Aztec - Aztec Blood Part 58

When you gently stare,

Let your gaze be tender,

O torment wild!

Eyes of clear serenity,

Having gazed upon me thus,

at least now gaze at me.

I helped the Healer set up in the main square. He immediately attracted a crowd of indios, so there was no need for me to fake a miraculous recovery. I wandered about the square, unable to conceive that there could be a town enormously bigger than Puebla. What must the City of Mexico and the great cities of Spain be like?

Mateo hailed me. "b.a.s.t.a.r.do, the G.o.ddess Fortune smiles upon you. There is a comedia company in town. We are going to see their play. How many pesos do you have, compadre?"

After Mateo emptied my pockets, I followed eagerly beside him. He had never explained what happened that caused him and the troupe of players to find themselves on the wrong side of the king's justice. I picked up clues that they had been caught selling smuggled deshonesto and profano libros. From his attempt to sell Fray Juan a romantic adventure book that was on the prohibition list of the Holy Office, I knew that Mateo did these things. But for the others to be s.h.i.+pped off to Manila and him to be under the threat of the gallows, eh, it must have been more than a romance they were selling.

We went a few blocks off of the main street to the place of the comedia. I had expected to find a "wall" of blankets enclosing a small area, but it was much more elaborate. A vacant lot shouldered on three sides by two-story homes had been turned into a corral, a playhouse.

Against the wall of one house a wooden stage was elevated several feet above the ground. At ground level to the left and right were areas blanketed off. "Dressing rooms for the actors and actresses," Mateo said. Logs had been laid in many places for people to sit while others brought benches from home. The windows, balconies, and roofs of the adjoining houses served as theater boxes where people of quality watched the play. The stage was not protected from wind or rain. "If it rains too hard, they simply stop," Mateo said.

"So this is a theater for comedias," I said to Mateo, very impressed by the size. Several hundred people could view the performance.

"This is a temporary theater," he said, "but it is similar to corrales all over Spain. The difference is that there is often a canopy over the stage to protect from sun and rain and even canopies or roofs over some of the spectator areas. The stage would be a bit higher off the ground and wider, the dressing rooms more permanent. Empty s.p.a.ce next to buildings are the best for creating a theater because the walls are already up on three sides. In some of the great cities, like Madrid and Seville, permanent buildings with wood walls and roofs have been constructed. Naturally, they cannot be completely enclosed as much as a house because some light is needed."

"Do you know these actors?" I asked Mateo.

"No, but I am sure they have heard of Mateo de Rosas Oquendo."

If they had not already, they would before long.

"The troupe pretends to be Spanish, but I can tell from their accents that they are not. I suspect they are Italians. Everyone wants to come to the Spanish stage. It is known everywhere that our plays and actors are the best in the world. This play is written by my amigo, Tirso de Molina. The Trickster of Seville is a comedia in three acts."

"Like what you put on-on," I stammered, "in Seville?" I almost said, 'at the fair.' I had already resolved in my mind that Mateo knew I was the boy from the Jalapa fair, but the matter remained a secret unspoken between us.

"Yes, like Seville, though a Puebla production will not be so grand."

The temporary theater was grand to my eyes. The only play I had ever seen other than ones put on by the churches during religious holidays was the one at the Jalapa fair, where a gra.s.sy knoll and some blankets served as a theater. The audience there had been rough muleteers and traveling merchants, but I could see from the balconies and rooftops that much more genteel people had come to see this play.

Mateo wanted seats on a balcony or roof, but none were left. We went to the far wall opposite the stage. Benches were available there for a few coppers more, and we stood on them to get a good look at the stage.

Close to the stage were what Mateo called the vulgos, the vulgar people.

"The mosqueteros are the lice of the theater," Mateo said. "When they step into a corral, suddenly a butcher and baker who sign their names with an X are experts on comedias. Men whose only acting has been to lie to their wives suddenly believe themselves as much a fault finder with an actor's performance as an Inquisitor with a blasphemer's denials."

The play began in a room in the palace of the king of Naples. We were told that we were in the Italian palace by an actor who indicated a hanging cloth that had an elaborate door painted on it. It was nighttime, the actor says, and Isabel, a d.u.c.h.ess, was awaiting the arrival of her lover, Duke Octavio, in a dark room.

"Pretty wench," Mateo said, of the actress who played Isabel.

The main character in the play arrived. His name was Don Juan. He entered the room with his face concealed by his cloak and pretended to be Duke Octavio. When palace guards catch the two, Don Juan boasted that he had fooled Isabel into thinking he was Duke Octavio and made love to her.

