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MEMOIRS OF
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VOL. IX
I907




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NACIMIENTO OR DECORATED ALTAR REPRESENTING THE NATIVITY




TRANSLATION, INTRODUCTION
AND NOTES
BY
M. R. COLE


WITH ILL US 7TRA 2TIONS AND MUSIC
*t
BOSTON AND NEW YORK
PUBLISHED FOR THE AMERICAN FOLK-LORE SOCIETY
BY HOUGHTON, MIFFLIN AND COMPANY
LONDON: DAVID NUTT, 57, 59 LONG ACRE
LEIPZIG: OTTO HARRASSOWITZ, QUERSTRASSE, x4
1907




COPYRIGHT 1907 BY THE AMERICAN POLK-LORE SOCIETY
ALL RIGHTS RESERVED
Published March iqo7




CONTENTS


INTRODUCTION
Texts.....
Sources.
Illustrations
Music.....
Performance.....x
XXi
*  v. ii.  xxi.  xxiii.  xxiv


Los PASTORES..............                   I
NOTES...........                          177
APPENDIX I
Parallel Scenes..........                195
Auto da Mofino Mendes.........20
APPENDIX II
Description of San Antonio Pastores.... 205
APPENDIX III
The New Mexican Pastores..                 211


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LIST OF ILLUSTRATIONS
NACIMIENTO OR DECORATED ALTAR REPRESENTING THE
NATIVITY...    Frontispiece
THE ACTORS IN FULL COSTUME, EXCEPT THAT THE
DEVILS ARE WITHOUT THEIR MASKS                  2.
THE DEVIL'S CLOAK, WITH CROOKS AND SATCHELS
OF THE SHEPHERDS.                             46
THE HERMIT AND TWO DEVILS.    50
SEVEN DEVILS AND SHEPHERD LAD.  84
GABRIEL AND GILA......    96
GILA....... Io8
PARAPHERNALIA OF THE PLAYERS.                  128
SHEPHERDS URGING BARTOLO TO RISE.           48




I




INTRODUCTION


TEXTS
IN an article published in the Journal of American
Folk-Lore for April, I893, Captain John G. Bourke
described a Spanish Miracle Play which he saw at
Rio Grande City, Texas, during the Christmas season
of I89I. This play was called Los Pastores, and it
claimed to be traditional. Most of the actors could
neither read nor write. They learned their parts as
their leader, a cobbler, repeated them line by line, and
spent weeks in that laborious preparation. Captain
Bourke induced the cobbler to write out the whole
text for him; and two years later, when he saw the
same play in San Antonio, he secured photographs of
the actors and phonographic records of most of the
songs. Captain Bourke turned over his collection to
the Secretary of the American Folk-Lore Society, the
text was translated, and presented at a meeting of the
Boston Branch, January 24, 1902, with the music and
lantern-slide illustrations, and the material is now
published for the first time in this volume.
We can easily believe that traditional plays still
linger in the heart of Mexico, and indeed the text
of one of the old Conquista plays was published only a
few years ago; 1 but the popular production of an old
Miracle Play on American soil, at the end of the nine1 Letra de la Danza de Pluma de Moctezuma y Hernan Cortms, con
los capitanes y reyes que intervinieron en la Conquista de Mdxico. In
International Congress of Americanists, z2th Session. Paris, 1902.




X


INTROD>UCTION


teenth century, is really surprising, and brings home
the fact that no inconsiderable part of the population
of Texas is still Mexican in everything but name. The
Spanish ancestors of the modem Mexicans were peculiarly fond of sacred drama, and not alone of the
medieval plays which were equally popular in other
European countries. Long after public taste had outgrown those primitive spectacles, sacred drama continued to develop in Spain, aided by the intense Catholicism of the country, and by the restraint to which
secular drama was subjected. LopldedeVega lent the
splendor of his genius to the auto sacramental, while
Calder6n raised that form of symbolic drama to its
highest level, contributing to the national repertory
more than seventy Corpus Christi Plays. Inherited
taste may well explain why the modern Mexican
should enjoy that form of drama, and why religious
plays are still written and published in Mexico.I
If Los Pastores were one of these modem productions, it would have little value for us; but if, as is
claimed, it is a popularsurvival, the play is of the greatest interest. Positive proof as to its origin is lacking.
Captain Bourke thought that the play might have
been brought from the Canaries, since the early settlers
of San Antonio and adjacent regions came from those
islands. We learn from Miss Sarah King of San
Antonio, and Dr. S. N. Merrick of Boston, a former
resident of that city, that according to local tradition
the priests introduced Los Pastores into Mexico for the
Aztecs, and brought it from Mexico to Texas. Father
Parisot in his Reminiscences also refers to it as one
of the traditional plays introduced by the early Franciscan Friars, and still performed at Christmas time
1 We are indebted to Mr. Arthur L. Eno for calling our attention to the modem Mexican Pastorelas.




IINTRO DUCTI ON


xi


in Mexico and on the American side of the Rio
Grande.1 We have recently obtained information in
regard to two additional versions of Los Pastores, and
their existence in widely separated regions, taken in
connection with the local tradition and some internal evidence, makes us feel reasonably sure that Los
Pastores is an old play of Mexican origin. Considering
the history of religious drama in Mexico, it seems
probable that the missionaries, among whom the
Franciscans were the earliest, were instrumental in
introducing plays of this type in all the native communities which they sought to influence.
The Catholic Church, which established itself officially in Mexico immediately after the Conquest, used
the sacred drama, then so popular in Spain, as a means
of propaganda. In MIxico d travis de los Siglos Riva
Palacio writes:
"Theatrical performances began in Mexico shortly
after the arrival of the Conquerors. The subjects
represented were usually scriptural, or concerning the
wars of the Christians and Moors, in which explication of Christian doctrine occupied an important place.
In all religious and political celebrations care was taken
to include some sacred comedy or Corpus Christi
Play, which was usually performed in the open air,
so that all might attend. In the famous festival of Corpus Christi at Tlaxcala, in 1538, an elaborate auto
was given, the subject being the sin of Adam and
Eve. This auto was performed by native converts, for
whom it had been translated into their own language."
Descriptions of this and other notable festivals of
the middle sixteenth century were written by the mis1 Reminiscences of a Texas Missionary, by Father P. F. Parisot.
San Antonio, I899; communicated through the kindness of Mr.
Edward W. Hensinger of San Antonio.




Xll


INTRODUCTION


sionary Molotinia, and may be found in his Ilistoria
de los Indios de Nueva Espana.1    Pimentel devotes
several pages to the subject of autos.2 He refers to
the Friars as the authors of many religious dramas,
and speaks of the extensive use made of such spectacles in the work of conversion. He says that even
after the official discontinuance of Corpus Christi
Plays, the more objective religious dramas remained
long in public favor, especially in the smaller communities. As late as the middle of the last century,
travellers in Mexico, Bayard Taylor among them, were
still describing the Nacimientos and other religious
plays which they saw there; while the number of
modern Pastorelas still published shows that there is
even now a certain degree of interest in that class of
literature. Mexico is thus shown to be a particularly
favorable ground for the development and preservation of religious drama, and it is the natural source
from which outlying settlements like Texas and New
Mexico would draw such plays.
Of the two additional versions of Los Pastores referred to, one is a text communicated by Miss Honora
De Busk, who saw the play at San Rafael, New Mexico, in I899. Miss De Busk secured a copy of the
manuscript, which, with a note concerning it, is
printed in the Appendix. In general outline the plot
resembles ours, but it differs greatly in detail. There
are half a dozen identical passages, one of forty lines,
and several parallel scenes. The names of some of the
principal characters are the same, including Michael,
1 In Documentos para la Historia de IMxico, edited by J. G.
Icazbalceta. Mexico, I866.
2 Historia Critica de la literatura y de las ciencias en Mexico, por
Francisco Pimentel. Mexico, i885.




INTRO DUCTI ON


X11H


Gila, Bato, Bartolo, Lisardo, and the Hermit. The
differences between this play and our Pastores make
it certain that one is not derived directly from the
other; but the resemblances point to a common original. Miss De Busk does not mention any tradition
as to origin, but we see no reason for attributing the
play to any other source than the Mexican Church.
The other version we know only from the reference
made to it by Father Parisot in his Reminiscences. He
merely says that he saw a performance of Los Pastores
in Puebla, Mexico, and then, after speaking of its traditional character, and introduction by the Franciscans,
he adds: "The drama is admirably described in the
Gulf Messenger by Miss Cordelia Fish Brodbent, who
so vividly represents what I have seen rendered by the
Mexicans, and read in two printed copies in Mexico,
that I insert the following extracts."
From this statement we infer that the version given
in Puebla was practically identical with that described
by Miss Brodbent. The printed copies mentioned we
have been unable to obtain, in spite of careful inquiries made by Mrs. Zelia Nuttall of Mexico City
and Miss Sarah King of San Antonio. The Gulf Messenger is a San Antonio paper, and the description
referred to is of a performance in that city. Miss Brodbent's synopsis, which includes fourteen short Spanish
quotations, is given in the Appendix. The plot of the
Nativity part is almost identical with the plot of
our version, but there are several preliminary scenes,
including the Espousal, the Annunciation, the Visitation, and the Journey to Bethlehem. Of the six
quotations from the Nativity proper, three are found
in our text, and one of these also appears in the New
Mexican Pastores.




xiv


INTRODUCTION


There is evidently an intimate connection between
the three versions; but the New Mexican text shows
sufficient divergence from the other two to give it rank
as an independent variant. The close resemblance
between our Pastores and the Nativity episode of the
San Antonio version naturally suggests that the former
may be a corrupt and incomplete version of the latter.
But substantial agreement in incident may be accompanied by extensive differences in text, and as we have
only a description of the San Antonio play, that point
cannot be decided at present. We note in passing that
the San Antonio version seems to lack two important
episodes of our play, - the perinola game and the
Cucharon scene; also that though three quotations
are found in our text, the other three given by Miss
Brodbent do not appear.
The style of Los Pastores varies greatly, ranging
fromcdogg'erel totTe- stsctli3onofgood Spanish models.
The play is written mostly in verse, each line beginning
with a capital; but a few passages stretch across the
whole page like prose. This arrangement was evidently
to save space, or at times from mere carelessness, for
the rhymes and assonances abundantly prove that
these lines, as well as the others, were written in the
usual Spanish metres. The romance predominates, and
there are also a certain number of unrhymed lines of
varying length which it is difficult to classify. Among
the rhymed metres we find a few silvas, several decimas,
many pareados, and numerous redondillas.1 In printing
1 The romance is the traditional ballad metre, consisting of verses
of eight syllables, with assonance in the alternate even lines. The
silva is a mixture of seven and eleven syllable rhymed lines. The
decima is a ten-lined stanza with eight-syllable lines rhyming in the
order abbaaccddc. The pareados are, as the name indicates, coup



