The Bridge of San Luis Rey Page 4
“No, I have none,” said Pepita. She added hastily: “I must go downstairs and get you the new charcoal.”
“But, my dear, you have one for … Madre María del Pilar. Wouldn’t you …?”
Pepita pretended to be busy over the brazier. “No, I’m not going to send it,” she said. She was aware during the long pause that followed that the Marquesa was staring at her in stupefaction. “I’ve changed my mind.”
“I know she would like a letter from you, Pepita. It would make her very happy. I know.”
Pepita was reddening. She said loudly: “The innkeeper said that there would be some new charcoal ready for you at dark. I’ll tell them to bring it up now.” She glanced hastily at the old woman and saw that she had not ceased from staring at her with great sad inquiring eyes. Pepita felt that these were not things one talked about, but the strange woman seemed to be feeling the matter so strongly [38] that Pepita was willing to concede one more answer: “No, it was a bad letter. It wasn’t a good letter.”
Doña María fairly gasped. “Why, my dear Pepita, I think it was very beautiful. Believe me, I know. No, no; what could have made it a bad letter?”
Pepita frowned, hunting for a word that would close the matter.
“It wasn’t … it wasn’t … brave,” she said. And then she would say no more. She carried the letter off into her own room and could be heard tearing it up. Then she got into bed and lay staring into the darkness, still uncomfortable at having talked in such a fashion. And Doña María sat down to her dish amazed.
She had never brought courage to either life or love. Her eyes ransacked her heart. She thought of the amulets and of her beads, her drunkenness … she thought of her daughter. She remembered the long relationship, crowded with the wreckage of exhumed conversations, of fancied slights, of inopportune confidences, of charges of neglect and exclusion (but she must have been mad that day; she remembered beating upon the table). “But it’s not my fault,” she cried. “It’s not my fault that I was so. It was circumstance. It was the way I was brought up. Tomorrow I begin a new life. Wait and see, oh my child.” At last she cleared away the table and sitting down wrote what she called her first letter, her first stumbling misspelled letter in courage. She remembered with shame that in the previous one she had piteously asked her daughter how much she loved her, and had greedily quoted the few and hesitant endearments that Doña Clara had lately ventured to her. Doña María could not recall those pages, but she could write some new ones, free and generous. No one else has regarded them as stumbling. It is the famous [39] letter LVI, known to the Encyclopedists as her Second Corinthians because of its immortal paragraph about love: “Of the thousands of persons we meet in a lifetime, my child …” and so on. It was almost dawn when she finished the letter. She opened the door upon her balcony and looked at the great tiers of stars that glittered above the Andes. Throughout the hours of the night, though there had been few to hear it, the whole sky had been loud with the singing of these constellations. Then she took a candle into the next room and looked at Pepita as she slept, and pushed back the damp hair from the girl’s face. “Let me live now,” she whispered. “Let me begin again.”
Two days later they started back to Lima, and while crossing the bridge of San Luis Rey the accident which we know befell them.
Part Three
ESTEBAN
ONE morning twin boys were discovered in the foundlings’ basket before the door of the Convent of Santa María Rosa de las Rosas. Names were found for them almost before the arrival of the wet-nurse, but the names were not as useful to them as our names are to most of us, for no one ever succeeded in telling the boys apart. There was no way of knowing who their parents were, but Limean gossips, noticing as the boys grew older how straight they held themselves and how silent and sombre they were, declared them to be Castilian and laid them in turn at all sorts of crested doorways. The person in the world who came nearest to being their guardian was the Abess of the Convent. Madre María del Pilar had come to hate all men, but she grew fond of Manuel and Esteban. In the late afternoon she would call them into hero office, send for some cakes from the kitchen, and tell them stories about the Cid and Judas Maccabeus and the thirty-six misfortunes of Harlequin. She grew to love them so, that she would catch herself gazing deep into their black and frowning eyes, looking for those traits that would appear when they grew to be men, all that ugliness, all that soullessness that made hideous the world she worked in. They grew up about the convent until they were a little past the age when their presence began to be a slight distraction to the dedicated sisters. From thence they became vaguely attached to all the sacristies in town: [44] they trimmed all the cloister hedges; they polished every possible crucifix; they passed a damp cloth once a year over most of the ecclesiastical ceilings. All Lima knew them well. When the priest rushed through the streets carrying his precious burden into a sickroom either Esteban or Manuel was to be seen striding behind him, swinging a censer. As they grew older, however, they showed no desire for the clerical life. They gradually assumed the profession of the scribe. There were few printing presses in the New World and the boys soon made a fair living transcribing comedies for the theatre, ballads for the crowds, and advertisements for the merchants. Above all they were the copyists of the choirmasters and made endless parts of the motets of Morales and Vittoria.
