Chapter 22: The Performance

The interior of the theater presented a lively aspect. It was filled from top to bottom, with people standing in the corridors and in the aisles, fighting to withdraw a head from some hole where they had inserted it, or to shove an eye between a collar and an ear. The open boxes, occupied for the most part by ladies, looked like baskets of flowers, whose petals—the fans—shook in a light breeze, wherein hummed a thousand bees. However, just as there are flowers of strong or delicate fragrance, flowers that kill and flowers that console, so from our baskets were exhaled like emanations: there were to be heard dialogues, conversations, remarks that bit and stung. Three or four boxes, however, were still vacant, in spite of the lateness of the hour. The performance had been advertised for half-past eight and it was already a quarter to nine, but the curtain did not go up, as his Excellency had not yet arrived. The gallery-gods, impatient and uncomfortable in their seats, started a racket, clapping their hands and pounding the floor with their canes.

“Boom—boom—boom! Ring up the curtain! Boom—boom—boom!”

The artillerymen were not the least noisy. Emulators of Mars, as Ben-Zayb called them, they were not satisfied with this music; thinking themselves perhaps at a bullfight, they made remarks at the ladies who passed before them in words that are euphemistically called flowers in Madrid, although at times they seem more like foul weeds. Without heeding the furious looks of the husbands, they bandied from one to another the sentiments and longings inspired by so many beauties.

In the reserved seats, where the ladies seemed to be afraid to venture, as few were to be seen there, a murmur of voices prevailed amid suppressed laughter and clouds of tobacco smoke. They discussed the merits of the players and talked scandal, wondering if his Excellency had quarreled with the friars, if his presence at such a show was a defiance or mere curiosity. Others gave no heed to these matters, but were engaged in attracting the attention of the ladies, throwing themselves into attitudes more or less interesting and statuesque, flashing diamond rings, especially when they thought themselves the foci of insistent opera-glasses, while yet another would address a respectful salute to this or that señora or señorita, at the same time lowering his head gravely to whisper to a neighbor, “How ridiculous she is! And such a bore!”

The lady would respond with one of her most gracious smiles and an enchanting nod of her head, while murmuring to a friend sitting near, amid lazy flourishes of her fan, “How impudent he is! He’s madly in love, my dear.”

Meanwhile, the noise increased. There remained only two vacant boxes, besides that of his Excellency, which was distinguished by its curtains of red velvet. The orchestra played another waltz, the audience protested, when fortunately there arose a charitable hero to distract their attention and relieve the manager, in the person of a man who had occupied a reserved seat and refused to give it up to its owner, the philosopher Don Primitivo. Finding his own arguments useless, Don Primitivo had appealed to an usher. “I don’t care to,” the hero responded to the latter’s protests, placidly puffing at his cigarette. The usher appealed to the manager. “I don’t care to,” was the response, as he settled back in the seat. The manager went away, while the artillerymen in the gallery began to sing out encouragement to the usurper.

Our hero, now that he had attracted general attention, thought that to yield would be to lower himself, so he held on to the seat, while he repeated his answer to a pair of guards the manager had called in. These, in consideration of the rebel’s rank, went in search of their corporal, while the whole house broke out into applause at the firmness of the hero, who remained seated like a Roman senator.

Hisses were heard, and the inflexible gentleman turned angrily to see if they were meant for him, but the galloping of horses resounded and the stir increased. One might have said that a revolution had broken out, or at least a riot, but no, the orchestra had suspended the waltz and was playing the royal march: it was his Excellency, the Captain-General and Governor of the islands, who was entering. All eyes sought and followed him, then lost sight of him, until he finally appeared in his box. After looking all about him and making some persons happy with a lordly salute, he sat down, as though he were indeed the man for whom the chair was waiting. The artillerymen then became silent and the orchestra tore into the prelude.

Our students occupied a box directly facing that of Pepay, the dancing girl. Her box was a present from Makaraig, who had already got on good terms with her in order to propitiate Don Custodio. Pepay had that very afternoon written a note to the illustrious arbiter, asking for an answer and appointing an interview in the theater. For this reason, Don Custodio, in spite of the active opposition he had manifested toward the French operetta, had gone to the theater, which action won him some caustic remarks on the part of Don Manuel, his ancient adversary in the sessions of the Ayuntamiento.

“I’ve come to judge the operetta,” he had replied in the tone of a Cato whose conscience was clear.

So Makaraig was exchanging looks of intelligence with Pepay, who was giving him to understand that she had something to tell him. As the dancing girl’s face wore a happy expression, the students augured that a favorable outcome was assured. Sandoval, who had just returned from making calls in other boxes, also assured them that the decision had been favorable, that that very afternoon the Superior Commission had considered and approved it. Every one was jubilant, even Pecson having laid aside his pessimism when he saw the smiling Pepay display a note. Sandoval and Makaraig congratulated one another, Isagani alone remaining cold and unsmiling. What had happened to this young man?

Upon entering the theater, Isagani had caught sight of Paulita in a box, with Juanito Pelaez talking to her. He had turned pale, thinking that he must be mistaken. But no, it was she herself, she who greeted him with a gracious smile, while her beautiful eyes seemed to be asking pardon and promising explanations. The fact was that they had agreed upon Isagani’s going first to the theater to see if the show contained anything improper for a young woman, but now he found her there, and in no other company than that of his rival. What passed in his mind is indescribable: wrath, jealousy, humiliation, resentment raged within him, and there were moments even when he wished that the theater would fall in; he had a violent desire to laugh aloud, to insult his sweetheart, to challenge his rival, to make a scene, but finally contented himself with sitting quiet and not looking at her at all. He was conscious of the beautiful plans Makaraig and Sandoval were making, but they sounded like distant echoes, while the notes of the waltz seemed sad and lugubrious, the whole audience stupid and foolish, and several times he had to make an effort to keep back the tears. Of the trouble stirred up by the hero who refused to give up the seat, of the arrival of the Captain-General, he was scarcely conscious. He stared toward the drop-curtain, on which was depicted a kind of gallery with sumptuous red hangings, affording a view of a garden in which a fountain played, yet how sad the gallery looked to him and how melancholy the painted landscape! A thousand vague recollections surged into his memory like distant echoes of music heard in the night, like songs of infancy, the murmur of lonely forests and gloomy rivulets, moonlit nights on the shore of the sea spread wide before his eyes. So the enamored youth considered himself very wretched and stared fixedly at the ceiling so that the tears should not fall from his eyes.