INTRODUCTION


XV


we have reduced the prose passages to metrical form,
and supplied punctuation marks and accents when
actually necessary; but in all other respects the manuscript is reproduced exactly.
The form and language employed are common to
seventeenth-century and later work, and we see nothing in the text which indicates an earlier period.
Here and there are a few Mexican words, such as
tamal, bolo, and bule, which give the only touches of
local color. The text is very corrupt, as is shown by
the loose construction, the confusion of ideas, and the
condition of much of the verse. A few passages cannot
be translated intelligibly; and others, while sufficiently
clear in themselves, have little or no connection with
the surrounding text. Many of the shepherd scenes
are commonplace. The recitations at the manger,
while written in an unmistakable spirit of devotion, are
long drawn out, with the evident intention of giving
each shepherd a chance to distinguish himself. The
two comic scenes, on the other hand, are extremely
good. In one, the lad Cuchar6n, whom Lucifer questions about the Messiah, is brother to Shakespeare's
simpletons. In the other, Bartolo's answers to those
who urge him to rise are in a good spirit of Spanish
farce, and reminiscent of a quaint episode in Gil
Vicente's Auto da Mofina Mendes, which is given in
the Appendix. The best serious passages are in the
parts of Michael and Lucifer.
The spelling is extremely interesting, showing as it
does the local pronunciation, and the literary limitations of the scribe. The reader must be prepared to
find c s x and z freely interchanged; h inserted and
lets. The redondilla generally assumes the form made so familiar
by the verses of In Memoriam.




xvi


INTRODUCTION


omitted at random; y used for 11, b for v, and j for g or h
and conversely. N is also written for m too frequently
to be a mere slip of the pen. This phonetic license
sprinkles the text with uncouth forms, such as yevo,
haire, jato, anelo, enpiesan; but there is no system in
these deviations from usage. In one passage the scribe
writes iglesia, and in the next iglecia. Even in a single
verse the same' word is sometimes given two forms,
as in this phrase, -
erir d quien me hiri6.
The grotesque spelling and all the incoherences and
inconsistencies of the play speak eloquently of the hard
usage to which the text has been subjected. But with
all these blemishes, when Los Pastores is compared
with any of the Mexican Pastorelas, its superiority
both in design and execution is immediately evident.
It is like some old court garment, discovered in a forgotten comer, disfigured by stains, rents, and coarse
patches, but still showing the richness of the original
material.
From a text so corrupt it was not easy to prepare
a translation at once faithful and acceptable to the
English reader. The diffuse style made condensation
inevitable, and in doubtful places the spirit of the
passage and the probable meaning were preferred
to a literal rendering. Conjectural stage directions
were inserted in the translation, to make the action
a little clearer; but the discovery of a less corrupt text
would probably make their revision necessary. Spanish
scholars will doubtless find much to criticise in this
method and its application; but for them the translation is of no value, and the text offers itself for their
better interpretation.




INTRODUCTION


xvii
*XVll


SOURCES
The San Antonio tradition assigns to Los Pastores
a remote Mexican origin, but does not refer it to any
definite period. The one allusion in the text which even
vaguely helps toward a date is in the closing lines,
where Bato prays for blessings on his Majesty and the
country where he resides. This reference to the King
of Spain would not have been made after the colonial period, which closed in 1821. How much earlier
the play as a whole may date, we are unable to say.
We have consulted, among other authorities on Mexican literature, the scholarly works of Icazbalceta and
Pimentel,1 and that monumental publication, Mexico
d travis de los Siglos; but nowhere do we find mention
of a shepherd play resembling Los Pastores. These
authorities tell us that during the colonial period
Mexico drew a great part of her literary nourishment
from Spain, and that the priests were frequently the
authors and adapters of the sacred dramas performed
in Mexico. As we find no early Spanish or Mexican
play with a plot resembling ours, and as our text contains a number of passages which have been traced
to Spanish autos of the seventeenth century, we think
that Los Pastores may have been an early adaptation,
made by the priests, from certain Spanish dramas
which were popular at the time.
The most important sources laid under contribution
by the text are two Nativities, El Auto Sacramental al
Nacimiento del Hijo de Dios, by Antonio del Castillo,
and El Coloquio de Nuestro Senor, by Antonio Mira
1 Bibliografta mexicana del siglo xvi, por Joaquin Garcia Icazbalceta. Mexico, I886.
Historia Critica de la literatura y de las ciencias en Mexico, por
Francisco Pimentel. Mexico, i885.




xviii


INTRODUCTION


de Mescua. These plays are accessible to students in
this country chiefly, if not wholly, through the Ticknor
collection in the Boston Public Library.' The Del
Castillo Auto is one of the most interesting Nativities
of the period. It opens with a rustic wedding, and the
Holy Family scenes are merely the background for a
little drama of love, jealousy, revenge, and repentance.
The contest between Michael and Lucifer is an important feature of the plot, although beyond the comprehension of the peasants, who address Michael as
"My good young man," and believe that Lucifer is a
grandee in rebellion against their king. The verses
borrowed from the Auto are found chiefly in the parts
of Lucifer and Michael, and aside from these scenes
there is no resemblance between the two plays. The
character of Lucifer in the Auto is very well drawn,
and the Prince of Darkness is endowed with a degree
of dignity rarely to be found in a Spanish devil. He
contests with Michael for the soul of a shepherd, and
though worsted in every encounter, never loses courage.
Michael endeavors to score a spiritual triumph by
compelling him to witness the adoration at the manger; but even there Lucifer manages to get the last
word, as is shown by this dialogue from the final
scene:
MICHAEL    Confess that He is God.
LUCIFER                         The proof
Is yet to come.
MICHAEL                  Thou must confess 't!
LUCIFER    In truth I see a wondrous child,
But that he is the God of Light
1 Avtos Sacramentales y al nacimiento de Christo, con svs loas y
entremeses. Madrid, 1675.
Avtos Sacramentales, con cvatro comedias nvevas, y svs loas y enremesses. Madrid, I655.




INTRODUCTION


xix


I know not, nor shall know, until
I see him mount the cross and die,
And after burst the Gates of Hell!
The stage directions in Del Castillo indicate that
Lucifer was gallantly attired, first as a hunter, and
afterwards as a shepherd. In Los Pastores the Demon
is dressed in black, and furnished with horns and a
grotesque mask. This difference in costume is typical
of the change which the character has undergone in
passing from the polished court of the Philips to the
present-day Mexican audiences. Del Castillo's quickwitted, spirited Demon has degenerated into a blundering bully, and not a trace is left of that fine skeptic
vein which made him ask for proof in the presence of
the Infant Christ.
Mira de Mescua's Coloquio is a different type of
play. The Holy Family scenes beginning with the
Annunciation are the most important feature. Lucifer
is not even mentioned, and the angels merely act as
heralds. The shepherd scenes are lively, but do not
form an underplot. The prototypes of our Bartolo and
Gila are found in this play in a young couple named
Bato and Gila. They quarrel continually in the comic
vein, and Bato carries his humor even into the manger
scene, declaring that he will renounce his crook and
become page to Jesus, first in order to get rid of his
wife, and second because he loves the child so much.
Bato and Gila are traditional names for a couple of
this type who figure in Spanish Coloquios and comedies
from the Gila of Lope de Rueda (d. 1550) down to the
Pastorelas of the present day. The San Antonio and
the New Mexican Pastores both have their Bato and
Gila, and in addition a Bartolo, the lazy old fellow
who has to be carried to the manger. In our Pastores




XX


INTJRODUCTION


the three names are preserved, but the traditional
Bato is confused with Bartolo; for while the latter
retains his characteristics of age, gluttony, laziness, and
levity, he is in addition made the husband of Gila, and
does all the grumbling. Thus robbed of his wife and
his character, Bato falls back into the group of ordinary
shepherds; but curiously enough, while his traditional
traits are given to Bartolo, he still retains the only traditional Bato lines in the speech, beginning Ah! quz
nino tan vonitol This address and the song Esta si
que es noche buena are the only portions of the Coloquio remaining in Los Pastores. In the original the
song was sung by the shepherds as they approached
the manger, and Bato's lines followed almost immediately; but in Los Pastores the two fragments are
separated by about thirteen hundred verses. The
curious way in which fragments from different sources
are imbedded in the text is admirably shown in the
manger scene, when within the compass of three
pages Bato is given lines appropriate to four and
perhaps five different characters. See Notes, ver.
I697.
Besides these passages from the two Nativities we
find three short extracts from Calder6n (i600o-68i),
and the song Aprended flores de mi, by G6ngora
(1561-1627). See Notes, vers. 33, 308, and 325.
The above passages are all which have been traced
to classic sources, but among the modem Pastorelas
sent us by Mrs. Nuttall there is one called El Buen
Ladr6n, which contains about a hundred lines also
found in our text, and not elsewhere, so far as we
know.1 The passage in question includes the whole of
1 Morir en la Cruz con Jesus, o Dimas el Buen Ladr6n, Orizaba,
Mexico, i886. The preface states that the play is taken from the




INTRODUCTION


xxi


the perinola game, but without the pretty song which
in our play follows each of the four letter-stanzas. El
Buen Ladrdn possesses little literary merit. It shows
no signs of age or of popular transmission, and we
do not cite it as the source of our perinola scene. It
seems much more likely that El Buen Ladr6n derived
the scene from some version of Los Pastores current in
central Mexico. We are confirmed in this supposition
by finding that another modem Pastorela, published
in 19oo, has appropriated some of the Del Castillo
material without acknowledgment. See Notes, ver.
6II.
The passages in Los Pastores which have been
traced form but a minor part of the play. The unidentified portions, consisting chiefly of rustic scenes,
are presumably the work of the Mexican - priest or
layman -who prepared the original version. We
hope that some Mexican scholar, with better opportunities than are available here, may discover the
author, and complete the history of this interesting
derelict.
ILLUSTRATIONS
With one exception the illustrations do not represent scenes in the play. They were taken chiefly to
show the race-types, the costumes and accessories, and
manuscript of an unknown author. It is based on the tradition that
the Penitent Thief was a robber chief who stopped the Holy Family
on the journey to Egypt. He repented of the deed, set them free,
and the child Jesus then prophesied that the robber would die with
Him on a cross. The name is generally written Dysmas in English,
on the authority of the Acts of Pilate; although Longfellow in his
Golden Legend uses the name Titus, following the Gospel of the Childhood. Dimas appears to be the only form employed by Spanish and
French writers.




