Aztec - Aztec Blood Part 85

I followed him into the adjoining sitting room and onto a balcony. He had the rope we had been hanging Alva with in hand. He looped the noose around a post and swung over the side, sliding down the rope with his hands and feet. I followed before he hit the ground, grateful that this was not the first time Mateo had had to leave a bedroom with a threat behind him.

After discarding our clothes and masks and rea.s.suming our roles as workers of Don Julio, we sat in a tavern and played primero, a card game Mateo was brilliant at losing money playing.

"b.a.s.t.a.r.do, we learned one interesting piece of information tonight-other than the fact that Alva is a tough hombre."

"Which is?"

"He killed your mother."

I never knew my mother and I had no real image of her, but the fact that this man claimed to have raped and murdered her were more nails in his coffin. The statement, even if I a.s.signed it as a taunt, increased the mystery surrounding the past. What did Alva have to do with my mother? Why would it be necessary for a gachupin to kill an india girl? And the most mysterious of all-I knew for a fact that he had not killed her. As far as I knew, she was still alive.

"It will be a long time before we could ever hope to trick Alva into falling into our hands again," he said. "If ever."

"Do you think he will connect us back to Isabella?"

Mateo shrugged. "I think not. The conclusion will be that Isabella and the maid both were victims of bad food. But to ensure that there is no connection, I will be leaving tonight for Acapulco."

The Manila galleon was due in from the Far East. What his joining the excitement of the arrival of the galleon with its treasures from China, the Spice Islands, and India had to do with Alva discovering the ident.i.ty of his attackers was another mystery to me. I had the unkind, but true, thought that he was leaving for Acapulco just to enjoy himself.

NINETY.

With Mateo in Acapulco, the don at the tunnel project, and Isabella in a foul mood, I stayed away from the house as much as possible. When I was not in the print shop, I would take a walk along the arcade, stopping in a shop now and again.

I was working late in the shop when I heard the flap on the back door and the sound of a package dropping. Realizing it was probably the author of the romantic poems that I found so provocative and compelling, I raced to open the door and run into the alley. I saw the person fleeing, a slender built, short man with his hooded cape flapping as he ran. He disappeared around a corner. When I reached the corner, a carriage was already moving down the street. It was too dark to see any identifying marks on the carriage.

Walking back I was struck by the presence of the scent of a French water that I knew was popular with young women in the city. At first I thought it odd that a man would wear a scent, but there were many fops who wore not just French water, but such silks and lace that on inspection of their genitals one would expect to find a witch's teat instead of a pene. That a writer of romantic poetry might be the type who found other men attractive, entering by the back door as it is said, would not surprise me. Eh, the poems came through the back door, did they not?

The poems were once again visions of love that touched my romantic soul-the one well-hidden behind my lepero's scabrous one. I put aside a deshonesto play that I had been checking Juan's typesetting on and began typesetting the poems. No profit was made from the poet's books, but what a pleasure to lose one's self in the images of lovers in a heat of pa.s.sion. Printing his works of honest pa.s.sions, I felt that I was making amends for the works of lesser quality-and lesser morality-that I printed only to make money. It was much work for me to set the type for all of the poet's works, but I had found it very rewarding.

As I set the type, I thought about the play we were surrept.i.tiously publis.h.i.+ng. We printed more plays than books. While comedias were rarely performed in New Spain, they were more popular to read than books.

It occurred to me that money could be had quicker and easier simply by putting on plays, rather than selling printed copies. Plays had not reached the level of popularity or profitability in New Spain that they had in the mother country because those the Holy Office approved for the colonies were insipid comedies of manners or religious works. To have even submitted a play like the ones we print to the Holy Office for a permit to perform would have resulted in our immediate arrest.

I wondered if there was a play we could present that would prove popular yet yield the needed approval. A group of actors had come to town to present a play in a vacant area between the mint building and residences, but the play had only lasted a few performances. I watched the play while Mateo was in Acapulco and found it to be a very uninteresting rendition of Lope de Vega's Fuente Ovejuna. I had been forewarned that the censor's knife had cut the heart from Vega's brilliant work and that a familiar would be in the audience with a copy to ensure that the deleted dialogue did not find its way back into the presentation. Added to this, the actors did not have their lines well rehea.r.s.ed. I heard the actors had disagreed over which play was to be presented and who was to perform the lead roles. It was sad to watch such a wonderful, stirring play mouthed by people who were unable to instill within themselves the spirit of the character they were playing.

No nation had ever produced a writer as prolific as Vega. Cervantes called him a monster of nature because he was able to write plays in hours and had composed perhaps a couple of thousand. Fuente Ovejuna was a stirring tale, much in line with Vega's other great works that demonstrated how Spanish men and women of all cla.s.ses can be honorable. I had read a true copy of the play, smuggled into the colony under the dress of an actress.