Because they had no family, because they were twins, and because they were brought up by women, they were silent. There was in them a curious shame in regard to their resemblance. They had to live in a world where it was the subject of continual comment and joking. It was never funny to them and they suffered the eternal pleasantries with stolid patience. From the years when they first learned to speak they invented a secret language for themselves, one that was scarcely dependent on the Spanish for its vocabulary, or even for its syntax. They resorted to it only when they were alone, or at great intervals in moments of stress whispered it in the presence of others. The Archbishop of Lima was something of a philologist; he dabbled in dialects; he had even evolved quite a brilliant table for the vowel and consonant changes from Latin into Spanish and from Spanish into Indian-Spanish. He was storing up notebooks of quaint lore against an amusing old age he planned to offer himself back on his estates outside Segovia. So when he heard one day about the secret language of the [45] twin brothers, he trimmed some quills and sent for them. The boys stood humiliated upon the rich carpets of his study while he tried to extract from them their bread and tree and I see and I saw. They did not know why the experience was so horrible to them. They bled. Long shocked silences followed each of the Archbishop’s questions, until finally one or the other mumbled an answer. The priest thought for a while that they were merely in awe before his rank and before the luxury of his apartment, but at last, much perplexed, he divined the presence of some deeper reluctance and sadly let them go.
This language was the symbol of their profound identity with one another, for just as resignation was a word insufficient to describe the spiritual change that came over the Marquesa de Montemayor on that night in the inn at Cluxambuqua, so love is inadequate to describe the tacit almost ashamed oneness of these brothers. What relationship is it in which few words are exchanged, and those only about the details of food, clothing and occupation; in which the two persons have a curious reluctance even to glance at one another; and in which there is a tacit arrangement not to appear together in the city and to go on the same errand by different streets? And yet side by side with this there existed a need of one another so terrible that it produced miracles as naturally as the charged air of a sultry day produces lightning. The brothers were scarcely aware of it themselves, but telepathy was a common occurrence in their lives, and when one returned home the other was always aware of it when his brother was still several streets away.
Suddenly they discovered that they were tired of writing. They went down to the sea and found an occupation in loading and unloading vessels, not ashamed of work
ing [46] side by side with Indians. They drove teams across the provinces. They picked fruit. They were ferrymen. And always they were silent. Their sombre faces took on from these labors a male and gypsy cast. Their hair was seldom cut and under the dark mat their eyes looked up suddenly surprised and a little sullen. All the world was remote and strange and hostile except one’s brother.
But at last the first shadow fell across this unity and the shadow was cast by the love of women. They had returned to the city and resumed the copying of parts for the theatre. One night the manager, foreseeing a thinning house, gave them a free admission. The boys did not like what they found there. Even speech was for them a debased form of silence; how much more futile is poetry which is a debased form of speech. All those allusions to honour, reputation, and the flame of love, all the metaphors about birds, Achilles and the jewels of Ceylon were fatiguing. In the presence of literature they had the same darkling intelligence that stirs for a time behind the eyes of a dog, but they sat on patiently, gazing at the bright candles and the rich clothes. Between the acts of the comedy the Perichole stepped out of her role, put on twelve petticoats and danced before the curtain. Esteban had some copying still to do, or pretended so, and went home early; but Manuel stayed on. The red stockings and shoes of the Perichole had made their impression.
