Not
everything worth reading is hot off the press. In this section, we recommend "something old" that is still well worth
reading. "Something old" can mean anything from a venerable and antique
classic to a good book first published five or more years ago.
“THE THREE-CORNERED HAT, and other stories” by Pedro Antonio
de Alarcon (El Sombrero des tres picos
and the others first published in Spanish 1870s-1880s; many English translations;
Michael Alpert’s Penguin Classics translation 1975)
There are some stories which are
known principally as names, or because somebody has adapted them into another
medium. I first heard of The
Three-Cornered Hat (El Sombrero des
tres picos) the same way most people do – because I had listened to, and
greatly enjoyed, Manuel de Falla’s ballet suite inspired by the story. For a
while, its lively music vied in popularity in my household with Milhaud’s even
bouncier Le boeuf sur le toit.
Finally, on a visit to a second-hand bookstore, I bought a battered copy of
Michael Alpert’s Penguin Classics translation of the story itself, printed
together with other stories by Pedro Antonio de Alarcon (1833-91).
Coming in at a mere 80 Penguin
Classics pages, The Three-Cornered Hat
(published in 1874 when the author was forty) is Alarcon’s expansion of a
popular Andalusian folk tale, which was generally known as “The Corrigedor and
the Miller’s Wife”.
In Andalusia, sometime before the
Napoleonic Wars, the miller Lucas Fernandez, ugly but ingenious, lives with his
beautiful, resourceful and virtuous wife Frasquita. The lustful Corrigedor
(provincial governor) Don Eugenio wants to seduce Frasquita and gets his
henchmen to lure Lucas away from the mill so that he can have his way. But,
falling into the mill-race and getting a soaking, Don Eugenio has to recuperate
by stripping off his clothes and lying in the miller’s bed.
Returning home, Lucas thinks the
worst has happened, so he steals the Corrigedor’s clothes and sets off in his
turn to get his revenge by sleeping with the Corrigedor’s wife Mercedes.
All turns out happily, however,
for both women preserve their virtue and Mercedes and Frasquita expose the
Corrigedor’s hypocrisy when he attempts to prosecute Lucas for impersonating
him.
The action of the story, and the
author’s style, add up to playful farce. It plays out as if on a popular stage,
which may be one reason why many composers (as well as de Falla) have composed
music for stage or ballet adaptations. Of course, in the person of the lustful
and inept Corrigedor, the absolutist regime of the old Bourbons is ridiculed a
little. But the satire is affectionate and in his brief epilogue, Alarcon says
that when Napoleon invaded Spain, not too many years after the story is set,
the Corrigedor, to his credit, died rather than collaborating.
Among other things, this alludes
to the awkward fact that on the whole, the people of Spain rallied to the
defence of their conservative regime, even if Napoleon’s armies were promising
greater freedom and something nearer resembling democracy. (It’s the old truth
that people always prefer their own government to one imposed from outside.)
In short, this cheerful and silly
tale seems to be the sort of satire that a man in his forties would write when
he has become reconciled to many of the conservative things which he attacked
vigorously in his youth (as Alarcon did).
As I read The Three-Cornered Hat, I couldn’t help thinking of other works
that adopt
one of the main satirical techniques of Alarcon’s story. The
Corrigedor’s clothes and immense tricorne (three-cornered hat) become a symbol
of bumbling ancien regime
officialdom. This is reminiscent of a drawing, which William Makepeace
Thackeray did in his Paris Sketchbook,
to ridicule the absolutist monarchy of old France. One is headed “Rex”, and
shows a really imposing suit of royal clothes. The other is headed “Ludovicus”,
and shows a weedy and nondescript little man. But put the two together and you
have “Ludovicus Rex” – a portrait of Louis XIV. The implication is, of course,
that (like Alarcon’s Corrigedor) the absolutist king is a mere nobody who is
revered and honoured only because of all the pomp surrounding him and the
clothes he wears. I noted some years back that the French film La Nuit de Varennes (1982) pulled off
the same stunt. Set in the French Revolution, it has a scene in which a woman
gets nostalgic for the days when she curtseyed before the king at Versailles. A
suit of royal clothes is produced, and she gets just as much satisfaction
curtseying before the empty suit.
Democracy was not exactly secure,
and the monarchy is Spain still had great power, at the time Alarcon was
writing. Even so, the fact that Alarcon was satirising the manners of “olden
times” also put me in mind of Mark Twain writing about slavery and old Southern
manners in Huckleberry Finn and Pudd’nhead Wilson (look up comments on the latter via the index) long after the slavery and the old customs
had gone with the wind.
Above all, though, The Three-Cornered Hat is a tale in
which the common people (the miller and his wife) are more resourceful and
ingenious than the aristocrat (the Corrigedor) – and the government official is
ruled by his more intelligent wife. We are in the realm of Beaumarchais’
Figaro, Susanna and the Countess at odds with the Count Almaviva in The Marriage of Figaro.
The view of the outmoded past is
more gently amused than angry.
Captain Poison (El Capitan
Veneno), the other substantial story in the Michael Alpert translation,
weighs in at just over 60 pages and was first published in 1881. Though less
well known, it is a more satisfying piece of fiction than The Three-Cornered Hat. I read it as a kind of cross between The Man Who Came to Dinner and the
Beatrice and Benedick scenes of Much Ado
About Nothing.
In the 1848 uprising in Madrid, a
monarchist captain is wounded in the street-fighting with republicans. He is
dragged to safety by a mother and daughter, who are impoverished aristocrats.
He recuperates in their cramped city apartment. He is forty years old and
nicknamed “Captain Poison” for his acerbic wit and quarrelsomeness. He is
determined not to like his rescuers, especially the daughter who cares for him.
But over the weeks, as they snap at each other (and she usually gets the better
of him), he clearly falls in love with her. Oh Beatrice! Oh Benedick!
When the mother dies, he marries
the daughter and – though he said he’d never have children – they raise a
family.
In many respects, this is a more
genuinely satirical story than The
Three-Cornered Hat, because it is set in Alarcon’s own times. The mother in
the story is the widow of a Carlist “general” from the Carlist Wars of the
1830s, and much of the story’s humour hinges on her pretensions to noble rank.
She has been living by selling off family heirlooms while pretending to have
great family wealth. She dies when her application to have her noble rank
officially recognised is turned down. Snobbery really can kill. “Captain
Poison” pays for her funeral, but attempts to disguise his own generosity from
the daughter. While ridiculing snobbery, shabby gentility and rather pointless
pretensions to rank, Alarcon is also dramatizing the truism that some of the
most altruistic people in the world would prefer not to advertise their own
goodness of heart. It is the exact opposite of the “Lady Bountiful” syndrome.
I should note that the Penguin
Classics collection contains three other much shorter stories by Alarcon, more
in the nature of anecdotes. In The
Receipt Book, a peasant outwits a thief. In The Three-Key Cornet, a p.o.w. escapes death by learning to play
music fast. In The Foreigner, a
Spanish guerrilla murders a Polish prisoner who has been fighting for Napoleon.
Fate later puts the guerrilla in the hands of the Poles.
They are brisk savage (or
amusing) stories. A de Maupassant (or a Frank O’Connor) would not have been
ashamed to write them. But it is The
Three-Cornered Hat and Captain Poison
that rightly dominate the volume.
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