The Crayon Papers/Letter from Granada

Letter from Granada
GRANADA, 1828.

My Dear--: Religious festivals furnish, in all Catholic countries, occasions of popular pageant and recreation; but in none more so than in Spain, where the great end of religion seems to be to create holidays and ceremonials. For two days past, Granada has been in a gay turmoil with the great annual fete of Corpus Christi. This most eventful and romantic city, as you well know, has ever been the rallying point of a mountainous region, studded with small towns and villages. Hither, during the time that Granada was the splendid capital of a Moorish kingdom, the Moslem youth repaired from all points, to participate in chivalrous festivities; and hither the Spanish populace at the present day throng from all parts of the surrounding country to attend the festivals of the church.

As the populace like to enjoy things from the very commencement, the stir of Corpus Christ! began in Granada on the preceding evening. Before dark the gates of the city were thronged with the picturesque peasantry from the mountain villages, and the brown laborers from the Vega, or vast fertile plain. As the evening advanced, the Vivarambla thickened and swarmed with a motley multitude. This is the great square in the center of the city, famous for tilts and tourneys during the times of Moorish domination, and incessantly mentioned in all the old Moorish ballads of love and chivalry. For several days the hammer had resounded throughout this square. A gallery of wood had been erected all round it, forming a covered way for the grand procession of Corpus Christi. On this eve of the ceremonial this gallery was a fashionable promenade. It was brilliantly illuminated, bands of music were stationed in balconies on the four sides of the square, and all the fashion and beauty of Granada, and all its population that could boast a little finery of apparel, together with the majos and majas, the beaux and belles of the villages, in their gay Andalusian costumes, thronged this covered walk, anxious to see and to be seen. As to the sturdy peasantry of the Vega, and such of the mountaineers as did not pretend to display, but were content with hearty enjoyment, they swarmed in the center of the square; some in groups listening to the guitar and the traditional ballad; some dancing their favorite bolero; some seated on the ground making a merry though frugal supper; and some stretched out for their night's repose.

The gay crowd of the gallery dispersed gradually toward midnight; but the center of the square resembled the bivouac of an army; for hundreds of the peasantry, men, women, and children, passed the night there, sleeping soundly on the bare earth, under the open canopy of heaven. A summer's night requires no shelter in this genial climate; and with a great part of the hardy peasantry of Spain a bed is a superfluity which many of them never enjoy, and which they affect to despise. The common Spaniard spreads out his manta, or mule-cloth, or wraps himself in his cloak, and lies on the ground, with his saddle for a pillow.

The next morning I revisited the square at sunrise. It was still strewed with groups of sleepers; some were reposing from the dance and revel of the evening; others had left their villages after work, on the preceding day, and having trudged on foot the greater part of the night, were taking a sound sleep to freshen them for the festivities of the day. Numbers from the mountains, and the remote villages of the plain, who had set out in the night, continued to arrive, with their wives and children. All were in high spirits; greeting each other, and exchanging jokes and pleasantries. The gay tumult thickened as the day advanced. Now came pouring in at the city gates, and parading through the streets, the deputations from the various villages, destined to swell the grand procession. These village deputations were headed by their priests, bearing their respective crosses and banners, and images of the Blessed Virgin and of patron saints; all which were matters of great rivalship and jealousy among the peasantry. It was like the chivalrous gatherings of ancient days, when each town and village sent its chiefs, and warriors, and standards, to defend the capital or grace its festivities.

At length, all these various detachments congregated into one grand pageant, which slowly paraded round the Vivarambla, and through the principal streets, where every window and balcony was hung with tapestry. In this procession were all the religious orders, the civil and military authorities, and the chief people of the parishes and villages; every church and convent had contributed its banners, its images, its relics, and poured forth its wealth for the occasion. In the center of the procession walked the archbishop, under a damask canopy, and surrounded by inferior dignitaries and their dependents. The whole moved to the swell and cadence of numerous bands of music, and, passing through the midst of a countless yet silent multitude, proceeded onward to the cathedral.

I could not but be struck with the changes of times and customs, as I saw this monkish pageant passing through the Vivarambla, the ancient seat of Moslem pomp and chivalry. The contrast was indeed forced upon the mind by the decorations of the square. The whole front of the wooden gallery erected for the procession, extending several hundred feet, was faced with canvas, on which some humble though patriotic artist had painted, by contract, a series of the principal scenes and exploits of the conquest, as recorded in chronicle and romance. It is thus the romantic legends of Granada mingle themselves with everything, and are kept fresh in the public mind. Another great festival at Granada, answering in its popular character to our Fourth of July, is El Dia de la Toma; "The day of the Capture"; that is to say, the anniversary of the capture of the city by Ferdinand and Isabella. On this day all Granada is abandoned to revelry. The alarm-bell on the Terre de la Campana, or watch-tower of the Alhambra, keeps up a clangor from morn till night; and happy is the damsel that can ring that bell; it is a charm to secure a husband in the course of the year.

The sound, which can be heard over the whole Vega, and to the top of the mountains, summons the peasantry to the festivities. Throughout the day the Alhambra is thrown open to the public. The halls and courts of the Moorish monarchs resound with the guitar and castanet, and gay groups, in the fanciful dresses of Andalusia, perform those popular dances which they have inherited from the Moors.

