The Spirit of Castile
From whatever point you penetrate into the Spanish peninsula, you will find yourself confronted almost at once by a region of hills; you will then enter into a labyrinth of valleys, gorges and ravines; and finally, after a longer or shorter ascent, you will emerge upon the central tableland, barred by the naked sierras whose wide and deep valleys form the mighty cradles of mighty rivers. Across this tableland stretches Castile, the land of castles.
Like all great expanses of earth, this tableland receives and irradiates heat more quickly than the sea and the coast-lands which the sea refreshes and tempers. Hence, when the sun scorches it, an extreme of heat, and as soon as the sun forsakes it, an extreme of cold; burning days of summer followed by cool fresh nights during which the lungs gratefully inhale the breeze from the land; freezing winter nights following hard upon days which the bright cold sun in its brief diurnal course has failed to warm. Winters long and hard and summers short and fiery have given birth to the saying, “nueve meses de invierno y tres de infierno”—nine months of winter and three months of hell. In the autumn, however, there is a serene and placid breathing-space. The sierras, shutting out the winds from the sea, help to make the winter colder and the summer hotter; but while they impede the passage of the gentle low-trailing clouds they form no barrier to the violent cyclones which burst among their valleys. Thus long droughts are succeeded by torrential deluges.
In this severe climate of opposing extremes, in which the transition from heat to cold and from drought to flood is so violent, man has invented the cloak with which to isolate himself from his environment, a personal ambience, constant in the midst of external changes, a defence at once against both heat and cold.
The great storms of rain and snow bursting upon these sierras and drained thence by the swollen rivers have in the course of centuries scoured the soil of the tableland, and the succeeding droughts have prevented the retention of the rain-washed soil in a network of fresh and robust vegetation. Thus it is that the view presents a wide and desolate expanse of burning country, without foliage and without water, a country in which a deluge of light throws dense shadows upon a dazzling surface, extinguishing all intermediate tones. The landscape is seen cut out in hard outline, almost without atmosphere, through a thin and transparent air.
You may sometimes range over leagues and leagues of desert country without descrying anything save the illimitable plain with its patches of green corn or yellow stubble, here a sparsely extended array of oaks, marching in solemn and monotonous procession, clothed in their austere and perennial green, there a group of mournful pines, holding aloft their uniform crests. Now and again, fringing a bright river or half-dry stream, a few poplars, seeming intensely and vividly alive in the midst of the infinite solitude. As a rule these poplars announce the presence of man: yonder on the plain lies some village, scorched by the sun, blasted by the frost, built of sun-baked bricks very often, its belfry silhouetted against the blue of the sky. Often the spinal ridge of the sierra can be seen in the distance, but if you approach it you must not look to find rounded bossy mountains, fresh with verdure and clothed with woods, with the yellow of the gorse and the carmine of the heather flecking the bracken. Here is nothing but a framework of bony fleshless rock, bristling with crags, sharp-cut hummocks nakedly displaying drought-cracked strata, covered at most with a scanty scrub, where flourish only the hardy thistle and the naked scented broom, the poor genestra contenta dei deserti of Leopardi’s poem. Down in the plain the highway with its festoon of trees loses itself in the greyness of the earth, which kindles into an intense warm red when the sun sinks to rest.
The setting of the sun in these immense solitudes is full of beauty. The sun dilates as it touches the horizon as if greedy to enjoy still more of the earth and in sinking it sheds its light upon it like blood and fills the sky with a dust of gold. The infinite dome of the sky grows paler and paler, then swiftly darkens, and the fleeting twilight is followed by the profundity of a night tremulous with stars. Here are no northern twilights, long, soft and languorous.
Broad is Castile! And beautiful with a sad quiet beauty this sea of stone beneath its expanse of sky. It is a landscape uniform and monotonous in its contrasts of light and shade, in its sharply juxtaposed and unmodulated colours. It presents the appearance of an immense floor of mosaic, without variety of design, above which is spread out a sky of intensest blue. It is lacking in gentle transitions and its only harmonic continuity is that of the immense plain and the massed blue which overspreads and illumines it.
It is a landscape that awakens no voluptuous sensations of joie de vivre, that inspires no longings for ease and idleness. Here are no lush green meadows inviting indolent repose, no dells that beckon like nests.
Its contemplation does not call forth the sleeping animal in us, the animal that delights to drowse in a leafy paradise, brooding over the remembered satisfactions of those appetites which have been kneaded into the flesh since the earliest dawn of life.
Nature does not here recreate the spirit. Rather it detaches us from the low earth and enfolds us in the pure naked unvarying sky. Here there is no communion with nature, no absorption in her exuberant splendours. This infinite landscape is, if it may be so said, nonotheistic rather than pantheistic. Man is not lost in it so much as diminished by it, and in its immense drought he is made aware of the aridity of his own soul.