xxii          INTRODUCTION
the Nacimiento, or decorated altar, before which the
performance took place. The kneeling figures in the
first picture are the director and his wife, who wished
to be photographed in that attitude to show their reverence for the idea represented in the play. The altar
with its toy decorations is very like an old-fashioned
Nacimiento described by Fernan Caballero in her
Noche de Navidad. In the second picture it will
be noticed that only the Angel, the Hermit, and the
Devils wear complete costumes. The shepherds rely
for effect mainly on their elaborately decorated crooks
and beaded satchels. Captain Bourke said that the
Devils wished to remove their masks for this and
several other groups; but in the fifth picture they appeared in full costume, exactly as they were dressed
at the performance. The Hermit and the Devils,
who represent the comic and grotesque elements, are
the only actors provided with masks, - a distinction
which recalls the Italian Commedia del Arte. A passage in Bayard Taylor's El Dorado suggests that this
may be a traditional distinction. In describing a
Mexican Nacimiento, after speaking of the procession before the play, he says: "Two characters of
the Harlequin sort, one with a dog's head on his
shoulders, the other a bald-headed friar, with a huge
hat hanging on his back, played all sorts of antics for
the amusement of the crowd." The procession preceding the play, accompanied by grotesque figures
playing pranks, is unquestionably a survival of the
old Spanish Corpus Christi processions, with their
giants and other comic features. Our Hermit is a
regular actor in the play, but his mask and jokes
show that he is akin to Bayard Taylor's bald-headed
friar; and Lucifer's "negra cara de le6n" is no bad




INTRODUCTION


a 0
sslll


representative of the dog's head on the shoulders of
the other Harlequin. The seventh and eighth pictures
display the Devil's cloak and other accessories. The
Hermit's rosary of spools is much in evidence in this
and in other illustrations. Captain Bourke wrote
about the decoration of the cloak: "It is more Indian
than anything I remember, certainly more Indian
than Christian. Such markings are seen on the cliffs
of the Rio Grande, and in Oaxaca. The ornaments
are made of gold paper pasted on the black cloth."
The ninth picture represents the shepherds urging
Bartolo to rise. Captain Bourke noted that Bartolo's
head should have been wrapped in his blanket at
that moment; but he, like the proud Devils in the
large group, refused to concede that point of realism.
MuSIC
The music is less satisfactory than we could wish,
because the phonographic records proved difficult to
notate, and the words in more than half of the songs
could not be distinguished. Unfortunately, the cylinders were not indexed, and the few cases in which
the words were intelligible made it evident that the
songs had not been recorded in regular order. An
arbitrary setting was unwillingly resorted to, for the
purpose of enabling the chorus to sing all the music
at the meeting of the Boston Branch. We cannot
be sure that the music is furnished with the proper
words, except in the instances of the second, third,
fifth, eighth, and tenth songs. Mr. James W. Calderwood gave much time and patience to the task of
notation, and succeeded in arranging all the airs for
part-singing, including one which at first seemed to
be a hopeless blur of sound.




Xxiv


INTRODUCTION


PERFORMANCE
The auto sacramental as performed in Spain in
the seventeenth century was a celebration full of
the strongest contrasts. In the procession which preceded the performance the priests bore the sacrament, and grotesque figures of giants and monsters
amused the crowd. The drama in honor of the sacrament followed a prologue and a farce, one or perhaps
both of which would shock all our ideas of reverence. The occasion was official, the attendance of
civic dignitaries obligatory, and the expenses of the
sumptuous performance defrayed from municipal
funds. Menendez Pelayo draws a vivid picture of
this peculiarly Spanish demonstration of faith when
he writes:
"It is impossible to imagine the auto sacramental
imprisoned between the wings of a modem theatre.
It needs the brilliant sunshine of the Plaza Mayor,
and that strange audience, diverse in appearance,
but one in passions and in beliefs, which embraced
every class from the King and the State officials down
to the humblest artisan. It needs the ideal and fantastic stage of the antique carros, and all the pomp and
luxury of striking harmonies and colors. Let us think
of the Greek tragedy, and then of the modern opera
and the Italian open-air theatre; and most of all of
the public arguments of the Schoolmen. Add to the
picture the burning faith of great and small, for thus,
and thus only, may we form an idea of the variety
and grandeur of that extraordinary spectacle." 1
In great contrast to those brilliant functions participated in by all classes are the modem perform1 Teatro Selecto de Calder6n de la Barca, precedido de un estudio
crUico de D. Marcelino Menendez Pelayo. Madrid, 1897.




INTRODUCTION


XXV


ances in which one class of Mexicans repeats some
of the very lines recited in the splendid festivals of
two centuries and a half ago. Captain Bourke left
no detailed description to accompany his text, but
fortunately we have been able to gather some points
from the accounts of other performances of Los Pastores which give a good general idea of the style of
representation.
Dr. S. N. Merrick, who saw Los Pastores several
times in San Antonio, sends the following notes,
showing a nineteenth century setting for the traditional play:
"Fifteen years ago I accompanied a friend to one
of these performances. We crossed the San Pedro
creek, and climbed a little hill, where I was surprised
to see many lanterns hanging from tall poles. I was
told that these lanterns were hoisted every night
during Christmas week, so that if our Lord should
come seeking shelter in any house He might be shown
the way. Opening a little gate which creaked on its
leathern hinges, we entered the enclosure, and were
warned to step carefully over a circle of ashes scattered around the house to keep off evil spirits, which
are supposed to be specially active at Christmas time.1
The moonlight now showed us a structure composed
of sticks set upright in the ground, and fastened together by twigs of bear-grass, the chinks being filled
1 This popular belief is the opposite of the English superstition
indicated by Shakespeare's lines:
No fairy takes nor witch hath power to charm,
So hallow'd and so gracious is the time.
The traditional Spanish representation of Lucifer's alarm at the impending Nativity, and his schemes for safe-guarding his threatened
power, may have given rise to this idea.




xxvi


INTCRODUCTION


with mud. The roof was thatched, and the threshold
over which we stepped made of a rough tree-trunk.
Inside we found a room with a dirt floor, large enough
to hold twenty-five persons. An opening at one end
covered with a cloth served as a window. The air was
heavy with cigarette smoke, and the odors of kerosene
lamps without chimneys. Other light was given by
improvised lamps, which were merely cups of cottonseed oil with bits of twisted rag for wicks. The stage
was indicated by hay scattered on the floor at the end
of the room where the actors were to perform. There,
too, was a cradle, containing a wax image of Jesus,
lying on a bed of straw. Near by stood small wax
figures representing the other sacred personages, and
numerous animals, including the traditional Ox and
Ass. The actors were all men in this instance. The
prompter sat in full view of the audience, holding
his book. The singing was weird, - rather like the
intoning of a priest than ordinary singing. A friend
of the writer's has seen this play at Laredo, a town
on the Rio Grande, one hundred and fifty miles from
San Antonio. There it was given in the open, on a
vacant lot having a bonfire in the centre; the actors
on one side, and the audience standing on the other."
From Miss Brodbent's description we condense
the following account of the costumes. Her analysis
of the play is printed in the Appendix.
"Mary wears a blue dress. A light blue mantilla
spangled in gold and silver falls over her body, while
a golden half-circlet rests on her brow to represent
the halo. Joseph, with a dark blue tunic, and a long
blouse of corresponding color, with gilt bands on hem,
sleeves, and neck, appears with a gold crown on his
head. Then come Michael and Gabriel with gold




INTRODUCTION




wings and crowns. The former wears a blue tarlatan
dress and the latter a white one, with a wand of white
flowers in his hand. Then follow Gila in ordinary
dress, but much bespangled, and the priest in his usual
robes. Next in line are the shepherds. Their dress
is ordinary, but the crooks and lunch baskets require
a word of description. The crooks are five feet high,
entirely covered with paper of every color, and on
top instead of one hook there are four which come
together, giving the appearance of a crown. This
crown is also covered with colored paper, while bright
ribbon streamers add to the gay appearance. The
lunch baskets are very small, and suspended from
the shoulders by gay-hued streamers.
" There is a commanding form with dress of sable
hue. He wears knee-breeches with large buckles,
hunting boots, a round cloak over his shoulders, and
a black cap with two black plumes. A few spots of
gilt illumine this sombre attire, and at his side hangs
a sword. He wears a black mask with the face of a
lion, and two long horns protrude from under his cap.
This is Prince Lucifer, with his imps Satan, Sin, and
Leviathan. The imps are also in black, and Satan
is sometimes burdened with a very long tail made
entirely of firecrackers. Satan's tail is set on fire
when Lucifer and his imps are banished from earth.
"As the shepherds near the mountain, a hermit
comes out of a cave and joins them in their pilgrimage. He is old and bent, hair and beard are long
and heavy, and he wears a long white tunic girded
with a thick white cord. From his neck hangs a rosary
composed of white spools, to which is attached a




xxviii        INTRODUCTION
crucifix. He is the clown of the company, and with
his merry jests keeps the shepherds in good humor
on their tedious journey."
Miss De Busk sends us the following interesting
account of the New Mexican performance:
"On Christmas Eve, I899, I saw Los Pastores at
San Rafael, a New Mexican village a hundred miles
west of Albuquerque. The people were accustomed to
give this play often at Christmas time, but not every
year, as it was so much work. There was no resident
priest at San Rafael, so they were obliged to get up
the play themselves, without the advice or instruction of any one in authority. It was a purely voluntary
Christmas celebration. Rehearsals were held nightly
for some weeks in advance, and were attended by all
the people. They seemed to enjoy the rehearsals
immensely, and their enjoyment of the final grand
performance appeared to be heightened rather than
diminished by the fact that they had seen the preparation in all its stages. Usually the play was given out
of doors, but as the weather was severe that year, it
was performed in a dancing-hall. No entrance fee was
charged, and the place was crowded. The audience
was largely Mexican, with many Navajo and Pueblo
Indians, and but two English-speaking Americans.
The audience was roped off on either side of the hall,
the middle being left free for the performers. The
men who represented the shepherds were in reality
sheep-herders, for sheep-raising is the principal industry of that section. They did not wear their ordinary clothes, but instead, stiffly starched and elaborately ruffled white pantaloons, while the upper part
of the body was covered with streamers of gayly
colored ribbons, depending from a fantastic head



