III
“Good-evening, my dear Dona Baltasara. Are you also going to-night to the Christmas Eve mass? For my part, I was intending to go to the parish church to hear it, but what has happened—where is Vicente going, do you ask? Why, where the crowd goes. And I must say, to tell the truth, that ever since Maese Perez died, it seems as if a marble slab was on my heart whenever I go to Santa Ines. Poor dear man! He was a saint! I know one thing—I keep a piece of his cloak as a relic, and he deserves it. I solemnly believe that if the archbishop would stir in the matter, our grandchildren would see his image among the saints on the altars. But, of course, he won’t do that. The dead and absent have no friends, as they say. It’s all the latest thing, nowadays; you understand me. What? You do not know what has happened? Well, it’s true you are not exactly in our situation. From our house to the church, and from the church to our house—a word here and another one there—on the wing—without any curiosity whatever—I easily find out all the news.
“Well, then, it’s a settled thing that the organist of San Roman—that squint-eye, who is always slandering other organists—that great blunderer, who seems more like a butcher than a master of sol fa—is going to play this Christmas Eve in Maese Perez’s old place. Of course, you know, for everybody knows it, and it is a public matter in all Seville, that no one dared to try it. His daughter would not, though she is a professor of music herself. After her father’s death she went into the convent as a novice. Her unwillingness to play was the most natural thing in the world; accustomed as she was to those marvellous performances, any other playing must have appeared bad to her, not to speak of her desire to avoid comparisons. But when the sisterhood had already decided that in honor of the dead organist, and as a token of respect to his memory, the organ should not be played to-night, here comes this fellow along, and says that he is ready to play it.
“Ignorance is the boldest of all things. It is true, the fault is not his, so much as theirs who have consented to this profanation, but that is the way of the world. But, I say, there’s no small bit of people coming. Any one would say that nothing had changed since last year. The same distinguished persons, the same elegant costumes, the crowding at the door, the same excitement in the portico, the same throng in the church. Alas! if the dead man were to rise, he would feel like dying again to hear his organ played by inferior hands. The fact is, if what the people of the neighborhood tell me is true, they are getting a fine reception ready for the intruder. When the time comes for him to touch the keys, there is going to break out a racket made by timbrels, drums, and horse-fiddles, so that you can’t hear anything else. But hush! there’s the hero of the occasion going into the church. Goodness! what gaudy clothes, what a neckcloth, what a high and mighty air! Come, hurry up, the archbishop came only a moment ago, and the mass is going to begin. Come on; I guess this night will give us something to talk about for many a day!”
Saying this, the worthy woman, whom the reader recognizes by her abrupt talkativeness, went into the Church of Santa Ines, opening for herself a path, in her usual way, by shoving and elbowing through the crowd.
The ceremony had already begun. The church was as brilliant as the year before.
The new organist, after passing between the rows of the faithful in the nave, and going to kiss the archbishop’s ring, had gone up to the organ-loft, where he was trying one stop of the organ after another, with an affected and ridiculous gravity.
A low, confused noise was heard coming from the common people clustered at the rear of the church, a sure augury of the coming storm, which would not be long in breaking.
“He is a mere clown,” said some, “who does not know how to do anything, not even look straight.”
“He is an ignoramus,” said others, “who, after having made a perfect rattle out of the organ in his own church, comes here to profane Maese Perez’s.”
And while one was taking off his cloak so as to be ready to beat his drum to good advantage, and another was testing his timbrel, and all were more and more buzzing out in talk, only here and there could one be found to defend even that curious person, whose proud and pedantic bearing so strongly contrasted with the modest appearance and kind affability of Maese Perez.
At last the looked-for moment arrived, when the priest, after bowing low and murmuring the sacred words, took the host in his hands. The bells gave forth a peal, like a rain of crystal notes; the transparent waves of incense rose, and the organ sounded.
But its first chord was drowned by a horrible clamor which filled the whole church. Bagpipes, horns, timbrels, drums, every instrument known to the populace, lifted up their discordant voices all at once.
The confusion and clangor lasted but a few seconds. As the noises began, so they ended, all together.
The second chord, full, bold, magnificent, sustained itself, pouring from the organ’s metal tubes like a cascade of inexhaustible and sonorous harmony.
Celestial songs like those that caress the ear in moments of ecstasy; songs which the soul perceives, but which the lip cannot repeat; single notes of a distant melody, which sound at intervals, borne on the breeze; the rustle of leaves kissing each other on the trees with a murmur like rain; trills of larks which rise with quivering songs from among the flowers like a flight of arrows to the sky; nameless sounds, overwhelming as the roar of a tempest; fluttering hymns, which seemed to be mounting to the throne of the Lord like a mixture of light and sound—all were expressed by the organ’s hundred voices, with more vigor, more subtle poetry, more weird coloring, than had ever been known before.
When the organist came down from the loft the crowd which pressed up to the stairway was so great, and their eagerness to see and greet him so intense, that the chief judge, fearing, and not without reason, that he would be suffocated among them all, ordered some of the officers to open a path for the organist, with their staves of office, so that he could reach the high altar, where the prelate was waiting for him.
“You perceive,” said the archbishop, “that I have come all the way from my palace to hear you. Now, are you going to be as cruel as Maese Perez? He would never save me the journey, by going to play the Christmas Eve mass in the cathedral.”
“Next year,” replied the organist, “I promise to give you the pleasure; since, for all the gold in the world, I would never play this organ again.”
“But why not?” interrupted the prelate.
“Because,” returned the organist, endeavoring to repress the agitation which revealed itself in the pallor of his face—“because it is so old and poor; one cannot express one’s self on it satisfactorily.”
