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Henry Wadsworth Longfellow (1807–1882).  Complete Poetical Works.  1893.
 
The Spanish Student
 
          The first form of this comedy was serial publication in Graham’s Magazine, September, October, and November, 1842. It was afterward carefully revised and published in book form in 1843, with the following preface:—
  “The subject of the following play is taken in part from the beautiful tale of Cervantes, La Gitanilla. To this source, however, I am indebted for the main incident only, the love of a Spanish student for a Gypsy Girl, and the name of the heroine, Preciosa. I have not followed the story in any of its details.
  “In Spain this subject has been twice handled dramatically; first by Juan Perez de Montalvan, in La Gitanilla, and afterwards by Antonio de Solis y Rivadeneira in La Gitanilla de Madrid.
  “The same subject has also been made use of by Thomas Middleton, an English dramatist of the seventeenth century. His play is called The Spanish Gypsy. The main plot is the same as in the Spanish pieces; but there runs through it a tragic underplot of the loves of Rodrigo and Doña Clara, which is taken from another tale of Cervantes, La Fuerza de la Sangre.
  “The reader who is acquainted with La Gitanilla of Cervantes, and the plays of Montalvan, Solis, and Middleton will perceive that my treatment of the subject differs entirely from theirs.”
  The book bore upon its title-page a motto from Burns:—
        “What ’s done we partly may compute,
But know not what ’s resisted.”
It had been the poet’s intention at first to have the drama put on the stage, but this plan was abandoned. A German version was performed at the Ducal Court Theatre in Dessau, January 28, 1855.

        
DRAMATIS PERSONÆ
  
VICTORIAN, HYPOLITO, Students of Alcalá.
THE COUNT OF LARA,
DON CARLOS, Gentlemen of Madrid.
THE ARCHBISHOP OF TOLEDO.
A CARDINAL.
BELTRAN CRUZADO, Count of the Gypsies.
BARTOLOMÉ ROMÁN, A young Gypsy.
THE PADRE CURA OF GUADARRAMA.
PEDRO CRESPO, Alcalde.
PANCHO, Alguacil.
FRANCISCO, Lara’s Servant.
CHISPA, Victorian’s Servant.
BALTASAR, Innkeeper.
PRECIOSA, A Gypsy Girl.
ANGELICA, A poor Girl.
MARTINA, The Padre Cura’s Niece.
DOLORES, Preciosa’s Maid.
Gypsies, Musicians, etc.

ACT I

SCENE I.—The COUNT OF LARA’S chambers. Night. The COUNT in his dressing-gown, smoking and conversing with DON CARLOS.

  Lara.  You were not at the play to-night, Don Carlos;
How happened it?
  Don C.            I had engagements elsewhere. Pray who was there?
  Lara.                Why, all the town and court.
The house was crowded; and the busy fans
Among the gayly dressed and perfumed ladies
Fluttered like butterflies among the flowers.        5
There was the Countess of Medina Celi;
The Goblin Lady with her Phantom Lover,
Her Lindo Don Diego; Doña Sol,
And Doña Serafina, and her cousins.
  Don C.  What was the play?
  Lara.                    It was a dull affair;
        10
One of those comedies in which you see,
As Lope says, the history of the world
Brought down from Genesis to the day of Judgment.
There were three duels fought in the first act,
Three gentlemen receiving deadly wounds,        15
Laying their hands upon their hearts, and saying,
“Oh, I am dead!” a lover in a closet,
An old hidalgo, and a gay Don Juan,
A Doña Inez with a black mantilla,
Followed at twilight by an unknown lover,        20
Who looks intently where he knows she is not!
  Don C.  Of course, the Preciosa danced to-night?
  Lara.  And never better. Every footstep fell
As lightly as a sunbeam on the water.
I think the girl extremely beautiful.        25
  Don C.  Almost beyond the privilege of woman!
I saw her in the Prado yesterday.
Her step was royal,—queen-like,—and her face
As beautiful as a saint’s in Paradise.
  Lara.  May not a saint fall from her Paradise,        30
And be no more a saint?
  Don C.                Why do you ask?
  Lara.  Because I have heard it said this angel fell,
And though she is a virgin outwardly,
Within she is a sinner; like those panels
Of doors and altar-pieces the old monks        35
Painted in convents, with the Virgin Mary
On the outside, and on the inside Venus!
  Don C.  You do her wrong; indeed, you do her wrong!
She is as virtuous as she is fair.
  Lara.  How credulous you are! Why, look you, friend,        40
There ’s not a virtuous woman in Madrid,
In this whole city! And would you persuade me
That a mere dancing-girl, who shows herself,
Nightly, half naked, on the stage, for money,
And with voluptuous motions fires the blood        45
Of inconsiderate youth, is to be held
A model for her virtue?
  Don C.                    You forget
She is a Gypsy girl.
  Lara.            And therefore won
The easier.
  Don C.        Nay, not to be won at all!
The only virtue that a Gypsy prizes        50
Is chastity. That is her only virtue.
Dearer than life she holds it. I remember
A Gypsy woman, a vile, shameless bawd,
Whose craft was to betray the young and fair;
And yet this woman was above all bribes.        55
And when a noble lord, touched by her beauty,
The wild and wizard beauty of her race,
Offered her gold to be what she made others,
She turned upon him, with a look of scorn,
And smote him in the face!
  Lara.                And does that prove
        60
That Preciosa is above suspicion?
  Don C.  It proves a nobleman may be repulsed
When he thinks conquest easy. I believe
That woman, in her deepest degradation,
Holds something sacred, something undefiled,        65
Some pledge and keepsake of her higher nature,
And, like the diamond in the dark, retains
Some quenchless gleam of the celestial light!
  Lara.  Yet Preciosa would have taken the gold.
  Don C. (rising).  I do not think so.
  Lara.                    I am sure of it.
        70
But why this haste? Stay yet a little longer,
And fight the battles of your Dulcinea.
  Don C.  ’T is late. I must begone, for if I stay
You will not be persuaded.
  Lara.                Yes; persuade me.
  Don C.  No one so deaf as he who will not hear!        75
  Lara.  No one so blind as he who will not see!
  Don C.  And so good night. I wish you pleasant dreams,
And greater faith in woman.        [Exit.
  Lara.                    Greater faith!
I have the greatest faith; for I believe
Victorian is her lover. I believe        80
That I shall be to-morrow; and thereafter
Another, and another, and another,
Chasing each other through her zodiac,
As Taurus chases Aries.
(Enter FRANCISCO with a casket.)

                        Well, Francisco,
What speed with Preciosa?
  Fran.                None, my lord.
        85
She sends your jewels back, and bids me tell you
She is not to be purchased by your gold.
  Lara.  Then I will try some other way to win her.
Pray, dost thou know Victorian?
  Fran.                    Yes, my lord;
I saw him at the jeweller’s to-day.        90
  Lara.  What was he doing there?
  Fran.                    I saw him buy
A golden ring, that had a ruby in it.
  Lara.  Was there another like it?
  Fran.                    One so like it
I could not choose between them.
  Lara.                    It is well.
To-morrow morning bring that ring to me.        95
Do not forget. Now light me to my bed.    [Exeunt.
 
SCENE II.—A street in Madrid. Enter CHISPA, followed by musicians, with a bagpipe, guitars, and other instruments.

  Chispa.  Abernuncio Satanas: and a plague on all lovers who ramble about at night drinking the elements, instead of sleeping quietly in their beds. Every dead man to his cemetery, say I; and every friar to his monastery. Now, here ’s my master, Victorian, yesterday a cow-keeper, and to-day a gentleman; yesterday a student, and to-day a lover; and I must be up later than the nightingale, for as the abbot sings so must the sacristan respond. God grant he may soon be married, for then shall all this serenading cease. Ay, marry! marry! marry! Mother, what does marry mean? It means to spin, to bear children, and to weep, my daughter! And, of a truth, there is something more in matrimony than the wedding-ring. (To the musicians.) And now, gentlemen, Pax vobiscum! as the ass said to the cabbages. Pray, walk this way; and don’t hang down your heads. It is no disgrace to have an old father and a ragged shirt. Now, look you, you are gentlemen who lead the life of crickets; you enjoy hunger by day and noise by night. Yet, I beseech you, for this once be not loud, but pathetic; for it is a serenade to a damsel in bed, and not to the Man in the Moon. Your object is not to arouse and terrify, but to soothe and bring lulling dreams. Therefore, each shall not play upon his instrument as if it were the only one in the universe, but gently, and with a certain modesty, according with the others. Pray, how may I call thy name, friend?
  First Mus.  Gerónimo Gil, at your service.
  Chispa.  Every tub smells of the wine that is in it. Pray, Gerónimo, is not Saturday an unpleasant day with thee?
  First Mus.  Why so?        100
  Chispa.  Because I have heard it said that Saturday is an unpleasant day with those who have but one shirt. Moreover, I have seen thee at the tavern, and if thou canst run as fast as thou canst drink, I should like to hunt hares with thee. What instrument is that?
  First Mus.  An Aragonese bagpipe.
  Chispa.  Pray, art thou related to the bagpiper of Bujalance, who asked a maravedi for playing, and ten for leaving off?
  First Mus.  No, your honor.
  Chispa.  I am glad of it. What other instruments have we?        105
  Second and Third Musicians.  We play the bandurria.
  Chispa.  A pleasing instrument. And thou?
  Fourth Mus.  The fife.
  Chispa.  I like it; it has a cheerful, soul-stirring sound, that soars up to my lady’s window like the song of a swallow. And you others?
  Other Mus.  We are the singers, please your honor.        110
  Chispa.  You are too many. Do you think we are going to sing mass in the cathedral of Córdova? Four men can make but little use of one shoe, and I see not how you can all sing in one song. But follow me along the garden wall. That is the way my master climbs to the lady’s window. It is by the Vicar’s skirts that the Devil climbs into the belfry. Come, follow me, and make no noise.    [Exeunt.
 
SCENE III.—PRECIOSA’S chamber. She stands at the open window.

  Prec.  How slowly through the lilac-scented air
Descends the tranquil moon! Like thistle-down
The vapory clouds float in the peaceful sky;
And sweetly from yon hollow vaults of shade        115
The nightingales breathe out their souls in song.
And hark! what songs of love, what soul-like sounds,
Answer them from below!
 
SERENADE

        Stars of the summer night!
            Far in yon azure deeps,        120
        Hide, hide your golden light!
            She sleeps!
        My lady sleeps!
            Sleeps!
 
        Moon of the summer night!        125
            Far down yon western steeps,
        Sink, sink in silver light!
            She sleeps!
        My lady sleeps!
            Sleeps!        130
 
        Wind of the summer night!
            Where yonder woodbine creeps,
        Fold, fold thy pinions light!
            She sleeps!
        My lady sleeps!        135
            Sleeps!
 
        Dreams of the summer night!
            Tell her, her lover keeps
        Watch! while in slumbers light
            She sleeps!        140
        My lady sleeps!
            Sleeps!
 
