an idealized woman. When he said over to himself that she was beautiful and rich and fatiguingly witty and the Viceroy's mistress, none of these attributes that made her less obtainable had the power to quench his curious and tender excitement. So he leaned against the trees in the dark, his knuckles between his teeth, and listened to his loud heart-beats.

But the life that Esteban was leading had been full enough for him. There was no room in his imagination for a new loyalty, not because his heart was less large than Manuel's, but because it was of a simpler texture. Now he discovered that secret from which one never quite recovers, that even in the most perfect love one person loves less profoundly than the other. There may be two equally good, equally gifted, equally beautiful, but there may never be two that love one another equally well. So Esteban sat up in their room by a guttering candle, his knuckles between his teeth, and wondered why Manuel was so changed and why the whole meaning had gone out of their life.

One evening Manuel was stopped on the street by a small boy who announced to him that the Perichole wished him to call upon her at once. Manuel turned in his path and went to the theatre. Straight, sombre and impersonal, he entered the actress's room and stood waiting. Camila had a service to ask of Manuel and she thought a few preliminary blandishments were necessary, but she scarcely paused in combing a blond wig that was dressed upon the table before her.

"You write letters for people, don't you? I want you to write a letter for me, please. Please come in."

He came forward two steps.

"You never pay me the least visit either of you. That's not Spanish of you."—meaning 'courteous.'—"Which are you, Manuel or Esteban?"

"Manuel."

"It doesn't matter. You are both unfriendly. Neither of you ever comes to see me. Here I sit learning stupid lines all day and no one ever comes to see me but a lot of peddlers. It is because I am an actress, no?"

This was not very artful, but for Manuel it was unspeakably complicated. He merely stared at her from the shadows of his long hair and left her to improvise.

"I am going to engage you to write a letter for me, a very secret letter. But now I can see that you don't like me and that to ask you to write a letter would be as good as reading it aloud in all the wine-shops. What does that look mean, Manuel? Are you my friend?"

"Yes, señora."

"Go away. Send me Esteban. You do not even say Yes, señora as a friend would say it."

Long pause. Presently she raised her head: "Are you still there, Unfriendly?"

"Yes, señora ... you can trust me to do anything for you ... you can trust ..."

"If I ask you to write one letter for me, or two letters, you promise never to mention to a human being what is in them, or even that you wrote them?"

"Yes, señora."

"What do you promise by?—by the Virgin Mary?"

"Yes, señora."

"And by the heart of Saint Rose of Lima?"

"Yes, señora."

"Name of the Name, Manuel, anyone would think you were as stupid as an ox. Manuel, I am very angry with you. You are not stupid. You don't look stupid. Please don't say just Yes, señora again. Don't be stupid or I'll send for Esteban. Is anything the matter with you?"

Here Manuel cast himself upon the Spanish language and exclaimed with unnecessary vigor: "I swear by the Virgin Mary and the heart of St. Rose of Lima that all that has to do with the letter will be secret."

"Even from Esteban," prompted the Perichole.

"Even from Esteban."

"Well, that's better." She motioned him to sit down at a table where writing materials were already laid out. As she dictated she strode about the room, frowning, swinging her hips. With her arms akimbo, she hugged her shawl about her shoulders defiantly.

"Camila Perichole kisses the hands of Your Excellency and says—No, take another piece of paper and begin again. The señora Micaela Villegas, artist, kisses the hands of Your Excellency and says that, being the victim of the envious and lying friends that Y. E.'s goodness permits about Him, she can no longer endure Y. E.'s suspicions and jealousy. Y. E.'s servant has always valued Y. E.'s friendship and has never committed, nor even thought, an offense against it, but she can no longer fight against the calumnies that Y. E. believes so readily. Señora Villegas, artist, called the Perichole, therefore returns herewith such of Y. E.'s gifts as have not been placed beyond recall, since without Y. E.'s confidence, Y. E.'s servant can take no pleasure in them."

Camila continued walking about the room for several minutes, consumed by her thoughts. Presently without so much as glancing at her secretary, she commanded: "Take another leaf. Have you gone mad? Do not ever think of eating another bull to me again. It has caused a frightful war. Heaven protect you, my colt. Friday night, the same place, the same time. I may be a little late, for the fox is wide-awake. That will be all."

Manuel rose.

"You swear that you have made no errors?"

"Yes, I swear."

"There is your money."

Manuel took the money.

"I shall want you to write me more letters from time to time. My uncle Pio generally writes my letters; these I do not wish him to know about. Good night. Go with God."

"Go with God."

Manuel descended the stairs and stood for a long time among the trees, not thinking, not moving.

Esteban knew that his brother was continually brooding over the Perichole, but he never suspected that he saw her. From time to time during the next two months a small boy would approach him in great haste and ask whether he were Manuel or Esteban, and being informed that he was only Esteban, the boy would add that Manuel was wanted at the theatre. Esteban assumed that the call was for copyist's work and was therefore utterly unprepared for a visit that they received one night in their room.

It was almost midnight. Esteban had gone to bed, and lay gazing out from under the blanket at the candle beside which his brother was working. There was a light tap at the door and Manuel opened to admit a lady heavily veiled, out of breath and nervous. She threw back the scarf from her face and said hurriedly:

"Quick, ink and paper. You are Manuel, yes? You must do a letter for me at once."

For a moment her glance fell on the two bright eyes that glared at her from the edge of the cot. She murmured: "Eu ... you must excuse me. I know it is late. It was necessary ... I must come." Then turning to Manuel, she whispered into his ear: "Write this: I Perichole, am not accustomed to wait at a rendez-vous. Have you finished that? You are only a cholo, and there are better matadors than you, even in Lima. I am half Castilian and there are no better actresses in the world. You shall not have the opportunity—Have you got that?—to keep me waiting again, cholo, and I shall laugh the last, for even an actress does not grow old as fast as a bullfighter."

To Esteban in the shadows the picture of Camila leaning over his brother's hand and whispering into his ear was complete evidence that a new congeniality had formed such as he would never know. He seemed to shrink away into space, infinitely tiny, infinitely unwanted. He took one more glance at the tableau of love, all the paradise from which he was shut out, and turned his face to the wall.

Camila seized the note the moment it was done, pushed a coin along the table and in a last flurry of black lace, scarlet beads and excited whispers left the room. Manuel turned from the door with his candle. He sat down, put his hand over his ears, his elbows on his knees. He worshipped her. He murmured to himself over and over again that he worshipped her, making of the sound a sort of incantation and an obstacle to thought.

He emptied his mind of everything but a singsong, and it was this vacancy that permitted him to become aware of Esteban's mood. He seemed to hear a voice that proceeded from the shadows saying: "Go and follow her, Manuel. Don't stay here. You'll be happy. There's room for us all in the world." Then the realization became even more intense and he received a mental image of Esteban going a long way off and saying good-bye many times as he went. He was filled with terror; by the light of it he saw that all the other attachments in the world were shadows, or the illusions of fever, even Madre María del Pilar, even the Perichole. He could not understand why Esteban's misery should present itself as demanding a choice between him and the Perichole, but he could understand Esteban's misery, as misery. And at once he sacrificed everything to it, if it can be said we ever sacrifice anything save what we know we can never attain, or what some secret wisdom tells us it would be uncomfortable or saddening to possess. To be sure there was nothing on which Esteban could base a complaint. It was not jealousy, for in their earlier affairs it had never occurred to either of them that their loyalty to one another had been diminished. It was merely that in the heart of one of them there was left room for an elaborate imaginative attachment and in the heart of the other there was not. Manuel could not quite understand this and, as we shall see, he nourished a dim sense of being accused unjustly. But he did understand that Esteban was suffering. In his excitement he groped for a means of holding this brother who seemed to be receding into the distance. And at once, in one unhesitating stroke of the will, he removed the Perichole from his heart.

He blew out the candle and lay down on his bed. He was trembling. He said aloud with exaggerated casualness: "Well, that's the last letter I write for that woman. She can go and find a pander somewhere else. If ever she calls here or sends for me when I'm out, tell her so. Make it plain. That's the last I have to do with her," and with that he began reciting his evening psalm aloud. But he had hardly reached A sagitta volante in die when he became aware that Esteban had risen and was lighting the candle.

"What's the matter?" he asked.

"I'm going out for a walk," replied Esteban sombrely, fastening his belt. After a moment, he broke out with an assumption of anger: "You don't have to say ... what you just said, for me. I don't care whether you write her letters or not. You don't have to change for me. I haven't anything to do with that."

"Go to bed, you fool. God, you're a fool, Esteban. What made you think I said that, for you? Don't you believe I mean it when I say I'm through with her? Do you think I want to write any more of her dirty letters and get paid for them like that?"

"It's all right. You love her. You don't have to change because of me."

"'Love her?' Love her? You're crazy, Esteban. How could I love her? What chance would there be for me? Do you suppose she'd give me those letters to write if there were any chance? Do you suppose she'd push a piece of money across the table every time.... You're crazy, Esteban, that's all."

There was a long pause. Esteban would not go to bed. He sat by the candle in the middle of the room, tapping with his hand on the edge of the table.

"Go to bed, you fool," shouted Manuel, rising on one elbow under the blanket. He was talking in their secret language and the new pain at his heart, gave a greater ring of reality to his assumption of rage. "I'm all right."

"I won't. I'm going out for a walk," replied Esteban picking up his coat.

"You can't go out for a walk. It's two o'clock. It's raining. You can't go and walk about for hours like that. Look, Esteban, I swear to you there's nothing left to all that. I don't love her. I only did for a time."

By now Esteban stood in the dark of the open door. In the unnatural voice with which we make the greatest declarations of our lives, he muttered: "I'm in your way," and turned to go.

Manuel leapt out of his bed. His head seemed to be full of a great din, a voice crying out that Esteban was going away forever, was leaving him alone forever. "In the name of God, in the name of God, Esteban, come back here."

Esteban came back and went to bed and the matter was not mentioned again for many weeks. The very next evening Manuel had an opportunity of declaring his position. A messenger arrived from the Perichole and was told harshly to inform the actress that Manuel would write no more letters for her.

One evening Manuel tore open the flesh on his knee against a piece of metal.

Neither brother had ever been ill for as much as a day in his life, and now Manuel, utterly bewildered, watched his leg swell and felt the waves of pain rise and fall in his body. Esteban sat by and stared at his face trying to imagine what great pain was. At last one midnight Manuel remembered that the signboard of a certain hairdresser in the city described the proprietor as an experienced barber and surgeon. Esteban ran through the streets to fetch him. He pounded on the door. Presently a woman leaned out of a window and announced that her husband would be back in the morning. During the fearful hours that followed, they told one another that when the doctor had seen the leg all would be well. He would do something about it, and Manuel would be out around the town in a day or two, even in a day perhaps, even less than a day.