INTRODUCTION


xxix


dress. Their long crooks were also decked with ribbon streamers. Their appearance was fantastic and
grotesque. The Hermit, however, was represented
very pleasingly by a venerable looking old man, with
long white beard, in ordinary ragged attire. He carried a cross made of corncobs, and when molested
by evil spirits would hold up this cross, and they
would flee. A chorus of women sang the opening
hymn, then the shepherds entered, and advanced
slowly the length of the long hall, as the dialogue progressed. Bartolo, the lazy shepherd, acted his part
with great spirit, and provoked roars of laughter. At
the other end of the hall was a sort of booth where
the Holy Family was grouped. This booth was gayly
decorated. I remember that paper chairs, picture
cards, red apples, sticks of striped candy, and United
States flags were prominent among the decorations.
A twelve-year-old girl represented Mary. She was
dressed in white, and wore artificial orange blossoms
and a veil. She carried a wax doll in a basket. The
young boy who represented Joseph wore white pantaloons, a purple beaded cape, and carried a staff of
paper flowers. Above the booth was a raised platform which represented heaven. The angel Michael
occupied a chair on this platform. He wore a white
dress, and sandals laced up with gay ribbons. There
was a star on his brow, a jewel on his breast, and
he carried a sword. His great wings made of heavy
pasteboard, covered with silver paper, were decorated
with artificial flowers and pictures of saints. The
stage manager sat on the edge of the platform, and
talked over the antics of the shepherds with Michael.
Above, a clothes-line was stretched the length of the
hall. From it was suspended a smoky kerosene lan



xxx


INTRODUCTION


tern, the Star of Bethlehem, which the stage manager jerked along just in advance of the shepherds,
by means of a long wire. One of the largest men
of the village represented Satan very effectively. He
was dressed in black, with a black mask, and his
head-dress was covered with peacock feathers and
tinsel and mirrors. He wore the conventional horns
and tail, and in his belt carried daggers, sword, and
pistols. Where thunder and sulphur fumes are supposed to be in evidence, he fired off the pistols, the
stage manager having previously warned the audience
and assured them that no one would be endangered.
The attendant evil spirits, Pride and Envy, were
miniature counterfeits of Satan. When Michael came
down from heaven, a distance of about twenty feet,
he descended in a sort of sliding swing, a rope with
pulley attachment. There was a painful hitch in the
descent, which was finally rectified, so that the angel
reached earth without undue loss of dignity. The
players performed a dance in front of the Holy Child
before singing the lullaby, and starting on their homeward journey."
Michael's raised platform recalls the two-storied
pageants of the Middle Ages. His descent in the
rope swing is similar to a device employed in the
old Conquista plays, and thus described in Mexico
d traves de los Siglos:
"A curious feature of the performance is that in
one scene a boy, clad in the warrior costume which
was always used for Santiago, was lowered from the
top of the theatre. He was mounted on a wooden
horse, painted white, and carried a sword in one hand
and the standard of Cortes in the other. He was
gradually lowered by means of a rope, and swung




INTRODUCTION


xxxi


about in the descent, calling out, "Forward, valorous
Cortes! Santiago for Spain!"
An arrangement like that mentioned by Miss De
Busk for manipulating the Star of Bethlehem is
described by Bayard Taylor in his account of the
Mexican Nacimiento already referred to:
"A rude bower of cane leaves on one end of the
platform represented the manger of Bethlehem; while
a cord, stretched from its top across the plaza to
a hole in the front of the church, bore a large tinsel
star, suspended by a hole in its centre.... At the
proper moment the Magi turned towards the platform, followed by the Star, to which a string was conveniently attached, that it might slide along the line.
The three Kings followed the Star till it reached the
manger, when they dismounted and inquired for the
sovereign whom it had led them to visit."
It will be seen that the crude modern performances
of Los Pastores differ in different localities, and even
in the same localities from year to year; but they all
seem to be as genuine professions of faith as were
the splendid autos sacramentales of the seventeenth
century. The spirit which once made all Christian
Europe delight in the Miracle Play is extinct in our
race; but for that very reason it is the more interesting to find it still lingering on the outskirts of our
continent, among the descendants of the people who
sped the Santa Maria on her westward track. But
even there the tradition may fade away, and we are
sincerely grateful to the collectors who rescued these
fragments of the past, before the modern spirit could
sweep them away in the name of progress.




4




LOS PASTORES








ARGUMENT
THE play opens with a Christmas hymn, after which Lucifer appears,
soliloquizing. He is uneasy at the portents, and determines by some device to ascertain from the shepherds the truth about the Messiah's coming.
He hides as they approach, singing. The Hermit joins the shepherds to
learn what they know about the Messiah, and journeys on with them to
their night camp. Parrado goes to inspect the flocks, and the others are
about to go to sleep when an angel appears. No one notices the apparition
except Tebano, but Parrado rushes in, demanding a boon for some joyful
news. All promise something, and he describes the vision of an angel,
singing Glory to God on Highl All but Tebano refuse to believe the tale,
but the angel reappears, and warns them against Lucifer. The angel
vanishes, and Lucifer comes in as a traveller, asking shelter for the night.
The shepherds refuse, and the Hermit demands the stranger's name.
Lucifer replies by giving an account of his fall, in veiled language, and
declares that he will pursue the King and his followers to the death. The
angel returns as the shepherds are running off, and after a fiery dialogue
drives Lucifer out before him. The next scene shows the shepherds preparing for supper. Bartolo sends the lad Cuchar6n off to see if the flocks
are safe. Lucifer intercepts the boy, and endeavors to learn from him
about the Messiah's coming. Cuchar6n thinks he says Matfas, and tells
a story about a man of that name, answering all Lucifer's questions at
cross purposes. Lucifer is about to consume him in flames when Cuchar6n
calls on God for aid, and Lucifer retires discomfited. Cuchar6n rushes
back to camp, declaring that he has seen the Devil. Nabal immediately
follows with news of an angelic vision, and heavenly music is heard.
Lucifer, still lingering about, hears the music, and sees the radiance which
heralds the coming of Michael. The angel arrives announcing that he is
come to protect the shepherds, and after a long argument subdues Lucifer,
who is dismissed to everlasting punishment. The shepherds then set out
for the manger. Each one sings an appropriate verse as he approaches,
recites a prayer, offers a gift, and then retires, after calling on the next
shepherd by name. When all but Bartolo have adored the Babe, they urge
him to perform that duty. He prefers to sleep in his blanket, and makes
jocular excuses until, out of patience, they carry him off by force. After
his prayer, they sing a lullaby, and begin a prolonged farewell. Bato brings
the performance to a close by invoking blessings on the whole company,
and on his Majesty the King.




LOS PASTORES
CANTOS
En   el por -tal  de    Be      I 1dn  Hay
muy gran cia - ri - dad,  Por - que a-119 na-ci6 el Me -
Wi               7         I f
cf - as, Yel nos  pon -drd en  Iii  ber - tad.


En el portal de Bel~n
Hay muy grande claridad,
Porque alid naci4 el Mecias,
Y 61 nos pondrd en libertad.
En el portal de Behgn
Hay muclhas cosas que ver,
Porque alld nacic6 el Mecias,
De una dickosa mujer.
Caminemos con contento
Y miusicas celestiales;
Para ir 4 ese nacimiento
Has, Gila, muckos tamales.


lo




THE SHEPHERDS


Chorus of Shepherds behind the scenes
SONG
In Bethlehem's holy manger
There shines a wondrous light;
To save our souls from danger
The Saviour's born to-night.


In Bethlehem the ox's stall
Shows us a happy sight;
Where Jesus, come to save us all,
Was born of Mary bright.
March on together joyfully,
While the angels sing;
For our Lord's Nativity
We tamales bring.




4


LOS PASTORES


A la divina Maria,
Y 4 su esposo, San Jo5A,
Rendidas gracias les demos
Por tan divina merced.
Angeles y serafines,
A la gloria con alegria,
Alab6" 4 los dulces nombres
De Jesuis, fos6 y Maria.          2
De aquel pecado, primero
Que kizo nuestro padre Adan,
El Mecias pro jetisado
El pecado borrar4.
De un tronco nacid una rama,
Y de la rama una flor;
De la flor naci6 una imajen
Que es la limpia concepcidn.
Guerra y guerra le dartmos,
Y guerra, le hemos de dar,       30
Al demonio, y al infierno,
Akora le 1zar~mos tembler.
LuZBEL     Desterrado de Miguel,
Sali6 de mi patria augusta,
Por aquel delito infame
Y aquella ambiciosa culpa.
Corrido y abergonzado,
Reclamo hoy mi misma culpa.
Que son aqui estas canciones,
Que 6. mi coraz6n perturban?       40




THE SHEPHERDS


5


To Holy Mary thanks we raise,
And Joseph, for their grace;
Mere shepherd lads, we now may gaze
On the Redeemer's lace.
Angels and seraphs by the throne,
Joyfully on high,
The names of Mary, and her Son
And Joseph glorify.
The guilt of Adam in his fall
Our Saviour prophesied,
Will wash away, and loose us all
From bonds of sin and pride.
A branch sprang from a sturdy tree,
A flower from the bough,
And Jesse's trunk is fair to see,
The Babe its blossom now.
A bitter contest ours to wage,
The evil power to quell;
To match the cunning, dare the rage
Of Satan, Prince of Hell.
Enter LUCIFER as music dies away
LUCIFER    Driven out from heaven by Michael's
arm,
I left my august home on high,
Ambition was my cursed sin.
Disgraced, cast out, I own my fault!
What are these songs that pierce my ears?
What means this sacred sphere? These
chants




6


LOS PASTORES


Que6 es aquil esta sacra Esfera,
Qu6' melodias tan lisonjeras?
Que' es e-sto que hoy se escucha,
Que me causa turbaci6n y pena mucha?
Mas con dulces acentos
Los celestes querubinos, mnuy contentos,
Hoy le cantan victoria
Al Criador de la tierra y de la gloria.
Y para mds espanto de mi rabia,
Digalo el mundo y la estrella     50
Que, naci6 en nueva Aravia.
Vuestro envidia crezca
Y no quede hombre vivo
Que al golpe de mi espada no peresca.
Ah! ah! ministros infernales,
Venid 6 la tierra a' sembrar muchos males!
Si veo asia los vientos,
Los hayo con gusto y contento
Atentos en su alegria,
Repitiendo las voces sonoras melodias.
Si 'a' la tierra advierto,        6
Todo lo hayo fuera de concierto;
Todo me causa pena, confusion y tormento,
Sin otros muchos males que no cuento;
Y para mas apurar mi sufrimiento,
Leamos este "Antiguo" testamiento.
Aquf leo aquel portento divino,
Que el buey 6 su. amo y su, sefior
Le reconse contento
En el pesebre, y con su aliento   70
Calent6 d su gran duefio.
Este es realidad, no es suefio.
Aquf se verifica de Daniel




THE SHEPHERDS


7


Of praise, these sounds of joy to-day
That fill me with despair? I hear
The heavenly host, with dulcet voice
Sing: "Victory to the Lord of all,
Creator of the heaven and earth!"
Now fear is added to my rage
When to the earth the Star declares:
In New Arabia He is born!
Swell, stifling rage, till every man
Has perished by my flaming sword!
What ho! Ye ministers of Hell,
To earth! Give aid to sow the seeds
Of countless ills! If to the winds
I look, I find them whispering joy,
Attentive in their bliss to catch
And echo back the angels' songs.
If to the earth I turn, all there
Tumultuous seems, and feeds my woe.
Deeper to probe my sorrow's cause
The elder Scriptures I consult,
See here the prophecy declares:
"The ox shall know his Master, warm
Him in the manger with his breath."
The very words! this is no dream.
Daniel's space of seventy weeks
Which should elapse before He came,
Is filled exactly. Here I see
Ezekiel's prophecy foretell
The tender Babe in Bethlehem,
Born while a royal hand holds fast
Judea. For Atajer says:
"When earth is filled with prodigies,
And sea with portents, then shall come
The long-desired Prince of Peace.




