* * * * *
ROSINANTE TO THE ROAD AGAIN
Copyright, 1922, George H. Doran Company, New York
I: A Gesture and a Quest
[O let the soul her slumbers break,
Let thought be quickened, and awake;
Awake to see
How soon this life is past and gone,
And death comes softly stealing on,
How silently!
Swiftly our pleasures glide away,
Our hearts recall the distant day
With many sighs;
The moments that are speeding fast
We heed not, but the past,—the past,
More highly prize.]
It had been raining. Lights rippled red and orange and yellow and green on the clean paving-stones. A cold wind off the Sierra shrilled through clattering streets. As they walked, the other man was telling how this Castilian nobleman, courtier, man-at-arms, had shut himself up when his father, the Master of Santiago, died and had written this poem, created this tremendous rhythm of death sweeping like a wind over the world. He had never written anything else.
They thought of him in the court of his great dust-colored mansion at Ocaña, where the
broad eaves were full of a cooing of pigeons and the wide halls had dark rafters painted with arabesques in vermilion, in a suit of black velvet, writing at a table under a lemon tree.
Down the sun-scarred street, in the cathedral that was building in those days, full of a smell of scaffolding and stone dust, there must have stood a tremendous catafalque where lay with his arms around him the Master of Santiago; in the carved seats of the choirs the stout canons intoned an endless growling litany; at the sacristy door, the flare of the candles flashing occasionally on the jewels of his mitre, the bishop fingered his crosier restlessly, asking his favorite choir-boy from time to time why Don Jorge had not arrived.
And messengers must have come running to Don Jorge, telling him the service was on the point of beginning, and he must have waved them away with a grave gesture of a long white hand,while in his mind the distant sound of chanting, the jingle of the silver bit of his roan horse stamping nervously where he was tied to a twined Moorish column, memories of cavalcades filing with braying of trumpets and flutter of crimson damask into conquered towns, of court ladies dancing, and the noise of pigeons in the eaves, drew together like strings plucked in succession on a guitar into a great wave of rhythm in which his life was sucked away into this one poem in praise of death.
Nuestras vidas son los ríos
Que van a dar en la mar,
Que es el morir....
Telemachus was saying the words over softly to himself as they went into the theatre. The orchestra was playing a Sevillana; as they found their seats they caught glimpses beyond people's heads and shoulders of a huge woman with a comb that pushed the tip of her mantilla a foot and a half above her head, dancing with ponderous dignity. Her dress was pink flounced with lace; under it the bulge of breasts and belly and three chins quaked with every thump of her tiny heels on the stage. As they sat down she retreated bowing like a full-rigged ship in a squall. The curtain fell, the theatre became very still; next was Pastora.
Strumming of a guitar, whirring fast, dry like locusts in a hedge on a summer day. Pauses that catch your blood and freeze it suddenly still like the rustling of a branch in silent woods at night. A gipsy in a red sash is playing, slouched into a cheap cane chair, behind him a faded crimson curtain. Off stage heels beaten on the floor catch up the rhythm with tentative interest, drowsily; then suddenly added, sharp click of fingers snapped in time; the rhythm slows, hovers like a bee over a clover flower. A little taut sound of air sucked in suddenly goes down the rows of seats. With faintest tapping of heels, faintest snapping of the fingers of a brown hand held over her head, erect, wrapped tight in yellow shawl here the embroidered flowers make a splotch of maroon over one breast, a flecking of green and purple over shoulders and thighs, Pastora Imperio comes across the stage, quietly, unhurriedly.
Red heels tap threateningly.
La gentil frescura y tez
De la cara
El color y la blancura,
Cuando viene la viejez
Cuál se para?
The guitar is silent, her fingers go on snapping at intervals with dreadful foreboding. Then she draws herself up with a deep breath, the muscles of her belly go taut under the tight silk wrinkles of the shawl, and she is off again, light, joyful, turning indulgent glances towards the audience, as a nurse might look in the eyes of a child she has unintentionally frightened with a too dreadful fairy story.
The rhythm of the guitar has changed again; her shawl is loose about her, the long fringe flutters; she walks with slow steps, in pomp, a ship decked out for a festival, a queen in plumes and brocade....
¿Qué se hicieron las damas,
Sus tocados, sus vestidos,
Sus olores?
¿Qué se hicieron las llamas
De los fuegos encendidos
De amadores?
And she has gone, and the gipsy guitar-player is scratching his neck
with a hand the color of tobacco, while the guitar rests against his
legs. He shows all his teeth in a world-engulfing yawn.
When they came out of the theatre, the streets were dry and the stars
blinked in the cold wind above the houses. At the curb old women sold
chestnuts and little ragged boys shouted the newspapers.
with a hand the color of tobacco, while the guitar rests against his
legs. He shows all his teeth in a world-engulfing yawn.
When they came out of the theatre, the streets were dry and the stars
blinked in the cold wind above the houses. At the curb old women sold
chestnuts and little ragged boys shouted the newspapers.
"And now do you wonder, Tel, why you are here?"
__________________________________________________________________________________
About Gerry Dawes
Gerry Dawes was awarded Spain's prestigious Premio Nacional de Gastronomía (National Gastronomy Award) in 2003. He writes and speaks frequently on Spanish wine and gastronomy and leads gastronomy, wine and cultural tours to Spain. He was a finalist for the 2001 James Beard Foundation's Journalism Award for Best Magazine Writing on Wine, won The Cava Institute's First Prize for Journalism for his article on cava in 2004, was awarded the CineGourLand prize in 2009 and received the Association of Food Journalists 2009 Second Prize for Best Food Feature in a Magazine for his Food Arts article, a retrospective piece about Catalan star chef, Ferran Adrià.
Mr. Dawes is currently working on a reality television
series on wine, gastronomy, culture and travel in Spain.
Experience Spain With Gerry Dawes: Culinary Trips to Spain & Travel Consulting on Spain
Gerry Dawes can be reached at gerrydawes@aol.com; Alternate e-mail (use only if your e-mail to AOL is rejected): gerrydawes@hotmail.com
Gerry Dawes can be reached at gerrydawes@aol.com; Alternate e-mail (use only if your e-mail to AOL is rejected): gerrydawes@hotmail.com
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