The barber arrived and prescribed various draughts and ointments. Esteban was instructed to lay cold cloths on his brother's leg every hour. The barber withdrew and the brothers sat down to wait for the pain to subside. But while they continued staring into one another's face waiting for the miracle of science the pain grew worse. Hour after hour Esteban approached with his dripping towel and they discovered that the moment of its application was the worst of all. With all the fortitude in the world Manuel could not prevent himself from shouting and from flinging himself about upon the bed. Night came on and still Esteban stolidly waited and watched and worked. Nine, ten, eleven. Now when the time drew near to apply the cloths (the hour struck so musically from all those towers) Manuel would plead with Esteban not to do his work. He would resort to guile and declare that he scarcely felt it. But Esteban, his heart bursting with pain and his lips a line of iron, would roll back the blanket and bind the towel fiercely in its place. Manuel gradually became delirious and under this application all the thoughts he did not permit himself in his right mind would burst magnified from his mouth.

Finally at two o'clock, out of his mind with rage and pain, and flinging himself half out of the bed until his head struck the floor, Manuel cried: "God condemn your soul to the hottest hell there is. A thousand devils torture you forever, Esteban. God condemn your soul, do you hear?" At first, the air gone out of his body, Esteban went out into the hall and leaned against the door, his mouth and eyes wide open. Still he heard from within: "Yes, Esteban, may God damn your beastly soul forever, do you hear that? For coming between me and what was mine by right. She was mine, do you hear, and what right had you...." and he would go off into an elaborate description of the Perichole.

These outbursts recurred hourly. It was some time before Esteban was able to realize that his brother's mind was not then clear. After some moments of horror, in which his being a devout believer had its part, he would return to the room and go about his duties with bent head.

Towards dawn his brother became serener. (For what human ill does not dawn seem to be an alleviation?) It was in one of these intervals that Manuel said quite calmly:

"God's son! I feel better, Esteban. Those cloths must be good after all. You'll see. I'll be up and around tomorrow. You haven't slept for days. You'll see I won't cause you any more trouble, Esteban."

"It's no trouble, you fool."

"You mustn't take me seriously when I try and stop you putting on the old cloths, Esteban."

A long pause. At last Esteban brought out, barely audible:

"I think ... don't you think it would be fine if I sent for the Perichole? She could just come and see you for a few minutes, I mean...."

"Her? You still thinking about her? I wouldn't have her here for anything. No."

But Esteban was not content yet. He dragged up a few more phrases from the very centre of his being:

"Manuel, you still feel, don't you, that I came between you and the Perichole and you don't remember that I told you it was all right with me. I swear to you I'd have been glad if you'd gone away with her, or anything."

"What are you bringing that up for, Esteban? I tell you, in God's own name, I never think of that. She's nothing to me. When are you going to forget that, Esteban? I tell you I'm glad things are as they are. Look, I got to get angry when you keep going back to that."

"Manuel, I wouldn't speak of it again, only when you get angry at me about the cloths ... you, you get angry at me about that, too. And you talk about it and you ..."

"Look, I'm not responsible what I say. My old leg hurts then, see."

"Then you don't damn me to hell because ... it looks like I came between you and the Perichole?"

"Damn you to ...? What makes you say that? You're going crazy, Esteban; you're imagining things. You haven't had any sleep, Esteban. I been a curse to you and you're losing your health because of me. But you'll see, I won't trouble you much more. How could I damn you to hell, Esteban, when you're all I've got? Understand, see, that when the cold cloths go on, I just lose myself, see. You know. Don't think about it twice. It's time to put them on now. I won't say a word."

"No, Manuel, I'll skip this time. It won't do you any harm, I'll just skip this time."

"I've got to get well, Esteban. I've got to get up soon, you know. Put them on. But one minute—give me the crucifix. I swear by the blood and body of Christ that if I say anything against Esteban, I don't mean it and it's just the foolish words when I'm dreaming because of the pain in my leg. God make me well again soon, amen. Put it back. There. Now I'm ready."

"Look, Manuel, it won't hurt if I skip just this once, see. It'll be good for you, sure, to not get it all stirred up just this once."

"No, I've got to get well. The doctor said it had to be done. I won't say a word, Esteban."

And it would begin all over again.

During the second night a prostitute in the next room started beating on the wall, outraged at such language. A priest in the room on the other side would come out into the hall and beat on the door. The whole floor would gather before the room in exasperation. The innkeeper came up the stairs, loudly promising his guests that the brothers would be dumped into the street the very next morning. Esteban, holding his candle, would go into the hall and permit them to rage at him for as long as they pleased; but after that he took to pressing his hand firmly over his brother's mouth during the moments of greatest stress. This increased Manuel's personal rage at him and he would babble all through the night.

On the third night, Esteban sent for the priest and amidst the enormous shadows Manuel received the sacrament, and died.

Thereafter Esteban refused to come near the building. He would start off upon long walks, but presently drifting back, would hang about, staring at passers-by, within two streets of where his brother lay. The innkeeper failing to make any impression upon him and remembering that the boys were brought up at the Convent of Santa María Rosa de las Rosas, sent for the Abbess. Simply and soundly she directed all that was to be done. At last she went down to the street corner and spoke to Esteban. He watched her approach him, a glance mixed of longing and distrust. But when she stood near him he turned sideways and looked away.

"I want you to help me. Won't you come in and see your brother? Won't you come in and help me?"

"No."

"You won't help me!" A long pause. Suddenly as she stood there full of her helplessness there flashed through her mind an incident of many years before: the twin brothers about fifteen years old were sitting at her knee and she was telling them the story of the crucifixion. Their large grave eyes were fixed upon her lips. Suddenly Manuel had cried out loudly: "If Esteban and I had been there we would have prevented it."

"Well, then, if you won't help me, will you tell me which you are?"

"Manuel," said Esteban.

"Manuel, won't you come and sit with me up there for just a short time?"

After a long pause: "No."

"But Manuel, dear Manuel, can't you remember as children how you did so many things for me? You were willing to go across the town on some little errand. When I was ill you made the cook let you bring me my soup?" Another woman would have said: "Do you remember how much I did for you?"

"Yes."

"I, too, Manuel have lost. I too ... once. We know that God has taken them into His hands...." But this did not do at all. Esteban turned vaguely and walked away from her. When he had gone about twenty paces he stopped and stared down a side-street, like a dog who wants to go away, but is reluctant to offend the master who calls him back.

That was all they could get out of him. When the fearful procession passed through the city, with its black hoods and masks, its candles in broad daylight, its display of heaped-up skulls, its terrifying psalms, Esteban followed it in the parallel streets, catching glimpses of it from a distance, like a savage.

All Lima was interested in this separation of the brothers. Housewives whispered together sympathetically about it as they unfurled their carpets from the balconies. The men in the wineshops, alluding to it, shook their heads and smoked in silence for a while. Travellers from the interior told of seeing Esteban as he strayed with eyes like coals along the dried-up beds of rivers or through the great ruins of the old race. A herder of llamas had come upon him standing upon a hilltop, asleep or dazed, wet with dew under the stars. Some fishermen surprised him swimming far out from shore. From time to time he would find work to do, he would become a shepherd or a carter, but after a few months he would disappear and stride from province to province. But he always returned to Lima. One day he appeared at the door of the Perichole's dressing-room; he made as though to speak, gazed earnestly at her and vanished. One day a sister came running into the office of Madre María del Pilar with the news that Esteban (whom the world called Manuel) was lingering about the door of the convent. The Abbess hurried out into the street. For months she had been asking herself what strategy could reconcile this half-demented boy to living among them again. She assembled as grave and calm a manner as she was able and appearing at the street door murmured "My friend" and looked at him. He gazed back at her with the same glance of longing and distrust that he had shown her before, and stood trembling. Again she whispered "My friend" and moved a step forward. Suddenly Esteban turned and breaking into a run disappeared. Madre María del Pilar rushed stumbling back to her desk and fell upon her knees, exclaiming angrily: "I have prayed for wisdom and You have given me none. You have not chosen to give me the least grace. I am a mere scrubber of floors...." But during the penance she set herself for this impudence the thought came to her to send for Captain Alvarado. Three weeks later she had a ten-minute conversation with him. And the next day he started for Cuzco where, it was said, Esteban was doing some copying for the University.

There was this strange and noble figure in Peru during these years, the Captain Alvarado, the traveller. He was blackened and cured by all weathers. He stood in the Square with feet apart as though they were planted on a shifting deck. His eyes were strange, unaccustomed to the shorter range, too used to seizing the appearances of a constellation between a cloud and a cloud, and the outline of a cape in rain. His reticence was sufficiently explained for most of us by his voyages, but the Marquesa de Montemayor had other light on the matter. "Captain Alvarado is bringing you this letter in person," she wrote to her daughter. "Introduce him to some of your geographers, my treasure, though it may make them a little uncomfortable, for he is the diamond of sincerity. They will never see anyone who has travelled so far. Last night he described to me some of his voyages. Imagine him pushing his prow through a sea of weeds, stirring up a cloud of fish like grasshoppers in June; or sailing between islands of ice. Oh, he has been to China and up the rivers of Africa. But he is not merely an adventurer and he seems to take no pride in discovering new places; nor is he a mere merchant. One day I asked him narrowly why he lived so, and he avoided my question. I found out from my laundress what I think is the reason of his wandering: My child, he had a child; my daughter, he had a daughter. She was just old enough to cook a holiday meal, and do a little sewing for him. In those days he merely sailed between Mexico and Peru and hundreds of times she waved him farewell or welcome. We have no way of knowing whether she was more beautiful or intelligent than the thousands of other girls that lived about him, but she was his. I suppose it seems ignoble to you that a great oak of a man should go about the world like a blind man about an empty house merely because a chit of a girl has been withdrawn from it. No, no, you cannot understand this, my adored one, but I understand and grow pale. Last night he sat with me and talked of her. He laid his cheek against his hand and looking into the fire, he said: 'It sometimes seems to me that she is away upon a voyage and that I shall see her again. It seems to me that she is in England.' You will laugh at me, but I think he goes about the hemispheres to pass the time between now and his old age."

The brothers had always entertained a great respect for Captain Alvarado. They had worked for him a short time and the silence of the three of them had made a little kernel of sense in a world of boasting, self-excuse and rhetoric. So now when the great traveller came into the dark kitchen where Esteban was eating the boy drew his chair farther into the shadow, but at a distance, he was glad. The Captain gave no sign of recognizing or even of seeing him until he had finished his meal. Esteban had finished long before, but not wishing to be spoken to, waited until the Captain should have left the cave. At last the Captain walked over to him and said:

"You are Esteban or Manuel. You helped me once with some unloading. I am Captain Alvarado."

"Yes," said Esteban.

"How are you?"

Esteban muttered something.

"I am looking for some strong fellows to go on my next trip with me." Pause. "Would you like to come?" Longer pause. "England. And Russia.... Hard work. Good wages.... A long way from Peru.—Well?"