The mosqueteros bunched near the stage yelled insults to the actors, attacking their accents. The mosqueteros had picked up on the same thing Mateo did-the actors had Italian accents. While the play was set in Italy, the area was under the control of the Spanish king; most of the characters were supposed to be Spanish. One particular vulgo was the loudest and the most aggressive. He was familiar with the play, having seen it in the Corral del Principe in Madrid, or so he claimed. He shouted corrections to the lines he believed the actors blundered.

Mateo grimaced at the noise made by the mosqueteros. "No autor or actor has failed to be a victim to this rabble."

But the play went on. Don Juan's jest ruined the duke and the Lady Isabel, and Don Juan fled Naples. He was s.h.i.+pwrecked and washed ash.o.r.e near a fis.h.i.+ng village, where he was taken to the hut of Tisbea, a fisher maid. When the young woman saw him, she fell in love with him. As he lay unconscious in her arms, she said, "Gallant and handsome youth of n.o.ble brow, return, I pray, to life."

With a change of dress and a different-colored wig, Tisbea is played by the same actress who played Isabel.

Don Juan tells her as he lies in her arms that he has fallen madly in love with her. "My country girl, I wish that G.o.d had drowned me in the waves that I might have been spared the madness of my love for you."

Convinced by him that although he is high born and she a peasant girl, his love is true, she yields to his demands that they share a bridal bed. As soon as he is through with the girl, he and his servant flee the village on horses they have stolen from her.

Tisbea, in anguish at the betrayal, cries, "Fire! Fire! I'm burning! Sound the alarm, amigos, while my eyes bring water. Another Troy is in flames. Fire, my compadres! May love have pity on a soul in flames. The caballero deceived me with his promise of marriage and soiled my honor."

The mosquetero who considered himself a master of the play ran to the stage. "You stupid woman! That is not her correct speech!" He threw a tomato at the woman.

Mateo moved with the speed of a jungle cat. One instant he was standing beside me, and the next he was at the stage with his sword in hand. He grabbed the mosquetero and swung him around. The brute stared at him, startled, and then grabbed for a dagger. Mateo hit him on the head with the hilt of the sword, and the man crumbled to the ground.

Mateo turned to the audience. He lashed the air with his sword. "I am Don Mateo Rosas de Oquendo, caballero for the king and autor of comedias. There is to be no more disturbance while this lovely lady with serene eyes," he turned and bowed to the woman, "speaks her lines." He nudged the unconscious man at his feet. "I would kill him, but a gentleman does not soil his sword with the blood of swine."

Clapping came from the balconies and rooftops. The vulgar people said nothing.

Mateo bowed once more to the actress, and she threw him a kiss.

Returning to Seville, Don Juan kept up his scandalous conduct. Betraying a friend, he deceived another young woman into believing that he was her lover. The woman shouted for help when she discovered the trick. Her father, Don Gonzalo, came to her rescue and was killed by Don Juan in a sword fight.

Despite the tragedy, Don Juan, driven by demons, unable to be the honorable gentleman that was his birthright, continued his intrigues, tricking women into surrendering their honor to him.

His downfall came, not at the hands of the living, but the dead. Don Juan came upon a statue of the fallen Don Gonzalo. Making fun of the stone statue, Don Juan pulled its beard and invited it to dine. Only to have the invitation accepted.

In a scene of ghoulish horror, Don Juan and the stone specter of the dead father have dinner. The dinner takes place in a dark church, and a tomb is the dinner table.

Eating a dish of spiders and vipers, and was.h.i.+ng it down with bitter wine, Don Gonzalo said that all debts must one day be repaid:

Mark those well whom G.o.d has judged,

And punished for their crimes.

The day of reckoning arrives

When this world's debts are repaid.

The arrogant Don Juan at first challenges the ghost, showing no fear. But when the ghost clasps his hand, the fires of h.e.l.l grip the seducer. With a clap of thunder, we were told the tomb is swallowed by the earth, taking Don Juan and the ghost with it. However, in this case the actors fell to the floor and they and the tomb were covered with blankets. The "thunder" was a drum.

When the play was over, I was eager to return to our campsite and discuss it with Mateo, but he had other plans. He twirled his mustache as he told me to go back alone, "I have some unfinished business." I followed his look to the stage where the actress was giving him the eye.

I trudged back to the camp alone and ate beans around a campfire, while Mateo, caballero and autor, lay in the arms of an actress and tasted a bit of heaven. Ay, there was another reason for my melancholy. This play about the scandalous Don Juan was the very play that the dark-eyed beauty Elena had hidden under the seat of the carriage the day she saved my life.