(Enter VICTORIAN by the balcony.)
  Vict.  Poor little dove! Thou tremblest like a leaf!
  Prec.  I am so frightened! ’T is for thee I tremble!
I hate to have thee climb that wall by night!        145
Did no one see thee?
  Vict.            None, my love, but thou.
  Prec.  ’T is very dangerous; and when thou art gone
I chide myself for letting thee come here
Thus stealthily by night. Where hast thou been?
Since yesterday I have no news from thee.        150
  Vict.  Since yesterday I have been in Alcalá.
Erelong the time will come, sweet Preciosa,
When that dull distance shall no more divide us;
And I no more shall scale thy wall by night
To steal a kiss from thee, as I do now.        155
  Prec.  An honest thief, to steal but what thou givest.
  Vict.  And we shall sit together unmolested,
And words of true love pass from tongue to tongue,
As singing birds from one bough to another.
  Prec.  That were a life to make time envious!        160
I knew that thou wouldst come to me to-night.
I saw thee at the play.
  Vict.                Sweet child of air!
Never did I behold thee so attired
And garmented in beauty as to-night!
What hast thou done to make thee look so fair?        165
  Prec.  Am I not always fair?
  Vict.                    Ay, and so fair
That I am jealous of alleyes that see thee,
And wish that they were blind.
  Prec.                I heed them not;
When thou art present, I see none but thee!
  Vict.  There ’s nothing fair nor beautiful, but takes        170
Something from thee, that makes it beautiful.
  Prec.  And yet thou leavest me for those dusty books.
  Vict.  Thou comest between me and those books too often!
I see thy face in everything I see!
The paintings in the chapel wear thy looks,        175
The canticles are changed to sarabands,
And with the learned doctors of the schools
I see thee dance cachuchas.
  Prec.                    In good sooth,
I dance with learned doctors of the schools
To-morrow morning.        180
  Vict.  And with whom, I pray?
  Prec.  A grave and reverend Cardinal, and his Grace
The Archbishop of Toledo.
  Vict.                        What mad jest
Is this?
  Prec.  It is no jest; indeed it is not.        185
  Vict.  Prithee, explain thyself.
  Prec.                    Why, simply thus.
Thou knowest the Pope has sent here into Spain
To put a stop to dances on the stage.
  Vict.  I have heard it whispered.
  Prec.                    Now the Cardinal,
Who for this purpose comes, would fain behold        190
With his own eyes these dances; and the Archbishop
Has sent for me—
  Vict.  That thou mayest dance before them!
Now viva la cachucha! It will breathe
The fire of youth into these gray old men!        195
’T will be thy proudest conquest!
  Prec.                    Saving one.
And yet I fear these dances will be stopped,
And Preciosa be once more a beggar.
  Vict.  The sweetest beggar that e’er asked for alms;
With such beseeching eyes, that when I saw thee        200
I gave my heart away!
  Prec.                Dost thou remember
When first we met?
  Vict.                It was at Córdova,
In the cathedral garden. Thou wast sitting
Under the orange trees, beside a fountain.
  Prec.  ’T was Easter Sunday. The full-blossomed trees        205
Filled all the air with fragrance and with joy.
The priests were singing, and the organ sounded,
And then anon the great cathedral bell.
It was the elevation of the Host.
We both of us fell down upon our knees,        210
Under the orange boughs, and prayed together.
I never had been happy till that moment.
  Vict.  Thou blessed angel!
  Prec.            And when thou wast gone
I felt an aching here. I did not speak
To any one that day. But from that day        215
Bartolomé grew hateful unto me.
  Vict.  Remember him no more. Let not his shadow
Come between thee and me. Sweet Preciosa!
I loved thee even then, though I was silent!
  Prec.  I thought I ne’er should see thy face again.        220
Thy farewell had a sound of sorrow in it.
  Vict.  That was the first sound in the song of love!
Scarce more than silence is, and yet a sound.
Hands of invisible spirits touch the strings
Of that mysterious instrument, the soul,        225
And play the prelude of our fate. We hear
The voice prophetic, and are not alone.
  Prec.  That is my faith. Dost thou believe these warnings?
  Vict.  So far as this. Our feelings and our thoughts
Tend ever on, and rest not in the Present.        230
As drops of rain fall into some dark well,
And from below comes a scarce audible sound,
So fall our thoughts into the dark Hereafter,
And their mysterious echo reaches us.
  Prec.  I have felt it so, but found no words to say it!        235
I cannot reason; I can only feel!
But thou hast language for all thoughts and feelings.
Thou art a scholar; and sometimes I think
We cannot walk together in this world!
The distance that divides us is too great!        240
Henceforth thy pathway lies among the stars;
I must not hold thee back.
  Vict.                    Thou little sceptic!
Dost thou still doubt? What I most prize in woman
Is her affections, not her intellect!
The intellect is finite; but the affections        245
Are infinite, and cannot be exhausted.
Compare me with the great men of the earth;
What am I? Why, a pygmy among giants!
But if thou lovest,—mark me! I say lovest,—
The greatest of thy sex excels thee not!        250
The world of the affections is thy world,
Not that of man’s ambition. In that stillness
Which most becomes a woman, calm and holy,
Thou sittest by the fireside of the heart,
Feeding its flame. The element of fire        255
Is pure. It cannot change nor hide its nature,
But burns as brightly in a Gypsy camp
As in a palace hall. Art thou convinced?
  Prec.  Yes, that I love thee, as the good love heaven;
But not that I am worthy of that heaven.        260
How shall I more deserve it?
  Vict.                    Loving more.
  Prec.  I cannot love thee more; my heart is full.
  Vict.  Then let it overflow, and I will drink it,
As in the summer-time the thirsty sands
Drink the swift waters of the Manzanares,        265
And still do thirst for more.
  A Watchman (in the street).    Ave Maria
Purissima! ’T is midnight and serene!
  Vict.  Hear’st thou that cry?
  Prec.            It is a hateful sound,
To scare thee from me!
  Vict.                As the hunter’s horn
Doth scare the timid stag, or bark of hounds        270
The moor-fowl from his mate.
  Prec.                    Pray, do not go!
  Vict.  I must away to Alcalá to-night.
Think of me when I am away.
  Prec.                            Fear not!
I have no thoughts that do not think of thee.
  Vict. (giving her a ring).  And to remind thee of my love, take this;        275
A serpent, emblem of Eternity;
A ruby,—say, a drop of my heart’s blood.
  Prec.  It is an ancient saying, that the ruby
Brings gladness to the wearer, and preserves
The heart pure, and, if laid beneath the pillow,        280
Drives away evil dreams. But then, alas!
It was a serpent tempted Eve to sin.
  Vict.  What convent of barefooted Carmelites
Taught thee so much theology?
  Prec. (laying her hand upon his mouth).  Hush! hush!
Good night! and may all holy angels guard thee!        285
  Vict.  Good night! good night! Thou art my guardian angel!
I have no other saint than thou to pray to!
(He descends by the balcony.)
  Prec.  Take care, and do not hurt thee. Art thou safe?
  Vict. (from the garden).  Safe as my love for thee! But art thou safe?
Others can climb a balcony by moonlight        290
As well as I. Pray shut thy window close;
I am jealous of the perfumed air of night
That from this garden climbs to kiss thy lips.
  Prec. (throwing down her handkerchief).  Thou silly child! Take this to blind thine eyes.
It is my benison!
  Vict.            And brings to me
        295
Sweet fragrance from thy lips, as the soft wind
Wafts to the out-bound mariner the breath
Of the beloved land he leaves behind.
  Prec.  Make not thy voyage long.
  Vict.                To-morrow night
Shall see me safe returned. Thou art the star        300
To guide me to an anchorage. Good night!
My beauteous star! My star of love, good night!
  Prec.  Good night!
  Watchman (at a distance).  Ave Maria Purissima!
 
SCENE IV.—An inn on the road to Alcalá. BALTASAR asleep on a bench. Enter CHISPA.

  Chispa.  And here we are, half-way to Alcalá, between cocks and midnight. Body o’ me! what an inn this is! The lights out, and the landlord asleep. Holá! ancient Baltasar!
        305
  Bal. (waking).  Here I am.
  Chispa.  Yes, there you are, like a one-eyed Alcalde in a town without inhabitants. Bring a light, and let me have supper.
  Bal.  Where is your master?
  Chispa.  Do not trouble yourself about him. We have stopped a moment to breathe our horses; and if he chooses to walk up and down in the open air, looking into the sky as one who hears it rain, that does not satisfy my hunger, you know. But be quick, for I am in a hurry, and every man stretches his legs according to the length of his coverlet. What have we here?
  Bal. (setting a light on the table).  Stewed rabbit.        310
  Chispa (eating).  Conscience of Portalegre! Stewed kitten, you mean!
  Bal.  And a pitcher of Pedro Ximenes, with a roasted pear in it.
  Chispa (drinking).  Ancient Baltasar, amigo! You know how to cry wine and sell vinegar. I tell you this is nothing but Vinto Tinto of La Mancha, with a tang of the swine-skin.
  Bal.  I swear to you by Saint Simon and Judas, it is all as I say.
  Chispa.  And I swear to you by Saint Peter and Saint Paul, that it is no such thing. Moreover, your supper is like the hidalgo’s dinner, very little meat and a great deal of tablecloth.        315
  Bal.  Ha! ha! ha!
  Chispa.  And more noise than nuts.
  Bal.  Ha! ha! ha! You must have your joke, Master Chispa. But shall I not ask Don Victorian in, to take a draught of the Pedro Ximenes?
  Chispa.  No; you might as well say, “Don’t-you-want-some?” to a dead man.
  Bal.  Why does he go so often to Madrid?        320
  Chispa.  For the same reason that he eats no supper. He is in love. Were you ever in love, Baltasar?
  Bal.  I was never out of it, good Chispa. It has been the torment of my life.
  Chispa.  What! are you on fire, too, old haystack? Why, we shall never be able to put you out.
  Vict. (without).  Chispa!
  Chispa.  Go to bed, Pero Grullo, for the cocks are crowing.        325
  Vict.  Ea! Chispa! Chispa!
  Chispa.  Ea! Señor. Come with me, ancient Baltasar, and bring water for the horses. I will pay for the supper tomorrow.      [Exeunt.
 
SCENE V.—VICTORIAN’S chambers at Alcalá. HYPOLITO asleep in an arm-chair. He awakes slowly.

  Hyp.  I must have been asleep! ay, sound asleep!
And it was all a dream. O sleep, sweet sleep!
Whatever form thou takest, thou art fair,        330
Holding unto our lips thy goblet filled
Out of Oblivion’s well, a healing draught!
The candles have burned low; it must be late.
Where can Victorian be? Like Fray Carrillo,
The only place in which one cannot find him        335
Is his own cell. Here ’s his guitar, that seldom
Feels the caresses of its master’s hand.
Open thy silent lips, sweet instrument!
And make dull midnight merry with a song.
 
(He plays and sings.)

            Padre Francisco!
        340
            Padre Francisco!
    What do you want of Padre Francisco?
        Here is a pretty young maiden
        Who wants to confess her sins!
    Open the door and let her come in,        345
    I will shrive her of every sin.
 
(Enter VICTORIAN.)
  Vict.  Padre Hypolito! Padre Hypolito!
  Hyp.  What do you want of Padre Hypolito?
  Vict.  Come, shrive me straight; for, if love be a sin,
I am the greatest sinner that doth live.        350
I will confess the sweetest of all crimes,
A maiden wooed and won.
  Hyp.                The same old tale
Of the old woman in the chimney-corner,
Who, while the pot boils, says, “Come here, my child;
I ’ll tell thee a story of my wedding-day.”        355
  Vict.  Nay, listen, for my heart is full; so full
That I must speak.
  Hyp.            Alas! that heart of thine
Is like a scene in the old play; the curtain
Rises to solemn music, and lo! enter
The eleven thousand virgins of Cologne!        360
  Vict.  Nay, like the Sibyl’s volumes, thou shouldst say;
Those that remained, after the six were burned,
Being held more precious than the nine together.
But listen to my tale. Dost thou remember.
The Gypsy girl we saw at Córdova        365
Dance the Romalis in the market-place?
  Hyp.  Thou meanest Preciosa.
  Vict.            Ay, the same.
Thou knowest how her image haunted me
Long after we returned to Alcalá.
She ’s in Madrid.
  Hyp.            I know it.
  Vict.                    And I ’m in love.
        370
  Hyp.  And therefore in Madrid when thou shouldst be
In Alcalá.
  Vict.        Oh pardon me, my friend,
If I so long have kept this secret from thee;
But silence is the charm that guards such treasures,
And, if a word be spoken ere the time,        375
They sink again, they were not meant for us.
  Hyp.  Alas! alas! I see thou art in love.
Love keeps the cold out better than a cloak.
It serves for food and raiment. Give a Spaniard
His mass, his olla, and his Doña Luisa—        380
Thou knowest the proverb. But pray tell me, lover,
How speeds thy wooing? Is the maiden coy?
Write her a song, beginning with an Ave;
Sing as the monk sang to the Virgin Mary,
 
        Ave! cujus calcem clare        385
        Nec centenni commendare
            Sciret Seraph studio!
 