Apparently Esteban had not been listening. He sat with his eyes on the table. At last the Captain raised his voice, as to a deaf person:

"I said: Do you want to go on my next trip with me...."

"Yes, I'll go," answered Esteban suddenly.

"Fine. That's fine. I want your brother, too, of course."

"No."

"What's the matter? Wouldn't he want to come?"

Esteban mumbled something, looking away. Then half rising, he said: "I got to go now. I've got to see somebody about something."

"Let me see your brother myself. Where is he?"

"... 'dead," said Esteban.

"Oh, I didn't know. I didn't know. I'm sorry." "Yes," said Esteban. "I got to go."

"Hmm.—Which are you? What's your name?"

"Esteban."

"When did Manuel die?"

"Oh, just a ... just a few weeks. He hit his knee against something and ... just a few weeks ago."

They both kept their eyes on the floor.

"How old are you, Esteban?"

"Twenty-two."

"Well, that's settled then, you're coming with me?"

"Yes."

"You may not be used to the cold."

"Yes, I'm used to it.—I've got to go now. I got to go in the city and see somebody about something."

"Well, Esteban. Come back here for supper and we'll talk about the trip. Come back and have some wine with me, see. Will you?"

"Yes, I will."

"Go with God."

"Go with God."

They had supper together and it was arranged that they were to start for Lima the next morning. The Captain got him very drunk. At first they poured and drank and poured and drank in silence. Then the Captain began to talk about ships and their courses. He asked Esteban questions about tackle and about the guide-stars. Then Esteban began to talk about other things, and to talk very loudly:

"On the ship you must give me something to do all the time. I'll do anything, anything. I'll climb up high and fix ropes; and I'll watch all night,—because, you know, I don't sleep well anyway. And, Captain Alvarado, on the ship you must pretend that you don't know me. Pretend that you hate me the most. So that you'll always give me things to do. I can't sit still and write at a table any more.—And don't tell the other men about me ... that is, about ..."

"I hear you went into a burning house, Esteban, and pulled someone out."

"Yes. I didn't get burned or anything. You know," cried Esteban, leaning across the table, "you're not allowed to kill yourself; you know you're not allowed. Everybody knows that. But if you jump into a burning house to save somebody, that wouldn't be killing yourself. And if you became a matador and the bull caught you that wouldn't be killing yourself. Only you mustn't put yourself in the bull's way on purpose. Did you ever notice that animals never kill themselves, even when they're sure to lose? They never jump into a river or anything, even when they're sure to lose. Some people say that horses run into bonfires. Is that true?"

"No, I don't think that's true."

"I don't think it's true. We had a dog once. Well, I mustn't think of that.—Captain Alvarado, do you know Madre María del Pilar?"

"Yes."

"I want to give her a present before I go away. Captain Alvarado, I want you to give me all my wages before I start—I won't need any money anywhere—and I want to buy her a present now. The present isn't from me only. She was ... was ..." Here Esteban wished to say his brother's name, but was unable to. Instead he continued in a lower voice: "She had a kind of a ... she had a serious loss, once. She said so. I don't know who it was, and I want to give her a present. Women can't bear that kind of a thing like we can."

The Captain promised him that they would choose something in the morning. Esteban talked about it at great length. At last the Captain saw him slip under the table, and himself, rising up, went out into the square before the inn. He looked at the line of the Andes and at the streams of stars crowding forever across the sky. And there was that wraith hanging in mid-air and smiling at him, the wraith with the silvery voice that said for the thousandth time: "Don't be gone long. But I'll be a big girl when you get back." Then he went within and carried Esteban to his room and sat looking at him for a long while.

The next morning he was waiting at the bottom of the stairs when Esteban appeared:

"We're starting when you're ready," said the Captain.

The strange glitter had returned to the boy's eyes. He blurted out: "No, I'm not coming. I'm not coming after all."

"Aïe! Esteban! But you have promised me that you would come."

"It's impossible. I can't come with you," and he turned back up the stairs.

"Come here a moment, Esteban, just a moment."

"I can't come with you. I can't leave Peru."

"I want to tell you something."

Esteban came down to the foot of the stairs.

"How about that present for Madre María del Pilar?" asked the Captain in a low voice. Esteban was silent, looking over the mountains. "You aren't going to take that present away from her? It might mean a lot to her ... you know."

"All right," murmured Esteban, as though much impressed.

"Yes. Besides the ocean's better than Peru. You know Lima and Cuzco and the road. You have nothing more to know about them. You see it's the ocean you want. Besides on the boat you'll have something to do every minute. I'll see to that. Go and get your things and we'll start."

Esteban was trying to make a decision. It had always been Manuel who had made the decisions and even Manuel had never been forced to make as great a one as this. Esteban went slowly upstairs. The Captain waited for him and waited so long that presently he ventured half the way up the stairs and listened. At first there was silence; then a series of noises that his imagination was able to identify at once. Esteban had scraped away the plaster about a beam and was adjusting a rope about it. The Captain stood on the stairs trembling: "Perhaps it's best," he said to himself. "Perhaps I should leave him alone. Perhaps it's the only thing possible for him." Then on hearing another sound he flung himself against the door, fell into the room and caught the boy. "Go away," cried Esteban. "Let me be. Don't come in now."

Esteban fell face downward upon the floor. "I am alone, alone, alone" he cried. The Captain stood above him, his great plain face ridged gray with pain; it was his own old hours he was reliving. He was the awkwardest speaker in the world apart from the lore of the sea, but there are times when it requires a high courage to speak the banal. He could not be sure the figure on the floor was listening, but he said "We do what we can. We push on, Esteban, as best we can. It isn't for long, you know. Time keeps going by. You'll be surprised at the way time passes."

They started for Lima. When they reached the bridge of San Luis Rey, the Captain descended to the stream below in order to supervise the passage of some merchandise, but Esteban crossed by the bridge and fell with it.

PART FOUR: UNCLE PIO

IN one of her letters (the XXIXth) the Marquesa de Montemayor tries to describe the impression that Uncle Pio "our aged Harlequin" made upon her: "I have been sitting all morning on the green balcony making you a pair of slippers, my soul," she tells her daughter. "As the golden wire did not take up my whole attention I was able to follow the activity of a coterie of ants in the wall beside me. Somewhere behind the partition they were patiently destroying my house. Every three minutes a little workman would appear between two boards and drop a grain of wood upon the floor below. Then he would wave his antennae at me and back busily into his mysterious corridor. In the meantime various brothers and sisters of his were trotting back and forth on a certain highway, stopping to massage one another's heads, or if the messages they bore were of first importance, refusing angrily to massage or to be massaged. And at once I thought of Uncle Pio. Why? Where else but with him had I seen that very gesture with which he arrests a passing abbé or a courtier's valet, and whispers, his lips laid against his victim's ear? And surely enough, before noon I saw him hurry by on one of those mysterious errands of his. As I am the idlest and silliest of women I sent Pepita to get me a piece of nougat which I placed on the ant's highway. Similarly I sent word to the Café Pizarro asking them to send Uncle Pio to see me if he dropped in before sunset. I shall give him that old bent salad fork with the turquoise in it, and he will bring me a copy of the new ballad that everyone is singing about the d—q—a of Ol—v—s. My child, you shall have the best of everything, and you shall have it first."

And in the next letter: "My dear, Uncle Pio is the most delightful man in the world, your husband excepted. He is the second most delightful man in the world. His conversation is enchanting. If he weren't so disreputable I should make him my secretary. He could write all my letters for me and generations would rise up and call me witty. Alas, however, he is so moth-eaten by disease and bad company, that I shall have to leave him to his underworld. He is not only like an ant, he is like a soiled pack of cards. And I doubt whether the whole Pacific could wash him sweet and fragrant again. But what divine Spanish he speaks and what exquisite things he says in it! That's what one gets by hanging around a theatre and hearing nothing but the conversation of Calderón. Alas, what is the matter with this world, my soul, that it should treat such a being so ill! His eyes are as sad as those of a cow that has been separated from its tenth calf."

You should know first that this Uncle Pio was Camila Perichole's maid. He was also her singing-master, her coiffeur, her masseur, her reader, her errand-boy, her banker; rumor added: her father. For example, he taught her her parts. There was a whisper around town that Camila could read and write. The compliment was unfounded; Uncle Pio did her reading and writing for her. At the height of the season the company put on two or three new plays a week, and as each one contained a long and flowery part for the Perichole the mere task of memorization was not a trifle.

Peru had passed within fifty years from a frontier state to a state in renaissance. Its interest in music and the theatre was intense. Lima celebrated its feast days by hearing a Mass of Tomás Luis da Victoria in the morning and the glittering poetry of Calderón in the evening. It is true that the Limeans were given to interpolating trivial songs into the most exquisite comedies and some lachrymose effects into the austerest music; but at least they never submitted to the boredom of a misplaced veneration. If they had disliked heroic comedy the Limeans would not have hesitated to remain at home; and if they had been deaf to polyphony nothing would have prevented their going to an earlier service. When the Archbishop returned from a short trip to Spain, all Lima kept asking: "What has he brought?" The news finally spread abroad that he had returned with tomes of masses and motets by Palestrina, Morales I and Vittoria, as well as thirty-five plays by Tirso de Molina and Ruiz de Alarçon and Moreto. There was a civic fête in his honor. The choirboys' school and the green room of the Comedia were swamped with the gifts of vegetables and wheat. All the world was eager to nourish the interpreters of so much beauty.

This was the theatre in which Camila Perichole gradually made her reputation. So rich was the repertory and so dependable the prompter's box that few plays were given more than four times a season. The manager had the whole flowering of the 17th Century Spanish drama to draw upon, including many that are now lost to us. The Perichole had appeared in a hundred plays of Lope de Vega alone. There were many admirable actresses in Lima during these years, but none better. The citizens were too far away from the theatres of Spain to realize that she was the best in the Spanish world. They kept sighing for a glimpse of the stars of Madrid whom they had never seen and to whom they assigned vague new excellences. Only one person knew for certain that the Perichole was a great performer and that was her tutor Uncle Pio.

Uncle Pio came of a good Castilian house, illegitimately. At the age of ten he ran away to Madrid from his father's hacienda and was pursued without diligence. He lived ever after by his wits. He possessed the six attributes of the adventurer—a memory for names and faces, with the aptitude for altering his own; the gift of tongues; inexhaustible invention; secrecy; the talent for falling into conversation with strangers; and that freedom from conscience that springs from a contempt for the dozing rich he preyed upon. From ten to fifteen he distributed handbills for merchants, held horses, and ran confidential errands. From fifteen to twenty he trained bears and snakes for travelling circuses; he cooked, and mixed punches; he hung about the entries of the more expensive taverns and whispered informations into the travellers' ears—sometimes nothing more dubious than that a certain noble house was reduced to selling its plate and could thus dispense with the commission of a silversmith. He was attached to all the theatres in town and could applaud like ten. He spread slanders at so much a slander. He sold rumors about crops and about the value of land. From twenty to thirty his services came to be recognized in very high circles—he was sent out by the government to inspirit some half-hearted rebellions in the mountains, so that the government could presently arrive and whole-heartedly crush them. His discretion was so profound that the French party used him even when they knew that the Austrian party used him also. He had long interviews with the Princesse des Ursins, but he came and went by the back stairs. During this phase he was no longer obliged to arrange gentlemen's pleasures, nor to plant little harvests of calumny.