8


LOS PASTORES


Las semanas cumplidas, setenta,
Que le dicte, hechas bien las cuentas.
Que promulg6 Ezequiel, aqui contemplo,
Que nacerd este tierno nifio alld en Bel6n
Cuando la real audencia de Judia.
En sus escritos, pues, dice Atajer
Que removiendo el mar y la tierra  80
Con prodigios y portentos,
Entonses se vera el deseado de las gentes.
Y vendra con gran victoria,
Y llenar, toda esta fabrica de gloria.
Diganlo esos tres soles,
Donde nacen luces y arrevoles.
Donde justamente infiero,
Que ya el Cordero nace mundo ufano,
Vistiendose de sallar de un ser humano.
Fuera ciencia! no leo mas,       90
Pues mucho mas se irrita mi paciencia;
Y envano me canso y me fatigo,
Cuando el hombre es desleal y traidor.
Publiquelo Daniel el peregrino,
Cuando vino 6 librar
A Baltasar de aquel penar eterno,
Porque muchos se hiban asercando
A vuestro infierno.
Publiquelo Saul, ai pesar de su furor,
Y Nabucodonosor,               Ioo
Cuando ambos confesaron su arrogancia,
Y fiel instancia.
Conque Miguel Divino
Los venia i persuadir su desatino.
Entonses no hise un reino distincto?
Siendo Benito viviente,
Que no podia con su gente




THE SHEPHERDS


9


Victorious He shall appear,
And fill the earth with glory." These
Three suns that beam with rosy light
Proclaim the news; whence I infer
Already has the Lamb come down
To the proud earth, in human flesh.
Out, science, I will read no more,
The labor frets my patience! Why
Should I thus wear my heart away
When man is a disloyal knave?
Daniel the stranger preached it, when
He came to save Belshazzar, show
Eternal punishment to those
Approaching fast the gates of hell.
Saul, too, proclaimed it, 'spite his hours
Of frenzy, and the crazied king,
Nebuchadnezzar, when the two
Confessed their guilt and pride; whereon
Came holy Michael to convince
Them of their madness. Did not I
Then rule a realm apart? Once, in
The time of Benedict, not all
His people had the skill to rear
The walls of their razed church. Did I
Not build them up? Past doubt. Then
why
Probe deeper, - fear? I know that man
Shall conquer by his strength and art.
What else is man, or this wild beast,
But just a handful of dead clay
Created by the Omnipotent
From naught, by sovereign wisdom? I
Will make this monster fall
Prostrate, from that God-given height!




Io


LOS PASTORES


Una piedra lebantar
De las paredes, pobladas
De una iglesia derrivada,        31
No fueron echas por MP?
Es cierto todo Cs asi.
Pues qu6 tengo que apurar,
Ni qu6" tengo que temer,
Cuando se que el hombre ha de triunfar
De su valor y poder?
Qu6" otra cosa es el hombre, 6' esa fiera,
Sino un puflo de tierra
Que el Omnipotente
Le hizo de nada con su Eterna ciencia?
Yo har6" que ese vil, ese tirano,  32
Caiga de la altura
En que le ha puesto la omnipotencia suma.
Salgan de esa caberna
Cuanto la habitan, l0"brega y eterna,
A ver si cofl astucias y asechanzas,
Ejecuto en el hombre mis venganzas.
No padesco por '1? Si. No es mi eneMigo?
Pues quic-n priva el rigor de mi castigo?
Solisitando astuto,13
Que arrastrara-i el hombre, negro luto.
Guerra, guerra contra el hombre,
Muera, muera mas gente
Que la que viene por el Orizonte.
Pastores aqul 61 este monte
Deben de querer subir;
Yo de ellos quiero saber
Lo que pasa en Galilea,
Esto mi rabia desea,
Mas yo me voy 61 esconder.       140




THE SHEPHERDS


II


Forth from the eternal gloomy cave
All ye who dwell therein! Lend aid
With bold and skilful artifice
Vengeance to wreck on man, my foe!
Are not my sufferings caused by him?
And is he not my enemy?
Beyond a doubt. Then who forbids
The rigor of my punishment?
With artful wiles, in sable clad,
I haste to tempt him. War on man,
Unending war, and death to all!
But here come shepherds up the hill, —
A means to learn of the events
Passing in Galilee. My wrath
Has thirst to know. I hide myself.
[LUCIFER retires




I2


LOS PASTORES


12         LOS PASTORES


HERMITARO Por estos montes silvestres
Veo venir unos pastores.
TODOS      Ban a' ver al que naci6
Para remedio del hombre.
TEBANO     Pues vamos dando principio
A este celebrado obsequio.
PARRADO    Dainos el coro, y asunto,
Para seguir es me'todo.
TEBANo     Apenas tui me mandaste,
Cuando bien te dij'e apenas      I5O
Fueron mallores cadenas
Las que tu al cuello me hechaste.
Como vijilante ap6stol
Recorri por todo el mundo,
Y berigu6 en lo profundo.
Estramuiros de Bele'n
Unos espiritus vellos,
Que con humildes deseos
Nos daban ei parabie'n
De una mujer singular,             o
De velleza un portento;
Que con armonioso acento
Comensaban 6 cantar.




THE ACTORS IN FULL COSTUME, EXCEPT THAT THE DEVILS ARE WITHOUT THEIR MASKS




I




THE SHEPHERDS


I3


Enter HERMIT, who sees the Shepherds approaching. He stands aside until after their
entrance and first songs
HERMIT      Shepherds are climbing these wild hills.
ALL.     They go to greet him born to save.
TEBANO      The time has come to celebrate
This sacred sacrifice of love.
PARRADO     Give the chorus; we are ready.
TEBANO      As soon as thou didst send me forth
Like vigilant apostle I
Searched every nook, looked high and
low.
Outside the walls of Bethlehem
An angel band to me appeared.
With humble mien the spirits fair
Gave us glad tidings of a Maid,
A miracle of loveliness;
Then sang a sweet strange melody.




14              LOS PASTORES
CANTO
Es -ta  no    che con la lu -na,     Y ma -
fla -na con el sol,   Co- je- re -mos Pa- ja -ri
toS    Pa - ra  la i - gle- sia ma- Ilor.
Esta nocite con Ut lunct,
Y mca~ncat con el sol,
Cojeremos pajaritos
Para Ua iglesict mallor.
PARRADO 'Con los medianos tesoros
Que tubiera de riqueza,
Hiciera a' la santa iglecia         170
Unos muy lucidos coros.
Y de los ma's finos oros,
Que me diera la fortuna,
Le formarfa una columna,
Y la fuera iluminando,
Y para que la vean brillando,
Esta noche con la luna.
TEBANO      De carmuncos y diamantes,
De varias piedras preciosas,
De jallas y mariposas,             i80
Hiciera Los albortantes.




THE SHEPHERDS


i5


SONG
At night, when the moon shines bright,
And by day, 'neath the sun's hot ray,
Snare the birds, snare the finch and the
sparrow,
To sing in the great church to-morrow.
PARRADO    Had I a little store of wealth,
How gladly would I build the church
A noble choir; a column raise
Of virgin gold, circled with lights,
That all might catch its yellow gleam,
At night, when the moon shines bright.
TEBANO     I would make the sconces flash
With carbuncles and diamonds,
And many another precious stone, -
With jewels bright, and butterflies.




i6


LOS PASTORES


Dos o6rganos arrogantes
Puciera, con tal primor.
Un arco al altar mnallor
A nuestro Amo colocara,
Y esta, noche lo velara,
Y maihana con el sol.
PARRADO    Con el afecto tan raro
Hiciera, con todas ganas,
De oro fino las campanasIg
Y de plata, el campanario;
Tambie'n de oro el insensario,
Los misales y atrilitos,
Vinajeras y platitos
Hisiera del ma's fino, oro.
Y para, cantos del coro,
Cojeremos pajaritos.
TEBANO     Los hornamentos hiciera
De unas muy lucidas telas,
Manteles, ca'liz, patena,
Hiciera de filigrana;
De oro una. lampara, ufana
Puciera por lucimi'emto,
Con muchisimo contento,
De los blandones del sol;
Formara, un gran monumento
Para la iglecia mayor.
PA1RRADO   Cantar, mas no detenga'is,
Sonora voz cuyo acento
Resuena, con alboroso,21
Al compaz del dulce aspecto.
Seguid cantando, pastores,




THE SHEPHERDS


I7


Two splendid organs, richly carved,
Should tower aloft; a stately arch
In honor of our Lord should span
The altar; there in vigil I
Would kneel and pray the live-long night,
And by day, in the sun's hot ray.
PARRADO    My fervent love would take delight
To make the church-bells all of gold,
The belfry-tower of silver too,
The incensory, missals, stands,
The sacred vessels, one and all,
Of purest, finest virgin gold.
And for sweet singers in the choir,
Snare the birds, snare the finch and the
sparrow.
TEBANO     I would make the holy vestments
Out of cloth of gold and silver.
The chalice and the paten both
Of filigree; a golden lamp
To light up all should hang above,
And candelabra like the sun,
My offering to deck the church!
And we should go, a happy band,
To sing in the great church to-morrow.
PARRADO    Sing on without a pause, 0 thou
Clear voice whose accents ring with joy,
As shines the lovely countenance!
Shepherds, sing on, I love your songs,
But haste your steps, time runs apace.




r18             LOS PASTORES
Que me causdiis gran contento;
Y caminemos gustosos,
Que ya se nos pasa el tiempo.
GinA        Pastores, ya Ilego el d'ia
En que alegres nos partamos
Para ei portal de Bele'n,
A ver un feliz milagro.
Compongan sus bastimentos          220
Y dispongan bien sus jatos,
Caminemos gustosos
Festeja'ndonos con cantos.
PARRADO     Parese que ha dicho bien la Gila,
Hermanos pastores,
Bamos luego ha trancitar
Por esos campos de fibres.
CANTOS
Ca - mi-nen a - le - gres, Her-ma - nos pas - to - res.
Tran - si- tan- do va - mos, Por e - sos ca - mi - nos.
NOA
w  w W  W




THE SHEPHERDS


I9


TH SHPHRD            '


GILA       Shepherds, at last the day has dawned
When we should joyfully depart
For Bethlehem. The miracle
Awaits us in the manger there.
Get ready packs with what we need
Upon the journey; strap up all,
And then trudge briskly o'er the hills,
Cheering our hearts with hopeful song.
PARRADO    Gila says well. Come, brothers, take
Our way across the flowery fields.