  Vict.  Pray, do not jest! This is no time for it!
I am in earnest!
  Hyp.            Seriously enamored?
What, ho! The Primus of great Alcalá        390
Enamored of a Gypsy? Tell me frankly,
How meanest thou?
  Vict.                I mean it honestly.
  Hyp.  Surely thou wilt not marry her!
  Vict.                            Why not?
  Hyp.  She was betrothed to one Bartolomé,
If I remember rightly, a young Gypsy        395
Who danced with her at Córdova.
  Vict.                    They quarrelled,
And so the matter ended.
  Hyp.                    But in truth
Thou wilt not marry her.
  Vict.                    In truth I will.
The angels sang in heaven when she was born!
She is a precious jewel I have found        400
Among the filth and rubbish of the world.
I ’ll stoop for it; but when I wear it here,
Set on my forehead like the morning star,
The world may wonder, but it will not laugh.
  Hyp.  If thou wear’st nothing else upon thy forehead,        405
’T will be indeed a wonder.
  Vict.                Out upon thee
With thy unseasonable jests! Pray tell me,
Is there no virtue in the world?
  Hyp.                    Not much.
What, think’st thou, is she doing at this moment;
Now, while we speak of her?
  Vict.                She lies asleep,
        410
And from her parted lips her gentle breath
Comes like the fragrance from the lips of flowers.
Her tender limbs are still, and on her breast
The cross she prayed to, ere she fell asleep,
Rises and falls with the soft tide of dreams,        415
Like a light barge safe moored.
  Hyp.            Which means, in prose,
She ’s sleeping with her mouth a little open!
  Vict.  Oh, would I had the old magician’s glass
To see her as she lies in child-like sleep!
  Hyp.  And wouldst thou venture?
  Vict.                Ay, indeed I would!
        420
  Hyp.  Thou art courageous. Hast thou e’er reflected
How much lies hidden in that one word, now?
  Vict.  Yes; all the awful mystery of Life!
I oft have thought, my dear Hypolito,
That could we, by some spell of magic, change        425
The world and its inhabitants to stone,
In the same attitudes they now are in,
What fearful glances downward might we cast
Into the hollow chasms of human life!
What groups should we behold about the death-bed,        430
Putting to shame the group of Niobe!
What joyful welcomes, and what sad fare-wells!
What stony tears in those congealèd eyes!
What visible joy or anguish in those cheeks!
What bridal pomps, and what funereal shows!        435
What foes, like gladiators, fierce and struggling!
What lovers with their marble lips together!
  Hyp.  Ay, there it is! and, if I were in love,
That is the very point I most should dread.
This magic glass, these magic spells of thine,        440
Might tell a tale were better left untold.
For instance, they might show us thy fair cousin,
The Lady Violante, bathed in tears
Of love and anger, like the maid of Colchis,
Whom thou, another faithless Argonaut,        445
Having won that golden fleece, a woman’s love,
Desertest for this Glaucè.
  Vict.                Hold thy peace!
She cares not for me. She may wed another,
Or go into a convent, and, thus dying,
Marry Achilles in the Elysian Fields.        450
  Hyp. (rising).  And so, good night! Good morning, I should say.
(Clock strikes three.)
Hark! how the loud and ponderous mace of Time
Knocks at the golden portals of the day!
And so, once more, good night! We ’ll speak more largely
Of Preciosa when we meet again.        455
Get thee to bed, and the magician, Sleep,
Shall show her to thee, in his magic glass,
In all her loveliness. Good night!    [Exit.
  Vict.                        Good night!
But not to bed; for I must read awhile.
(Throws himself into the arm-chair which HYPOLITO has left, and lays a large book open upon his knees.)
Must read, or sit in revery and watch
        460
The changing color of the waves that break
Upon the idle sea-shore of the mind!
Visions of Fame! that once did visit me,
Making night glorious with your smile, where are ye?
Oh, who shall give me, now that ye are gone,        465
Juices of those immortal plants that bloom
Upon Olympus, making us immortal?
Or teach me where that wondrous mandrake grows
Whose magic root, torn from the earth with groans,
At midnight hour, can scare the fiends away,        470
And make the mind prolific in its fancies?
I have the wish, but want the will, to act!
Souls of great men departed! Ye whose words
Have come to light from the swift river of Time,
Like Roman swords found in the Tagus’ bed,        475
Where is the strength to wield the arms ye bore?
From the barred visor of Antiquity
Reflected shines the eternal light of Truth,
As from a mirror! All the means of action—
The shapeless masses, the materials—        480
Lie everywhere about us. What we need
Is the celestial fire to change the flint
Into transparent crystal, bright and clear.
That fire is genius! The rude peasant sits
At evening in his smoky cot, and draws        485
With charcoal uncouth figures on the wall.
The son of genius comes, foot-sore with travel,
And begs a shelter from the inclement night.
He takes the charcoal from the peasant’s hand,
And, by the magic of his touch at once        490
Transfigured, all its hidden virtues shine,
And, in the eyes of the astonished clown,
It gleams a diamond! Even thus transformed,
Rude popular traditions and old tales
Shine as immortal poems, at the touch        495
Of some poor, houseless, homeless, wandering bard,
Who had but a night’s lodging for his pains.
But there are brighter dreams than those of Fame,
Which are the dreams of Love! Out of the heart
Rises the bright ideal of these dreams,        500
As from some woodland fount a spirit rises
And sinks again into its silent deeps,
Ere the enamored knight can touch her robe!
’T is this ideal that the soul of man,
Like the enamored knight beside the fountain,        505
Waits for upon the margin of Life’s stream;
Waits to behold her rise from the dark waters,
Clad in a mortal shape! Alas! how many
Must wait in vain! The stream flows evermore,
But from its silent deeps no spirit rises!        510
Yet I, born under a propitious star,
Have found the bright ideal of my dreams.
Yes! she is ever with me. I can feel,
Here, as I sit at midnight and alone,
Her gentle breathing! on my breast can feel        515
The pressure of her head! God’s benison
Rest ever on it! Close those beauteous eyes,
Sweet Sleep! and all the flowers that bloom at night
With balmy lips breathe in her ears my name!
(Gradually sinks asleep.)
 
ACT II

SCENE I.—PRECIOSA’S chamber. Morning. PRECIOSA and ANGELICA.

  Prec.  Why will you go so soon? Stay yet awhile.
        520
The poor too often turn away unheard
From hearts that shut against them with a sound
That will be heard in heaven. Pray, tell me more
Of your adversities. Keep nothing from me.
What is your landlord’s name?
  Ang.                The Count of Lara.
        525
  Prec.  The Count of Lara? Oh, beware that man!
Mistrust his pity,—hold no parley with him!
And rather die an outcast in the streets
Than touch his gold.
  Ang.            You know him, then!
  Prec.                        As much
As any woman may, and yet be pure.        530
As you would keep your name without a blemish,
Beware of him!
  Ang.            Alas! what can I do?
I cannot choose my friends. Each word of kindness,
Come whence it may, is welcome to the poor.
  Prec.  Make me your friend. A girl so young and fair        535
Should have no friends but those of her own sex.
What is your name?
  Ang.                Angelica.
  Prec.                            That name
Was given you, that you might be an angel
To her who bore you! When your infant smile
Made her home Paradise, you were her angel.        540
Oh, be an angel still! She needs that smile.
So long as you are innocent, fear nothing.
No one can harm you! I am a poor girl,
Whom chance has taken from the public streets.
I have no other shield than mine own virtue.        545
That is the charm which has protected me!
Amid a thousand perils, I have worn it
Here on my heart! It is my guardian angel.
  Ang. (rising).  I thank you for this counsel, dearest lady.
  Prec.  Thank me by following it.
  Ang.                Indeed I will.
        550
  Prec.  Pray, do not go. I have much more to say.
  Ang.  My mother is alone. I dare not leave her.
  Prec.  Some other time, then, when we meet again.
You must not go away with words alone.
(Gives her a purse.)
Take this. Would it were more.
  Ang.                I thank you, lady.
        555
  Prec.  No thanks. To-morrow come to me again.
I dance to-night,—perhaps for the last time.
But what I gain, I promise shall be yours,
If that can save you from the Count of Lara.
  Ang.  Oh, my dear lady! how shall I be grateful        560
For so much kindness?
  Prec.                I deserve no thanks.
Thank Heaven, not me.
  Ang.                Both Heaven and you.
  Prec.                            Farewell.
Remember that you come again to-morrow.
  Ang.  I will. And may the Blessed Virgin guard you,
And all good angels.    [Exit.
  Prec.            May they guard thee too,
        565
And all the poor; for they have need of angels.
Now bring me, dear Dolores, my basquina,
My richest maja dress,—my dancing dress,
And my most precious jewels! Make me look
Fairer than night e’er saw me! I ’ve a prize        570
To win this day, worthy of Preciosa!
(Enter BELTRAN CRUZADO.)
  Cruz.  Ave Maria!
  Prec.            O God! my evil genius!
What seekest thou here to-day?
  Cruz.                Thyself,—my child.
  Prec.  What is thy will with me?
  Cruz.                        Gold! gold!
  Prec.  I gave thee yesterday; I have no more.        575
  Cruz.  The gold of the Busné,—give me his gold!
  Prec.  I gave the last in charity to-day.
  Cruz.  That is a foolish lie.
  Prec.                    It is the truth.
  Cruz.  Curses upon thee! Thou art not my child!
Hast thou given gold away, and not to me?        580
Not to thy father? To whom, then?
  Prec.                            To one
Who needs it more.
  Cruz.            No one can need it more.
  Prec.  Thou art not poor.
  Cruz.            What, I, who lurk about
In dismal suburbs and unwholesome lanes;
I, who am housed worse than the galley slave;        585
I, who am fed worse than the kennelled hound;
I, who am clothed in rags,—Beltran Cruzado,—
Not poor!
  Prec.  Thou hast a stout heart and strong hands.
Thou canst supply thy wants; what wouldst thou more?
  Cruz.  The gold of the Busné! give me his gold!        590
  Prec.  Beltran Cruzado! hear me once for all.
I speak the truth. So long as I had gold,
I gave it to thee freely, at all times,
Never denied thee; never had a wish
But to fulfil thine own. Now go in peace!        595
Be merciful, be patient, and erelong
Thou shalt have more.
  Cruz.                And if I have it not,
Thou shalt no longer dwell here in rich chambers,
Wear silken dresses, feed on dainty food,
And live in idleness; but go with me,        600
Dance the Romalis in the public streets,
And wander wild again o’er field and fell;
For here we stay not long.
  Prec.                What! march again?
  Cruz.  Ay, with all speed. I hate the crowded town!
I cannot breathe shut up within its gates!        605
Air,—I want air, and sunshine, and blue sky,
The feeling of the breeze upon my face,
The feeling of the turf beneath my feet,
And no walls but the far-off mountain-tops.
Then I am free and strong,—once more myself,        610
Beltran Cruzado, Count of the Calés!
  Prec.  God speed thee on thy march!—I cannot go.
  Cruz.  Remember who I am, and who thou art!
Be silent and obey! Yet one thing more.
Bartolomé Román—
  Prec. (with emotion).  Oh, I beseech thee!
        615
If my obedience and blameless life,
If my humility and meek submission
In all things hitherto, can move in thee
One feeling of compassion; if thou art
Indeed my father, and canst trace in me        620
One look of her who bore me, or one tone
That doth remind thee of her, let it plead
In my behalf, who am a feeble girl,
Too feeble to resist, and do not force me
To wed that man! I am afraid of him!        625
I do not love him! On my knees I beg thee
To use no violence, nor do in haste
What cannot be undone!
  Cruz.                O child, child, child!
Thou hast betrayed thy secret, as a bird
Betrays her nest, by striving to conceal it.        630
I will not leave thee here in the great city
To be a grandee’s mistress. Make thee ready
To go with us; and until then remember
A watchful eye is on thee.    [Exit.
  Prec.                            Woe is me!
I have a strange misgiving in my heart!        635
But that one deed of charity I ’ll do,
Befall what may; they cannot take that from me.
 
SCENE II.—A room in the ARCHBISHOP’S Palace. The ARCHBISHOP and a CARDINAL seated.

  Arch.  Knowing how near it touched the public morals,
And that our age is grown corrupt and rotten
By such excesses, we have sent to Rome,        640
Beseeching that his Holiness would aid
In curing the gross surfeit of the time,
By seasonable stop put here in Spain
To bull-fights and lewd dances on the stage.
All this you know.
  Card.            Know and approve.
  Arch.                        And further,
        645
That, by a mandate from his Holiness,
The first have been suppressed.
  Card.                    I trust forever.
It was a cruel sport.
  Arch.                A barbarous pastime,
Disgraceful to the land that calls itself
Most Catholic and Christian.
  Card.                    Yet the people
        650
Murmur at this; and, if the public dances
Should be condemned upon too slight occasion,
Worse ills might follow than the ills we cure.
As Panem et Circenses was the cry
Among the Roman populace of old,        655
So Pan y Toros is the cry in Spain.
Hence I would act advisedly herein;
And therefore have induced your Grace to see
These national dances, ere we interdict them.
(Enter a Servant.)
  Serv.  The dancing-girl, and with her the musicians
        660
Your Grace was pleased to order, wait without.
  Arch.  Bid them come in. Now shall your eyes behold
In what angelic, yet voluptuous shape
The Devil came to tempt Saint Anthony.
(Enter PRECIOSA, with a mantle thrown over her head. She advances slowly, in modest, half-timid attitude.)
  Card. (aside).  Oh, what a fair and ministering angel
        665
Was lost to heaven when this sweet woman fell!
  Prec. (kneeling before the ARCHBISHOP).  I have obeyed the order of your Grace.
If I intrude upon your better hours,
I proffer this excuse, and here beseech
Your holy benediction.
  Arch.                May God bless thee,
        670
And lead thee to a better life. Arise.
  Card. (aside).  Her acts are modest, and her words discreet!
I did not look for this! Come hither, child.
Is thy name Preciosa?
  Prec.                Thus I am called.
  Card.  That is a Gypsy name. Who is thy father?        675
  Prec.  Beltran Cruzado, Count of the Calés.
  Arch.  I have a dim remembrance of that man;
He was a bold and reckless character,
A sun-burnt Ishmael!
  Card.                Dost thou remember
Thy earlier days?
  Prec.        Yes; by the Darro’s side
        680
My childhood passed. I can remember still
The river, and the mountains capped with snow;
The villages, where, yet a little child,
I told the traveller’s fortune in the street;
The smuggler’s horse, the brigand and the shepherd;        685
The march across the moor; the halt at noon;
The red fire of the evening camp, that lighted
The forest where we slept; and, further back,
As in a dream or in some former life,
Gardens and palace walls.
  Arch.                ’T is the Alhambra,
        690
Under whose towers the Gypsy camp was pitched.
But the time wears; and we would see thee dance.
  Prec.  Your Grace shall be obeyed.
(She lays aside her mantilla. The music of the cachucha is played, and the dance begins. The ARCHBISHOP and the CARDINAL look on with gravity and an occasional frown; then make signs to each other; and, as the dance continues, become more and more pleased and excited; and at length rise from their seats, throw their caps in the air, and applaud vehemently as the scene closes.)
 