The archbishop withdrew, followed by his attendants. One after another the litters of the great folk disappeared in the windings of the neighboring streets. The group in the portico scattered. The sexton was locking up the doors, when two women were perceived, who had stopped to cross themselves and mutter a prayer, and who were now going on their way into Duenas Alley.
“What would you have, my dear Dona Baltasara?” one was saying. “That’s the way I am. Every crazy person with his whim. The barefooted Capuchins might assure me that it was so, and I would not believe it. That man never played what we have heard. Why, I have heard him a thousand times in San Bartolome, his parish church; the priest had to send him away he was so poor a player. You felt like plugging your ears with cotton. Why, all you need is to look at his face, and that is the mirror of the soul, they say. I remember, as if I was seeing him now, poor man—I remember Maese Perez’s face, nights like this, when he came down from the organ-loft, after having entranced the audience with his splendors. What a gracious smile! What a happy glow on his face! Old as he was, he seemed like an angel. But this creature came plunging down as if a dog were barking at him on the landing, and all the color of a dead man, while his—come, dear Dona Baltasara, believe me, and believe what I say: there is some great mystery about this.”
Thus conversing, the two women turned the corner of the alley, and disappeared. There is no need of saying who one of them was.
IV
Another year had gone by. The abbess of the Convent of Santa Ines and Maese Perez’s daughter were talking in a low voice, half hidden in the shadows of the church choir. The penetrating voice of the bell was summoning the faithful. A very few people were passing through the portico, silent and deserted, this year, and after taking holy water at the door, were choosing seats in a corner of the nave, where a handful of residents of the neighborhood were quietly waiting for the Christmas Eve mass to begin.
“There, you see,” the mother superior was saying, “your fear is entirely childish; there is no one in the church. All Seville is trooping to the cathedral to-night. Play the organ, and do it without any distrust whatever. We are only a sisterhood here. But why don’t you speak? What has happened? What is the matter with you?”
“I am afraid,” replied the girl, in a tone of the deepest agitation.
“Afraid! Of what?”
“I do not know—something supernatural. Listen to what happened last night. I had heard you say that you were anxious for me to play the organ for the mass. I was proud of the honor, and I thought I would arrange the stops and get the organ in good tune so as to give you a surprise to-day. Alone I went into the choir and opened the door leading to the organ-loft. The cathedral clock was striking just then, I do not know what hour; but the strokes of the bell were very mournful, and they were very numerous— going on sounding for a century, as it seemed to me, while I stood as if nailed to the threshold.
“The church was empty and dark. Far away there gleamed a feeble light, like a faint star in the sky; it was the lamp burning on the high altar. By its flickering light, which only helped to make the deep horror of the shadows the more intense, I saw—I saw—mother, do not disbelieve it—a man. In perfect silence, and with his back turned towards me, he was running over the organ-keys with one hand while managing the stops with the other. And the organ sounded, but in an indescribable manner. It seemed as if each note were a sob smothered in the metal tube, which vibrated under the pressure of the air compressed within it, and gave forth a low, almost imperceptible tone, yet exact and true.
“The cathedral clock kept on striking, and that man kept on running over the keys. I could hear his very breathing.
“Fright had frozen the blood in my veins. My body was as cold as ice, except my head, and that was burning. I tried to cry out, but I could not. That man turned his face and looked at me—no, he did not look at me, for he was blind. It was my father!”
“Nonsense, sister! Banish these fancies with which the adversary endeavors to overturn weak imaginations. Address a Paternoster and an Ave Maria to the archangel, Saint Michael, the captain of the celestial hosts, that he may aid you in opposing evil spirits. Wear on your neck a scapulary which has been pressed to the relics of Saint Pacomio, the counsellor against temptations, and go, go quickly, and sit at the organ. The mass is going to begin, and the faithful are growing impatient. Your father is in heaven, and thence, instead of giving you a fright, will descend to inspire his daughter in the solemn service.”
The prioress went to occupy her seat in the choir in the midst of the sisterhood. Maese Perez’s daughter opened the door of the organ-loft with trembling hand, sat down at the organ, and the mass began.
The mass began, and went on without anything unusual happening until the time of consecration came. Then the organ sounded. At the same time came a scream from Maese Perez’s daughter.
The mother superior, the nuns, and some of the faithful rushed up to the organ-loft.
“Look at him!—look at him!” cried the girl, fixing her eyes, starting from their sockets, upon the seat, from which she had risen in terror. She was clinging with convulsed hands to the railing of the organ-loft.
Everybody looked intently at the spot to which she directed her gaze. No one was at the organ, yet it went on sounding—sounding like the songs of the archangels in their bursts of mystic ecstasy.
“Didn’t I tell you a thousand times, if I did once, dear Dona Baltasara— didn’t I tell you? There is some great mystery about this. What! didn’t you go last night to the Christmas Eve mass? Well, you must know, anyhow, what happened. Nothing else is talked about in the whole city. The archbishop is furious, and no wonder. Not to have gone to Santa Ines, not to have been present at the miracle—and all to hear a wretched clatter! That’s all the inspired organist of San Bartolome made in the cathedral, so persons who heard him tell me. Yes, I said so all the time. The squint-eye never could have played that. It was all a lie. There is some great mystery here. What do I think it was? Why, it was the soul of Maese Perez.”
MOORS AND CHRISTIANS
By Pedro Antonio De Alarcon
From “Moors and Christians,”, by Pedro Antonio de Alarcon.
Translated by Mary J. Serrano.