Peru had passed within fifty years from a frontier state to a state in renaissance. Its interest in music and the theatre was intense. Lima celebrated its feast days by hearing a Mass of Tomás Luis da Victoria in the morning and the glittering poetry of Calderón in the evening. It is true that the Limeans were given to interpolating trivial songs into the most exquisite comedies and some lachrymose effects into the austerest music; but at least they never submitted to the boredom of a misplaced veneration. If they had disliked heroic comedy the Limeans would not have hesitated to remain at home; and if they had been deaf to polyphony nothing would have prevented their going to an earlier service. When the Archbishop returned from a short trip to Spain, all Lima kept asking: “What has he brought?” The news finally spread abroad that he had returned with tomes of masses and motets by Palestrina, Morales and Vittoria, as well as thirty-five plays by Tirso de Molina and Ruiz de Alarçon and Moreto. There was a civic fête in his honor. The choirboys’ school and the green room of the Comedia were swamped with the gifts of vegetables and wheat. All the world was eager to nourish the interpreters of so much beauty.
This was the theatre in which Camila Perichole gradually made her reputation. So rich was the repertory and so dependable the prompter’s box that few plays were given more than four times a season. The manager had the whole flowering of the seventeenth-century Spanish drama to draw upon, including many that are now lost to us. The Perichole had appeared in a hundred plays of Lope de Vega alone. There were many admirable actresses in Lima during these years, but none better. The citizens were too far away from the theatres of Spain to realize that she was the best in the Spanish world. They kept sighing for a glimpse of the stars of Madrid whom they had never seen and to whom they assigned vague new excellences. Only one person knew for certain that the Perichole was a great performer, and that was her tutor Uncle Pio.
Uncle Pio came of a good Castilian house, illegitimately. At the age of ten he ran away to Madrid from his father’s hacienda and was pursued without diligence. He lived ever after by his wits. He possessed the six attributes of the adventurer—a memory for names and faces, with the aptitude for altering his own; the gift of tongues; inexhaustible invention; secrecy; the talent for falling into conversation with strangers; and that freedom from conscience that springs from a contempt for the dozing rich he preyed upon. From ten to fifteen he distributed handbills for merchants, held horses, and ran confidential errands. From fifteen to twenty he trained bears and snakes for travelling circuses; he cooked, and mixed punches; he hung about the entries of the more expensive taverns and whispered informations into the travellers’ ears—sometimes nothing more dubious than that a certain noble house was reduced to selling its plate and could thus dispense with the commission of a silversmith. He was attached to all the theatres in town and could applaud like ten. He spread slanders at so much a slander. He sold rumors about crops and about the value of land. From twenty to thirty his services came to be recognized in very high circles—he was sent out by the Government to inspirit some halfhearted rebellions in the mountains, so that the government could presently arrive and wholeheartedly crush them. His discretion was so profound that the French party used him even when they knew that the Austrian party used him also. He had long interviews with the Princesse des Ursins, but he came and went by the back stairs. During this phase he was no longer obliged to arrange gentlemen’s pleasures, nor to plant little harvests of calumny.
He never did one thing for more than two weeks at a time even when enormous gains seemed likely to follow upon it. He could have become a circus manager, a theatrical director, a dealer in antiquities, an importer of Italian silks, a secretary in the Palace or the Cathedral, a dealer in provisions for the army, a speculator in houses and farms, a merchant in dissipations and pleasures. But there seemed to have been written into his personality, through some accident or early admiration of his childhood, a reluctance to own anything, to be tied down, to be held to a long engagement. It was this that prevented his thieving, for example. He had stolen several times, but the gains had not been sufficient to offset his dread of being locked up; he had sufficient ingenuity to escape on the field itself all the police in the world, but nothing could protect him against the talebearing of his enemies. Similarly he had been reduced for a time to making investigations for the Inquisition, but when he had seen several of his victims led off in hoods he felt that he might be involving himself in an institution whose movements were not evenly predictable.
As he approached twenty, Uncle Pio came to see quite clearly that his life had three aims. There was first this need of independence, cast into a curious pattern, namely—the desire to be varied, secret and omniscient. He was willing to renounce the dignities of public life, if in secret he might feel that he looked down upon men from a great distance, knowing more about them than they knew themselves; and with a knowledge which occasionally