He never did one thing for more than two weeks at a time even when enormous gains seemed likely to follow upon it. He could have become a circus manager, a theatrical director, a dealer in antiquities, an importer of Italian silks, a secretary in the Palace or the Cathedral, a dealer in provisions for the army, a speculator in houses and farms, a merchant in dissipations and pleasures. But there seemed to have been written into his personality, through some accident or early admiration of his childhood, a reluctance to own anything, to be tied down, to be held to a long engagement. It was this that prevented his thieving, for example. He had stolen several times, but the gains had not been sufficient to offset his dread of being locked up; he had sufficient ingenuity to escape on the field itself all the police in the world, but nothing could protect him against the talebearing of his enemies. Similarly he had been reduced for a time to making investigations for the Inquisition, but when he had seen several of his victims led off in hoods he felt that he might be involving himself in an institution whose movements were not evenly predictable.

As he approached twenty, Uncle Pio came to see quite clearly that his life had three aims. There was first this need of independence, cast into a curious pattern, namely: the desire to be varied, secret and omniscient. He was willing to renounce the dignities of public life, if in secret he might feel that he looked down upon men from a great distance, knowing more about them than they knew themselves; and with a knowledge which occasionally passed into action and rendered him an agent in the affairs of states and persons. In the second place he wanted to be always near beautiful women, of whom he was always in the best and worst sense the worshipper. To be near them was as necessary to him as breathing. His reverence for beauty and charm was there for anyone to see and to laugh at, and the ladies of the theatre and the court and the houses of pleasure loved his connoisseurship. They tormented him and insulted him and asked his advice and were singularly comforted by his absurd devotion. He suffered greatly their rages and their meannesses and their confiding tears; all he asked was to be accepted casually, to be trusted, to be allowed like a friendly and slightly foolish dog to come and go in their rooms and to write their letters for them. He was insatiably curious about their minds and their hearts. He never expected to be loved by them (borrowing for a moment another sense of that word); for that, he carried his money to the obscurer parts of the city; he was always desperately unprepossessing, with his whisp of a moustache and his whisp of a beard and his big ridiculous sad eyes. They constituted his parish; it was from them that he acquired the name of Uncle Pio and it was when they were in trouble that he most revealed himself; when they fell from favour he lent them money, when they were ill he outlasted the flagging devotion of their lovers and the exasperation of their maids; when time or disease robbed them of their beauty, he served them still for their beauty's memory; and when they died his was the honest grief that saw them as far as possible on their journey.

In the third place he wanted to be near those that loved Spanish literature and its masterpieces, especially in the theatre. He had discovered all that treasure for himself, borrowing or stealing from the libraries of his patrons, feeding himself upon it in secrecy,—behind the scenes, as it were, of his mad life. He was contemptuous of the great persons who for all their education and usage, exhibited no care nor astonishment before the miracles of word order in Calderón and Cervantes. He longed himself to make verses. He never realized that many of the satirical songs he had written for the vaudevilles passed into folk-music and have been borne everywhere along the highroads.

As the result of one of those quarrels that arise so naturally in brothels his life became too complicated and he removed to Peru. Uncle Pio in Peru was even more versatile than Uncle Pio in Europe. Here too he touched upon real-estate, circuses, pleasures, insurrections and antiques. A Chinese junk had been blown from Canton to America; he dragged up the beach the bales of deep-red porcelain and sold the bowls to the collectors of virtú. He traced down the sovereign remedies of the Incas and started a smart trade in pills. Within four months he knew practically everyone in Lima. He presently added to this acquaintance the inhabitants of scores of seacoast towns, mining camps and settlements in the interior. His pretensions to omniscience became more and more plausible. The Viceroy discovered Uncle Pio and all this richness of reference; he engaged his services in many affairs. In the decay of his judgment Don Andrés had retained one talent, he was a master of the technique of handling confidential servants. He treated Uncle Pio with great tact and some deference; he understood which errands the other should not be asked to undertake and he understood his need for variety and intermission. Uncle Pio in turn was perpetually astonished that a prince should make so little use of his position, for power, or for fantasy, or for sheer delight in the manipulation of other men's destinies; but the servant loved the master because he could quote from any of Cervantes' prefaces and because his tongue had a little Castilian salt about it still. Many a morning Uncle Pio entered the Palace through corridors where there was no one to cross but a confessor or a confidential bully and sat with the Viceroy over his morning chocolate.

But for all his activity nothing made Uncle Pio rich. One would have said that he abandoned a venture when it threatened to prosper. Although no one knew it, he owned a house. It was full of dogs that could add and multiply and the top floor was reserved for birds. But even in this kingdom he was lonely, and proud in his loneliness, as though there resided a certain superiority in such a solitude. Finally he stumbled upon an adventure that came like some strange gift from the skies and that combined the three great aims of his life: his passion for overseeing the lives of others, his worship of beautiful women, and his admiration for the treasures of Spanish literature. He discovered Camila Perichole. Her real name was Micaela Villegas. She was singing in cafés at the age of twelve and Uncle Pio had always been the very soul of cafés. Now as he sat among the guitarists and watched this awkward girl singing ballads, imitating every inflection of the more experienced singers who had preceded her, the determination entered his mind to play Pygmalion. He bought her. Instead of sleeping locked up in the wine bin, she inherited a cot in his house. He wrote songs for her, he taught her how to listen to the quality of her tone, and bought her a new dress. At first all she noticed was that it was wonderful not to be whipped, to be offered hot soups, and to betaught something. But it was Uncle Pio who was really dazzled. His rash experiment flourished beyond all prophecy. The little twelve-year-old, silent and always a little sullen, devoured work. He set her endless exercises in acting and mimicry; he set her problems in conveying the atmosphere of a song; he took her to the theatres and made her notice all the details of a performance. But it was from Camila as a woman that he was to receive his greatest shock. The long arms and legs were finally harmonized into a body of perfect grace. The almost grotesque and hungry face became beautiful. Her whole nature became gentle and mysterious and oddly wise; and it all turned to him. She could find no fault in him and she was sturdily loyal. They loved one another deeply but without passion. He resected the slight nervous shadow that crossed her face when he came too near her. But there arose out of this denial itself the perfume of a tenderness, that ghost of passion which, in the most unexpected relationship, can make even a whole lifetime devoted to irksome duty pass like a gracious dream.

They travelled a great deal, seeking new taverns, for the highest attribute of a café singer will always be her novelty. They went to Mexico, their odd clothes wrapped up in the self-same shawl. They slept on beaches, they were whipped at Panama and shipwrecked on some tiny Pacific islands plastered with the droppings of birds. They tramped through jungles delicately picking their way among snakes and beetles. They sold themselves out as harvesters in a hard season. Nothing in the world was very surprising to them.

Then began an even harder course of training for the girl, a regimen that resembled more the preparation for an acrobat. The instruction was a little complicated by the fact that her rise to favor was very rapid; and there was some danger that the applause she received would make her content with her work too soon. Uncle Pio never exactly beat her, but he resorted to a sarcasm that had terrors of its own.

At the close of a performance Camila would return to her dressing room to find Uncle Pio whistling nonchalantly in one corner. She would divine his attitude at once and cry angrily:

"Now what is it? Mother of God, Mother of God, what is it now?"

"Nothing, little pearl. My little Camila of Camilas, nothing."

"There was something you didn't like. Ugly fault-finding thing that you are. Come on now, what was it? Look, I'm ready."

"No, little fish. Adorable morning star, I suppose you did as well as you could."

The suggestion that she was a limited artist and that certain felicities would be forever closed to her never failed to make Camila frantic. She would burst into tears: "I wish I had never known you. You poison my whole life. You just think I did badly. It pleases you to pretend that I was bad. All right then, be quiet."

Uncle Pio went on whistling.

"The fact is I know I was weak to-night, and don't need you to tell me so. So there. Now go away. I don't want to see you around. It's hard enough to play that part without coming back and finding you this way."

Suddenly Uncle Pio would lean forward and ask with angry intensity: "Why did you take that speech to the prisoner so fast?"

More tears from the Perichole: "Oh God, let me die in peace! One day you tell me to go faster and another to go slower. Anyway I shall be crazy in a year or two and then it won't matter."

More whistling.

"Besides the audience applauded as never before. Do you hear me? As never before. There! Too fast or too slow is nothing to them. They wept. I was divine. That's all I care for. Now be silent. Be silent."

He was absolutely silent.

"You may comb my hair, but if you say another word I shall never play again. You can find some other girl, that's all."

Thereupon he would comb her hair soothingly for ten minutes, pretending not to notice the sobs that were shaking her exhausted body. At last she would turn quickly and catching one of his hands would kiss it frantically: "Uncle Pio, was I so bad? Was I a disgrace to you? Was it so awful that you left the theatre?"

After a long pause Uncle Pio would admit judiciously: "You were good in the scene on the ship."

"But I've been better, Uncle Pio. You remember the night you came back from Cuzco——?"

"You were pretty good at the close."

"Was I?"

"But my flower, my pearl, was the matter in the speech to the prisoner?"

Here the Perichole would fling her face and arms upon the table amid the pomades, caught up into a tremendous fit of weeping. Only perfection would do, only perfection. And that had never come.

Then beginning in a low voice Uncle Pio would talk for an hour, analyzing the play, entering into a world of finesse in matters of voice and gesture and tempo, and often until dawn they would remain there declaiming to one another the lordly conversation of Calderón.

Whom were these two seeking to please? Not the audiences of Lima. They had long since been satisfied. We come from a world where we have known incredible standards of excellence, and we dimly remember beauties which we have not seized again; and we go back to that world. Uncle Pio and Camila Perichole were tormenting themselves in an effort to establish in Peru the standards of the theatres in some Heaven whither Calderón had preceded them. The public for which masterpieces are intended is not on this earth.