In the meantime a grand procession moves through the city. The banner of Ferdinand and Isabella, that precious relic of the conquest, is brought forth from its depository, and borne by the Alferez Mayor, or grand standard-bearer, through the principal streets. The portable camp-altar, which was carried about with them in all their campaigns, is transported into the chapel royal, and placed before their sepulcher, where their effigies lie in monumental marble. The procession fills the chapel. High mass is performed in memory of the conquest; and at a certain part of the ceremony the Alferez Mayor puts on his hat, and waves the standard above the tomb of the conquerors.

A more whimsical memorial of the conquest is exhibited on the same evening at the theater, where a popular drama is performed, entitled "Ave Maria." This turns on the oft-sung achievement of Hernando del Pulgar, surnamed El de las Hazanas, "He of the Exploits," the favorite hero of the populace of Granada.

During the time that Ferdinand and Isabella besieged the city, the young Moorish and Spanish knights vied with each other in extravagant bravadoes. On one occasion Hernando del Pulgar, at the head of a handful of youthful followers, made a dash into Granada at the dead of night, nailed the inscription of Ave Maria, with his dagger, to the gate of the principal mosque, as a token of having consecrated it to the Virgin, and effected his retreat in safety.

While the Moorish cavaliers admired this daring exploit, they felt bound to revenge it. On the following day, therefore, Tarfe, one of the stoutest of the infidel warriors, paraded in front of the Christian army, dragging the sacred inscription of Ave Maria at his horse's tail. The cause of the Virgin was eagerly vindicated by Garcilaso de la Vega, who slew the Moor in single combat, and elevated the inscription of Ave Maria, in devotion and triumph, at the end of his lance.

The drama founded on this exploit is prodigiously popular with the common people. Although it has been acted time out of mind, and the people have seen it repeatedly, it never fails to draw crowds, and so completely to engross the feelings of the audience, as to have almost the effect on them of reality. When their favorite Pulgar strides about with many a mouthy speech, in the very midst of the Moorish capital, he is cheered with enthusiastic bravoes; and when he nails the tablet of Ave Maria to the door of the mosque, the theater absolutely shakes with shouts and thunders of applause. On the other hand, the actors who play the part of the Moors have to bear the brunt of the temporary indignation of their auditors; and when the infidel Tarfe plucks down the tablet to tie it to his horse's tail, many of the people absolutely rise in fury, and are ready to jump upon the stage to revenge this insult to the Virgin.

Besides this annual festival at the capital, almost every village of the Vega and the mountains has its own anniversary, wherein its own deliverance from the Moorish yoke is celebrated with uncouth ceremony and rustic pomp.

On these occasions a kind of resurrection takes place of ancient Spanish dresses and armor; great two-handed swords, ponderous arquebuses, with matchlocks, and other weapons and accouterments, once the equipments of the village chivalry, and treasured up from generation to generation, since the time of the conquest. In these hereditary and historical garbs some of the most sturdy of the villagers array themselves as champions of the faith, while its ancient opponents are represented by another band of villagers, dressed up as Moorish warriors. A tent is pitched in the public square of the village, within which is an altar and an image of the Virgin. The Spanish warriors approach to perform their devotions at this shrine, but are opposed by the infidel Moslems, who surround the tent. A mock fight succeeds, in the course of which the combatants sometimes forget that they are merely playing a part, and exchange dry blows of grievous weight; the fictious Moors especially are apt to bear away pretty evident marks of the pious zeal of their antagonists. The contest, however, invariably terminates in favor of the good cause. The Moors are defeated and taken prisoners. The image of the Virgin, rescued from thralldom, is elevated in triumph; and a grand procession succeeds, in which the Spanish conquerors figure with great vainglory and applause, and their captives are led in chains, to the infinite delight and edification of the populace. These annual festivals are the delight of the villagers, who expend considerable sums in their celebration. In some villages they are occasionally obliged to suspend them for want of funds; but when times grow better, or they have been enabled to save money for the purpose, they are revived with all their grotesque pomp and extravagance.

To recur to the exploit of Hernando del Pulgar. However extravagant and fabulous it may seem, it is authenticated by certain traditional usages, and shows the vainglorious daring that prevailed between the youthful warriors of both nations, in that romantic war. The mosque thus consecrated to the Virgin was made the cathedral of the city after the conquest; and there is a painting of the Virgin beside the royal chapel, which was put there by Hernando del Pulgar. The lineal representative of the hare-brained cavalier has the right to this day to enter the church, on certain occasions, on horseback, to sit within the choir, and to put on his hat at the elevation of the host, though these privileges have often been obstinately contested by the clergy.

The present lineal representative of Hernando del Pulgar is the Marquis de Salar, whom I have met occasionally in society. He is a young man of agreeable appearance and manners, and his bright black eyes would give indication of his inheriting the fire of his ancestor. When the paintings were put up in the Vivarambla, illustrating the scenes of the conquest, an old gray-headed family servant of the Pulgars was so delighted with those which related to the family hero, that he absolutely shed tears, and hurrying home to the marquis, urged him to hasten and behold the family trophies. The sudden zeal of the old man provoked the mirth of his young master; upon which, turning to the brother of the marquis, with that freedom allowed to family servants in Spain, "Come, señor," cried he, "you are more grave and considerate than your brother; come and see your ancestor in all his glory!"

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Within two or three years after the above letter was written, the Marquis de Salar was married to the beautiful daughter of the Count -, mentioned by the author in his anecdotes of the Alhambra. The match was very agreeable to all parties, and the nuptials were celebrated with great festivity.