Aztec Blood - Jennings Gary - Страница 34

"Mateo Rosas, whose name most of you know from the great theaters of Seville and Madrid, has personally selected Pedro Calderon de la Barca's masterwork for your delectation. As we all know, Calderon is second only to Lope de Vega as a master of the stage."

From the audience's grumbling I had the distinct impression that Mateo's august name meant nothing to them. Nor did I understand their antipathy to the drama. A prince imprisoned in a dark tower stirred my fertile, if fevered, imagination. I wanted to know how he would feel when he got out—and confronted both his father and life. I was on tenterhooks.

The dwarf continued, undismayed.

"As our story opens, the king of Poland is near the end. But who will succeed him? His legitimate heir has languished in chains his whole life long. If he dies, the next in line is the king's nephew, the duke of a land called Moscovy, a bitter, ruthless place at the edge of the world to the east of Poland.

"The king, the duke, and all the great men of the kingdom meet at the palace to debate the problem: Shall the prince be permitted to rule or be put to death because of the prophecy? The king decides to test the prince, who is now a grown man, to see if he is ruled by reason or by savage rage. To ensure he is kept under control—remember, not only have terrible things been prophesied, but he has been rigidly sequestered—the king sedates the prince and orders his tutors to tell him that his memories are but dreams.

"Also, Rosaura arrives, but she comes to avenge her honor's loss at the duke of Moscovy's hands. Disguised as a man, she plans to run the miscreant through herself.

"Now, amigos, we begin at the tower prison on a craggy mountain where Prince Segismundo languishes."

The dwarf waved his hand to where Mateo and the other actors were waiting "off stage." The actors, except Mateo, wore false beards, and the two actresses wore wigs.

"Mateo Rosas will play the prince and several other key roles. Now for your pleasure, La Nomada players present Pedro Calderon's comedia, Life Is a Dream."

With a sweep of his hat, Mateo addressed the audience as Segismundo, prince of Poland.

"I try, oh heavens, to understand what crime I committed... but since I was born, I understand my crime... for man's greatest crime is to have been born at all.

"I have less liberty than birds and beasts and fish. As I reach this pitch of anger, like a volcano, an Aetna, I could tear pieces of my heart from my own breast. What law, justice, or reason can deny to man so sweet a privilege, a freedom God has given a brook, a fish, a beast, and a bird?"

Other actors tell us that the king orders the prince released from the tower and brought to the palace to see if he is fit to rule or is a mad beast. If he fails the test, he will be put to death, and the duke of Moscovy will marry the beautiful Princess Estrella and assume the throne. But the king pleas with those around him to give the prince a chance. The king was being played by the dwarf with the powerful voice.

In the palace, for the first time unchained and interacting with people, the Prince considers vengeance on a servant who was cruel to him while he was held captive in chains. Another man tells him it's not the servant's fault, that he obeyed the king's orders.

But Segismundo thunders, "Insofar as the law was not just, he was not bound to obey the king."

A murmur went through the audience and I heard the word "treason" muttered. Even at my young age, disobedience to any king, even a bad one, was unthinkable.

But the evil servant challenges the prince, baiting him to fight him.

The prince struggles with the wrongdoer and throws him off of the balcony.

The prince is drugged and returned to the prison tower, where he is told by his tutor that all that occurred was nothing more than a dream, that he had never left the tower.

I could see the audience was constantly stirring and restless. "Where's the pirate?" a man yelled.

"Where are the gorgeous women?" another thundered.

I was enjoying the play and eager to find out about the woman who dresses like a man and whose sword thirsts for bloody revenge, but the audience of merchants and hacienda majordomos was little interested in a prince's struggle with the demons in us all.

Mateo ignored the grumbling. As Segismundo, he said, "To live is to dream... a king dreams he is king and in this deception spends his days, commanding, governing, disposing. But the renown he receives is only written on the wind.... The rich man dreams of his riches, which only brings him greater concern and worry. The poor man dreams that he suffers misery and want. All men dream the Me they live. All life is a dream and dreams themselves are—"

"The hell with dreams! Where's the pirate?" someone shouted.

Mateo angrily drew his sword. "The next man who interrupts me will have this pirate spilling his blood."

This was no audience of city folk but rough colonists. A dozen men rose to the challenge, and Mateo was about to take them on when the dwarf and the other actors intervened, pleading with Mateo and forcing him off the stage.

Fray Antonio told me that when plays are presented in Spain, the common people stand closest to the stage and are called mosqueteros, musket bearers, because of the clamor they make and provoke. These vulgares, low vulgar people, pelt the actors with fruit and anything at hand if they do not like the play.

"Country boors!" Mateo yelled as he left.

There was something else he yelled back, a remark on their manhood and their mothers that I dare not repeat even in these secret words. The insult caused several men to draw their swords, which, however, they instantly sheathed when the two actresses placated them with honeyed words and seductive smiles, which implied everything but which would, I'm sure, deliver nothing.

In the meantime the troupe changed plays.

The dwarf explained that a simple Spanish soldier, rather than a Polish king, now trod their earthen stage.

"I am a simple soldier of the king," he said, "whose honor has been offended by the acts of an English pirate."

The actor-pirate bragged offstage, "I have enjoyed legions of Spanish women, by force at first but never with real resistance. They are all natural-born putas, endowed by their mothers in the harlot's art at birth."

The audience roared. Swords rattled, challenges were issued, and the audience was a howling mob. Shouts of ?chinga su madre!—an aspersion proclaiming carnal knowledge of the man's mother—rocked the assemblage.

"This simple soldier," the dwarf said, waving his hands for silence, "returns from the Italian war to find his wife has been ravaged by an English brigand."

Gasps resounded. Several men shouted, "If he does not wreak vengeance on the Ingles son of a puta, he is no espanol."

"He is a mujer!" yelled a woman.

The Spanish soldier had no doubt raped and looted his way through Italy, just as the Spaniards to this very day raped and looted their way through New Spain, my very existence mortal proof of that sad fact; but given the temper of the audience, I kept that observation to myself.

The dwarf drew his sword. It was little more than a good-size dagger, but it looked like a broadsword in his diminutive hand. All the while his booming voice reverberated through us. "I have slit the throats of English, French, and Dutch swine, and my sword will drink their blood again."

Had there been a roof on the "theater," the audience's shouts would have blown it off. Men shook their swords and pleaded for the foul marauder to show his face. But discretion was the better part of showmanship. Either the actor was very good or he was very scared. He cowered offstage. I doubted that even the infamous mosqueteros of Seville were as menacing as our sword-swinging, dagger-slinging colonials.