With the passing of time Camila lost some of this absorption in her art. A certain intermittent contempt for acting made her negligent. It was due to the poverty of interest in women's rôles throughout Spanish classical drama. At a time when the playwrights grouped about the courts of England and France (a little later, of Venice) were enriching the parts of women with studies in wit, charm, passion and hysteria, the dramatists of Spain kept their eyes on their heroes, on gentlemen torn between the conflicting claims of honour, or, as sinners, returning at the last moment to the cross. For a number of years Uncle Pio spent himself in discovering ways to interest the Perichole in the rôles that fell to her. Upon one occasion he was able to announce to Camila that a granddaughter of Vico de Barrera had arrived in Peru. Uncle Pio had long since communicated to Camila his veneration for great poets and Camila never questioned the view that they were a little above the kings and not below the saints. So it was in great excitement that the two of them chose one of the master's plays to perform before his granddaughter. They rehearsed the poem a hundred times, now in the great joy of invention, now in dejection. On the night of the performance Camila peering out between the folds of the curtain had Uncle Pio point out to her the little middle-aged woman worn with the cares of penury and a large family; but it seemed to Camila that she was looking at all the beauty and dignity in the world. As she waited for the lines that preceded her entrance she clung to Uncle Pio in reverent silence, her heart beating loudly. Between the acts she retired to the dusty corner of the warehouse where no one would find her and sat staring into the corners. At the close of the performance Uncle Pio brought the granddaughter of Vico de Barrera into Camila's room. Camila stood among the clothes that hung upon the wall, weeping with happiness and shame. Finally she flung herself on her knees and kissed the older woman's hands, and the older woman kissed hers, and while the audience went home and went to bed the Visitor remained telling Camila the little stories that had remained in the family, of Vico's work and of his habits.

Uncle Pio was at his happiest when a new actress entered the company, for the discovery of a new talent at her side never failed to bestir the Perichole. To Uncle Pio (standing at the back of the auditorium, bent double with joy and malice) it seemed that the body of the Perichole had become an alabaster lamp in which a strong light had been placed. Without any resort to tricks or to false emphasis, she set herself to efface the newcomer. If the play were a comedy she became the very abstraction of wit, and (as was more likely) it was a drama of wronged ladies and implacable hates, the stage fairly smouldered with her emotion. Her personality became so electric that if she so much as laid her hand upon that of a fellow actor a sympathetic shudder ran through the audience. But such occasions of excellence became less and less frequent. As her technique became sounder, Camila's sincerity became less necessary. Even when she was absentminded the audience did not notice the difference and only Uncle Pio grieved.

Camila had a very beautiful face, or rather a face beautiful save in repose. In repose one was startled to discover that the nose was long and thin, the mouth tired and a little childish, the eyes unsatisfied—a rather pinched peasant girl, dragged from the cafés-chantants and quite incapable of establishing any harmony between the claims of her art, of her appetites, of her dreams, and of her crowded daily routine. Each of these was a world in itself, and the warfare between them would soon have reduced to idiocy (or triviality) a less tenacious physique. We have seen that in spite of her discontent with her parts, the Perichole knew very well the joy that might reside in acting and warmed herself from time to time at that flame. But that of love attracted her more often, though with no greater assurance of happiness, until Jupiter himself sent her some pearls.

Don Andrés de Ribera, the Viceroy of Peru, was the remnant of a delightful man, broken by the table, the alcove, a grandeeship and ten years of exile. As a youth he had accompanied embassies to Versailles and Rome; he had fought in the wars in Austria; he had been in Jerusalem. He was a widower and childless of an enormous and wealthy woman; he had collected coins a little, wines, actresses, orders and maps. From the table he had received the gout; from the alcove a tendency to convulsions; from the grandeeship a pride so vast and puerile that he seldom heard anything that was said to him and talked to the ceiling in a perpetual monologue; from the exile, oceans of boredom, a boredom so persuasive that it was like pain,—he woke up with it and spent the day with it, and it sat by his bed all night watching his sleep. Camila was passing the years in the hard-working routine of the theatre, savoured by a few untidy love-affairs, when this Olympian personage (for he had a face and port fit to play gods and heroes on the scene) suddenly transported her to the most delicious midnight suppers at the Palace. Contrary to all the traditions of the stage and state she adored her elderly admirer; she thought she was going to be happy forever. Don Andrés taught the Perichole a great many things and to her bright eager mind that was one of the sweetest ingredients of love. He taught her a little French; to be neat and clean; the modes of address. Uncle Pio had taught her how great ladies carry themselves on great occasions; he taught her how they relax. Uncle Pio and Calderón had trained her in beautiful Spanish; Don Andrés furnished her with the smart slang of El Buen Retiro.

Uncle Pio was made anxious by Camila's invitation from the Palace. He would have much preferred that she continue with her little vulgarian love-affairs in the theatrical ware-house. But when he saw that her art was gaining a new finish he was well content. He would sit in the back of the theatre, rolling about in his seat for sheer joy and amusement, watching the Perichole intimate to the audience that she frequented the great world about whom the dramatists wrote. She had a new way of fingering a wine-glass, of exchanging an adieu, a new way of entering a door that told everything. To Uncle Pio nothing else mattered. What was there in the world more lovely than a beautiful woman doing justice to a Spanish masterpiece?—a performance (he asks you), packed with observation, in which the very spacing of the words revealed a comment on life and on the text—delivered by a beautiful voice—illustrated by a faultless carriage, considerable personal beauty and irresistible charm. "We are almost ready to take this marvel to Spain," he would murmur to himself. After the performance he would go around to her dressing-room and say "Very good!" But before taking his leave he would manage to ask her where, in the name of the eleven thousand virgins of Cologne, she had acquired that affected way of saying Excelencia.

After a time the Viceroy asked the Perichole whether it would amuse her to invite a few discreet guests to their midnight suppers, and he asked her whether she would like to meet the Archbishop. Camila was delighted. The Archbishop was delighted. On the eve of their first meeting he sent the actress an emerald pendant as big as a playing-card.

There was something in Lima that was wrapped up in yards of violet satin from which protruded a great dropsical head and two fat pearly hands; and that was its archbishop. Between the rolls of flesh that surrounded them looked out two black eyes speaking discomfort, kindliness and wit. A curious and eager soul was imprisoned in all this lard, but by dint of never refusing himself a pheasant or a goose or his daily procession of Roman wines, he was his own bitter jailer. He loved his cathedral; he loved his duties; he was very devout. Some days he regarded his bulk ruefully; but the distress of remorse was less poignant than the distress of fasting and he was presently found deliberating over the secret messages that a certain roast sends to the certain salad that will follow it. And to punish himself he led an exemplary life in every other respect.

He had read all the literature of antiquity and forgotten all about it except a general aroma of charm and disillusion. He had been learned in the Fathers and the Councils and forgotten all about them save a floating impression of dissensions that had no application to Peru. He had read all the libertine masterpieces of Italy and France and reread them annually; even in the torments of the stone (happily dissolved by drinking the water from the springs of Santa María de Cluxambuqua), he could find nothing more nourishing than the anecdotes of Brantôme and the divine Aretino.

The Archbishop knew that most of the priests of Peru were scoundrels. It required all his delicate Epicurean education to prevent his doing something about it; he had to repeat over to himself his favourite notions: that the injustice and unhappiness in the world is a constant; that the theory of progress is a delusion; that the poor, never having known happiness, are insensible to misfortune. Like all the rich he could not bring himself to believe that the poor (look at their houses, look at their clothes) could really suffer. Like all the cultivated he believed that only the widely-read could be said to know that they were unhappy. On one occasion, the iniquities in his see having been called to his notice, he almost did something about it. He had just heard that it was becoming a rule in Peru for priests to exact two measures of meal for a fairly good absolution, and five measures, for a really effective one. He trembled with indignation; he roared to his secretary and bidding him bring up his writing materials, announced that he was going to dictate an overwhelming message to his shepherds. But there was no ink left in the inkwell; there was no ink left in the next room; there was no ink to be found in the whole palace. This state of things in his household so upset the good man that he fell ill of the combined rages and learned to guard himself against indignations.

The addition of the Archbishop to the suppers was so successful that Don Andrés began to think of new names. He had grown increasingly dependent upon Uncle Pio, but waited until Camila should propose his inclusion of her own accord. And in due time Uncle Pio brought with him that courser of the seas, the Captain Alvarado. Generally the reunion had been several hours under way before Camila was able to join them after her performance at the theatre. She would arrive towards one o'clock, radiant and bejewelled and very tired. The four men received her as they would a great queen. For an hour or so she would carry the conversation, but gradually reclining more and more against Don Andrés' shoulder she would follow the talk as it flitted from one humorous lined face to the other. All night they talked, secretly comforting their hearts that longed always for Spain and telling themselves that such a symposium was after the manner of the high Spanish soul. They talked about ghosts and second-sight, and about the earth before man appeared upon it and about the possibility of the planets striking against one another; about whether the soul can be seen, like a dove, fluttering away at the moment of death; they wondered whether at the second coming of Christ to Jerusalem, Peru would be long in receiving the news. They talked until the sun rose, about wars and kings, about poets and scholars, and about strange countries. Each one poured into the conversation his store of wise sad anecdotes and his dry regret about the race of men. The flood of golden light struck across the Andes and entering the great window fell upon the piles of fruit, the stained brocade upon the table, and the sweet thoughtful forehead of the Perichole as she lay sleeping against the sleeve of her protector. There would ensue a long pause, no one wishing to make the first move to go, and the glances of them all would rest upon this strange beautiful bird who lived among them. But Uncle Pio's glance had been upon her all night, a quick glance from his black eyes, full of tenderness and anxiety, resting on the great secret and reason of his life.

But Uncle Pio never ceased watching Camila. He divided the inhabitants of this world into two groups, into those who had loved and those who had not. It was a horrible aristocracy, apparently, for those who had no capacity for love (or rather for suffering in love) could not be said to be alive and certainly would not live again after their death. They were a kind of straw population, filling the world with their meaningless laughter and tears and chatter and disappearing still lovable and vain into thin air. For this distinction he cultivated his own definition of love that was like no other and that had gathered all its bitterness and pride from his odd life. He regarded love as a sort of cruel malady through which the elect are required to pass in their late youth and from which they emerge, pale and wrung, but ready for the business of living. There was (he believed) a great repertory of errors mercifully impossible to human beings who had recovered from this illness. Unfortunately there remained to them a host of failings, but at least (from among many illustrations) they never mistook a protracted amiability for the whole conduct of life, they never again regarded any human being, from a prince to a servant, as a mechanical object. Uncle Pio never ceased watching Camila because it seemed to him that she had never undergone this initiation. In the months that followed her introduction to the Viceroy he held his breath and waited. He held his breath for years. Camila bore the Viceroy three children, yet remained the same. He knew that the first sign of her entrance into the true possession of the world would be the mastery of certain effects in her acting. There were certain passages in the plays that she would compass some day, simply, easily, and with secret joy, because they alluded to the new rich wisdom of her heart; but her treatment of such passages became more and more cursory, not to say embarrassed. He presently saw that she had tired of Don Andrés and had returned to a series of furtive love-affairs with the actors and matadors and merchants of the town.