The population of the Castilian country-side is concentrated for the most part in hamlets, villages or towns, in groups of clustered dwelling-houses, separated from one another by immense and naked solitudes. The villages are compact and sharply delimited, not melting away into the plain in a surrounding fringe of isolated homesteads, the intervening country being entirely unpopulated. The houses seem to crowd together round the church as if for warmth or for defence against the rigour of nature, as if the inhabitants sought a second cloak in which to isolate themselves from the cruelty of the climate and the melancholy of the landscape. Thus it is that very often the villagers have to journey considerable distances on mule-back in order to reach the fields where they work, one here, another there, in isolation, and it is already dark before they return to their homes to stretch themselves on the hard kitchen settles and sleep the comforting sleep of toil. A notable sight it is to see them at nightfall, mounted on their mules, their figures silhouetted against the pale sky, their sad, slow, monotonous songs dying away on the sharp night air into the infinity of the furrowed plain.
While the men labour in the sweat of their brow on the hard land, the womenfolk perform their tasks at home, filling the sunny arcades in front of the houses with a murmur of voices. In the long winter evenings it is usual for masters and serving-folk to assemble together, while the latter dance to the accompaniment of the sharp dry tap of the tambourine or sometimes to an old ballad measure.
Go into one of these villages or drowsing cities of the plain, where life flows slowly and calmly in a monotonous procession of hours, and there you will find the living souls beneath whose transitory existence lies the eternal essence out of which is woven the inner history of Castile.
Within these towns and villages lives a breed of men of a dry, hard and sinewy constitution, burned by the sun and inured by the cold, a sober, frugal breed, the product of a long process of natural selection by searching winter frosts and intermittent periods of scarcity, tempered to withstand the inclemency of the skies and the asperities of penury. The peasant who gave you a grave “Good day” as he passed by on his mule, huddled in his cloak, will receive you without overmuch courtesy, with a kind of restrained sobriety. He is collected in his movements, circumspect and deliberate in his conversation, with a gravity which gives him the air of a dethroned king. Such at any rate he appears when he is not cunningly ironical. This sly biting irony—socarronería, a racy word full of racy character—is the classical form of Castilian humour, a quiet and circumspect humour, sententious and phlegmatic, the humour of Sanson Carrasco in Don Quixote and of Quevedo, he who wrote the discourses of Marcus Brutus.
His slowness is matched by his tenacity, qualities that have an intimate association. His reaction-interval, as the psycho-physiologists would express it, is long; it takes him a considerable time to realize an impression or an idea, but once he has grasped it he does not readily relinquish it, does not in fact relinquish it until another has impinged upon it and driven it out. The slowness and tenacity of his impressions would appear to be due to the lack of an environing and unifying nimbus, blending them into a conjunctive whole; they do not merge into one another by subtle gradations, but each one disappears completely before the next takes its place. They seem to follow one another like the succession of uniform and monotonous tones in the landscape of his country, sharp edge against sharp edge.
Go with him into his house. On the front wall the violent contrast of strident blue paint against a snow-white background exposed to the full blaze of the sun is almost painful to the eye. Sit down to table with him and partake of his simple dinner, prepared without much culinary art, accompanied only by keen and fiery condiments, a meal that is at once both frugal and violent, providing the palate with sharp-edged sensations. After the dinner, if the day chances to be a holiday, you will witness a dance, a dance slow and uniform, danced to the monotonous beat of drum or tambourine, a series of stabbing sounds that strike upon the ear like blows. And you will hear songs, wailing and monotonous, full of long-drawn-out notes, songs of the steppes, with the rhythm of the dragging labour of the plough in them. They testify to an ear that is incapable of appreciating the finer gradations of cadences and semi-tones.
If you are in a town and there are any pictures there of the old traditional school of Castile, go to see them—for in the great days of its expansion this race created a school of realistic painting, of a rude, vigorous, simplified realism, very limited in range of tone, which has the effect of a violent douche upon the vision. Perhaps you will come across some canvas of Ribera or Zurbaran—your eye is held by the bony form of some austere hermit, whose sinewy muscles are presented in high light against strong shadows, a canvas meagre in tones and gradations, in which every object stands out sharp-edged. Not infrequently the figures fail to form a single whole with the background, which is a mere accessory of insignificant decorative value. Velazquez, who of all Castilian painters possesses most of the racial character, was a painter of men, of whole men, men all of one piece, rude and emphatic, men who fill the whole canvas.
You will find no landscape-painters, you will discover no sense of tone, of suave transition, no unifying, enveloping atmosphere, which blends everything into a single harmonious whole. The unity springs from the more or less architectonic disposition of the several parts.
In this country of climatic extremes, without any softness or mildness, of a landscape uniform in its contrasts, the spirit likewise is dry and sharp-edged, with but a meagre ambience of ideas. It generalises upon raw facts, seen in a discrete series, as in a kaleidoscope, not upon a synthesis or analysis of facts seen in a continuous series, in a living stream; it sees them sharp-edged like figures in the Castilian landscape and it takes them as they appear, in their own dress, without reconstructing them. And it has given birth to a harsh popular realism and to a dry formal idealism, marching alongside one another, in an association like that of Don Quixote and Sancho Panza, but never combining. The Castilian spirit is either ironic or tragic, sometimes both at once, but it never arrives at a fusion of the irony and the austere tragedy of the human drama.