SCENE III.—The Prado. A long avenue of trees leading to the gate of Atocha. On the right the dome and spires of a convent. A fountain. Evening. DON CARLOS and HYPOLITO meeting.

  Don C.  Holá! good evening, Don Hypolito.
  Hyp.  And a good evening to my friend, Don Carlos.        695
Some lucky star has led my steps this way.
I was in search of you.
  Don C.                Command me always.
  Hyp.  Do you remember, in Quevedo’s Dreams,
The miser, who, upon the Day of Judgment,
Asks if his money-bags would rise?
  Don C.                            I do;
        700
But what of that?
  Hyp.            I am that wretched man.
  Don C.  You mean to tell me yours have risen empty?
  Hyp.  And amen! said my Cid Campeador.
  Don C.  Pray, how much need you?
  Hyp.            Some half-dozen ounces,
Which, with due interest—
  Don C. (giving his purse).  What, am I a Jew
        705
To put my moneys out at usury?
Here is my purse.
  Hyp.        Thank you. A pretty purse.
Made by the hand of some fair Madrileña;
Perhaps a keepsake.
  Don C.            No, ’t is at your service.
  Hyp.  Thank you again. Lie there, good Chrysostom,        710
And with thy golden mouth remind me often,
I am the debtor of my friend.
  Don C.                    But tell me,
Come you to-day from Alcalá?
  Hyp.                    This moment.
  Don C.  And pray, how fares the brave Victorian?
  Hyp.  Indifferent well; that is to say, not well.        715
A damsel has ensnared him with the glances
Of her dark, roving eyes, as herdsmen catch
A steer of Andalusia with a lazo.
He is in love.
  Don C.        And is it faring ill
To be in love?
  Hyp.        In his case very ill.
  Don C.                        Why so?
        720
  Hyp.  For many reasons. First and foremost,
Because he is in love with an ideal;
A creature of his own imagination;
A child of air; an echo of his heart;
And, like a lily on a river floating,        725
She floats upon the river of his thoughts!
  Don C.  A common thing with poets. But who is
This floating lily? For, in fine, some woman,
Some living woman,—not a mere ideal,—
Must wear the outward semblance of his thought.        730
Who is it? Tell me.
  Hyp.                Well, it is a woman!
But, look you, from the coffer of his heart
He brings forth precious jewels to adorn her,
As pious priests adorn some favorite saint
With gems and gold, until at length she gleams        735
One blaze of glory. Without these, you know,
And the priest’s benediction, ’t is a doll.
  Don C.  Well, well! who is this doll?
  Hyp.            Why, who do you think?
  Don C.  His cousin Violante.
  Hyp.                        Guess again.
To ease his laboring heart, in the last storm        740
He threw her overboard, with all her ingots.
  Don C.  I cannot guess; so tell me who it is.
  Hyp.  Not I.
  Don C.            Why not?
  Hyp. (mysteriously).      Why? Because Mari Franca
Was married four leagues out of Salamanca!
  Don C.  Jesting aside, who is it?
  Hyp.                        Preciosa.
        745
  Don C.  Impossible! The Count of Lara tells me
She is not virtuous.
  Hyp.                Did I say she was?
The Roman Emperor Claudius had a wife
Whose name was Messalina, as I think;
Valeria Messalina was her name.        750
But hist! I see him yonder through the trees,
Walking as in a dream.
  Don C.                He comes this way.
  Hyp.  It has been truly said by some wise man,
That money, grief, and love cannot be hidden.
(Enter VICTORIAN in front.)
  Vict.  Where’er thy step has passed is holy ground!
        755
These groves are sacred! I behold thee walking
Under these shadowy trees, where we have walked
At evening, and I feel thy presence now;
Feel that the place has taken a charm from thee,
And is forever hallowed.
  Hyp.                    Mark him well!
        760
See how he strides away with lordly air,
Like that odd guest of stone, that grim Commander
Who comes to sup with Juan in the play.
  Don C.  What ho! Victorian!
  Hyp.            Wilt thou sup with us?
  Vict.  Holá! amigos! Faith, I did not see you.        765
How fares Don Carlos?
  Don C.                At your service ever.
  Vict.  How is that young and green-eyed Gaditana
That you both wot of?
  Don C.            Ay, soft, emerald eyes!
She has gone back to Cadiz.
  Hyp.                        Ay de mí!
  Vict.  You are much to blame for letting her go back.        770
A pretty girl; and in her tender eyes
Just that soft shade of green we sometimes see
In evening skies.
  Hyp.        But, speaking of green eyes,
Are thine green?
  Vict.            Not a whit. Why so?
  Hyp.                            I think
The slightest shade of green would be becoming,        775
For thou art jealous.
  Vict.            No, I am not jealous.
  Hyp.  Thou shouldst be.
  Vict.                        Why?
  Hyp.            Because thou art in love.
And they who are in love are always jealous.
Therefore thou shouldst be.
  Vict.                    Marry, is that all?
Farewell; I am in haste. Farewell, Don Carlos.        780
Thou sayest I should be jealous?
  Hyp.                        Ay, in truth
I fear there is reason. Be upon thy guard.
I hear it whispered that the Count of Lara
Lays siege to the same citadel.
  Vict.                            Indeed!
Then he will have his labor for his pains.        785
  Hyp.  He does not think so, and Don Carlos tells me
He boasts of his success.
  Vict.            How ’s this, Don Carlos?
  Don C.  Some hints of it I heard from his own lips.
He spoke but lightly of the lady’s virtue,
As a gay man might speak.
  Vict.            Death and damnation!
        790
I ’ll cut his lying tongue out of his mouth,
And throw it to my dog! But, no, no, no!
This cannot be. You jest, indeed you jest.
Trifle with me no more. For otherwise
We are no longer friends. And so, farewell!    [Exit.        795
  Hyp.  Now what a coil is here! The Avenging Child
Hunting the traitor Quadros to his death,
And the great Moor Calaynos, when he rode
To Paris for the ears of Oliver,
Were nothing to him! O hot-headed youth!        800
But come; we will not follow. Let us join
The crowd that pours into the Prado. There
We shall find merrier company; I see
The Marialonzos and the Almavivas,
And fifty fans, that beckon me already.    [Exeunt.        805
 
SCENE IV.—PRECIOSA’S chamber. She is sitting, with a book in her hand, near a table, on which are flowers. A bird singing in its cage. The COUNT OF LARA enters behind unperceived.

  Prec.  (reads).

        All are sleeping, weary heart!
        Thou, thou only sleepless art!
 
Heigho! I wish Victorian were here.
I know not what it is makes me so restless!
(The bird sings.)
Thou little prisoner with thy motley coat,
        810
That from thy vaulted, wiry dungeon singest,
Like thee I am a captive, and, like thee,
I have a gentle jailer. Lack-a-day!
 
        All are sleeping, weary heart!
        Thou, thou only sleepless art!        815
        All this throbbing, all this aching,
        Evermore shall keep thee waking,
        For a heart in sorrow breaking
        Thinketh ever of its smart!
 
Thou speakest truly, poet! and methinks        820
More hearts are breaking in this world of ours
Than one would say. In distant villages
And solitudes remote, where winds have wafted
The barbèd seeds of love, or birds of passage
Scattered them in their flight, do they take root,        825
And grow in silence, and in silence perish.
Who hears the falling of the forest leaf?
Or who takes note of every flower that dies?
Heigho! I wish Victorian would come.
Dolores!
(Turns to lay down her book, and perceives the COUNT.)
            Ha!
  Lara.            Señora, pardon me!
        830
  Prec.  How ’s this? Dolores!
  Lara.                Pardon me—
  Prec.                        Dolores!
  Lara.  Be not alarmed; I found no one in waiting.
If I have been too bold—
  Prec. (turning her back upon him).  You are too bold!
Retire! retire, and leave me!
  Lara.                    My dear lady,
First hear me! I beseech you, let me speak!        835
’T is for your good I come.
  Prec. (turning toward him with indignation).    Begone! begone!
You are the Count of Lara, but your deeds
Would make the statues of your ancestors
Blush on their tombs! Is it Castilian honor,
Is it Castilian pride, to steal in here        840
Upon a friendless girl, to do her wrong?
Oh shame! shame! shame! that you, a nobleman,
Should be so little noble in your thoughts
As to send jewels here to win my love,
And think to buy my honor with your gold!        845
I have no words to tell you how I scorn you!
Begone! The sight of you is hateful to me!
Begone, I say!
  Lara.    Be calm; I will not harm you.
  Prec.  Because you dare not.
  Lara.                    I dare anything!
Therefore beware! You are deceived in me.        850
In this false world, we do not always know
Who are our friends and who our enemies.
We all have enemies, and all need friends.
Even you, fair Preciosa, here at court
Have foes, who seek to wrong you.
  Prec.                            If to this
        855
I owe the honor of the present visit,
You might have spared the coming. Having spoken,
Once more I beg you, leave me to myself.
  Lara.  I thought it but a friendly part to tell you
What strange reports are current here in town.        860
For my own self, I do not credit them;
But there are many who, not knowing you,
Will lend a readier ear.
  Prec.                There was no need
That you should take upon yourself the duty
Of telling me these tales.
  Lara.                Malicious tongues
        865
Are ever busy with your name.
  Prec.                        Alas!
I ’ve no protectors. I am a poor girl,
Exposed to insults and unfeeling jest.
They wound me, yet I cannot shield myself.
I give no cause for these reports. I live        870
Retired; am visited by none.
  Lara.                    By none?
Oh, then, indeed, you are much wronged!
  Prec.                How mean you?
  Lara.  Nay, nay; I will not wound your gentle soul
By the report of idle tales.
  Prec.                    Speak out!
What are these idle tales? You need not spare me.        875
  Lara.  I will deal frankly with you. Pardon me;
This window, as I think, looks towards the street,
And this into the Prado, does it not?
In you high house, beyond the garden wall,—
You see the roof there just above the trees,—        880
There lives a friend, who told me yesterday,
That on a certain night,—be not offended
If I too plainly speak,—he saw a man
Climb to your chamber window. You are silent!
I would not blame you, being young and fair—        885
(He tries to embrace her. She starts back, and draws a dagger from her bosom.)
  Prec.  Beware! beware! I am a Gypsy girl!
Lay not your hand upon me. One step nearer
And I will strike!
  Lara.        Pray you, put up that dagger.
Fear not.
  Prec.    I do not fear. I have a heart
In whose strength I can trust.
  Lara.                    Listen to me.
        890
I come here as your friend,—I am your friend,—
And by a single word can put a stop
To all those idle tales, and make your name
Spotless as lilies are. Here on my knees,
Fair Preciosa! on my knees I swear,        895
I love you even to madness, and that love
Has driven me to break the rules of custom,
And force myself unasked into your presence.
(VICTORIAN enters behind.)
  Prec.  Rise, Count of Lara! That is not the place
For such as you are. It becomes you not        900
To kneel before me. I am strangely moved
To see one of your rank thus low and humbled;
For your sake I will put aside all anger,
All unkind feeling, all dislike, and speak
In gentleness, as most becomes a woman,        905
And as my heart now prompts me. I no more
Will hate you, for all hate is painful to me.
But if, without offending modesty
And that reserve which is a woman’s glory,
I may speak freely, I will teach my heart        910
To love you.
  Lara.        O sweet angel!
  Prec.                        Ay, in truth,
Far better than you love yourself or me.
  Lara.  Give me some sign of this,—the slightest token.
Let me but kiss your hand!
  Prec.            Nay, come no nearer.
The words I utter are its sign and token.        915
Misunderstand me not! Be not deceived!
The love wherewith I love you is not such
As you would offer me. For you come here
To take from me the only thing I have,
My honor. You are wealthy, you have friends        920
And kindred, and a thousand pleasant hopes
That fill your heart with happiness; but I
Am poor, and friendless, having but one treasure,
And you would take that from me, and for what?
To flatter your own vanity, and make me        925
What you would most despise. Oh, sir, such love,
That seeks to harm me, cannot be true love.
Indeed it cannot. But my love for you
Is of a different kind. It seeks your good.
It is a holier feeling. It rebukes        930
Your earthly passion, your unchaste desires,
And bids you look into your heart, and see
How you do wrong that better nature in you,
And grieve your soul with sin.
  Lara.                    I swear to you,
I would not harm you; I would only love you.        935
I would not take your honor, but restore it,
And in return I ask but some slight mark
Of your affection. If indeed you love me,
As you confess you do, oh, let me thus
With this embrace—
  Vict. (rushing forward).    Hold! hold! This is too much.
        940
What means this outrage?
  Lara.            First, what right have you
To question thus a nobleman of Spain?
  Vict.  I too am noble, and you are no more!
Out of my sight!
  Lara.            Are you the master here?
  Vict.  Ay, here and elsewhere, when the wrong of others        945
Gives me the right!
  Prec. (to LARA).    Go! I beseech you, go!
  Vict.  I shall have business with you, Count, anon!
  Lara.  You cannot come too soon!    [Exit.
  Prec.                        Victorian!
Oh, we have been betrayed!
  Vict.                Ha! ha! betrayed!
’T is I have been betrayed, not we!—not we!        950
  Prec.  Dost thou imagine—
  Vict.                I imagine nothing;
I see how ’t is thou whilest the time away
When I am gone!
  Prec.        Oh, speak not in that tone!
It wounds me deeply.
  Vict.        ’T was not meant to flatter.
  Prec.  Too well thou knowest the presence of that man        955
Is hateful to me!
  Vict.            Yet I saw thee stand
And listen to him, when he told his love.
  Prec.  I did not heed his words.
  Vict.                Indeed thou didst,
And answeredst them with love.
  Prec.            Hadst thou heard all—
  Vict.  I heard enough.
  Prec.        Be not so angry with me.
        960
  Vict.  I am not angry; I am very calm.
  Prec.  If thou wilt let me speak—
  Vict.                    Nay, say no more.
I know too much already. Thou art false!
I do not like these Gypsy marriages!
Where is the ring I gave thee?
  Prec.                        In my casket.
        965
  Vict.  There let it rest! I would not have thee wear it:
I thought thee spotless, and thou art polluted!
  Prec.  I call the Heavens to witness—
  Vict.                    Nay, nay, nay!
Take not the name of Heaven upon thy lips!
They are forsworn!
  Prec.        Victorian! dear Victorian!
        970
  Vict.  I gave up all for thee; myself, my fame,
My hopes of fortune, ay, my very soul!
And thou hast been my ruin! Now, go on!
Laugh at my folly with thy paramour
And, sitting on the Count of Lara’s knee,        975
Say what a poor, fond fool Victorian was!
(He casts her from him and rushes out.)
  Prec.  And this from thee!
(Scene closes.)
 