She became more and more impatient of acting and another parasite found its way into her mind. She wanted to be a lady. She slowly contracted a greed for respectability and began to refer to her acting as a pastime. She acquired a duenna and some footmen and went to church at the fashionable hours. She attended the prize days at the University and appeared among the donors of the great charities. She even learned to read and write a little. Any faint discrimination against, her as a bohemian she challenged with fury. She led the Viceroy a horrible life with her passion for concessions and her gradual usurpation of privileges. The new vice displaced the old and she became noisily virtuous. She invented some parents and produced some cousins. She obtained an undocumented legitimatization of her children. In society she cultivated a delicate and languid magdelinism, as a great lady might, and she carried a candle in the penitential parades, side by side with ladies who had nothing to regret but an outburst of temper and a furtive glance into Descartes. Her sin had been acting and everyone knows that there were even saints who had been actors,—there was Saint Gelasius and Saint Genesius and Saint Margaret of Antioch and Saint Pelagia.

There was a fashionable watering place in the hills not far from Santa María de Cluxambuqua. Don Andrés had travelled in France and had thought to build himself a little mock Vichy; there was a pagoda, some drawing-rooms, a theatre, a little arena for bull-fights and some French gardens. Camila's health had never known a shadow, but she built herself a villa in the vicinity and sipped the hateful waters at eleven o'clock. The Marquesa de Montemayor has left a brilliant picture of this opéra bouffe paradise with the reigning divinity parading her fierce sensitiveness along the avenues of powdered shell and receiving the homage of all those who could not afford to offend the Viceroy. Doña María draws a portrait of this ruler, stately and weary, gambling all through the night in sums that would have raised another Escurial. And beside him she sets the portrait of his son, Camila's little Don Jaime. Don Jaime, at seven years, was a rachitic little body who seemed to have inherited not only his mother's forehead and eyes, but his father's liability to convulsions. He bore his pain with the silent bewilderment of an animal, and like an animal he was mortally ashamed when any evidences of it occurred in public. He was so beautiful that the more trivial forms of pity were hushed in his presence and his long thoughts about his difficulties had given his face a patient and startling dignity. His mother dressed him in garnet velvet, and when he was able he followed her about at a distance of several yards, extricating himself gravely from the ladies who tried to detain him in conversation. Camila was never cross to Don Jaime and she was never demonstrative. When the sun was shining the two could be seen walking along those artificial terraces in silence, Camila wondering when the felicity would begin that she had always associated with social position, Don Jaime rejoicing merely in the sunlight and anxiously estimating the approach of a cloud. They looked like figures that had strayed there from some remote country, or out of an old ballad, that had not yet learned the new language and had not yet found any friends.

Camila was about thirty when she left the stage and it required five years for her to achieve her place in society. She gradually became almost stout, though her head seemed to grow more beautiful every year. She took to overdressing and the floors of the drawing-rooms reflected a veritable tower of jewels and scarves and plumes. Her face and hands were covered with a bluish powder against which she drew an irritable mouth in scarlet and orange. The almost distraught fury of her temper was varied by the unnatural sweetness of her address in the company of the dowagers. In the earliest stages of her progress upward she had intimated to Uncle Pio that he was not to be seen with her in public, but finally she became impatient even of his discreeter visits. She conducted the interviews with formality and evasion. Her eyes never crossed his and she angled for pretexts to quarrel with him. Still he ventured out once a month to try her patience and when the call had become impossible he would climb the stairs and finish the hour among her children.

One day he arrived at her villa in the hills and, through her maid, begged for an opportunity to talk with her. He was told that she would see him in the French gardens a little before sunset. He had come up from Lima on a strange sentimental impulse. Like all solitary persons he had invested friendship with a divine glamour: he imagined that the people he passed on the street, laughing together and embracing when they parted, the people who dined together with so many smiles,—you will scarcely believe me, but he imagined that they were extracting from all that congeniality great store of satisfaction. So that suddenly he was filled with the excitement of seeing her again, of being called "Uncle Pio," and of reviving for a moment the trust and humour of their long vagabondage.

The French Gardens were at the southern end of the town. Behind them rose the higher Andes and before them there was a parapet overlooking a deep valley and overlooking wave after wave of hills that stretched toward the Pacific. It was the hour when bats fly low and the smaller animals play recklessly underfoot. A few solitaries lingered about the gardens, gazing dreamily into the sky that was being gradually emptied of its colour, or leaned upon the balustrade and looked down into the valley, noting in which village a dog was barking. It was the hour when the father returns home from the fields and plays for a moment in the yard with the dog that jumps upon him, holding his muzzle closed or throwing him upon his back. The young girls look about for the first star to fix a wish upon it, and the boys grow restless for supper. Even the busiest mother stands for a moment idle-handed, smiling at her dear and exasperating family.

Uncle Pio stood against one of the chipped marble benches and watched Camila coming towards him:

"I am late," she said. "I am sorry. What is it you wish to say to me?"

"Camila,—" he began.

"My name is Doña Micaela."

"I do not wish to offend you, Doña Micaela, but when you let me call you Camila for twenty years, I should think——"

"Oh, do as you like. Do as you like."

"Camila, promise me that you will listen to me. Promise me that you will not run away at my first sentence."

At once she burst out with unexpected passion: "Uncle Pio, listen to me. You are mad if you think you can make me return to the theatre. I look back at the theatre with horror. Understand that. The theatre! The theatre, indeed! The daily payment of insults in that filthy place. Understand that you are wasting your time."

He answered gently: "I would not have you come back if you are happy with these new friends."

"You don't like my new friends, then?" she answered quickly. "Whom do you offer me in their stead?"

"Camila, I only remember ..."

"I will not be criticized. I don't want any advice. It will be cold in a moment, I must go back to my house. Just give me up, that's all. Just put me out of your mind."

"Dear Camila, don't be angry. Let me talk to you. Just suffer me for ten minutes."

He did not understand why she was weeping. He did not know what to say. He talked at random: "You never even come to see the theatre, and they all notice it. The audiences are falling away now, too. They only put on the Old Comedy twice a week; all the other nights there are these new farces in prose. All is dull and childish and indecent. No one can speak Spanish any more. No one can even walk correctly any more. On Corpus Christi Day they gave Belshazzar's Feast where you were so wonderful. Now it was shameful."

There was a pause. A beautiful procession of clouds, like a flock of sheep, was straying up from the sea, slipping up the valleys between the hills. Camila suddenly touched his knee, and her face was like her face twenty years before: "Forgive me, Uncle Pio, for being so bad. Jaime was ill this afternoon. There's nothing one can do. He lies there, so white and ... so surprised. One must just think of other things. Uncle Pio, it would be no good if I went back to the theatre. The audiences come for the prose farces. We were foolish to try and keep alive the Old Comedy. Let people read the old plays in books if they choose to. It is not worth while fighting with the crowd."

"Wonderful Camila, I was not just to you when you were on the stage. It was some foolish pride in me. I grudged you the praise that you deserved. Forgive me. You have always been a very great artist. If you come to see that you are not happy among these people you might think about going to Madrid. You would have a great triumph there. You are still young and beautiful. There will be time later to be called Doña Micaela. We shall be old soon. We shall be dead soon."

"No, I shall never see Spain. All the world is alike, Madrid or Lima."

"Oh, if we could go away to some island where the people would know you for yourself. And love you."

"You are fifty years old and you are still dreaming of such islands, Uncle Pio."

He bent his head and mumbled: "Of course I love you, Camila, as I always must and more than I can say. To have known you is enough for my whole life. You are a great lady now. And you are rich. There is no longer any way that I can help you. But I am always ready."

"How absurd you are," she said smiling. "You said that as boys say it. You don't seem to learn as you grow older, Uncle Pio. There is no such thing as that kind of love and that kind of island. It's in the theatre you find such things."

He look shamefaced, but unconvinced.

At last she rose and said sadly: "What are we talking about! It is growing cold. I must be going in. You must be resigned. I have no heart for the theatre." There was a pause. "And for the rest?... Oh, I do not understand. It is just circumstance. I must be what I must. Do not try to understand either. Don't think about me, Uncle Pio. Just forgive, that's all. Just try to forgive."

She stood still a moment, searching for something deeply felt to say to him. The first cloud reached the terrace; it was dark; the last stragglers were leaving the gardens. She was thinking of Don Jaime, and of Don Andrés and of himself. She could not find the words. Suddenly she bent down and kissed his fingers and went quickly away. But he sat for a long time in the gathering clouds trembling with happiness and trying to penetrate into the meaning of these things.

Suddenly the news was all over Lima. Doña Micaela Villegas, the lady that used to be Camila the Perichole, had the small-pox. Several hundred other persons had the small-pox also, but popular interest and malignity were concentrated upon the actress. A wild hope ran about the town that the beauty would be impaired that had enabled her to despise the class from which she sprang. The news escaped from the sick-room that Camila had become ludicrous in homeliness and the cup of the envious overflowed. As soon as she was able she had herself carried from the city to her villa in the hills; she ordered the sale of her elegant little palace. She returned her jewels to their givers and she sold her fine clothes. The Viceroy, the Archbishop, and the few men at court who had been her sincerest admirers besieged her door still with messages and gifts; the messages were ignored and the gifts were returned without comment. No one but her nurse and maids had been permitted to see her since the commencement of her illness. As an answer to his repeated attempts Don Andrés received a large sum of money from her with a letter compounded of all that is possible in bitterness and pride.

Like all beautiful women who have been brought up amid continual tributes to her beauty she assumed without cynicism that it must necessarily be the basis of anyone's attachment to herself; henceforth any attention paid to her must spring from a pity full of condescension and faintly perfumed with satisfaction at so complete a reversal. This assumption that she need look for no more devotion now that her beauty had passed proceeded from the fact that she had never realized any love save love as passion. Such love, though it expends itself in generosity and thoughtfulness, though it give birth to visions and to great poetry, remains among the sharpest expressions of self-interest. Not until it has passed through a long servitude, through its own self-hatred, through mockery, through great doubts, can it take its place among the loyalties. Many who have spent a lifetime in it can tell us less of love than the child that lost a dog yesterday. As her friends continued in their efforts to draw her again into society she grew more and more angry and dispatched insulting messages to the city. It was said for a time that she was retiring into religion. But new rumours that all was fury and despair on the little farm, contradicted the old. For those near to her the despair was fearful to behold. She was convinced that her life was over, her life and children's. In her hysterical pride she had given back more than she owed and the approach of poverty was added to the loneliness and the gloom of her future. There was nothing left for her to do but to draw out her days in jealous solitude in the center of the little farm that was falling into decay. She brooded for hours upon the joy of her enemies and could be heard striding about her room with strange cries.

Uncle Pio did not allow himself to be discouraged. By dint of making himself useful to the children, by taking a hand in the management of the farm and by discreetly lending her some money he obtained his entrance into the house and even into the presence of its veiled mistress. But even then Camila, convinced in her pride that he pitied her, lashed him with the blade of her tongue and derived some strange comfort from heaping him with sneers. He loved her the more, understanding better than she did herself all the stages in the convalescence of her humiliated spirit. But one day an accident befell that lost him his share in her progress. He pushed open a door.