SONG




20


LOS PASTORES


En risuefios cantos
De los ruisefiores,
Caminen alegres,                 2,30
Hermanos pastores.
Hermanos pastores,
Hermanos queridos,
Transitando vamos
For esos caminos.
Caminen, alegres
Por esos breitales;
Cuenten las obejas
Que vallan cabales.
Caminen alegres                  240
Por esos romeros;
Vean entre las breftas
No queden. corderos.
Camina, Gilita,
For esa baJada,
For aquellos monies
Haremos majada.
Hermana Gilita,
Hermosa y serena,
For aquellos montes              2,50
Haremos la cena.
Hermano Tebano,
Hermano Meliso,
For aquellos monies
Una luz diviso.




THE SHEPHERDS


2I


To the song
Of nightingales
March along
Across the vales.
Shepherds kind,
Brothers dear,
Look not behind,
Rest is near.
Gaily run
O'er stone and stock;
As you come
Count the flock.
The lambkins wander
Off alone,
Look well under
Bush and stone.
Gila dearest,
Struggle up;
On the nearest
Hill we sup.
Gila, friend,
The night grows chill,
Our journey's end
Is yonder hill.
Tebano, yonder,
Shining bright,
What a wonder,
See, a light!




22


LOS PASTORES


Monte de Olivete
Que tristes nos dejas,
Donde los pastores
Recojen obejas.
Trancitando vamos               2,6o
Por esa, bajada;
Que vendrds cansada.
Cielo soberano,
Tenednos piedad,
Que ya no sufrimos
La nieve que cae.
Las obejas balan,
Los corderos gritan,
De ver tanta. nieve27
Que del cielo estila.
Las estrellas brillas
IF luego se paren,
Absortas se quedan
De ver la nevada.
Vamos al cerro alto
A dormir, pastores,
Hasta el ojo sarco,
Fuente de las fibres.
Al Pie- de esa seja              8
Hemos de parar,
Porque alli hay buen pasto,
Y hay buen salitral.




THE SHEPHERDS


23


Mount of Olives
Sad and steep,
Where the shepherds
Feed their sheep!
The mountain crest
We wind about;
Dear Gila, rest,
Thou'rt tired out.
O heavens drear!
Have pity now,
We cannot bear
The falling snow.
The sheep are bleating,
And lambkins all,
To see the fleeting
Snowflakes fall.
The stars amazed
Stand still to see,
The snowdrifts raised
On Calvary.
On yonder mount
With ledges steep,
By the clear fount
We mean to sleep.
In yonder wood,
Comrades dear,
Pasture 's good,
The spring flows near.




24


LOS PASTORES


Prevengan los bules,
Descargan los jatos,
Saquen los tamales,
Vallan calentando.


Saquen el cabrito,
Lia estd tatemado,
Entr~guenlo 4 Gila
Que valla, guisando.


290


BATo


Pues bien, hermanos mios,
Si bien les parese,
Hare'mos majada
Mientras que amanese.


PARRADO Si, hermano mio, has dicho
Muy bien, que hagamos majada,
Porque aqu'i hay muy buen pasto
Y est6. serca la agua.


CUCHAR6N


Sent6monos todos
Y vamos d cenar,
Porque el hambre y el frio
Nos puede matar.


300


H.ERMITARO


Hasta cuando, suerte impia,
Sesaron estos tormentos,
Cuando sin sesar me abaten
Tan s6lo en este decierto,
Y sin mds compaffla me veo,
Que sabandi'jas y ratones.
Oigo, que duises jilgueros!
Y para mds ancias mias,


310




THE SHEPHERDS


25


THE SHPERS2.


A fire light,
Let Gila braize
Tamales right
Before the blaze.
The kid is done,
'T is time to sup;
Come, Gila, run,
And serve it up.
BATO       Come, brothers, let us sup e'er dawn.
PARRADO    Brother, thou sayest well, for here
Is pasture, and a spring hard by.
CUCmAR6N Let us sit down and fall to meat,
I'm fairly famished,- stiff with cold.
HERMIT approaches, soliloquizing
HERMIT     When, cruel fate, will cease the pains
Which rack me ever here alone
In this rude desert, where I see
No living things but rats and snakes, -
And dainty song-birds sure are they!
From day to day my woes increase,
Nor find I who might give me news
Of the expected Saviour's birth.




26


LOS PAST~ORES


Se acresientan mis fatigas,
Y no he hallado quien me diga
Si habra nacido el Mecias.
Pero aqui miro pastores,
Me parese estan senando,
Y para no quedar con duda
Yo me quiero ir asercando.
Pastores, os guarde el cielo.
TEBANO     Quien es 61 que en esta hora    320
Ynquieta nuestro sosiego?
HEIR1TA&O Escuche usted caballero,
Escuche ud. hombre un rato,
Que hara cosa de cien aiios
Que habita en este decierto,
Siendo un esquelto vivo,
Siendo un animado muerto,
Que en la cierra con rigor,
Les doy alivio a mis quejas.
Balidos oigo de obejas,          330
O silvo de los pastores.
Y asi, pastores amados,
Si sabeis este misterio,
Decidmelo para que tenga
Este coraz6n consuelo.
TEBANO     Si quieres acompafiarnos,
Saldras de la duda presto.
HERMITAo Lo hare de muy buena gana,
Pero darme un alimento,
Que les afianso, hermanitos,    340
Que de hambre estoy casi muerto.




THE SHEPHERDS


27


But here are shepherds, and they seem
Preparing for their evening meal.
In hope of tidings I draw near.
[To Shepherds
Heaven guard you, shepherds!
TEBANO                            Who so late
Breaks the repose of peaceful men?
HERMIT     Listen a moment, thou shalt know.
'T is nearly now a century
That I dwell in this desert drear,
A living skeleton, a soul
In a dead body. O'er the hills
In loud lament I give the winds
My sorrows. Late I heard the pipe
Of shepherds, with the bleat of sheep,
And came to learn the mystery.
Know ye it, brothers? Tell me straight
Pour balm into this wounded heart.
TEBANO     If thou wouldst journey on with us,
Come, and thy doubts may shortly cease.
HERMIT     With all my heart, but give me food;
With hunger I am like to swoon.




28


LOS PASTORES


CucHmuR6N Meter mano aqul di este jato,
Aqui hay tamales y cabrito,
Y luego vamos, marchando.
HERmIT~io Pues ya por ml caminemos
Que yo todo puedo ir haciendo,
Caminando y comiendo.
GuMA       Pastores, ya esta' el cabrito
Para que vallan senando,
Traiga Bato las cazuelas        350
Para que les valla echando.
BA.RTOLO   A muchacha mds politica,
Quie'n te ezeifi6 esos vocables,
Qu6' has estado en casa grande
Que hablas tan airevesado?
S6lo por a' la cuenta,
He de sacar un vocado,
Porque he tenido noticia
Que dan la balleta al. fiado.
HERMTA4o Buena muchacha es la Gila,        360
A mi siempre me ha cuadrado,
Porque ella sabe guisar,
Con sas6n cualquier vocado;
La ternera, la borrega,
Echa muy bien tortillas,A ml siempre me ha cuadrado,El pinole ma's espeso,
Con el tamal bien tostado.
MELISO     Yo les dar6 una noticia,
Que ayer tube en el poblado,    370




THE SHEPHERDS


29


CUCHARON Nay, eat thy fill, for here thou seest
Tamales, kid, and all the rest.
Once satisfied, we take the road.
HERMIT     Wait not for me, for I am one
Can eat and journey both at once.
GLnA       Shepherds, the kid is ready now,
Let Bato bring the sauce-pans in
That I may serve it hot to all.
BARTOLO    O clever girl! where didst thou learn
Such phrases? Hast thou been to school
In noble mansion, that thou speak'st
So airily? By thy good leave,
A mouthful now I dare to take!
HERMIT     A good girl, Gila, by my faith,
She always suited me because
She cooks so well, and any dish,
Or veal or lamb, she seasons hot,
Makes omelets light, pinole thick,
And browns tamales to my taste.


MELISO    Listen to what I heard last night




30


LOS PASTORE$


Me dijeron se casaba
La muchacha de Gerardo.
GERARDo    A mi,1 no la han pedido,
Solo que lo hayan pensado;
Vale, que si se casara
Se me acabaria el cuidado.
PARRADO    No quiera Dios que suseda,
Lo que yo tengo pensado,
Por que viniendo el avfo
Con ella he de ser casado.       380
BARTOLO Gila, hija mia, ya el suefio me vense,
Mientras yo duermo, tu velas;
Pues ya sabes que padezco
Estas inmensas flojeras.
GTIA       Buena 'a mi me ha susedi'do,
Muy buena esta6 la trajedia,
Que6 para eso me case,Para cuidar las obejas?
Yo bien contenta estaba
Con mi madre y con mi abuela;    390
Yo no se6 quien me infundi6"
El casarme tan pequefia,
Y luego con este viejo flojo,
Que es lo que me da mais pena.
BARTOLO    Vo no entiendo aqufl de cuentos,
Hay algo que merendar?
V si no, d aime aca' ese bule,
Que ahora me he de enborrachar.
Pero, qu6 miisica es 6'sta,




rj9KE1E SH~EPHERDS


3I


Down in the village. There they say
Gerardo's daughter's to be wed.
GERARDO   They have not asked me for the girl,
Just talked of it among themselves;
But if she were provided for,
'T would take a great load off my mind.
PARRADo   Now heaven forbid! For when I can,
(aside) I mean to marry her myself.
BARTOLO   Gila, good girl, I'm dead with sleep;
Watch thou; I'm weak, and need to rest.
GILA      A pretty pass it's come to now!
Unlucky girl! And did I wed
For this, -to wake and watch the
sheep?
How happy was I when a maid!
I cannot think what foolish whim
Induced a girl so young as I
To wed a sickly, cross old man.
This is my grief, - a heavy load!
BARTOLO    Come, no complaints. Is supper o'er?
Then bring the gourd, 't is time to drink
My night-cap. But what sound is this,




32


LOS PASTORES


32         LOS PASTORES


Que ha comensado a' sonar?
Compafieros 6 dormir,
Porque ya e'sto se acab6.
PAUDrO    Pues duerman todos ustedes,
Que breve la vuelta doy.
TODOS      Mientras que viene Parrado,
Tantito vamos cantando,
Que resuene la mt'isica
Para ir alegres bailando.
CANTOS


400


Es- ta     sf' que es no -che  bue - na,
Es -ta      Sif que es no -che  bue -na,
sf  que las o- tras no,   Por -que di - sen
De re -go -ci- jo  y  a - mor,  Por -que di - sea


que na -ci -6
que na - ci - 6


El D i-vi -no Re - den - tor.
El Di- vi - no Re - den - tor.


