“How’s this?” he murmured. “Can history lie? Doesn’t this book say that Alonso Saavedra gave the country that name in honor of the prince, Don Felipe? How was that name corrupted? Can it be that this Alonso Saavedra was an Indian?”110
With these doubts he went to consult the sergeant Gomez, who, as a youth, had wanted to be a curate. Without deigning to look at the corporal the sergeant blew out a mouthful of smoke and answered with great pompousness, “In ancient times it was pronounced ‘Filipi’ instead of ‘Felipe.’ But since we moderns have become Frenchified we can’t endure two i’s in succession, so cultured people, especially in Madrid—you’ve never been in Madrid?—cultured people, as I say, have begun to change the first i to e in many words. This is called modernizing yourself.”
The poor corporal had never been in Madrid—here was the cause of his failure to understand the riddle: what things are learned in Madrid! “So now it’s proper to say—”
“In the ancient style, man! This country’s not yet cultured! In the ancient style, Filipinas!” exclaimed Gomez disdainfully.
The corporal, even if he was a bad philologist, was yet a good husband. What he had just learned his spouse must also know, so he proceeded with her education: “Consola, what do you call your damned country?”
“What should I call it? Just what you taught me: Felifinas!”
“I’ll throw a chair at you, you ⸻! Yesterday you pronounced it even better in the modern style, but now it’s proper to pronounce it like an ancient: Feli, I mean, Filipinas!”
“Remember that I’m no ancient! What are you thinking about?”
“Never mind! Say ‘Filipinas!’ ”
“I don’t want to. I’m no ancient baggage, scarcely thirty years old!” she replied, rolling up her sleeves and preparing herself for the fray.
“Say it, you ⸻, or I’ll throw this chair at you!”
Consolacion saw the movement, reflected, then began to stammer with heavy breaths, “Feli—, Fele—, File—”
Pum! Crack! The chair finished the word. So the lesson ended in fisticuffs, scratchings, slaps. The corporal caught her by the hair; she grabbed his goatee, but was unable to bite because of her loose teeth. He let out a yell, released her and begged her pardon. Blood began to flow, one eye got redder than the other, a camisa was torn into shreds, many things came to light, but not Filipinas.
Similar incidents occurred every time the question of language came up. The corporal, watching her linguistic progress, sorrowfully calculated that in ten years his mate would have completely forgotten how to talk, and this was about what really came to pass. When they were married she still knew Tagalog and could make herself understood in Spanish, but now, at the time of our story, she no longer spoke any language. She had become so addicted to expressing herself by means of signs—and of these she chose the loudest and most impressive—that she could have given odds to the inventor of Volapük.
Sisa, therefore, had the good fortune not to understand her, so the Medusa smoothed out her eyebrows a little, while a smile of satisfaction lighted up her face; undoubtedly she did not know Tagalog, she was an orofea!
“Boy, tell her in Tagalog to sing! She doesn’t understand me, she doesn’t understand Spanish!”
The madwoman understood the boy and began to sing the “Song of the Night.” Doña Consolacion listened at first with a sneer, which disappeared little by little from her lips. She became attentive, then serious, and even somewhat thoughtful. The voice, the sentiment in the lines, and the song itself affected her—that dry and withered heart was perhaps thirsting for rain. She understood it well: “The sadness, the cold, and the moisture that descend from the sky when wrapped in the mantle of night,” so ran the kundíman, seemed to be descending also on her heart. “The withered and faded flower which during the day flaunted her finery, seeking applause and full of vanity, at eventide, repentant and disenchanted, makes an effort to raise her drooping petals to the sky, seeking a little shade to hide herself and die without the mocking of the light that saw her in her splendor, without seeing the vanity of her pride, begging also that a little dew should weep upon her. The nightbird leaves his solitary retreat, the hollow of an ancient trunk, and disturbs the sad loneliness of the open places—”
“No, don’t sing!” she exclaimed in perfect Tagalog, as she rose with agitation. “Don’t sing! Those verses hurt me.”
The crazy woman became silent. The boy ejaculated, “Abá! She talks Tagalog!” and stood staring with admiration at his mistress, who, realizing that she had given herself away, was ashamed of it, and as her nature was not that of a woman, the shame took the aspect of rage and hate; so she showed the door to the imprudent boy and closed it behind him with a kick.
Twisting the whip in her nervous hands, she took a few turns around the room, then stopping suddenly in front of the crazy woman, said to her in Spanish, “Dance!” But Sisa did not move.
“Dance, dance!” she repeated in a sinister tone.
The madwoman looked at her with wandering, expressionless eyes, while the alféreza lifted one of her arms, then the other, and shook them, but to no purpose, for Sisa did not understand. Then she began to jump about and shake herself, encouraging Sisa to imitate her. In the distance was to be heard the music of the procession playing a grave and majestic march, but Doña Consolacion danced furiously, keeping other time to other music resounding within her. Sisa gazed at her without moving, while her eyes expressed curiosity
