The streets are gaily decorated, and a certain cannon, which had been captured in Montecris...o...b.. the Spaniards, is wheeled on a cart through the streets, followed by a procession of soldiers and a band of music.

This cannon--which is a heavy-looking, unserviceable weapon of the old-fashioned calibre--is made much of by everybody, and finally a niche is built in a wall of the cathedral, and the 'canon de Montecristo,' as it is henceforth derisively termed by the Cubans, is deposited in this niche with a railing before it, and an inscription above, in which the people of Cuba are reminded of the 'glorious campaign of Santo Domingo.'

Shortly after the appearance of the canon de Montecristo, some vessels of war from the seat of hostilities arrive with a vast cargo of sick and wounded Spaniards. 'The Loyal and Ever-faithful' inhabitants of Santiago meet them on board, and some volunteer to convey the infirm soldiers to the hospitals in town. Nicasio and I are pressed into this service by our good friend Doctor Francisco, who is the head medical officer of the garrison. Each soldier, as he is landed, is placed on a canvas stretcher, provided with a couple of stout poles, and in this manner he is borne on the shoulders of four volunteers. When all have safely disembarked, a procession is formed, and headed by a band of music, we march slowly through the streets in the direction of Santa Ana, where the military hospital is situated. The distance is about two miles, and we have to move with extreme care so as to aggravate as little as possible the sufferings of the wounded men.

The individual whom Nicasio and I, a.s.sisted by a couple of friends, have volunteered to convey, is the young Spanish officer Don Manuel, the betrothed of Don Benigno's daughter. He does not appear to be seriously wounded, for he chats pleasantly with us on the way and gives us a vivid description of his late experiences.

Arrived at the hospital, we deposit our burthens on their respective couches, where the poor fellows are, in due time, left to the tender care of Doctor Francisco and his a.s.sistant surgeons.

Don Manuel is one of the first whom the doctor visits. A ball has lodged in the young fellow's hip, but he endures his painful operation bravely.

While the ball is being extracted, Don Manuel smokes cigarettes, and converses with those around him.

I gather from the communicative young officer much information respecting the late war. He tells me that the Spanish soldiers acted with their accustomed valour, and did their best to vanquish their black opponents; but that in spite of their efforts, the enemy proved more than a match for them. The guerilla mode of warfare adopted by the swarthy warriors, a.s.sisted by the bad roads and impenetrable country, together with the fatal effects of the climate, combined to defeat the a.s.sailants, and, after many fruitless attempts, attended with considerable losses to the Spanish army, the troops were ordered to withdraw from the scene of hostilities.

Always with an 'eye to business,' my partner and I improve the occasion by obtaining sundry commissions for portraits of some of the distinguished officers who had fallen in the late campaign. One of the more important works of this kind is a large historical picture, in which the ill.u.s.trious commander of the expedition and his staff of officers are introduced. In order to ensure correct likenesses of the individuals who are to figure in our painted production, photographs, and military uniforms are supplied for our use. Many weary weeks are devoted to this _capo d'opera,_ and when the picture is completed, it is handsomely framed and exhibited to an admiring crowd in one of the saloons of the governor's palace.

The war of Santo Domingo being over and forgotten, the town is again enlivened by the arrival of the Spanish fleet fresh from Peru after the unsatisfactory bombardment of Callao. The vessels are anch.o.r.ed in the Cuban harbour and include the iron-clad steamer 'Numancia,' commanded by Admiral Mendez Nunez; the 'Villa de Madrid' with Captain Topete on board; the 'Resolucion' and the 'Almanza.' Our ill.u.s.trious visitors are lionised for nearly a week at the public expense. Banquets, b.a.l.l.s and other entertainments are given in their honour; and in acknowledgment of these attentions, the officers of the 'Numancia,' before the fleet takes its departure, give a grand ball on board their vessel, to which the leading families of Santiago are invited. The upper deck of the iron-clad is covered with a gigantic awning, and is so disguised with flowers, tropical plants, and other adornments, that the guests can scarcely realise the fact that they are actually on board a man-of-war.

A long supper table is laid between decks, and here the visitors are invited to inspect the gunnery arrangements and a certain part of the vessel which had sustained some damage during the late expedition.

From some of the officers and crew of this vessel I obtain a few particulars relative to the bombardment of Callao, and these I hasten to use for the benefit of the American newspaper which I serve.