Both brothers had fetched and carried their manuscripts up and down the dusty stairs behind the stage. There they had seen an irritable girl in a soiled bodice mending her stockings before a mirror while her stage director read aloud her lines for memorization. She had let fall upon the boys for a moment the detonation of her amazing eyes, immediately dissipated in her amused recognition that they [47] were twins. Forthwith she had dragged them into the room and placed them side by side. Carefully, amusedly and remorselessly she had peered into every square inch of their faces, until finally laying one hand on Esteban’s shoulder she had cried out: “This one is the younger!” That had been several years before and neither brother had thought of the episode again.
Henceforth all Manuel’s errands seemed to lead him past the theatre. Late at night he would drift about among the trees beneath her dressing-room window. It was not the first time that Manuel had been fascinated by a woman (both brothers had possessed women, and often, especially during their years at the waterfront; but simply, latinly), but it was the first time that his will and imagination had been thus overwhelmed. He had lost that privilege of simple nature, the dissociation of love and pleasure. Pleasure was no longer as simple as eating; it was being complicated by love. Now was beginning that crazy loss of one’s self, that neglect of everything but one’s dramatic thoughts about the beloved, that feverish inner life all turning upon the Perichole and which would so have astonished and disgusted her had she been permitted to divine it. This Manuel had not fallen in love through any imitation of literature. It was not of him, at all events, that the bitterest tongue in France had remarked only fifty years before: that many people would never have fallen in love if they had not heard about it. Manuel read little; he had only been once to the theatre (where above all there reigns the legend that love is a devotion) and the Peruvian tavern-songs that he might have heard, unlike those of Spain, reflected very little of the romantic cult of an idealized woman. When he said over to himself that she was beautiful and rich and fatiguingly witty and the Viceroy’s mistress, none of these [48] attributes that made her less obtainable had the power to quench his curious and tender excitement. So he leaned against the trees in the dark, his knuckles between his teeth, and listened to his loud heart-beats.
But the life that Esteban was leading had been full enough for him. There was no room in his imagination for a new loyalty, not because his heart was less large than Manuel’s, but because it was of a simpler texture. Now he discovered that secret from which one never quite recovers, that even in the most perfect love one person loves less profoundly than the other. There may be two equally good, equally gifted, equally beautiful, but there may never be two that love one another equally well. So Esteban sat up in their room by a guttering candle, his knuckles between his teeth, and wondered why Manuel was so changed and why the whole meaning had gone out of their life.
One evening Manuel was stopped on the street by a small boy who announced to him that the Perichole wished him to call upon her at once. Manuel turned in his path and went to the theatre. Straight, sombre and impersonal, he entered the actress’s room and stood waiting. Camila had a service to ask of Manuel and she thought a few preliminary blandishments were necessary, but she scarcely paused in combing a blond wig that was dressed upon the table before her.
“You write letters for people, don’t you? I want you to write a letter for me, please. Please come in.”
He came forward two steps.
“You never pay me the least visit either of you. That’s not Spanish of you.”—meaning ‘courteous.’—”Which are you, Manuel or Esteban?”
“Manuel.”
“It doesn’t matter. You are both unfriendly. Neither of [49] you ever comes to see me. Here I sit learning stupid lines all day and no one ever comes to see me but a lot of peddlers. It is because I am an actress, no?”
This was not very artful, but for Manuel it was unspeakably complicated. He merely stared at her from the shadows of his long hair and left her to improvise.
“I am going to engage you to write a letter for me, a very secret letter. But now I can see that you don’t like me and that to ask you to write a letter would be as good as reading it aloud in all the wine-shops. What does that look mean, Manuel? Are you my friend?”
“Yes, señora.”
“Go away. Send me Esteban. You do not even say Yes, señora as a friend would say it.”