SCENE V.—The COUNT OF LARA’S rooms. Enter the COUNT.

  Lara.  There ’s nothing in this world so sweet as love,
And next to love the sweetest thing is hate!
I ’ve learned to hate, and therefore am revenged.        980
A silly girl to play the prude with me!
The fire that I have kindled—
(Enter FRANCISCO.)
                    Well, Francisco,
What tidings from Don Juan?
  Fran.                    Good, my lord;
He will be present.
  Lara.        And the Duke of Lermos!
  Fran.  Was not at home.
  Lara.                How with the rest?
  Fran.                        I ’ve found
        985
The men you wanted. They will all be there,
And at the given signal raise a whirlwind
Of such discordant noises, that the dance
Must cease for lack of music.
  Lara.                    Bravely done.
Ah! little dost thou dream, sweet Preciosa,        990
What lies in wait for thee. Sleep shall not close
Thine eyes this night! Give me my cloak and sword.    [Exeunt.
 
SCENE VI.—A retired spot beyond the city gates. Enter VICTORIAN and HYPOLITO.

  Vict.  Oh shame! Oh shame! Why do I walk abroad
By daylight, when the very sunshine mocks me,
And voices, and familiar sights and sounds        995
Cry, “Hide thyself!” Oh, what a thin partition
Doth shut out from the curious world the knowledge
Of evil deeds that have been done in darkness!
Disgrace has many tongues. My fears are windows,
Through which all eyes seem gazing. Every face        1000
Expresses some suspicion of my shame.
And in derision seems to smile at me!
  Hyp.  Did I not caution thee? Did I not tell thee
I was but half persuaded of her virtue?
  Vict.  And yet, Hypolito, we may be wrong,        1005
We may be over-hasty in condemning!
The Count of Lara is a cursèd villain.
  Hyp.  And therefore is she cursèd, loving him.
  Vict.  She does not love him! ’T is for gold! for gold!
  Hyp.  Ay, but remember, in the public streets        1010
He shows a golden ring the Gypsy gave him,
A serpent with a ruby in its mouth.
  Vict.  She had that ring from me! God! she is false;
But I will be revenged! The hour is passed.
Where stays the coward?
  Hyp.            Nay, he is no coward;
        1015
A villain, if thou wilt, but not a coward.
I ’ve seen him play with swords; it is his pastime.
And therefore be not over-confident,
He ’ll task thy skill anon. Look, here he comes.
(Enter LARA followed by FRANCISCO)
  Lara.  Good evening, gentlemen.
  Hyp.            Good evening, Count.
        1020
  Lara.  I trust I have not kept you long in waiting.
  Vict.  Not long, and yet too long. Are you prepared?
  Lara.  I am.
  Hyp.    It grieves me much to see this quarrel
Between you, gentlemen. Is there no way
Left open to accord this difference,        1025
But you must make one with your swords?
  Vict.                    No! none!
I do entreat thee, dear Hypolito,
Stand not between me and my foe. Too long
Our tongues have spoken. Let these tongues of steel
End our debate. Upon your guard, Sir Count.        1030
(They fight. VICTORIAN disarms the COUNT.)
Your life is mine; and what shall now withhold me
From sending your vile soul to its account?
  Lara.  Strike! strike!
  Vict.  You are disarmed. I will not kill you.
I will not murder you. Take up your sword.        1035
(FRANCISCO hands the COUNT his sword, and HYPOLITO interposes.)
  Hyp.  Enough! Let it end here! The Count of Lara.
Has shown himself a brave man, and Victorian
A generous one, as ever. Now be friends.
Put up your swords; for, to speak frankly to you,
Your cause of quarrel is too slight a thing        1040
To move you to extremes.
  Lara.                    I am content.
I sought no quarrel. A few hasty words,
Spoken in the heat of blood, have led to this
  Vict.  Nay, something more than that.
  Lara.                I understand you.
Therein I did not mean to cross your path.        1045
To me the door stood open, as to others.
But, had I known the girl belonged to you,
Never would I have sought to win her from you.
The truth stands now revealed; she has been false
To both of us.
  Vict.            Ay, false as hell itself!
        1050
  Lara.  In truth, I did not seek her; she sought me;
And told me how to win her, telling me
The hours when she was oftenest left alone.
  Vict.  Say, can you prove this to me? Oh, pluck out
These awful doubts, that goad me into madness!        1055
Let me know all! all! all!
  Lara.                You shall know all.
Here is my page, who was the messenger
Between us. Question him. Was it not so,
Francisco?
  Fran.            Ay, my lord.
  Lara.                    If further proof
Is needful, I have here a ring she gave me.        1060
  Vict.  Pray let me see that ring! It is the same!
(Throws it upon the ground, and tramples upon it.)
Thus may she perish who once wore that ring!
Thus do I spurn her from me; do thus trample
Her memory in the dust! O Count of Lara,
We both have been abused, been much abused!        1065
I thank you for your courtesy and frankness.
Though, like the surgeon’s hand, yours gave me pain,
Yet it has cured my blindness, and I thank you.
I now can see the folly I have done,
Though ’t is, alas! too late. So fare you well!        1070
To-night I leave this hateful town forever.
Regard me as your friend. Once more farewell!
  Hyp.  Farewell, Sir Count.  [Exeunt VICTORIAN and HYPOLITO.
  Lara.    Farewell! farewell! farewell!
Thus have I cleared the field of my worst foe!
I have none else to fear; the fight is done,        1075
The citadel is stormed, the victory won!  [Exit with FRANCISCO.
 
SCENE VII.—A lane in the suburbs. Night. Enter CRUZADO and BARTOLOMÉ.

  Cruz.  And so, Bartolomé, the expedition failed. But where wast thou for the most part?
  Bart.  In the Guadarrama mountains, near San Ildefonso.
  Cruz.  And thou bringest nothing back with thee? Didst thou rob no one?
  Bart.  There was no one to rob, save a party of students from Segovia, who looked as if they would rob us; and a jolly little friar, who had nothing in his pockets but a missal and a loaf of bread.        1080
  Cruz.  Pray, then, what brings thee back to Madrid?
  Bart.  First tell me what keeps thee here?
  Cruz.  Preciosa.
  Bart.  And she brings me back. Hast thou forgotten thy promise?
  Cruz.  The two years are not passed yet. Wait patiently. The girl shall be thine.        1085
  Bart.  I hear she has a Busné lover.
  Cruz.  That is nothing.
  Bart.  I do not like it. I hate him,—the son of a Busné harlot. He goes in and out, and speaks with her alone, and I must stand aside, and wait his pleasure.
  Cruz.  Be patient, I say. Thou shalt have thy revenge. When the time comes, thou shalt waylay him.
  Bart.  Meanwhile, show me her house.        1090
  Cruz.  Come this way. But thou wilt not find her. She dances at the play to-night.
  Bart.  No matter. Show me the house.    [Exeunt.
 
SCENE VIII.—The Theatre. The orchestra plays the cachucha. Sound of castanets behind the scenes. The curtain rises, and discovers PRECIOSA in the attitude of commencing the dance. The cachucha. Tumult; hisses; cries of “Brava!” and “Afuera!” She falters and pauses. The music stops. General confusion. PRECIOSA faints.
 
SCENE IX.—The COUNT OF LARA’S chambers. LARA and his friends at supper.

  Lara.  So, Caballeros, once more many thanks!
You have stood by me bravely in this matter.        1095
Pray fill your glasses.
  Don J.        Did you mark, Don Luis,
How pale she looked, when first the noise began,
And then stood still, with her large eyes dilated!
Her nostrils spread! her lips apart! her bosom
Tumultuous as the sea!
  Don L.                I pitied her.
        1100
  Lara.  Her pride is humbled; and this very night
I mean to visit her.
  Don J.            Will you serenade her?
  Lara.  No music! no more music!
  Don L.                    Why not music?
It softens many hearts.
  Lara.                    Not in the humor
She now is in. Music would madden her.        1105
  Don J.  Try golden cymbals.
  Don L.            Yes, try Don Dinero;
A mighty wooer is your Don Dinero.
  Lara.  To tell the truth, then, I have bribed her maid.
But, Caballeros, you dislike this wine.
A bumper and away; for the night wears.        1110
A health to Preciosa.
(They rise and drink.)
  All.                Preciosa.
  Lara (holding up his glass).  Thou bright and flaming minister of Love!
Thou wonderful magician! who hast stolen
My secret from me, and ’mid sighs of passion
Caught from my lips, with red and fiery tongue,        1115
Her precious name! Oh nevermore hence-forth
Shall mortal lips press thine; and nevermore
A mortal name be whispered in thine ear.
Go! keep my secret!
(Drinks and dashes the goblet down.)
  Don J.                Ite! missa est!
(Scene closes.)
 
SCENE X.—Street and garden wall. Night. Enter CRUZADO and BARTOLOMÉ.

  Cruz.  This is the garden wall, and above it, yonder, is her house. The window in which thou seest the light is her window. But we will not go in now.
        1120
  Bart.  Why not?
  Cruz.  Because she is not at home.
  Bart.  No matter; we can wait. But how is this? The gate is bolted. (Sound of guitars and voices in a neighboring street.) Hark! There comes her lover with his infernal serenade! Hark!
 
SONG

        Good night! Good night, beloved!
          I come to watch o’er thee!        1125
        To be near thee,—to be near thee,
          Alone is peace for me.
 
        Thine eyes are stars of morning,
          Thy lips are crimson flowers!
        Good night! Good night, beloved,        1130
          While I count the weary hours.
 
  Cruz.  They are not coming this way.
  Bart.  Wait, they begin again.
 
SONG (coming nearer)

        Ah! thou moon that shinest
          Argent-clear above!        1135
        All night long enlighten
          My sweet lady-love;
          Moon that shinest,
        All night long enlighten!
 
  Bart.  Woe be to him, if he comes this way!        1140
  Cruz.  Be quiet, they are passing down the street.
 