Another interesting event is the attempted escape from the town jail of upwards of two hundred prisoners. The whole town is for many days thrown into a state of alarm, for eleven out of the number succeed in effecting their escape. These are, however, eventually captured by the police, and after being tried in the usual way by court-martial, are sentenced to be shot in public. Upon the morning of the execution, there is great excitement in town. The execution is a fearful spectacle, for the firing has to be repeated more than once before the unfortunates are p.r.o.nounced dead. One of the victims is my former fellow-prisoner, the communicative Indian, who, after the first shots had been fired by the soldiers, offered to confess his sins, which he had hitherto refused to do upon the plea that the instrument of confession was 'only a piece of crossed wood.'

CHAPTER XIII.

CUBAN MUSIC.

A Soiree at Don Laureano's--An eminent Violinist and Composer--Cuban Pianos--Real Negro Minstrels--Carnival Songs--Coloured Improvisatores.

All work and no play makes even a 'follower of the divine art of Apelles' a dull caballero; so when the day's toils are over, my companion and I amuse ourselves in various ways. The theatre, the Retreta, or promenade, a ball at the Philharmonic, and masquerading during the carnival season, are among our favourite diversions.

Sometimes I enjoy these amus.e.m.e.nts in company with my partner; but when his society is denied me, I avail myself of the companionship of my friend Tunicu, who is a great authority in all matters appertaining to the 'gay and festive.'

Being fond of music, Tunicu introduces me to his friend Laureano, who is a favourite musical composer and an accomplished violinist. In appearance, Don Laureano strongly resembles the renowned Paganini, and it is for this reason, together with his marvellous performances on the violin, that his admirers sometimes advise him to visit Europe and America.

Don Laureano is chiefly employed as leader of the theatrical band and as conductor of the orchestra which performs on fiestas at the cathedral.

He also gives lessons in pianoforte and violin playing, and composes songs and 'zarzuelas.' Once this accomplished gentleman wrote an entire oratorio of some five hundred pages, which after being printed and gorgeously bound, was presented to Her Catholic Majesty the Queen of Spain.

Laureano gives musical matinees and soirees at his private dwelling.

Everybody in the town being personally acquainted with him, no special invitations are issued, but those who are inclined to enjoy a little music, have only to enter the Don's open door, which has direct communication with his reception room. Those who can obtain neither seats nor standing-room, remain in the street, where, the huge windows of the musician's house being devoid of gla.s.s, the performances are perfectly audible. Negroes and mulattoes of all shades are among the spectators of the pavement; but with the exception of a few coloured musicians, only white people are admitted within the building.

The programme of entertainments includes popular melodies, selections from oratorios, zarzuelas and Cuban dances. Laureano is a.s.sisted by his son, Laureanito, who, notwithstanding his tender years, is a proficient on the piano. This youthful prodigy usually accompanies his parent when the latter enraptures his audience with a brilliant solo performance on his favourite instrument.

Don Laureano is fond of comparing 'musical notes' with foreigners, and finding that I sing comic songs and strum a little on the piano, he occasionally prevails upon me to oblige the company with some of my reminiscences of popular European airs.

The productions of such foreigners as have been inspired to compose pieces founded on Cuban music, are also included in Don Laureano's repertory. Ravina's far-famed 'Habaneros,' Gottschalk's 'Ojos Criollos'

and Salaman's 'Spanish Caprice,' are favourites with a Cuban audience.

But, like all Cuban and Spanish music, they require to be played with a certain local sentiment, and it is for this reason that the most accomplished European performers often fail to satisfy the Cuban musical appet.i.te. Under the practised hands of a Cuban player, however, every justice is done to the compositions I have quoted.

Don Laureano's piano does not differ from any other piano, save that its mechanism is in some way adapted to suit the requirements of a tropical climate. Pianos of American manufacture are popular in Cuba; but Pleyel's instruments are preferred by some, on account of their soft tone and durability. A piano is an expensive luxury in the West Indies; its intrinsic value being comparatively small when the cost of its transfer from Europe or America, and the duty charged thereon, are considered. Pianos, moreover, do not last as long in the tropics as they do in colder climates, and great care is accordingly taken of their delicate machinery. To ensure against any moisture which may ascend from the marble or brick floor of the chamber in which the instrument is lodged, small gla.s.s cups are placed as insulators under the castors. It is considered highly detrimental to the tone of a piano to use it during damp or wet weather; so, on a rainy day, the instrument is locked up and the key carefully concealed by its owner.

