A Christian Woman

You will see by the following list the course of studies that the State obliged me to master in order to enter the School of Engineering: arithmetic and algebra as a matter of course; geometry equally so; besides, trigonometry and analytics, and, finally, descriptive geometry and the differential calculus. In addition to these mathematical studies, French, only held together with pins, if the truth must be told, and English very hurriedly basted; and as for that dreadful German, I would not put tooth to it even in jest--the Gothic letters inspired me with such great respect. Then there was the everlasting drawing--linear, topographic, and landscape even, the latter being intended, I presume, to enable an engineer, while managing his theodolite and sights, to divert himself innocently by scratching down some picturesque scene in his album--after the manner of English misses on their travels.

After entrance came the “little course,” so called, in order that we might not be afraid of it. It embraced only four studies--to wit, integral calculus, theoretical mechanics, physics, and chemistry. During the year of the “little course,” we had no more drawing to do; but in the following, which is the first year of the course properly speaking, we were obliged, besides going deep into materials of construction, applied mechanics, geology, and cubic mensuration, to take up new kinds of drawing--pen-drawing, shading and washing.

I was not one of the most hard-working students, nor yet one of the most stupid--I say it as shouldn’t. I could grind away when it was necessary, and could exercise both patience and perseverance in those branches where, the power of intellect not being sufficient, one must have recourse to a parrot-like memory. I failed to pass several times, but it is impossible to avoid such mishaps in taking a professional course in which they deliberately tighten the screws on the students, in order that only a limited number may graduate to fill the vacant posts. I was sure of success, sooner or later; and my mother, who paid for the cost of my tuition, with the assistance of her only brother, was as patient as her disposition would allow her to be with my failures. I assured her that they were not numerous and that, when I finally emerged a full-fledged civil engineer, I should have in my pocket the four hundred and fifty dollar salary, besides extras.

Nor were all my failures avoidable, even if I had been as assiduous as possible in my studies. I was all run down and sick for one year, finally having an attack of varioloid; and this reason, with others not necessary to enumerate, will explain why at the age of twenty-one I found myself still in the second year of the course, although I enjoyed the reputation of being a studious youth and quite well informed--that is to say, I yet lacked three years.

The year before, the first year of the course strictly speaking, I was obliged to let some studies go over to the September examinations. I attribute that disagreeable occurrence to the bad influence I was under, in a certain boarding-house, where the evil one tempted me to take up my abode. The time I passed there left undying recollections in my memory, which bring a smile to my lips and indiscreet joy to my soul whenever I evoke them. I will give some idea of the place, so that the reader may judge whether Archimedes himself would have been capable of studying hard in such a den.

There are several houses in Madrid at the present date--for example, the Corralillos, the Cuartelillos, the Tócame Roque--all very similar to the one I am about to describe. Within that abode dwelt the population of a small-sized village; it had three courts with balconies, on which opened the doors of the small rooms,--or pigeon-holes one might call them,--with their respective numbers on the lintels. There was no lack of immodest and quarrelsome inmates; there were street musicians singing couplets to the accompaniment of a tuneless guitar; cats in a state of high nervous excitement scampering from garret to garret, or jumping from balustrade to balustrade--now impelled by amorous feelings, now by a brick thrown at them full force. Clothes and dish-cloths were hung out to dry; ragged petticoats and patched underwear, all mixed up pell-mell. There were pots of sweet basil and pinks in the windows; and in fact, everything would be found there that abounds in such dens in Madrid--so often described by novelists and shown forth by painters in their sketches from real life.

The third suite on the right had been hired by Josefa Urrutia, a Biscayan, the ex-maid of the marchioness of Torres-Nobles. At first her business was pretty poor, and she sank deeper and deeper in debt. At last she got plenty of boarders, and when I took up my abode in the “dining-room bed-room,” the place was in its glory; she had not a single vacant apartment. All the boarders paid their dues honestly, if they had the money, with certain exceptions, and the reason of these I will reveal under the seal of profound secrecy.

A certain Don Julián occupied the parlor, which was the best room on the floor. He was a Valencian, jolly and gay; a great spendthrift, fond of jokes and fun, and an inveterate gambler. They said that he had come to Madrid in quest of an office, which he never succeeded in getting; nevertheless the candidate lived like a prince, and instead of helping with his board to keep up Pepa’s business, it was whispered about that he lived there gratis, and even took from time to time small sums from her, destined to go off in the dangerous coat-tails of the knave of hearts.