SONG (dying away)

        The nuns in the cloister
          Sang to each other;
        For so many sisters
          Is there not one brother!        1145
        Ay, for the partridge, mother!
          The cat has run away with the partridge!
        Puss! puss! puss!
  Bart.  Follow that! follow that! Come with me. Puss! puss!
(Exeunt. On the opposite side enter the COUNT OF LARA and gentlemen with FRANCISCO.)
  Lara.  The gate is fast. Over the wall, Francisco,        1150
And draw the bolt. There, so, and so, and over.
Now, gentlemen, come in, and help me scale
Yon balcony. How now? Her light still burns.
Move warily. Make fast the gate, Francisco.
(Exeunt. Reënter CRUZADO and BARTOLOMÉ.)
  Bart.  They went in at the gate. Hark! I hear them in the garden. (Tries the gate.) Bolted again! Vive Cristo! Follow me over the wall.
(They climb the wall.)
        1155
 
SCENE XI.—PRECIOSA’S bedchamber. Midnight. She is sleeping in an arm-chair, in an undress. DOLORES watching her.

  Dol.  She sleeps at last!
(Opens the window, and listens.)
                    All silent in the street,
And in the garden. Hark!
  Prec. (in her sleep).    I must go hence!
  Give me my cloak!
  Dol.    He comes! I hear his footsteps.
  Prec.  Go tell them that I cannot dance to-night;
I am too ill! Look at me! See the fever        1160
That burns upon my cheek! I must go hence.
I am too weak to dance.
(Signal from the garden.)

  Dol. (from the window).  Who ’s there?
  Voice (from below).                A friend.
  Dol.  I will undo the door. Wait till I come.
  Prec.  I must go hence. I pray you do not harm me!
Shame! shame! to treat a feeble woman thus!        1165
Be you but kind, I will do all things for you.
I ’m ready now,—give me my castanets.
Where is Victorian? Oh, those hateful lamps!
They glare upon me like an evil eye.
I cannot stay. Hark! how they mock at me!        1170
They hiss at me like serpents! Save me! save me!
(She wakes.)
How late is it, Dolores?
  Dol.                It is midnight.
  Prec.  We must be patient. Smooth this pillow for me.
(She sleeps again. Noise from the garden, and voices.)
  Voice.  Muera!
  Another voice.  O villains! villains!
  Lara.                    So! have at you!
  Voice.  Take that!
  Lara.                Oh, I am wounded!
  Dol. (shutting the window).      Jesu Maria!
 
ACT III

SCENE I.—A cross-road through a wood. In the background a distant village spire. VICTORIAN and HYPOLITO, as travelling students, with guitars, sitting under the trees. HYPOLITO plays and sings.

SONG

        Ah, Love!
        1175
        Perjured, false, treacherous Love!
                Enemy
        Of all that mankind may not rue!
                Most untrue
        To him who keeps most faith with thee.        1180
                Woe is me!
        The falcon has the eyes of the dove.
                Ah, Love!
        Perjured, false, treacherous Love!
 
  Vict.  Yes, Love is ever busy with his shuttle,        1185
Is ever weaving into life’s dull warp
Bright, gorgeous flowers and scenes Arcadian;
Hanging our gloomy prison-house about
With tapestries, that make its walls dilate
In never-ending vistas of delight.        1190
  Hyp.  Thinking to walk in those Arcadian pastures,
Thou hast run thy noble head against the wall.
 
SONG (continued)

        Thy deceits
        Give us clearly to comprehend,
                Whither tend        1195
        All thy pleasures, all thy sweets!
                They are cheats,
        Thorns below and flowers above.
                Ah, Love!
        Perjured, false, treacherous Love!        1200
 
Vict.  A very pretty song. I thank thee for it.
  Hyp.  It suits thy case.
  Vict.            Indeed, I think it does.
What wise man wrote it?
  Hyp.                Lopez Maldonado.
  Vict.  In truth, a pretty song.
  Hyp.            With much truth in it.
I hope thou wilt profit by it; and in earnest        1205
Try to forget this lady of thy love.
  Vict.  I will forget her! All dear recollections
Pressed in my heart, like flowers within a book,
Shall be torn out, and scattered to the winds!
I will forget her! But perhaps hereafter,        1210
When she shall learn how heartless is the world,
A voice within her will repeat my name,
And she will say, “He was indeed my friend!”
Oh, would I were a soldier, not a scholar,
That the loud march, the deafening beat of drums,        1215
The shattering blast of the brass-throated trumpet,
The din of arms, the onslaught and the storm,
And a swift death, might make me deaf forever
To the upbraidings of this foolish heart!
  Hyp.  Then let that foolish heart upbraid no more!        1220
To conquer love, one need but will to conquer.
  Vict.  Yet, good Hypolito, it is in vain
I throw into Oblivion’s sea the sword
That pierces me; for, like Excalibar,
With gemmed and flashing hilt, it will not sink.        1225
There rises from below a hand that grasps it,
And waves it in the air; and wailing voices
Are heard along the shore.
  Hyp.                    And yet at last
Down sank Excalibar to rise no more.
This is not well. In truth, it vexes me.        1230
Instead of whistling to the steeds of Time,
To make them jog on merrily with life’s burden,
Like a dead weight thou hangest on the wheels.
Thou art too young, too full of lusty health
To talk of dying.
  Vict.            Yet I fain would die!
        1235
To go through life, unloving and unloved;
To feel that thirst and hunger of the soul
We cannot still; that longing, that wild impulse,
And struggle after something we have not
And cannot have; the effort to be strong;        1240
And, like the Spartan boy, to smile, and smile,
While secret wounds do bleed beneath our cloaks;
All this the dead feel not,—the dead alone!
Would I were with them!
  Hyp.            We shall all be soon.
  Vict.  It cannot be too soon; for I am weary        1245
Of the bewildering masquerade of Life,
Where strangers walk as friends, and friends as strangers;
Where whispers overheard betray false hearts;
And through the mazes of the crowd we chase
Some form of loveliness, that smiles, and beckons,        1250
And cheats us with fair words, only to leave us
A mockery and a jest; maddened,—confused,—
Not knowing friend from foe.
  Hyp.                Why seek to know?
Enjoy the merry shrove-tide of thy youth!
Take each fair mask for what it gives itself,        1255
Nor strive to look beneath it.
  Vict.                    I confess,
That were the wiser part. But Hope no longer
Comforts my soul. I am a wretched man,
Much like a poor and shipwrecked mariner,
Who, struggling to climb up into the boat,        1260
Has both his bruised and bleeding hands cut off,
And sinks again into the weltering sea,
Helpless and hopeless!
  Hyp.            Yet thou shalt not perish.
The strength of thine own arm is thy salvation.
Above thy head, through rifted clouds, there shines        1265
A glorious star. Be patient. Trust thy star!
(Sound of a village bell in the distance.)
  Vict.  Ave Maria! I hear the sacristan
Ringing the chimes from yonder village belfry!
A solemn sound, that echoes far and wide
Over the red roofs of the cottages,        1270
And bids the laboring hind afield, the shepherd,
Guarding his flock, the lonely muleteer,
And all the crowd in village streets, stand still,
And breathe a prayer unto the blessed Virgin!
  Hyp.  Amen! amen! Not half a league from hence        1275
The village lies.
  Vict.            This path will lead us to it,
Over the wheat-fields, where the shadows sail
Across the running sea, now green, now blue,
And, like an idle mariner on the main,        1280
Whistles the quail. Come, let us hasten on.    [Exeunt.
 
SCENE II.—Public square in the village of Guadarrama. The Ave Maria still tolling. A crowd of villagers, with their hats in their hands, as if in prayer. In front, a group of Gypsies. The bell rings a merrier peal. A Gypsy dance. Enter PANCHO, followed by PEDRO CRESPO.

  Pancho.  Make room, ye vagabonds and Gypsy thieves!
Make room for the Alcalde and for me!
  Pedro C.  Keep silence all! I have an edict here
From our most gracious lord, the King of Spain,        1285
Jerusalem, and the Canary Islands,
Which I shall publish in the market-place.
Open your ears and listen!
(Enter the PADRE CURA at the door of his cottage.)
                        Padre Cura,
Good day! and, pray you, hear this edict read.
  Padre C.  Good day, and God be with you!        1290
Pray, what is it?
  Pedro C.  An act of banishment against the Gypsies!
(Agitation and murmurs in the crowd.)
  Pancho.  Silence!
  Pedro C. (reads).    “I hereby order and command,
That the Egyptian and Chaldean strangers,
Known by the name of Gypsies, shall henceforth        1295
Be banished from the realm, as vagabonds
And beggars; and if, after seventy days,
Any be found within our kingdom’s bounds,
They shall receive a hundred lashes each;
The second time, shall have their ears cut off;        1300
The third, be slaves for life to him who takes them,
Or burnt as heretics. Signed, I, the King.”
Vile miscreants and creatures unbaptized!
You hear the law! Obey and disappear!
  Pancho.  And if in seventy days you are not gone,        1305
Dead or alive I make you all my slaves.
(The Gypsies go out in confusion, showing signs of fear and discontent. PANCHO follows.)
  Padre C.  A righteous law! A very righteous law!
Pray you, sit down.
  Pedro C.            I thank you heartily.
(They seat themselves on a bench at the PADRE CURA’S door. Sound of guitars heard at a distance, approaching during the dialogue which follows.)
A very righteous judgment, as you say.
Now tell me, Padre Cura,—you know all things,—        1310
How came these Gypsies into Spain?
  Padre C.                Why, look you;
They came with Hercules from Palestine,
And hence are thieves and vagrants, Sir Alcalde,
As the Simoniacs from Simon Magus.
And, look you, as Fray Jayme Bleda says,        1315
There are a hundred marks to prove a Moor
Is not a Christian, so ’t is with the Gypsies.
They never marry, never go to mass,
Never baptize their children, nor keep Lent,
Nor see the inside of a church,—nor—nor—        1320
  Pedro C.  Good reasons, good, substantial reasons all!
No matter for the other ninety-five.
They should be burnt, I see it plain enough,
They should be burnt.
(Enter VICTORIAN and HYPOLITO playing.)
  Padre C.  And pray, whom have we here?        1325
  Pedro C.  More vagrants! By Saint Lazarus, more vagrants!
  Hyp.  Good evening, gentlemen! Is this Guadarrama?
  Padre C.  Yes, Guadarrama, and good evening to you.
  Hyp.  We seek the Padre Cura of the village;
And, judging from your dress and reverend mien,        1330
You must be he.
  Padre C.    I am. Pray, what ’s your pleasure?
  Hyp.  We are poor students travelling in vacation.
You know this mark?
(Touching the wooden spoon in his hat-band.)
  Padre C. (joyfully).  Ay, know it, and have worn it.
  Pedro C. (aside).  Soup-eaters! by the mass! The worst of vagrants!
And there ’s no law against them. Sir, your servant.    [Exit.        1335
  Padre C.  Your servant, Pedro Crespo.
  Hyp.                    Padre Cura,
From the first moment I beheld your face,
I said within myself, “This is the man!”
There is a certain something in your looks,
A certain scholar-like and studious something,—        1340
You understand,—which cannot be mistaken;
Which marks you as a very learned man,
In fine, as one of us.
  Vict. (aside).        What impudence!
  Hyp.  As we approached, I said to my companion,
“That is the Padre Cura; mark my words!”        1345
Meaning your Grace. “The other man,” said I,
“Who sits so awkwardly upon the bench,
Must be the sacristan.”
  Padre C.            Ah! said you so?
Why, that was Pedro Crespo, the alcalde!
  Hyp.  Indeed! you much astonish me! His air        1350
Was not so full of dignity and grace
As an alcalde’s should be.
  Padre C.                That is true,
He ’s out of humor with some vagrant Gypsies,
Who have their camp here in the neighborhood.
There ’s nothing so undignified as anger.        1355
  Hyp.  The Padre Cura will excuse our boldness,
If, from his well-known hospitality,
We crave a lodging for the night.
  Padre C.                    I pray you!
You do me honor! I am but too happy
To have such guests beneath my humble roof.        1360
It is not often that I have occasion
To speak with scholars; and Emollit mores,
Nec sinit esse feros, Cicero says.
  Hyp.  ’T is Ovid, is it not?
  Padre C.                    No, Cicero.
  Hyp.  Your Grace is right. You are the better scholar.        1365
Now what a dunce was I to think it Ovid!
But hang me if it is not!  (Aside.)
  Padre C.                Pass this way.
He was a very great man, was Cicero!
Pray you, go in, go in! no ceremony.    [Exeunt.
 
SCENE III.—A room in the PADRE CURA’S house. Enter the PADRE and HYPOLITO.

