Arturo Perez-Reverte - The Cavalier in the Yellow Doublet

Lope smiled from his Olympian heights, amused and tolerant. He could not bear Góngora either, although, paradoxically, he had also always hoped to draw him into his circle, because, deep down, he admired and feared him, so much so that he even wrote these lines:

Bright swan of Betis who so

Sweetly and gravely tuned thy bow.

Góngora—that prebendary-cum-swan—was, however, the kind of man who ate alone and never succumbed to blandishments. At first, he had dreamed of snatching the poetic scepter from Lope, even writing plays, but he failed in that as he did in so many things. For all these reasons, Lope always professed to loathe him, meanwhile mocking his own relative lack of knowledge of the classics—for unlike Góngora and Quevedo, Lope knew no Greek and could barely read Latin—as well as the success of his plays with ordinary people. Of his plays he wrote:

They are ducks who splash in the waters of Castile

Which flow so easily from that vulgar stream

And sweetly flood the lower slopes;

From plain-born Lope expect no high-flown tropes.

Lope, however, rarely stepped into the public arena. He did his best to get along well with everyone, and at that point in his life and his success, he was in no mood to become embroiled in disputes and rivalries. He contented himself instead with gentle, veiled attacks and left the really dirty work to his friends, Quevedo among them, for the latter had no qualms about pouring scorn on Góngora’s culturanista excesses or, indeed, on those of his followers. Góngora could no longer hit back at the fearsome Quevedo, who was a past master when it came to tongue-lashings.

“I read Don Quixote when I was in Sicily,” remarked Captain Contreras. “Not bad at all, I thought.”

“Indeed,” replied Quevedo. “It’s already famous and will, I’m sure, outlive many other works.”

Lope raised a disdainful eyebrow, poured himself more wine, and changed the subject. This is further evidence, as I say, that in that Spain of never-ending envy and back-stabbing, where a place on Parnassus was as sought-after as Inca gold, the pen caused more blood to be shed than the sword; besides, enemies in one’s own profession are always the worst kind. The animosity between Lope and Cervantes—the latter, as I said, had, by then, entered the heaven reserved for just men and was doubtless seated at the right hand of God—had gone on for years and was still alive even after poor don Miguel’s death. The initial friendship between those two giants of Spanish literature quickly turned to hatred when the illustrious one-armed Cervantes, whose plays, like Góngora’s, met with utter failure—“I could,” he wrote, “find no one who wanted them”—fired the first shot, by including in Part One of his novel a caustic comment on Lope’s work, in particular his famous parody of the flocks of sheep. Lope responded with these rough words: “I will say nothing of poets, for this is a good century for them. But there is none so bad as Cervantes and none so foolish as to praise Don Quixote .” At the time, the novel was considered to be a minor art requiring little intellect and fit only to entertain young ladies; the theater brought money, but poetry brought luster and glory. This is why Lope respected Quevedo, feared Góngora, and despised Cervantes:

All honor to Lope, and to you only pain,

For he is the sun and, if angered, will rain.

And as for that trivial Don Quixote of yours,

Its only use is for wiping your arse

Or for wrapping up spices and all things nice,

’Til it finds its just rest in the shit with the mice.

. . . as he wrote in a letter, which, to rub salt in the wound, he sent to his rival without paying the one- real postage. Cervantes would write later: “What bothered me most was having to pay that one real .” And so poor don Miguel was driven out of the theater, ground down by work, poverty, and prison, by a succession of humiliations and by many pointless hours spent waiting in anterooms, quite unaware that immortality was already riding toward him on the back of Rocinante. He, who never sought favors by shamelessly flattering the powerful, as Góngora, Quevedo, and Lope all did, finally accepted the illusion of his own failure, and, as honest as ever, wrote:

I who always strive and strain

To seem to have poetic grace

Though Heaven denies me again and again.

But then, that was the nature of the lost world I am describing to you, when the mere name of Spain made the earth tremble. It was all barbed quarrels, arrogance, ill will, cruelty, and poverty. As the empire on which the sun was setting was gradually crumbling, as we were being erased from the face of the earth by our misfortune and our own vile deeds, there, amongst the rubble and the ruins, lies the mark left by those remarkably talented men who, while they could not justify it, could at least explain that age of greatness and glory. They were the children of their time in the evil that they did—and they did a great deal—but they were also the children of the genius of their time in the brilliant works they wrote—and they wrote so much. No nation has given birth to so many men of genius at any one time, nor have the writers of any one nation recorded as faithfully as they did the tiniest details of their age. Fortunately, they live on in libraries, in the pages of their books, within reach of whoever cares to approach and listen, astonished, to the heroic, terrifying roar of our century and our lives. Only thus is it possible to understand what we were and what we are. And then may the devil take us all.

Lope remained at his house, the secretary Prado left, and the rest of us, including Lopito, finished the evening in Juan Lepre’s tavern, on the corner of Calle del Lobo and Calle de las Huertas, sharing a skin of Lucena wine. The talk grew animated. Captain don Alonso de Contreras, an extremely likable fellow, who enjoyed a good fight and good conversation, recounted tales of his life as a soldier and that of my master, including that business in Naples in the fifteenth year of this century, when, after my master had killed a man in a duel over a woman, it was Captain Contreras himself who helped him to elude justice and return to Spain.

“The lady didn’t escape unscathed, either,” he added, laughing. “Diego left her with a charming scar on her cheek as a souvenir. And by God, the hussy deserved it—and more.”

“Oh, I know many such women who do,” added Quevedo, ever the misogynist.

And on this theme, he regaled us with some lines that he had thought up there and then:

“Fly, thoughts, and tell those eyes

That make my heart so glad:

There’s money to be had.”

I looked at my master, incapable of imagining him slashing a woman’s face with a knife. He, however, remained impassive, elbows on the table, as he stared into his mug of wine. Don Franciso caught my look, cast a sideways glance at Alatriste, and said no more. What other things, I wondered, lay behind those silences. And I shuddered inside, as I always did when I got a glimpse of the captain’s dark inner life. It is never pleasant to grow in years and understanding and thus penetrate into the more hidden recesses of one’s hero’s mind and life, and, as I grew more perceptive with passing time, I saw things in Diego Alatriste that I would have preferred not to see.

“But then, of course,” said Contreras, who had also seen the expression on my face and feared perhaps that he had gone too far, “we were young and spirited. I remember one occasion, in Corfu it was . . .”