However, these little private weaknesses of Pepa Urrutia’s would never have come to light, if it had not been for the green-eyed monster. The Biscayan was furiously jealous of a handsome neighbor, who was fond of flirting with all the boarders opposite, as I have indubitable evidence. In a fit of desperation Pepa would sometimes shriek at the top of her lungs, and would call out “swindler; rogue!” adding, “If you had any decency, you would pay me at once what you have wheedled out of me, and what you owe me.”

On such occasions Don Julián would stick his hands in his pockets, firmly shut his jaws, and, silent as the grave, pace up and down the parlor. His silence would exasperate Pepa still more, and sometimes she would go off into hysterics; and after showering injurious epithets on the Valencian, she would rush out, slamming the door so as to shake the whole building.

Then a stout, florid, bald-headed man, about fifty years old, with a nice pleasant face, would appear in the passage-way, and with a strongly marked Portuguese accent, inquire of the irate landlady:

“Pepiña, what ails you?”

“Nothing at all,” she would reply, making a stampede into the kitchen, and muttering dreadful oaths in her Basque dialect. We would hear her knocking the kettles and frying pans about, and after a little while the cheerful sputtering of oil would announce to us that anyhow potatoes and eggs were frying, and that breakfast would soon be ready.

The stout, bald-headed gentleman, who had the back parlor, was a Portuguese physician who had come to Madrid to bring a lawsuit against the Administration for some claim or other he had against it. He was an ardent admirer of Spanish popular music, like most Portuguese, and he would pass the whole blessed day in a chair, near the balcony,--dressed as lightly as possible in jacket and linen pantaloons (it was in the month of June, I must observe), a Scotch cap, with floating streamers concealing his bald pate,--and strumming on a guitar, to the harsh and discordant accompaniment of which he would sing the following words:

Love me, girl of Seville, beauteous maid, spotless flower, For with the sound of my guitar my heart beats for thee,

Here he would break off his song to look toward the window of a young washerwoman, ugly enough in appearance, but lively and sociable. She would stand at the window laughing and making eyes at him. The Portuguese would sigh, and exclaim in broken Spanish: “_Moy bunita!_” and then, attacking his guitar with renewed zest, would finish his song:

Oh, what grief, if she is false--no, fatal doubt flee far from me. Ah, what joy is love when one finds a heavenly soul!

When he was done, he would draw a straw cigar-case from his breast pocket, with a package of cigarettes and some matches. Hardly would he have finished lighting the first one, when a young man, twenty-four years old,--one of Pepa’s boarders also, whom I looked upon for a long time as the personification of an artist,--would burst into the room. His surname was Botello, but I never thought to inquire his Christian name. He was fine looking, of good height, wore his hair rumpled, not too long, but thick and curly, and he looked something like a mulatto--like Alexandre Dumas, with his great thick lips, mustache like Van Dyke’s, bright black eyes, and a fine, dark complexion. We used to tease him, calling him Little Dumas every hour of the day.

Why had Pepa Urrutia’s boarders made up their minds that Botello was an artist? Even now, when I think of it, I cannot understand why. Botello had never drawn a line, nor murdered a sonata, nor scrawled an article, nor written a poor drama, not even a simple farce in one act; yet we all had the firm conviction that Botello was a finished artist.

I think that this conviction sprang from his careless and slovenly attire more than from his way of living, or his striking and genial countenance. In all sorts of weather, he would wear a close-fitting blue cloth overcoat, which he declared belonged to the Order of the Golden Fleece, because the collar and cuffs displayed a broad band of grease, and the front a lamb, figured in stains. This precious article of apparel was such an inseparable companion that he wore it in the street, washed and shaved in it, and even threw it over his bed, as a covering, while he slept. His trousers were frayed around the bottom, his boots were worn down at the heels, and the cracked leather allowed his stockings to be seen, smeared with ink so that their incautious whiteness might not appear. With all that, Botello’s handsome head and graceful form did not lose all their attractiveness even in such a guise; on the contrary, his very rags, when seen upon his elegant figure, acquired a certain mysterious grace.

Another distinctive phase of Botello’s character, which made him resemble a Bohemian of the artistic type, was his happy-go-lucky disposition, as well as his contempt for labor, and utter ignorance of the realities of life. Botello was the son of a judge, and the nephew of a nobleman’s steward. When Botello’s father died, he was left under his uncle’s charge, who lodged and fed him, and gave him an allowance of two hundred and fifty dollars, only demanding that Botello should be in bed by twelve o’clock. He did not oblige him to study, nor take any pains to give him an education; but when he discovered that his nephew passed every evening at the Bohemian café or at some low resort, and came home at all hours of the night, letting himself in with a latch-key so as not to be heard, he made the welkin ring. Instead of trying to reform him, he ignominiously drove him out of his house.