  Padre C.  So then, Señor, you come from Alcalá.
        1370
I am glad to hear it. It was there I studied.
  Hyp.  And left behind an honored name, no doubt.
How may I call your Grace?
  Padre C.                Gerónimo
De Santillana, at your Honor’s service.
  Hyp.  Descended from the Marquis Santillana?        1375
From the distinguished poet?
  Padre C.            From the Marquis,
Not from the poet.
  Hyp.            Why, they were the same.
Let me embrace you! Oh, some lucky star
Has brought me hither! Yet once more!—once more!
Your name is ever green in Alcalá,        1380
And our professor, when we are unruly,
Will shake his hoary head, and say, “Alas!
It was not so in Santillana’s time!”
  Padre C.  I did not think my name remembered there.
  Hyp.  More than remembered; it is idolized.        1385
  Padre C.  Of what professor speak you?
  Hyp.                        Timoneda.
  Padre C.  I don’t remember any Timoneda.
  Hyp.  A grave and sombre man, whose beetling brow
O’erhangs the rushing current of his speech
As rocks o’er rivers hang. Have you forgotten?        1390
  Padre C.  Indeed, I have. Oh, those were pleasant days,
Those college days! I ne’er shall see the like!
I had not buried then so many hopes!
I had not buried then so many friends!
I ’ve turned my back on what was then before me;        1395
And the bright faces of my young companions
Are wrinkled like my own, or are no more.
Do you remember Cueva?
  Hyp.                Cueva? Cueva?
  Padre C.  Fool that I am! He was before your time.
You ’re a mere boy, and I am an old man.        1400
  Hyp.  I should not like to try my strength with you.
  Padre C.  Well, well. But I forget; you must be hungry.
Martina! ho! Martina! ’T is my niece.
(Enter MARTINA.)
  Hyp.  You may be proud of such a niece as that.
I wish I had a niece. Emollit mores.  (Aside.)        1405
He was a very great man, was Cicero!
Your servant, fair Martina.
  Mart.                    Servant, sir.
  Padre C.  This gentleman is hungry. See thou to it.
Let us have supper.
  Mart.            ’T will be ready soon.
  Padre C.  And bring a bottle of my Valde-Peñas        1410
Out of the cellar. Stay; I ’ll go myself.
Pray you, Señor, excuse me.    [Exit.
  Hyp.                    Hist! Martina!
One word with you. Bless me! what handsome eyes!
To-day there have been Gypsies in the village.
Is it not so?
  Mart.        There have been Gypsies here.
        1415
  Hyp.  Yes, and have told your fortune.
  Mart. (embarrassed).    Told my fortune?
  Hyp.  Yes, yes; I know they did. Give me your hand.
I ’ll tell you what they said. They said,—they said,
The shepherd boy that loved you was a clown,
And him you should not marry. Was it not?        1420
  Mart. (surprised).  How know you that?
  Hyp.  Oh, I know more than that.
What a soft, little hand! And then they said,
A cavalier from court, handsome, and tall
And rich, should come one day to marry you,        1425
And you should be a lady. Was it not?
He has arrived, the handsome cavalier.
(Tries to kiss her. She runs off. Enter VICTORIAN, with a letter.)
  Vict.  The muleteer has come.
  Hyp.                    So soon?
  Vict.                        I found him
Sitting at supper by the tavern door,
And, from a pitcher that he held aloft        1430
His whole arm’s length, drinking the blood-red wine.
  Hyp.  What news from Court?
  Vict.  He brought this letter only.  (Reads.)
Oh, cursèd perfidy! Why did I let
That lying tongue deceive me! Preciosa,        1435
Sweet Preciosa! how art thou avenged!
  Hyp.  What news is this, that makes thy cheek turn pale,
And thy hand tremble?
  Vict.                Oh, most infamous!
The Count of Lara is a worthless villain!
  Hyp.  That is no news, forsooth.
  Vict.                    He strove in vain
        1440
To steal from me the jewel of my soul,
The love of Preciosa. Not succeeding,
He swore to be revenged; and set on foot
A plot to ruin her, which has succeeded.
She has been hissed and hooted from the stage,        1445
Her reputation stained by slanderous lies
Too foul to speak of; and, once more a beggar,
She roams a wanderer over God’s green earth,
Housing with Gypsies!
  Hyp.                To renew again
The Age of Gold, and make the shepherd swains        1450
Desperate with love, like Gasper Gil’s Diana.
Redit et Virgo!
  Vict.        Dear Hypolito,
How have I wronged that meek, confiding heart!
I will go seek for her; and with my tears
Wash out the wrong I ’ve done her!
  Hyp.                        Oh, beware!
        1455
Act not that folly o’er again.
  Vict.                        Ay, folly,
Delusion, madness, call it what thou wilt,
I will confess my weakness,—I still love her!
Still fondly love her!
(Enter the PADRE CURA.)

  Hyp.            Tell us, Padre Cura,
Who are these Gypsies in the neighborhood?        1460
  Padre C.  Beltran Cruzado and his crew.
  Vict.                        Kind Heaven,
I thank thee! She is found! is found again!
  Hyp.  And have they with them a pale, beautiful girl,
Called Preciosa?
  Padre C.        Ay, a pretty girl.
The gentleman seems moved.
  Hyp.        Yes, moved with hunger,
        1465
He is half famished with this long day’s journey.
  Padre C.  Then, pray you, come this way. The supper waits.    [Exeunt.
 
SCENE IV.—A post-house on the road to Segovia, not far from the village of Guadarrama. Enter CHISPA, cracking a whip, and singing the cachucha.

  Chispa.  Halloo! Don Fulano! Let us have horses, and quickly. Alas, poor Chispa! what a dog’s life dost thou lead! I thought, when I left my old master Victorian, the student, to serve my new master Don Carlos, the gentleman, that I, too, should lead the life of a gentleman; should go to bed early, and get up late. For when the abbot plays cards, what can you expect of the friars? But, in running away from the thunder, I have run into the lightning. Here I am in hot chase after my master and his Gypsy girl. And a good beginning of the week it is, as he said who was hanged on Monday morning.
(Enter DON CARLOS.)
  Don C.  Are not the horses ready yet?
  Chispa.  I should think not, for the hostler seems to be asleep. Ho! within there! Horses! horses! horses!  (He knocks at the gate with his whip, and enter MOSQUITO, putting on his jacket.)        1470
  Mosq.  Pray, have a little patience. I ’m not a musket.
  Chispa.  Health and pistareens! I ’m glad to see you come on dancing, padre! Pray, what ’s the news?
  Mosq.  You cannot have fresh horses; because there are none.
  Chispa.  Cachiporra! Throw that bone to another dog. Do I look like your aunt?
  Mosq.  No; she has a beard.        1475
  Chispa.  Go to! go to!
  Mosq.  Are you from Madrid?
  Chispa.  Yes; and going to Estramadura. Get us horses.
  Mosq.  What ’s the news at Court?
  Chispa.  Why, the latest news is, that I am going to set up a coach, and I have already bought the whip.
(Strikes him round the legs.)
        1480
  Mosq.  Oh! oh! you hurt me!
  Don C.  Enough of this folly. Let us have horses.  (Gives money to MOSQUITO.)  It is almost dark; and we are in haste. But tell me, has a band of Gypsies passed this way of late?
  Mosq.  Yes; and they are still in the neighborhood.
  Don C.  And where?
  Mosq.  Across the fields yonder, in the woods near Guadarrama.    [Exit.        1485
  Don C.  Now this is lucky. We will visit the Gypsy camp.
  Chispa.  Are you not afraid of the evil eye? Have you a stag’s horn with you?
  Don C.  Fear not. We will pass the night at the village.
  Chispa.  And sleep like the Squires of Hernan Daza, nine under one blanket.
  Don C.  I hope we may find the Preciosa among them.        1490
  Chispa.  Among the Squires?
  Don C.  No; among the Gypsies, block-head!
  Chispa.  I hope we may; for we are giving ourselves trouble enough on her account. Don’t you think so? However, there is no catching trout without wetting one’s trousers. Yonder come the horses.    [Exeunt.
 
SCENE V.—The Gypsy camp in the forest. Night. Gypsies working at a forge. Others playing cards by the firelight.

  Gypsies (at the forge sing).
On the top of a mountain I stand,
With a crown of red gold in my hand,        1495
Wild Moors come trooping over the lea,
Oh how from their fury shall I flee, flee, flee?
Oh how from their fury shall I flee?
 
  First Gypsy (playing).  Down with your John-Dorados, my pigeon. Down with your John-Dorados, and let us make an end.
  Gypsies (at the forge sing).
    Loud sang the Spanish cavalier,
        1500
      And thus his ditty ran;
    God send the Gypsy lassie here,
      And not the Gypsy man.
 
