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Padre Ignacio, or The Song of Temptation
by
“Your half-breeds will think I am one of themselves,” said Gaston, showing his dusty clothes. “I am not fit to be seated with you.” But he did not mean this any more than his host had meant his remark about the food. In his pack, which an Indian had brought from his horse, he carried some garments of civilization. And presently, after fresh water and not a little painstaking with brush and scarf, there came back to the Padre a young guest whose elegance and bearing and ease of the great world were to the exiled priest as sweet as was his traveled conversation.
They repaired to the hall and took their seats at the head of the long table. For the Spanish centuries of stately custom lived at Santa YsabeI del Mar, inviolate, feudal, remote.
They were the only persons of quality present; and between themselves and the gente de razon a space intervened. Behind the Padre’s chair stood an Indian to waft upon him, and another stood behind the chair of Gaston Villere. Each of these servants wore one single white garment, and offered the many dishes to the gente fina and refilled their glasses. At the lower end of the table a general attendant wafted upon mesclados–the half-breeds. There was meat with spices, and roasted quail, with various cakes and other preparations of grain; also the brown fresh olives and grapes, with several sorts of figs and plums, and preserved fruits, and white and red wine–the white fifty years old. Beneath the quiet shining of candles, fresh-cut flowers leaned from vessels of old Mexican and Spanish make.
There at one end of this feast sat the wild, pastoral, gaudy company, speaking little over their food; and there at the other the pale Padre, questioning his visitor about Rachel. The mere name of a street would bring memories crowding to his lips; and when his guest told him of a new play he was ready with old quotations from the same author. Alfred de Vigny they spoke of, and Victor Hugo, whom the Padre disliked. Long after the dulce, or sweet dish, when it was the custom for the vaqueros and the rest of the retainers to rise and leave the gente fina to themselves, the host sat on in the empty hail, fondly talking to his guest of his bygone Paris and fondly learning of the later Paris that the guest had seen. And thus the two lingered, exchanging their enthusiasms, while the candles waned, and the long-haired Indians stood silent behind the chairs.
“But we must go to my piano,” the host exclaimed. For at length they had come to a lusty difference of opinion. The Padre, with ears critically deaf, and with smiling, unconvinced eyes, was shaking his head, while young Gaston sang Trovatore at him, and beat upon the table with a fork.
“Come and convert me, then,” said Padre Ignacio, and he led the way. “Donizetti I have always admitted. There, at least, is refinement. If the world has taken to this Verdi, with his street-band music–But there, now! Sit down and convert me. Only don’t crush my poor little Erard with Verdi’s hoofs. I brought it when I came. It is behind the times, too. And, oh, my dear boy, our organ is still worse. So old, so old! To get a proper one I would sacrifice even this piano of mine in a moment–only the tinkling thing is not worth a sou to anybody except its master. But there! Are you quite comfortable?” And having seen to his guest’s needs, and placed spirits and cigars and an ash-tray within his reach, the Padre sat himself comfortably in his chair to hear and expose the false doctrine of Il Trovatore.
By midnight all of the opera that Gaston could recall had been played and sung twice. The convert sat in his chair no longer, but stood singing by the piano. The potent swing and flow of rhythms, the torrid, copious inspiration of the South, mastered him. “Verdi has grown,” he cried. “Verdi is become a giant.” And he swayed to the beat of the melodies, and waved an enthusiastic arm. He demanded every note. Why did not Gaston remember it all? But if the barkentine would arrive and bring the whole music, then they would have it right! And he made Gaston teach him what words he knew. “‘Non ti scorder,'” he sang–“‘non ti scordar di me.’ That is genius. But one sees how the world moves when one is out of it. ‘A nostri monti ritorneremo’; home to our mountains. Ah, yes, there is genius again.” And the exile sighed and his spirit voyaged to distant places, while Gaston continued brilliantly with the music of the final scene.