Long pause. Presently she raised her head: “Are you still there, Unfriendly?”
“Yes, senora … you can trust me to do anything for you … you can trust …”
“If I ask you to write one letter for me, or two letters, you promise never to mention to a human being what is in them, or even that you wrote them?”
“Yes, señora.”
“What do you promise by?—by the Virgin Mary?”
“Yes, señora.”
“And by the heart of Saint Rose of Lima?”
“Yes, señora.”
“Name of the Name, Manuel, anyone would think you were as stupid as an ox. Manuel, I am very angry with you. You are not stupid. You don’t look stupid. Please don’t say just Yes, señora again. Don’t be stupid or I’ll send for Esteban. Is anything the matter with you?”
Here Manuel cast himself upon the Spanish language and exclaimed with unnecessary vigor: “I swear by the [50] Virgin Mary and the heart of St. Rose of Lima that all that has to do with the letter will be secret.”
“Even from Esteban,” prompted the Perichole.
“Even from Esteban.”
“Well, that’s better.” She motioned him to sit down at a table where writing materials were already laid out. As she dictated she strode about the room, frowning, swinging her hips. With her arms akimbo, she hugged her shawl about her shoulders defiantly.
“Camila Perichole kisses the hands of Your Excellency and says—No, take another piece of paper and begin again. The señora Micaela Villegas, artist, kisses the hands of Your Excellency and says that, being the victim of the envious and lying friends that Y. E.’s goodness permits about Him, she can no longer endure Y, E.’s suspicions and jealousy. Y. E.’s servant has always valued Y. E.’s friendship and has never committed, nor even thought, an offense against it, but she can no longer fight against the calumnies that Y. E. believes so readily. Señora Villegas, artist, called the Perichole, therefore returns herewith such of Y. E.’s gifts as have not been placed beyond recall, since without Y. E.’s confidence, Y. E’s servant can take no pleasure in them.”
Camila continued walking about the room for several minutes, consumed by her thoughts. Presently without so much as glancing at her secretary, she commanded: Take ano
ther leaf. Have you gone mad? Do not ever think of dedicating another bull to me again. It has caused a frightful war. Heaven protect you, my colt. Friday night, the same place, the same time. I may be a little late, for the fox is wide-awake. That will be all.”
Manuel rose.
“You swear that you have made no errors?”
“Yes, I swear.”
“There is your money.”
Manuel took the money.
“I shall want you to write me more letters from time to time. My Uncle Pio generally writes my letters; these I do not wish him to know about. Good night. Go with God.”
“Go with God.”
Manuel descended the stairs and stood for a long time among the trees, not thinking, not moving.
Esteban knew that his brother was continually brooding over the Perichole, but he never suspected that he saw her. From time to time during the next two months a small boy would approach him in great haste and ask whether he were Manuel or Esteban, and being informed that he was only Esteban, the boy would add that Manuel was wanted at the theatre. Esteban assumed that the call was for copyist’s work and was therefore utterly unprepared for a visit that they received one night in their room.
It was almost midnight. Esteban had gone to bed, and lay gazing out from under the blanket at the candle beside which his brother was working. There was a light tap at the door and Manuel opened to admit a lady heavily veiled, out of breath and nervous. She threw back the scarf from her face and said hurriedly.
“Quick, ink and paper. You are Manuel, yes? You must do a letter for me at once.”
For a moment her glance fell on the two bright eyes that glared at her from the edge of the cot. She murmured: “Eu … you must excuse me. I know it is late. It was necessary … I must come.” Then turning to Manuel, she whispered into his ear: “Write this: I, the Perichole, am not accustomed to wait at a rendez-vous. Have you finished that? You are only a cholo, and there are better matadors than you, even in Lima. I am half Castilian and there are no [52] better actresses in the world. You shall not have the opportunity—Have you got that?—to keep me waiting again, cholo, and I shall laugh the last, for even an actress does not grow old as fast as a bullfighter.”