  First Gypsy (playing).  There you are in your morocco!
  Second Gypsy.  One more game. The Alcalde’s doves against the Padre Cura’s new moon.        1505
  First Gypsy.  Have at you, Chirelin.
  Gypsies (at the forge sing).
    At midnight, when the moon began
      To show her silver flame,
    There came to him no Gypsy man,
      The Gypsy lassie came.
(Enter BELTRAN CRUZADO.)
        1510
  Cruz.  Come hither, Murcigalleros and Rastilleros; leave work, leave play; listen to your orders for the night.  (Speaking to the right.)  You will get you to the village, mark you, by the stone cross.
  Gypsies.  Ay!
  Cruz. (to the left).  And you, by the pole with the hermit’s head upon it.
  Gypsies.  Ay!
  Cruz.  As soon as you see the planets are out, in with you, and be busy with the ten commandments, under the sly, and Saint Martin asleep. D’ ye hear?        1515
  Gypsies.  Ay!
  Cruz.  Keep your lanterns open, and, if you see a goblin or a papagayo, take to your trampers. Vineyards and Dancing John is the word. Am I comprehended?
  Gypsies.  Ay! ay!
  Cruz.  Away, then!
(Exeunt severally. CRUZADO walks up the stage, and disappears among the trees. Enter PRECIOSA.)
  Prec.  How strangely gleams through the gigantic trees,        1520
The red light of the forge! Wild, beckoning shadows
Stalk through the forest, ever and anon
Rising and bending with the flickering flame,
Then flitting into darkness! So within me
Strange hopes and fears do beckon to each other,        1525
My brightest hopes giving dark fears a being
As the light does the shadow. Woe is me!
How still it is about me, and how lonely!
(BARTOLOMÉ rushes in.)
  Bart.  Ho! Preciosa!
  Prec.                    O Bartolomé!
Thou here?
  Bart.        Lo! I am here.
  Prec.                    Whence comest thou?
  Bart.  From the rough ridges of the wild Sierra,        1530
From caverns in the rocks, from hunger thirst,
And fever! Like a wild wolf to the sheep-fold
Come I for thee my lamb.
  Prec.                Oh, touch me not!
The Count of Lara’s blood is on thy hands!
The Count of Lara’s curse is on thy soul!        1535
Do not come near me! Pray, begone from here!
Thou art in danger! They have set a price
Upon thy head!
  Bart.        Ay, and I ’ve wandered long
Among the mountains; and for many days
Have seen no human face, save the rough swineherd’s.        1540
The wind and rain have been my sole companions.
I shouted to them from the rocks thy name,
And the loud echo sent it back to me,
Till I grew mad. I could not stay from thee,
And I am here! Betray me, if thou wilt.        1545
  Prec.  Betray thee? I betray thee?
  Bart.                        Preciosa!
I come for thee! for thee I thus brave death!
Fly with me o’er the borders of this realm!
Fly with me!
  Prec.  Speak of that no more. I cannot.        1550
I ’m thine no longer.
  Bart.                Oh, recall the time
When we were children! how we played together,
How we grew up together; how we plighted
Our hearts unto each other, even in childhood!
Fulfil thy promise, for the hour has come.        1555
I ’m hunted from the kingdom, like a wolf!
Fulfil thy promise.
  Prec.        ’T was my father’s promise,
Not mine. I never gave my heart to thee,
Nor promised thee my hand!
  Bart.            False tongue of woman!
  And heart more false!
  Prec.                Nay, listen unto me.
        1560
I will speak frankly. I have never loved thee;
I cannot love thee. This is not my fault,
It is my destiny. Thou art a man
Restless and violent. What wouldst thou with me,
A feeble girl, who have not long to live,        1565
Whose heart is broken? Seek another wife,
Better than I, and fairer; and let not
Thy rash and headlong moods estrange her from thee.
Thou art unhappy in this hopeless passion.
I never sought thy love; never did aught        1570
To make thee love me. Yet I pity thee,
And most of all I pity thy wild heart,
That hurries thee to crimes and deeds of blood.
Beware, beware of that.
  Bart.                For thy dear sake
I will be gentle. Thou shalt teach me patience.        1575
  Prec.  Then take this farewell, and depart in peace.
Thou must not linger here.
  Bart.                Come, come with me.
  Prec.  Hark! I hear footsteps.
  Bart.                I entreat thee, come!
  Prec.  Away! It is in vain.
  Bart.                Wilt thou not come?
  Prec.  Never!        1580
  Bart.  Then woe, eternal woe, upon thee!
Thou shalt not be another’s. Thou shalt die.    [Exit.
  Prec.  All holy angels keep me in this hour!
Spirit of her who bore me, look upon me!
Mother of God, the glorified, protect me!        1585
Christ and the saints, be merciful unto me!
Yet why should I fear death? What is it to die?
To leave all disappointment, care, and sorrow,
To leave all falsehood, treachery, and unkindness,
All ignominy, suffering, and despair,        1590
And be at rest forever! O dull heart,
Be of good cheer! When thou shalt cease to beat,
Then shalt thou cease to suffer and complain!
(Enter VICTORIAN and HYPOLITO behind.)
  Vict.  ’T is she! Behold, how beautiful she stands
Under the tent-like trees!
  Hyp.                A woodland nymph!
        1595
  Vict.  I pray thee, stand aside. Leave me.
  Hyp.                        Be wary
Do not betray thyself too soon.
  Vict. (disguising his voice).  Hist! Gypsy!
  Prec. (aside, with emotion).  That voice! that voice from heaven! Oh, speak again!
  Who is it calls?
  Vict.            A friend.
  Prec. (aside).        ’T is he! ’T is he!
        1600
I thank thee, Heaven, that thou hast heard my prayer,
And sent me this protector! Now be strong,
Be strong, my heart! I must dissemble here.
False friend or true?
  Vict.            A true friend to the true;
Fear not; come hither. So; can you tell fortunes?        1605
  Prec.  Not in the dark. Come nearer to the fire.
Give me your hand. It is not crossed, I see.
  Vict. (putting a piece of gold into her hand).  There is the cross.
  Prec.                Is ’t silver?
  Vict.                    No, ’t is gold.
  Prec.  There ’s a fair lady at the Court, who loves you,
And for yourself alone.
  Vict.                Fie! the old story!
        1610
Tell me a better fortune for my money;
Not this old woman’s tale!
  Prec.                You are passionate;
And this same passionate humor in your blood
Has marred your fortune. Yes; I see it now;
The line of life is crossed by many marks.        1615
Shame! shame! Oh, you have wronged the maid who loved you!
How could you do it?
  Vict.                I never loved a maid;
For she I loved was then a maid no more.
  Prec.  How know you that?
  Vict.                A little bird in the air
Whispered the secret.
  Prec.        There, take back your gold!
        1620
Your hand is cold, like a deceiver’s hand!
There is no blessing in its charity!
Make her your wife, for you have been abused;
And you shall mend your fortunes, mending hers.
  Vict. (aside).  How like an angel’s speaks the tongue of woman,        1625
When pleading in another’s cause her own!
That is a pretty ring upon your finger.
Pray give it me.  (Tries to take the ring.)
  Prec.            No; never from my hand
Shall that be taken!
  Vict.                Why, ’t is but a ring.
I ’ll give it back to you; or, if I keep it,        1630
Will give you gold to buy you twenty such.
  Prec.  Why would you have this ring?
  Vict.                A traveller’s fancy,
A whim, and nothing more. I would fain keep it
As a memento of the Gypsy camp
In Guadarrama, and the fortune-teller        1635
Who sent me back to wed a widowed maid.
Pray, let me have the ring.
  Prec.                No, never! never!
I will not part with it, even when I die;
But bid my nurse fold my pale fingers thus,
That it may not fall from them. ’T is a token        1640
  Of a beloved friend, who is no more.
  Vict.                        How? dead?
  Prec.  Yes; dead to me; and worse than dead.
He is estranged! And yet I keep this ring.
I will rise with it from my grave hereafter,
To prove to him that I was never false.        1645
  Vict. (aside).  Be still, my swelling heart! one moment, still!
Why, ’t is the folly of a love-sick girl.
Come, give it me, or I will say ’t is mine,
And that you stole it.
  Prec.                Oh, you will not dare
To utter such a falsehood!
  Vict.                        I not dare?
        1650
Look in my face, and say if there is aught
  I have not dared, I would not dare for thee!
(She rushes into his arms.)
  Prec.  ’T is thou! ’t is thou! Yes; yes; my heart’s elected!
My dearest-dear Victorian! my soul’s heaven!
  Where hast thou been so long? Why didst thou leave me?        1655
  Vict.  Ask me not now, my dearest Preciosa.
Let me forget we ever have been parted!
  Prec.  Hadst thou not come—
  Vict.        I pray thee, do not chide me!
  Prec.  I should have perished here among these Gypsies.
  Vict.  Forgive me, sweet! for what I made thee suffer.        1660
Think’st thou this heart could feel a moment’s joy,
Thou being absent? Oh, believe it not!
Indeed, since that sad hour I have not slept,
For thinking of the wrong I did to thee!
Dost thou forgive me? Say, wilt thou forgive me?        1665
  Prec.  I have forgiven thee. Ere those words of anger
Were in the book of Heaven writ down against thee,
I had forgiven thee.
  Vict.                I ’m the veriest fool
That walks the earth, to have believed thee false.
It was the Count of Lara—
  Prec.                        That bad man
        1670
  Has worked me harm enough. Hast thou not heard—
  Vict.  I have heard all. And yet speak on, speak on!
Let me but hear thy voice, and I am happy;
For every tone, like some sweet incantation,
Calls up the buried past to plead for me.        1675
Speak, my beloved, speak into my heart,
Whatever fills and agitates thine own.
(They walk aside.)
  Hyp.  All gentle quarrels in the pastoral poets,
All passionate love-scenes in the best romances,
All chaste embraces on the public stage,        1680
All soft adventures, which the liberal stars
Have winked at, as the natural course of things,
Have been surpassed here by my friend, the student,
  And this sweet Gypsy lass, fair Preciosa!
  Prec.  Señor Hypolito! I kiss your hand.        1685
Pray, shall I tell your fortune?
  Hyp.                        Not to-night;
For, should you treat me as you did Victorian,
And send me back to marry maids forlorn,
My wedding day would last from now till Christmas.
  Chispa (within).  What ho! the Gypsies, ho! Beltran Cruzado!        1690
Halloo! halloo! halloo! halloo!
(Enters booted, with a whip and lantern.)

  Vict.                        What now?
Why such a fearful din? Hast thou been robbed?
  Chispa.  Ay, robbed and murdered; and good evening to you,
My worthy masters.
  Vict.        Speak; what brings thee here?
  Chispa (to PRECIOSA).  Good news from Court; good news! Beltran Cruzado,        1695
The Count of the Calés, is not your father,
But your true father has returned to Spain
  Laden with wealth. You are no more a Gypsy.
  Vict.  Strange as a Moorish tale!
  Chispa.                And we have all
Been drinking at the tavern to your health,        1700
As wells drink in November, when it rains.
  Vict.  Where is the gentleman?
  Chispa.            As the old song says,
 
            His body is in Segovia,
              His soul is in Madrid.
 
  Prec.  Is this a dream? Oh, if it be a dream,        1705
Let me sleep on, and do not wake me yet!
Repeat thy story! Say I ’m not deceived!
Say that I do not dream! I am awake;
This is the Gypsy camp; this is Victorian,
And this his friend, Hypolito! Speak! speak!        1710
Let me not wake and find it all a dream!
  Vict.  It is a dream, sweet child! a waking dream,
A blissful certainty, a vision bright
Of that rare happiness, which even on earth
Heaven gives to those it loves. Now art thou rich,        1715
As thou wast ever beautiful and good;
And I am now the beggar.
  Prec. (giving him her hand).  I have still
A hand to give.
  Chispa (aside).  And I have two to take.
I ’ve heard my grandmother say, that Heaven gives almonds        1720
To those who have no teeth. That ’s nuts to crack.
I ’ve teeth to spare, but where shall I find almonds?
  Vict.  What more of this strange story?
  Chispa.                Nothing more.
Your friend, Don Carlos, is now at the village
Showing to Pedro Crespo, the Alcalde,        1725
The proofs of what I tell you. The old hag,
Who stole you in your childhood, has confessed;
And probably they ’ll hang her for the crime,
To make the celebration more complete.
  Vict.  No; let it be a day of general joy;        1730
Fortune comes well to all, that comes not late.
Now let us join Don Carlos.
  Hyp.                        So farewell,
The student’s wandering life! Sweet serenades,
Sung under ladies’ windows in the night,
And all that makes vacation beautiful!        1735
To you, ye cloistered shades of Alcalá,
To you, ye radiant visions of romance,
Written in books, but here surpassed by truth,
The Bachelor Hypolito returns,
And leaves the Gypsy with the Spanish Student.        1740
 
SCENE VI.—A pass in the Guadarrama mountains. Early morning. A muleteer crosses the stage, sitting sideways on his mule, and lighting a paper cigar with flint and steel.

SONG

  If thou art sleeping, maiden,
    A wake and open thy door,
  ’T is the break of day, and we must away
    O’er meadow, and mount, and moor.
 
  Wait not to find thy slippers,        1745
    But come with thy naked feet;
  We shall have to pass through the dewy grass,
    And waters wide and fleet.

(Disappears down the pass. Enter a Monk. A Shepherd appears on the rocks above.)
  Monk.  Ave Maria, gratia plena. Olá! good man!
  Shep.  Olá!        1750
  Monk.  Is this the road to Segovia?
  Shep.  It is, your reverence.
  Monk.  How far is it?
  Shep.  I do not know.
  Monk.  What is that yonder in the valley?        1755
  Shep.  San Ildefonso.
  Monk.  A long way to breakfast.
  Shep.  Ay, marry.
  Monk.  Are there robbers in these mountains?
  Shep.  Yes, and worse than that.        1760
  Monk.  What?
  Shep.  Wolves.
  Monk.  Santa Maria! Come with me to
San Ildefonso, and thou shalt be well rewarded.
  Shep.  What wilt thou give me?        1765
  Monk.  An Agnus Dei and my benediction.
(They disappear. A mounted Contrabandista passes, wrapped in his cloak, and a gun at his saddle-bow. He goes down the pass singing.)
 
SONG

    Worn with speed is my good steed,
    And I march me hurried, worried;
    Onward, caballito mio,
    With the white star in thy forehead!        1770
    Onward, for here comes the Ronda,
    And I hear their rifles crack!
    Ay, jaléo! Ay, ay, jaléo!
    Ay, jaléo! They cross our track.

(Song dies away. Enter PRECIOSA, on horseback, attended by VICTORIAN, HYPOLITO, DON CARLOS, and CHISPA, on foot and armed.)
  Vict.  This is the highest point. Here let us rest.        1775
See, Preciosa, see how all about us
Kneeling, like hooded friars, the misty mountains
Receive the benediction of the sun!
O glorious sight!
  Prec.            Most beautiful indeed!
  Hyp.  Most wonderful!
  Vict.            And in the vale below,
        1780
Where yonder steeples flash like lifted halberds,
San Ildefonso, from its noisy belfries,
Sends up a salutation to the morn,
As if an army smote their brazen shields,
And shouted victory!
  Prec.                And which way lies Segovia?
  Vict.        At a great distance yonder.
        1785
Dost thou not see it?
  Prec.            No. I do not see it.
  Vict.  The merest flaw that dents the horizon’s edge,
There, yonder!
  Hyp.            ’T is a notable old town,
Boasting an ancient Roman aqueduct,
And an Alcázar, builded by the Moors,        1790
Wherein, you may remember, poor Gil Blas
Was fed on Pan del Rey. Oh, many a time
Out of its grated windows have I looked
Hundreds of feet plumb down to the Eresma,
That, like a serpent through the valley creeping,        1795
Glides at its foot.
  Prec.            Oh yes! I see it now,
Yet rather with my heart than with mine eyes,
So faint it is. And all my thoughts sail thither,
Freighted with prayers and hopes, and forward urged
Against all stress of accident, as in        1800
The Eastern Tale, against the wind and tide
Great ships were drawn to the Magnetic Mountains,
And there were wrecked, and perished in the sea!  (She weeps.)
  Vict.  O gentle spirit! Thou didst bear unmoved
Blasts of adversity and frosts of fate!        1805
But the first ray of sunshine that falls on thee
Melts thee to tears! Oh, let thy weary heart
Lean upon mine! and it shall faint no more,
Nor thirst, nor hunger; but be comforted
And filled with my affection.
  Prec.                    Stay no longer!
        1810
My father waits. Methinks I see him there,
Now looking from the window, and now watching
Each sound of wheels or footfall in the street,
And saying, “Hark! she comes!” O father! father!
(They descend the pass. CHISPA remains behind.)
  Chispa.  I have a father, too, but he is a dead one. Alas and alack-a-day! Poor was I born, and poor do I remain. I neither win nor lose. Thus I wag through the world, half the time on foot, and the other half walking; and always as merry as a thunder-storm in the night. And so we plough along, as the fly said to the ox. Who knows what may happen? Patience, and shuffle the cards! I am not yet so bald that you can see my brains; and perhaps, after all, I shall some day go to Rome, and come back Saint Peter. Benedicite!    [Exit.
(A pause. Then enter BARTOLOMÉ wildly, as if in pursuit, with a carbine in his hand.)
        1815
  Bart.  They passed this way. I hear their horses’ hoofs!
Yonder I see them! Come, sweet caramillo,
This serenade shall be the Gypsy’s last!
(Fires down the pass.)
Ha! ha! Well whistled, my sweet caramillo!
Well whistled!—I have missed her!—O my God!
(The shot is returned. BARTOLOMÉ falls.)
        1820
 
 
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