She thought she had locked it. For just one hour a foolish secret hope had come to her; she wondered whether she could make a paste of chalk and cream to spread upon her face. She who had sneered so often at the befloured grandmothers of the court wondered for a few moments whether she had learned anything on the stage that would aid her now. She thought she had locked the door and with hurried hands and beating heart she laid on the coat, the grotesque pallor, and as she gazed into the mirror and recognized the futility of her attempt she caught the image of Uncle Pio standing in the door amazed. She rose from the chair with a cry and covered her face with her hands.

"Go away. Go away out of my house forever," she screamed. "I never want to see you again." In her shame she drove him out with blasphemy and hatred, she pursued him down the corridor and hurled objects down the stairs. She gave her farmer orders that Uncle Pio was forbidden to come into the grounds. But he continued for a week trying to see her again. At last he went back to Lima; he filled in the time as best he could, but he longed to be by her as a boy of eighteen would long. At last he devised a stratagem and returned up into the hills to put it into effect.

One morning before dawn he arose and lay on the ground below her window. He imitated in the darkness the sound of weeping, and, as nearly as he could, of a young girl's weeping. He continued in this for the whole quarter of an hour. He did not let his voice rise above that degree of loudness which Italian musicians would represent by the direction piano, but he frequently intermitted the sound trusting that if she were asleep it would insinuate itself into her mind as well by duration as by degree. The air was cool and agreeable. The first faint streak of sapphire was appearing behind the peaks and in the east the star of morning was pulsating every moment with a more tender intention. A profound silence wrapped all the farm buildings, only an occasional breeze set all the grasses sighing. Suddenly a lamp was lit in her room and a moment later the shutter was thrown back and a head wrapped in veils leaned far out.

"Who is there?" asked the beautiful voice.

Uncle Pio remained silent.

Camila said again in a tone edged with impatience:

"Who is there? Who is there weeping?"

"Doña Micaela, my lady, I beg of you to come here to me."

"Who are you and what do you want?"

"I am a poor girl. I am Estrella. I beg of you to come and help me. Do not call your maid. I pray you, Doña Micaela, to come yourself."

Camila was silent a moment, then said abruptly: "Very well," and closed the shutter. Presently she appeared around the corner of the house. She wore a thick cloak that dragged in the dew. She stood at a distance and said: "Come over here to where I am standing,—Who are you?"

Uncle Pio rose up. "Camila, it is I,—Uncle Pio. Forgive me, but I must speak to you."

"Mother of God, when shall I be free of this dreadful person! Understand: I want to see no one. I don't want to speak to a soul. My life is over. That is all."

"Camila, by our long life together, I beg of you to grant me one thing. I shall go away and never trouble you again."

"I grant you nothing, nothing. Stay away from me."

"I promise you I shall never trouble you again if you listen to me this once." She was hurrying around to the door on the other side of the house and Uncle Pio was obliged to run beside her to make sure that she heard what he was saying. She stopped:

"What is it then? Hurry. It is cold. I am not well. I must go back to my room."

"Camila, let me take Don Jaime for a year to live with me in Lima. Let me be his teacher. Let me teach him the Castilian. Here he is left among the servants. He is learning nothing."

"No."

"Camila, what will become of him? He has a good mind and he wants to learn."

"He is sick. He is delicate. Your house is a sty. Only the country is good for him."

"But he has been much better these last few months. I promise you I shall clean out my house. I shall apply to Madre María del Pilar for a housekeeper. Here he is in your stables all day. I shall teach him all that a gentleman should know,—fencing and Latin and music. We shall read all...."

"A mother cannot be separated from her child like that. It is impossible. You are crazy to have thought of it. Give up thinking of me and of everything about me. I no longer exist. I and my children will get on as best we can. Do not try to disturb me again. I do not want to see any human being."

Now it was that Uncle Pio felt obliged to use a hard measure. "Then pay me the money that you owe me," he said.

Camila stood still, confounded. To herself she said: "Life is too fearful to bear. When may I die?" After a moment she answered him, in a hoarse voice: "I have very little money. I will pay you what I can. I will pay you now. I have a few jewels here. Then we need never see one another again." She was ashamed of her poverty. She took a few steps, then turned and said: "Now I see that you are a very hard man. But it is right that I pay you what I owe you."

"No, Camila, I only said that to enforce my request. I shall take no money from you. But lend me Don Jaime for one year. I shall love him and take every care of him. Did I harm you? Was I a bad teacher to you in those other years?"

"It is cruel of you to keep urging gratitude, gratitude, gratitude. I was grateful,—good, good! but now that I am no longer the same woman there remains nothing to be grateful for." There was a silence. Her eyes were resting on the star that seemed to be leading forth the whole sky in its wonder. A great pain lay at her heart, the pain of a world that was meaningless. Then she said: "If Jaime wishes to go with you, very well. I shall talk to, him in the morning. If he wishes to go with you, you will find him at the Inn about noon. Good night. Go with God."

"Go with God."

She returned to the house. The next day the grave little boy appeared at the Inn. His fine clothes were torn and stained now and he carried a small bundle for change. His mother had given him a gold piece for spending-money and a little stone that shown in the dark to look at in his sleepless nights. They set off together in a cart, but soon Uncle Pio became aware that the jolting was not good for the boy. He carried him on his shoulder. As they drew near to the bridge of San Luis Rey, Jaime tried to conceal his shame for he knew that one of those moments was coming that separated him from other people. He was especially ashamed because Uncle Pio had just overtaken a friend of his, a sea-captain. And just as they got to the bridge he spoke to an old lady who was travelling with a little girl. Uncle Pio said that when they had crossed the bridge they would sit down and rest, but it turned out not to be necessary.

PART FIVE: PERHAPS AN INTENTION

A NEW bridge of stone has been built in the place of the old, but the event has not been forgotten. It has passed into proverbial expressions. "I may see you Tuesday," says a Limean, "unless the bridge falls." "My cousin lives by the bridge of San Luis Rey," says another, and a smile goes around the company, for that also means: under the sword of Damocles. There are some poems about the accident, classics to be found in every Peruvian anthology, but the real literary monument is Brother Juniper's book.

There are a hundred ways of wondering at circumstance. Brother Juniper would never have arrived at his method had it not been for his friendship with a certain master in the University of San Martín. This student's wife had stolen away one morning on a boat for Spain, following a soldier, and had left him the care of two daughters in their cradle. He was possessed of all the bitterness that Brother Juniper lacked and derived a sort of joy from the conviction that all was wrong in the world. He whispered into the Franciscan's ear such thoughts and anecdotes as belied the notion of a guided world. For a moment a look of distress, almost of defeat, would come into the Brother's eyes; then he would begin patiently explaining why such stories held no difficulty for a believer. "There was a queen of Naples and Sicily," the student would say, "who discovered that she was carrying an angry tumor in her side. In great dismay she commanded her subjects to fall to their prayers and ordered that all the garments in Sicily and Naples be sewn with votive crosses. She was well loved by her people and all their prayers and embroideries were sincere, but ineffectual. Now she lies in the splendor of Monreale, and a few inches above her heart may be read the words: I shall fear no evil."

It was by dint of hearing a great many such sneers at faith that Brother Juniper became convinced that the world's time had come for proof, tabulated proof, of the conviction that was so bright and exciting within him. When the pestilence visited his dear village of Puerto and carried off a large number of peasants, he secretly drew up a diagram of the characteristics of fifteen victims and fifteen survivors, the statistics of their value sub specie aeternitatis. Each soul was rated upon a basis of ten as regards its goodness, its diligence in religious observance, and its importance to its family group. Here is a fragment of this ambitious chart:

The thing was more difficult than he had foreseen. Almost every soul in a difficult frontier community turned out to be indispensable economically, and the third column was all but useless. The examiner was driven to the use of minus terms when he confronted the personal character of Alfonso V., who was not, like Vera N., merely bad: he was a propagandist for badness and not merely avoided church but led others to avoid it. Vera N. was indeed bad, but she was a model worshipper and the mainstay of a full hut. From all this saddening data Brother Juniper contrived an index for each peasant. He added up the total for victims and compared it with the total for survivors, to discover that the dead were five times more worth saving. It almost looked as though the pestilence had been directed against the really valuable people in the village of Puerto. And on that afternoon Brother Juniper took a walk along the edge of the Pacific. He tore up his findings and cast them into the waves; he gazed for an hour upon the great clouds of pearl that hang forever upon the horizon of that sea, and extracted from their beauty a resignation that he did not permit his reason to examine. The discrepancy between faith and the facts is greater than is generally assumed.

But there was another story of the master of San Martín (not so subversive, this one) that probably gave to Brother Juniper the hint for his procedure after the fall of the bridge of San Luis Rey.

This master was one day walking through the Cathedral of Lima and stopped to read the epitaph of a lady. He read with an increasingly prominent lower lip that she had been for twenty years the centre and joy of her home, that she had been the delight of her friends, that all who met her went away in astonishment at her goodness and beauty, and that there she lay awaiting the return of her Lord. Now on the day that he read these words, the master of San Martín had had much to fret him, and raising his eyes from the tablet he spoke aloud in his rage: "The shame of it, the persecution of it! Everyone knows that in the world we do nothing but feed our wills. Why perpetuate this legend of selflessness? Why keep this thing alive, this rumour of disinterestedness?"

And so saying he resolved to expose this conspiracy of the stone-cutters. The lady had been dead only twelve years. He sought out her servants, her children and her friends. And everywhere he went, like a perfume, her dear traits had survived her and wherever she was mentioned there arose a suffering smile and the protest that words could not describe the gracious ways of her. Even the eager youth of her grandchildren, who had never seen her, was made more difficult by the news that it was possible to be as good as that. And the man stood amazed; only at last he muttered: "Nevertheless, what I said was true. This woman was an exception, perhaps an exception."

In compiling his book about these people Brother Juniper seemed to be pursued by the fear that in omitting the slightest detail he might lose some guiding hint. The longer he worked the more he felt that he was stumbling about among great dim intimations. He was forever being cheated by details that looked as though they were significant if only he could find their setting. So he put everything down on the notion perhaps that if he (or a keener head) reread the book twenty times, the countless facts would suddenly start to move, to assemble, and to betray their secret. The Marquesa de Montemayor's cook told him that she lived almost entirely on rice, fish and a little fruit and Brother Juniper put it down on the chance that it would some day reveal a spiritual trait. Don Rubío said of her that she used to appear at his receptions without invitation in order to steal the spoons. A midwife on the edge of the town declared that Doña María called upon her with morbid questions until she had been obliged to order her away from the door like a beggar. The bookseller of the town reported that she was one of the three most cultivated persons in Lima. Her farmer's wife declared that she was absent-minded, but compact of goodness. The art of biography is more difficult than is generally supposed.

