Aztec Blood - Jennings Gary - Страница 114
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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 classes 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 nobleman 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 nobleman, 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 nobody 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 nobleman 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 nobleman, 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 warships with gladiators aboard fought.
Dozing off, I wondered how one would flood a comedia de corral, which was often little more than the space 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. "Bastardo, you've been inhaling some of that yoyotli that steals the mind."
"No, I've been reading history. The Romans sometimes flooded the arena and put on gladiatorial sea battles with warships."
"Did you plan to put this comedia on in Rome? Has the pope given you San Pedro's to flood?"
"You are such a doubter of genius. Have you looked around and seen that Ciudad Mexico is surrounded by water?—not to mention a dozen lagoons in and around the city."
"Explain this madness to me."
"We take great risk for small profit printing deshonesto plays and books and selling them. It occurred to me that we could put on our own comedia and make our fortune."
Mateo's eye lit up. "I will write the play! An English pirate rapes—"
"No! No! No! Everyone from Madrid to Acapulco has seen that story. I have an idea for a play—"
His hand brushed his dagger. "You don't want me to write the play?"
"Yes, of course, but based on a different story." That fortunately needed very little dialogue, I added silently to myself. "What is the greatest moment in the history of New Spain?"
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