Esta si que es noche buena,
Estct sli que las otras no,
Porque disen que nacid
El Divino Redentor.
Esta si' que es noche buena,
De regocij'o y amor,


410




THE SHEPHERDS


33


PAREADO


ALL


What melody begins to swell?
Bah! it is gone. To sleep, my friends,
The sounds have ceased.
To sleep, while I
Give a last look to all the flocks.
[Exit PARRADO
Till he returns let us be gay.
Strike up the music, dance and sing!
SONG
This is the holy, holiest eve,
None other halj so bright,
For Jesus, powerful to save,
Is born for us to-night.
This is the holy, holiest eve
Of love and pure delight,




34


LOS PASTORES


Porque disen que nctcid
El Divino Redentor.
BATO       Naci6 el niflo regalado
De casto y virginio pecho,
Siendo que en el cielo ha hecho,
Nacio6 estrecho y abreviado.     420
De encarnado se ha vestido,
A la muerte a persibido
Titireando y padeciendo,
Dando vidas y naciendo,
Le cantaban gloria y paz,
Porque cantando decia:
Naci6' el autor de la paz.
BARTOLO    Naci6' en medio del invierno,
Al fin de vuestro pesar.
De una fuente nacio6 el mar,     430
De una estrella el sol eterno.
Nifio tierno, Dios chiquito,
Satisfaccio'n del delito,
Nuevo varo'n, fuerte Sans6n,
Rico y sabio Salom6n,
Jos6", David y Jonaz,
Le cantaban gloria y paz;
Porque cantando decian:
Naci6 el autor de la paz.
BATO       Puestos con gran devoci6n       440
Ante su Dios verdadero,
Le formaron un turendero,
Y le hicieron un turri6n.
Tremont6n entre las pajas
Le hicieron rajas;




THE SHEPHE`RDS


35


For Jesus, powerful to save,
Is born for us to-night.
BATO       A virgin bore the tender Babe,
For heavenly His conception was.
A tiny Child, He came disguised
In human flesh, prepared for death,
Trembling, suffering, giving life,
Becoming man. The angels sang:
"The Prince of Peace is born to-day!"
BARTOLO    The Child was born in winter's chill,
After so many weary years.
The mighty sea was once a fount,
The eternal sun grew from a star.
Thou tender Child, thou infant God,
Thou incarnation of our joy,
New man, strong Sampson, Solomon
Rich and wise! Thou, Joseph, Jonas,
David! Of thee the angels sang:
"The Prince of Peace is born to-day."
BATO       Kneeling before their infant God,
They formed a joyous circle round.
Tremont6n amid the straw
Laughed and gamboled for the Babe!
Mengo, to sound of tambourine,
Danced and capered high for joy;




36             LOS    PASTORES
Mengo, al son de las sonajas,
De mi'sicas, un tamboril,
Sapatetas, ma's de mil,
Y otras tantas cosas mads,
Porque cantando decia:             450
Naci6' ei autor de la Paz.
BARTOWO     Oh! que6 sonorosas voces
Que tanto al viento se elevan!
Pues que los, Angeles lievan
Al nifio Dios muchas fibres,
Cantando humildes canciones.
Oh! mi Dios y qu6' dulsura!
Estas palabras decia:
Gloria a' Dios en las alturas.
CANTOS
I
Glo -ra     A Dios en  las   al.
De    la   mas pu-ra   don......
tu -ras    Paz  al  horn   bre   en  la
ce   Ilha   Na -ci6el cia- vel   en - centie - rra, al horn - bre en la tie - rra.
di  - do, el    cia - vel  en -cen -di - do.
Gloria d Dios en las alturas,    460
Y paz al/sombre en la tierra;




THE SHEPHERDS


37


And over all the angels sang:
"The Prince of Peace is born to-day!"


BARTOLO


How rich the voices swell the air!
The angel bands are bearing flowers,
And singing humble songs of praise.
Ah! me, how sweet the mighty tones!
They sing: "Glory to God on High!"


SONG
"Glory to God," the angel said,
"And peace to man." Behold within




38


LOS PASTORES


Porque en el portal estd
La Sagrada Omnipotencia.
De la mas pura doncella
Nacio el clavel encendido,
Tan solo por redimirnos
El mismo Dios ha venido.
De la mas pura doncella
Nacio el clavel encarnado,
Tan solo por redimirnos         470
El mismo Dios humanado.
Venid, Miguel dichoso,
De la Arca Celestial,
Apresurad el paso,
Venid, corred, volar.
ANGEL       Gloria en exelsi deusl
Pastores de la tierra,
No os asusteis, ni temiis,
Porque Dios aqui me envi6,
Para que sepais                   480
Que naci6 el Mecias,
Que tanto deceais.
Porque los profetas,
Lo han profetisado.
Yo de mi parte,
Doy el parabien,
Por el don tan grande
Que han llegado a ver.




THE SHEPHERDS


39


The stable, in a manger laid,
Jesus, the conqueror of sin.
Of Mary, Maid Immaculate,
Was born this flower of Jesse's tree;
To free mankind from Adam's fate
The Saviour came, by God's decree.
Sweet Mary, Maid Immaculate,
Has borne a son of high renown;
To save mankind from Adam's fate,
Jesus in human form came down.
Swift, happy Michael, run,
Leave the host on high I
To greet the blessed Son,
Haste thy footsteps, fly I
The ANGEL (Michael) appears, but vanishes so
quickly that the Shepherds scarcely realize
what the vision is
ANGEL       Gloria en excelsi Deus,
Shepherds of earth, be not afraid,
For God himself has sent me down
To tell you of the Saviour's birth, -
Your fond desire! The holy men
Of yore foretold it; mine the task
To give you joy of this great gift
Our Lord permits you to receive.




40


LOS PASTORES


40         LOS PASTORES


PARRADO Hermanos mios, si acaso
Os esta'is dormidos.            490
ToDos      Todos despiertos estamos.
PARRAWo    Si las aibricias me pagan,
Les explicare' un suseso,
Que acabo de ver orita,
En las cumbres de aquel cerro.
TEBANo     Qu6' es lo que pides de aibricias?
PARRADO    Todos vdllanme ofreciendo.
TEBANo     Yo te doy mi buey, pilio.
NAVAL      Yo te doy mi buey, palomo.
ToRINGO    Yo mi remendado, ofrezco.       500
Tuuio      Yo tocar6 de contento.
MELISO     Yo de gusto he de bailar.
HERITAo Yo bailar6 m~is primero.
BARTOLO    Yo te prometo, un cordero.
BATo       Yo hasta, que no te declares,
No digo lo que prometo.
PARRADO    Pues, qu6 me prometes tu?




THE SHEPHERDS                41
Enter PABaADO
PARRADO Asleep, my brothers?
ALL                          Wide awake!
PARRADO   Give me a present for my news,
And I will tell you what I saw
A moment since on yon hill-top.
TEBANO    What dost thou ask?
PARRADO                       Nay, offer each.
TEBANO    Pilio, my ox.
NAVAL                  My ox, Palomo.
TORINGO    My spotted steer.
TULIO                      To please thee I
Will pipe a tune.
MELISO                     And I will dance.
HERMIT    I will dance too with all my heart.
BARTOLO   I promise thee a snow-white lamb.
BATO      My gift thou shalt not know until
Thou dost declare thy news.
PARRADo                            Come say,
What wilt thou give?




42


LOS PASTORES


BATo       Yo te prometo dinero,
Que se' que lo recibira's
Con mucho gusto y contento.       1
PARRADO    Me han gustado las aibricias,
Pero las tuyas, primero,
Yo las quiero recibir,
Porque se me pasa el tiempo.
BATO       Te han cuadrado las aibricias?
PARRADO    Esta~n muy ai mi contento.
BATo       Pues para que las recibas,
Primero explica, el suseso.
PARRADO    Pues estad atentos,
Hoygan con cuidado,               520o
Les contar6 a' ustedes
Lo que 6i ml me ha pasado.
Yo vi aqul en este monte,
En ese prado ameno,
TUn Angel, 6 un serafin,
De los cielos un lucero.
Liendo 'a' recojer,
VWi volar una ave
Vestida del sol,
Yo no s6 que sea;                 530
Pero esplic6" con dulses asentos,
Y muy clara voz,
Gloria en las alturas
Al exelso Dios.
TODOS      Esas son mentiras,
No lo creo yo.




THE SHEPHERDS


43


BATO                             I promise thee
Gold, most welcome sure to thee.
PARRADO    I like the gifts, and chiefly thine,
But e'er I speak, give me the gold;
We 're wasting time.
BATO                       Thou lik'st the gifts?
PARRADO    Indeed, indeed they suit me well.
BATO       Then e'er thou dost pretend to them,
Tell us thy news.
PARRADO                     Listen, and I
Will tell you all. There by the hill,
In yonder field, the wonder came.
An angel, or a seraph fair,
A gleaming star in birdlike flight
I saw, while gath'ring in my flock.
I know not what it was; it seemed
To shoot forth radiance like the sun.
With strange sweet voice that thrilled my
ear,
It sang: "Glory to God on high."


ALL


Who would believe a tale like this?