Among the coloured community are many accomplished performers on every instrument except the piano; for, somehow, the dark digits of these gentlemen do not adapt themselves to the white and black ivories.

Veritable 'negro minstrels' are, in Cuba, as plentiful as blackberries; but, as they 'never perform out of' the island, their renown is purely local. The mulatto, Urriola, is famous for his performances on the cornet-a-piston and the double-ba.s.s, and his young son is a favourite flute-player. Lino Boza is the name of a distinguished negro performer on the clarionet. He is also a popular composer of Cuban dance music.

These musical geniuses are all free, and reside in La Calle del Rey Pelayo--a quarter of the town much frequented by the emanc.i.p.ated tribes.

Urriola and his son, together with Lino Boza and other black and brown gentlemen, are great acquisitions in the orchestras of the theatre, the cathedral, and the public b.a.l.l.s; but their services are mostly in request during the carnival season, and on certain fiestas. They are, indeed, in such demand for the latter occasions, that engagements with them are entered into days before these festivities take place, and not unfrequently the same band is required to play at a dozen different localities in one day.

The 'Danza Criolla' is the patriotic music of Cuba, and every fresh carnival gives birth to a new set of these 'danzas.' When the air happens to be unusually 'pegajoza,' or catching, a brief song is improvised, and the words of this song chime so well with the music which suggests them, as to form a sort of verbal counterpart of the melody.

The merits of these songs are not, however, confined to a judicious selection of words to suit the air. There is often a quaint local humour conveyed in the doggerel verses; the charm being greatly enhanced by the introduction of creole slang and misp.r.o.nounced Spanish. Fragments of these effusions occasionally degenerate into street sayings, which are in everybody's mouth till the next carnival. One of the most popular during a certain year was 'Tocolo mejor que tu!' which means Tocolo is a better fellow than you. Other equally choice refrains--though not to be rendered into corresponding English--are 'Amarillo! suenemelo pinton,'and 'Calabazon, tu estas pinton.'

The following ditty, attached to a favourite Cuban danza, called 'La Chupadera,' meets with many admirers. In the original it begins:--

Ay! si lo se, que yo estoy diciendo, Que la chupadera a real esta vendiendose, Cuando chupamos, cuando llueve, todo mojamos, &c.

which emphatically affirms that at a certain period of the (carnival) day one may become comfortably tipsy for the small sum of five-pence, and it further demonstrates how rain and rum can alike moisten the human body.

Here is some wholesome advice for procrastinating people:--

Ay! Policarpio; toma la sopa, Mientras que esta caliente; Tomela, chino, que te se enfria!

in which Policarpio is recommended to drink his soup while it is hot, and not to wait until the nourishment is cold and unpalatable.

Arrempuja! que por el hoyo se engarta la aguja.

is equally sententious. Forward! for remember that the needle can only be threaded through its eye.

The following brief song speaks in praise of the neighbours at Santo Domingo:--

Por un Espanol doy medio; Por un Cubano--un doblon; Y por un Dominicano Doy vida y corazon!

in which a Spaniard is estimated at two-pence, a Cuban at a doubloon, and a Dominican at nothing less than 'life and soul.'

Here is some sage advice for a young lady seeking a husband:--

Chiquilla, si te casaras, Casate con un 'scribano; Qu' aunque no tenga dinero, Siempre con la pluma en mano--

recommending to her notice a hard-working clerk, who, although possibly deficient in fortune, has the power of earning one with his pen.

A baker is (in song) also considered an eligible match in preference to a tobacconist, for whereas the latter cannot always provide the necessaries of life, the former is at least sure of bread, chocolate (which every Cuban baker manufactures and sells), and a few 'reales,' at a very early hour of the day; as the original words clearly demonstrate:--

La mujer del tabaquero No tiene nada seguro.

La mujer del panadero Todo lo tiene seguro; Que a las cinco de la manana Tiene el pan y el chocolate, Y los tres reales, seguros.

The following is a specimen of a serenade, which is more remarkable for its local a.s.sociations than for its originality:--