The name of the play, Fuente Ovejuna, was the name of the village where the action took place. Here again a n.o.bleman was trying to dishonor a peasant girl, who was betrothed to a village youth. Laurencia is the peasant girl, but she is a smart, resourceful one. She knows what the n.o.bleman, the commander, is really after when he sends his emissaries to her with gifts. He plans to dishonor her and cast her aside after he has had his pleasure. As she says about men in general, "All they want, after giving us much trouble, is their pleasure at night and our sorrow in the morning."

She can be a sharp-tongued wench. As one character puts it, "I bet the priest poured salt on her as he christened her."

When the commander returns triumphant from war, the village greets him with gifts. But the gift he wants are Laurencia and another peasant girl. Struggling against his adjutant who is trying to pull her into a room where the commander can take advantage of her, Laurencia says, "Isn't your master satisfied with all the meat he was given today?"

"He seems to prefer yours," the servant says.

"Then he can starve!"

The commander catches Laurencia in the forest and tries to take her by force, when a peasant boy who loves her, Frondoso, grabs a bow and arrow the commander had laid down, and holds off the knight until the girl escapes.

The commander is disgusted by the way the peasant girl resists him. "What boors these peasants are. Ah, give me the cities, where n.o.body hinders the pleasures of lofty men, and husbands are glad when we make love to their wives."

He discusses women with his aide, speaking of the women who will surrender themselves to him without a struggle. "Easy girls I love dearly and repay poorly. Ah, Flores, if they only knew their worth."

The cruel n.o.bleman takes village girls by force as he pleases, but Laurencia manages to avoid him. He shows up at her wedding and has her bridegroom, Frondoso, arrested. The commander carries off Laurencia and beats her when she resists his rape.

She returns to her father and the men in the village, calling them "sheep" for permitting the commander to violate village girls. She tells the men of the village that after the commander hangs Frondoso, he'll come and hang the spineless men of the village. "And I'll be glad-you race of half men-that this honorable town will be rid of effeminate men and the age of Amazons will return."

Picking up a sword Laurencia rallies the women of the village around her, and declares they must take the castle and free Frondoso before the commander kills him. She tells another woman, "When my courage is up, we don't need a Cid."

Women knock down the castle door and storm in, facing the commander, just as he's starting to have Frondoso hanged. The village men enter with their weapons to help. But a woman says, "Only women know how to take revenge. We shall drink the enemy's blood."

Jacinta, a girl raped by the commander, says, "Let us pierce his corpse with our lances."

Frondoso says, "I won't consider myself avenged until I've pulled out his soul."

The women attack the commander and his men. Laurencia says, "Com' on women, dye your swords with their vile blood!"

Vega had the literary courage to put swords in the hands of women. I suspect that was why the audience, which was composed mostly of men, did not appreciate the play as much as I did.

Another great moral point of the play was the way the villagers stood together when they are tried for the commander's death before the king and queen, Ferdinand and Isabella. When the villagers are questioned and tortured to reveal who slayed the evil n.o.bleman, each of them in turn names the culprit: Fuente Ovejuna. The village itself had taken justice in its hands.

Faced with an impossible situation, the king and queen leave the death of the commander unpunished.

From what few seats were sold for the play, I had no doubt that the rest of the city were not stirred by the actors.

The thought of putting on a comedia had been on my mind from the time I had been clandestinely printing offensive ones. But no matter how I struggled with the thought, I was always blocked by how I knew Mateo would react. He would insist that we do some foolish tale of hombria-if I had to sit through another hour of an honorable Spaniard killing an English pirate who had raped his wife...

I would have presented a play by Beelzebub if it made money, but besides their lack of artistic merit, Mateo's plays had the added disadvantage of being financial disasters.

I went home that night struggling with the idea of putting on a play that would provide great profit yet not run us afoul of the Inquisition. Restless, I grabbed a copy of Montebanca's Historia of the Roma Empire and read it by candlelight as I breathed the sweet fumes of the stable below. As the empire became more and more decadent, decomposing as its social and moral fabric rotted under one bad leader after another, the emperors had gotten more and more extreme in the entertainment they provided the people in the arena; no longer did it entertain people to see gladiators killing each other, soon small armies fought and men were pitted against wild beasts. I found among the more interesting gladiatorial contests the sea battles in which the arena was flooded and wars.h.i.+ps with gladiators aboard fought.

Dozing off, I wondered how one would flood a comedia de corral, which was often little more than the s.p.a.ce between houses, to put on a battle of gladiators.

I awoke in the middle of the night with the realization that I already had the flooded arena.

Mateo returned from Acapulco after two weeks. He was in bad temper and had no scar to which he had ascribed a woman's name.

"Pirates sank the Manila galleon; I made the trip for nothing."

"Mateo, Mateo, my friend, my companion in arms, I have had a revelation."

"Did you walk on water, amigo?"

"Exactly! You have guessed it. We are going to put on a comedia-on water."

Mateo rolled his eyes and pounded the side of his head. "b.a.s.t.a.r.do, you've been inhaling some of that yoyotli that steals the mind."