Brother Juniper found that there was least to be learned from those who had been most closely associated with the subjects of his inquiry. Madre María del Pilar talked to him at length about Pepita, but she did not tell him of her own ambitions for her. The Perichole was at first difficult of approach, but presently even liked the Franciscan. Her characterization of Uncle Pio flatly contradicted the stores of unsavory testimonies that he had acquired elsewhere. Her allusions to her son were few and conceded with pain. They closed the interview abruptly. The Captain Alvarado told what he could of Esteban and of Uncle Pio. Those who know most in this realm, venture least.

I shall spare you Brother Juniper's generalizations. They are always with us. He thought he saw in the same accident, the wicked visited by destruction and the good called early to Heaven. He thought he saw pride and wealth confounded as an object lesson to the world, and he thought he saw humility crowned and rewarded for the edification of the city. But Brother Juniper was not satisfied with his reasons. It was just possible that the Marquesa de Montemayor was not a monster of avarice, and Uncle Pio of self-indulgence.

The book being done fell under the eyes of some judges and was suddenly pronounced heretical. It was ordered to be burned in the Square with its author. Brother Juniper submitted to the decision that the devil had made use of him to effect a brilliant campaign in Peru. He sat in his cell that last night trying to seek in his own life the pattern that had escaped him in five others. He was not rebellious. He was willing to lay down his life for the purity of the church, but he longed for one voice somewhere to testify for him that his intention, at least, had been for faith; he thought there was no one in the world who believed him. But the next morning in all that crowd and sunlight there were many who believed, for he was much loved.

There was a little delegation from the village of Puerto, and Nina (Goodness 2, Piety 5, Usefulness 10) and others stood with drawn puzzled faces while their little friar was given to the congenial flames. Even then, even then, there remained in his heart an obstinate nerve insisting that at least St. Francis would not utterly have condemned him, and (not daring to call upon a greater name, since he seemed so open to error in these matters) he called twice upon St. Francis I and leaning upon a flame he smiled and died.

The day of the service was clear and warm. The Limeans, their black eyes wide with awe, poured through the streets into their Cathedral and stood gazing at the mound of black velvet and silver. The Archbishop enclosed in his wonderful and almost wooden vestments perspired upon his throne, lending from time to time a connoisseur's ear to the felicities of Vittoria's counterpoint. The choir had restudied the pages that, as his farewell to music, Tomás Luis had composed for his friend and patron, the Empress of Austria, and all that grief and sweetness, all that Spanish realism filtering through an Italian mode, rose and fell above the sea of mantillas. Don. Andrés, under the colours and feathered hangings of his office, knelt, ill and troubled. He knew that the crowd was furtively glancing at him, expecting him to play the father who has lost his only son. He wondered whether the Perichole was present. He had never been obliged to go so long without smoking. The Captain Alvarado pushed in from the sunny square for a moment. He looked across the fields of black hair and lace at the trooping of the candles and the ropes of incense. "How false, how unreal," he said and pushed his way out. He descended to the sea and sat on the edge of his boat, gazing down into the clear water. "Happy are the drowned, Esteban," he said.

Behind the screen the Abbess sat among her girls. The night before she had torn an idol from her heart and the experience had left her pale but firm. She had accepted the fact that it was of no importance whether her work went on or not; it was enough to work. She was the nurse who tends the sick who never recover; she was the priest who perpetually renews the office before an altar to which no worshippers come. There would be no Pepita to enlarge her work; it would relapse into the indolence and the indifference of her colleagues. It seemed to be sufficient for Heaven that for a while in Peru a disinterested love had flowered and faded. She leaned her forehead upon her hand, following the long tender curve that the soprano lifts in the Kyrie. "My affection should have had more of that colour, Pepita. My whole life should have had more of that quality. I have been too busy," she added ruefully and her mind drifted into prayer.

Camila had started from the farm to attend the service. Her heart was filled with consternation and amazement. Here was another comment from the skies; that was the third time she had been spoken to. Her small-pox, Jaime's illness, and now the fall of the bridge,—oh, these were not accidents. She was as ashamed as though letters had appeared on her forehead. An order from the Palace announced that the Viceroy was sending her two daughters to a convent-school in Spain. That was right. She was alone. She gathered a few things together mechanically and started to the city for the Service. But she fell to thinking of the crowds gaping over her Uncle Pio and over her son; she thought of the vast ritual of the church, like a chasm into which the beloved falls, and of the storm of the dies irae where the individual is lost among the millions of the dead, features grow dim and traits fade. At a little more than half the journey, at the mud church of San Luis Rey she slipped in and knelt against a pillar to rest. She wandered through her memory, searching for the faces of her two. She waited for some emotion to appear. "But I feel nothing," she whispered to herself. "I have no heart. I am a poor meaningless woman, that's all. I am shut out. I have no heart. Look, I won't try and think of anything; let me just rest here." And scarcely had she paused when again that terrible incommunicable pain swept through her, the pain that could not speak once to Uncle Pio and tell him of her love and just once offer her courage to Jaime in his sufferings. She started up wildly: "I fail everybody," she cried. "They love me and I fail them." She returned to the farm and carried for a year the mood of her self-despair. One day she heard by accident that the wonderful Abbess had lost two persons whom she loved in the same accident. Her sewing fell from her hand: then she would know, she would explain. "But no, what would she say to me! She would not even believe that such a person as I could love or could lose." Camila decided to go to Lima and look at the Abbess from a distance. "If her face tells me that she would not despise me, I will speak to her," she said.

Camila lurked about the convent church and fell humbly in love with the homely old face, though it frightened her a little. At last she called upon her.

"Mother," she said, "I ... I ..."

"Do I know you, my daughter?"

"I was the actress, I was the Perichole."

"Oh, yes. Oh, I have wished to know you for a long while, but they told me you did not wish to be seen. You too, I know, lost in the fall of the bridge of San...."

Camila rose and swayed. There! again that access of pain, the hands of the dead she could not reach. Her lips were white. Her head brushed the Abbess's knee: "Mother, what shall I do? I am all alone. I have nothing in the world. I love them. What shall I do?"

The Abbess looked at her closely. "My daughter, it is warm here. Let us go into the garden. You can rest there." She made a sign to a girl in the cloister to bring some water. She continued talking mechanically to Camila. "I have wished to know you for a long while, señora. Even before the accident I had wished much to know you. They told me that in the autos sacrementales you were a very great and beautiful actress, in Belshazzar's Feast."

"Oh, Mother, you must not say that. I am a sinner. You must not say that."

"Here, drink this, my child. We have a beautiful garden, do you not think so? You will come and see us often and some day you will meet Sister Juana who is our gardener-in-chief. Before she entered religion she had almost never seen a garden, for she worked in the mines high up in the mountains. Now everything grows under her hand.—A year has gone by, señora, since our accident. I lost two who had been children in my orphanage, but you lost a real child of your own?"

"Yes, Mother."

"And a great friend?"

"Yes, Mother."

"Tell me...."

And then the whole tide of Camila's long despair, her lonely obstinate despair since her girlhood, found its rest on that dusty friendly lap among Sister Juana's fountains and roses.

But where are sufficient books to contain the events that would not have been the same without the fall of the bridge? From such a number I choose one more.

"The Condesa d'Abuirre wishes to see you," said a lay-sister at the door of the Abbess's office.

"Well," said the Abbess, laying down her pen, "who is she?"

"She has just come from Spain. I don't know."

"Oh, it is some money, Inez, some money for my house for the blind. Quick, bid her come in."

The tall, rather languorous beauty entered the room. Doña Clara, who was generally so adequate, seemed constrained for once. "Are you busy, dear Mother, may I talk to you for a while?"

"I am quite free, my daughter. You will excuse an old woman's memory; have I known you before?"

"My mother was the Marquesa de Montemayor...." Doña Clara suspected that the Abbess had not admired her mother and would not let the older woman speak until she herself had made a long passionate defense of Doña María. The languor fell away in her self-reproach. At last the Abbess told her of Pepita and Esteban, and of Camila's visit. "All, all of us have failed. One wishes to be punished. One is willing to assume all kinds of penance, but do you know, my daughter, that in love—I scarcely dare say it—but in love our very mistakes don't seem to be able to last long?"

The Condesa showed the Abbess Doña María's last letter. Madre María dared not say aloud how great her astonishment was that such words (words that since then the whole world has murmured over with joy) could spring in the heart of Pepita's mistress. "Now learn," she commanded herself, "learn at last that anywhere you may expect grace." And she was filled with happiness like a girl at this new proof that the traits she lived for were everywhere, that the world was ready. "Will you do me a kindness, my daughter? Will you let me show you my work?"

The sun had gone down, but the Abbess led the way with a lantern down corridor after corridor. Doña Clara saw the old and the young, the sick and the blind, but most of all she saw the tired, bright old woman who was leading her. The Abbess would stop in a passageway and say suddenly: "I can't help thinking that something could be done for the deaf-and-dumb. It seems to me that some patient person could, ... could study out a language for them. You know there are hundreds and hundreds in Peru. Do you remember whether anyone in Spain has found a way for them? Well, some day they will." Or a little later: "Do you know, I keep thinking that something can be done for the insane. I am old, you know, and I cannot go where these things are talked about, but I watch them sometimes and it seems to me ... In Spain, now, they are gentle with them? It seems to me that there is a secret about it, just hidden from us, just around the corner. Some day back in Spain, if you hear of anything that would help us, you will write me a letter ... if you are not too busy?"

At last after Doña Clara had seen even the kitchens, the Abbess said: "Now will you excuse me, for I must go into the room of the very sick and say a few words for them to think about when they cannot sleep. I will not ask you to come with me there, for you are not accustomed to such ... such sounds and things. And besides I only talk to them as one talks to children." She looked up at her with her modest rueful smile. Suddenly she disappeared a moment to return with one of her helpers, one who had likewise been involved in the affair of the bridge and who had formerly been an actress. "She is leaving me," said the Abbess, "for some work across the city and when I have spoken here I must leave you both, for the flour-broker will not wait for me any longer, and our argument will take a long time."

But Doña Clara stood in the door as the Abbess talked to them, the lamp placed on the floor beside her. Madre María stood with her back against a post; the sick lay in rows gazing at the ceiling and trying to hold their breaths. She talked that night of all those out in the dark (she was thinking of Esteban alone, she was thinking of Pepita alone) who had no one to turn to, for whom the world perhaps was more than difficult, without meaning. And those who lay in their beds there felt that they were within a wall that the Abbess had built for them; within all was light and warmth, and without was the darkness they would not exchange even for a relief from pain and from dying. But even while she was talking, other thoughts were passing in the back of her mind. "Even now," she thought, "almost no one remembers Esteban and Pepita, but myself. Camila alone remembers her Uncle Pio and her son; this woman, her mother. But soon we shall die and all memory of those five will have left the earth, and we ourselves shall be loved for a while and forgotten. But the love will have been enough; all those impulses of love return to the love that made them. Even memory is not necessary for love. There is a land of the living and a land of the dead and the bridge is love, the only survival, the only meaning."

THE END