44


LOS PASTORES


PARuWrO Cre'amelo por Dios,
Que ya parese que lo veo.
TEBANO Pues no lo habi'as de haber visto,
Si aquil estuvo ma's primero?     540
Y por ma's sefias decia,
Oh! la! escuchen, estadse atentos.
Estas palabras decia:
Pastores, no tengan miedo,
Que en el portal de Bele'n
Veremos en breve tiempo.
Y si no lo quieren creer,
Miralo, aquil esta' muy bello
Que parese un sol divino,
De los cielos un lucero.          550
PARRADO Este es el raro prodigio,
Me parese v'i en el cerro;
Mas como qued6' asombrado,
No vi1 si hera del cielo.
ANGEL      Ya te vil en esos bosques,
Tus obejas recogiendo;
Entonses te quise hablar,
Pero se pas6' el tiempo,
Por que divise6 venir
Al demonlo muy violento,            o
A habatir di tus hermanos
Y 'a haser de ellos un enredo.
Y hasi*, os prevenirse, pastores.
Hay viene! No tengan miedo.




THE SHEPHERDS


45


PARRADO Believe it, for by Heaven above
I seem to see it now!
TEBANO                          And well
Thou mayst.     The heavenly vision
flashed
Before me here a moment since.
It said: "Shepherd, be not afraid,
You soon shall see in Bethlehem
A manger-cradled miracle."
You doubt me? Look! For now again
It comes. How beautiful! A star,
A planet shines less bright!
ANGEL appears
PARRADO                              The same
Rare prodigy of which I spoke!
I saw it yonder, but amazed
Marked not it came from heaven!
ANGEL                                 But now
I saw thee gathering in thy flock
Beside the wood, but spoke not then.
Time lacked, for Lucifer drew near,
Furious, eager to destroy
Thy brothers, rob them of their souls!
Shepherds, beware, the demon comes;
Resist him all, and trust in God!


[ANGEL disappears




46


LOS PASTORES


46         LOS PASTORES


LUZBEL     Por las faldas de estos cerros,
Pastores durmiendo veo;
Y yo para perturbarlos
Toda mi' siencia prevengo,
Todo ei infierno me valga.
Pastores, no os asust6is,         570
Que soy hombre, y no soy fiera,
Y 'a pedir posada vengo,
Por hallarme en tierra agena.
TEBANO     Yo daros posada quisiera,
Pero tengo miedo, es sierto;
Y as'i, que aguarda, que espera,Vamos, muda'ndose presto.
LUZBEL     Muy buena esta' la respuesta
A mi natural soberbia,
Reniego de mi poder,               8
Pero mi siencia prevengo;
A ver si puedo lievarme,
Este pastor 6i mi enredo.
Escuche usted, caballero,
No se asuste, hombre berraco,
No porque me yea 6 estas horas
Todo vestido de negro,
No por eso tenga miedo,
Que soy ei hombre mds rico
Que se ye por estos tiempos.      590
Yo la verdad digo:
Si quere'is mi hacienda,
Veniros conmigo;
Y si no, les dare' guerra.




k




THE DEVIL'S CLOAK, WITH CROOKS AND SATCHELS OF THE SHEPHERDS








THE SHEPHERDS


47


LUCIFER
(aside)
TEBANO
LUCIFER
(aside)


LUCIFER enters
Grouped on these hills the shepherds lie
Sleeping. I summon all my craft
To steal their souls. All Hell assist!
[To Shepherds
Shepherds, be not afraid of me.
I am a man, no savage beast,
And all I ask is shelter, food,
And fire,- a stranger's right.
Good sir,
Most gladly would I grant thy wish,
Did I not fear... just wait a bit.
[Aside to the other Shepherds
As quick as maybe, let's away!
That timid answer suits my pride!
But I abandon force, and try
What cunning may to trap this boor.
[To TEBANO
Tell me, my friend, what frightens thee?
I dress in black, the hour is late,
But what of that? In very truth
I am the richest man alive!
Come thou with me, my fortune's thine!
Dost thou refuse? Then woe betide!




48


LOS PASTORES


MELISO     Mengo, haz oido la respuesta,
Del negro cara de le6n?
MENGO      Dejalo, que si me enfada,
Lo he de hechar en el fog6n.
LUZBEL     A quien has de hechar, villano,
Te arrancare el coraz6n!         600
De las mazmoras oscuras,
De las horrendas cabernas,
Salgo, como le6n rugiendo,
Chispas despidiendo, salgo,
Ecxalando sentellas!
Y asi, un sueno me alborota,
Una iluci6n me despefia,
Que ha de nacer un infante,
Para darme 6 mi la muerte!
Pero juro que en Belen,          6Io
No me quedara pastor, chico ni grande,
Que en mi furor no lo acabe;
Pues soy Lucifer, y vengo
A celar todo este valle,
Contra este Dios, mi enemigo,
Traigo el infierno conmigo,
Para hacer la tierra infierno.
En este campo he de entrar,
En traje de casador,
Y entre uno y otro pastor,       620
Las almas he de casar.
Bien hallaos, jente honrada.
TEBANO     Voz sedis bien venido.
Que buscis por estos riscos,
Y luego tan afligido?




THE SHEPHERDS


49


MELISO     Hearest thou, Mengo, the reply
Of this black lion's mug?


MENGO


Take care!


If I get angry, I may pitch
This stranger in the fire!


LUCIFER
(aside)
TEBANO


Thou knave,
I '11 tear thy heart out first! I come
From murky dungeons, horrid caves,
A roaring lion, breathing flames!
And what enrages me? A dream!
A vision of a new-born babe,
Destined to vanquish Lucifer!
Well, be it so! In Bethlehem
No shepherd, great or small, I swear,
But shall fall victim to my wrath!
For I am Lucifer! I come
To scour the valley, seeking out
This God, my foe! All Hell I bring
With me, to make a hell of earth!
In hunter's garb I take the field
To chase the souls of each and all!
[To Shepherds
Health to you all, good people!
Thou
Art welcome. What wouldst thou among
These rugged cliffs, in such a plight?




50


LOS PASTORES


LUZBEL     En los campos me he perdido,
Y es mi suerte desgraciada.
Os pido el que des posada
A este pobre peregrino.
TEBANO     Yo dar posada no puedo;          630
Pues me avisa el coraz6n
Que este peregrino tiene,
Cara de ser buen ladr6n.
HERMITA&O Que me digas tui quien heres,
Que casi temblando estoy.
LUZBEL     Si quieres saber quien soy,
Escuchame, y lo sabrEs.
Yo soy aquel gran privado,
Aquel monarca invensible,
Que a mi valeroso pufio,         640
Mar, cielo y tierra gimen.
Tus soldados me sirvieron
Como unos serafines.
Yo activo y arrogante
Vi el sol, desvanesime;
Un rapaz, un nifio creado
En brazos de madre virgen,
No habia de llorar por fuerza
Si su madre ha de rendirme?
Pero no os admireis, pastores,   6o5
Que en vuestro territorio estoy.
Persigo i quien me persigue,
Le doy guerra 6 quien me ofende,
Que yo la vida les quite,
Aunque la vida me cueste.




THE HERMIT AND TWO DEVILS




I




THE SHEPHERDS


Si


LUCIFER    By evil chance I lost my road
Among the moors. A stranger's right
To food and rest I claim.
TEBANO                             My heart
Warns me this stranger's like to prove
Some thief.
HERMIT              Who art thou, say? I shake
With fear!
LUCIFER    Thou askest who I am?
Know me that lordly favorite
Of the invincible King, whose might
Holds earth, sea, heaven in his hand.
His vassals served me - god-like host,
But I gazed scornful at the sun,
And swelled with futile pride... I
learned
That I must bow before a boy,
A babe in Virgin Mother's arms!
What shame to yield my pride to her!
Wonder not, shepherds, seeing me
Enter your country. I pursue
My tyrant foes, give blow for blow,
And seek their death at cost of life!




52


LOS PASTORES


HER1mITA-o Huyamos, hermanitos,
Que 6'ste es el diablo sin remedio.
ANGEL      No huyaiis, humildes pastores,
Ni thi, astuta serpiente,
Ponzofiosa sabandi'ja.            6
No, vasta, infernal dragon,
Tremenda, astuta, maldita,
El que hisiste quebrantar
A Adan y Eva aquel precepto, Divino.
Quitaios de mi presencia,
Porque ei furor de mi espada
Te convertirai en senisa.
Y en caso que ella me falte,
Con el nombre de Maria
Te arrojare. En este instante,   670
No sabes que los serafines,
Con plumas de dos en dos,
Escriben: Ya naci6 Dios,
Para dar muerte al pecado?
LuzBEL     Deja, Miguel, entrar 6l estos pastores,
Deja sembrar mis marafias,
Deja que mi rede estienda,
Deja que erir dl quien me hiri6',
Con mi veneno iracundo,
Deja que se abrase el mundo,      68o
Pues asi' me abraso yo.
ANGEL      No! Ynfame! que vengo a' defenderlos
yo.




THE SHEPHERDS


53


HRT        Flee, brothers, 't is Apollyon!
[They run off
Enter ANGEL
ANGEL                                 Nay,
Flee not, good shepherds! Neither thou,
Wily serpent, venomous beast!
Thou 'rt not content, infernal snake,
With thy past crime of making Eve
And Adam sin against God's law?
Out of my presence, lest my sword
Of flame consume thee! Did it fail,
With Mary's name I 'd cast thee down!
Knowest thou not that even now
The seraphs two by two write down:
"Jesus is born to conquer sin!"
LUCIFER    Michael, among these rustic louts
Let me prepare my traps, extend
My nets, wound with my deadly ire
Those who have wounded me! May I
Not burn the world, since with it I
Should perish too?
ANGEL                        No, traitor, no!
Behold me to protect them here!




54             LOS PASTORES
LUZBEL Qu6, Miguel! tui 'a' defenderlos vienes?
Pero te dare 'a' entender,
Si en el cielo me vensiste,
Aquf no habe~is de poder;
Porque soy rey de la tierra,
Y mul pedazos te he de hacer.
ANGEL      Quie-n como Dios en el poder?
CUCHAR6"N Pues con salud hemos liegado, 690
Con gusto y sin novedad,
Sente~mosnos todos en rueda,
Y dispongan que senar.
BATo       Hermanos, que larga ha estado
La jornada del di~a de hoy;
De~men presto de cenar,
Que de hambre temblando estoy!
CUCHAR6"N El hambre que a' mi me abate,
Es tan sumamente fina,
Mas yo debo hacerme el cargo, 700
Que esta hambre es canina.
BARTOLO' Querida esposa,
Breve la cena disp6n;
Hoye lo que esta" diciendo
El baciero Cuchar6n.
GinA       Despue~s de venir cansada,
Ya me enpiesan 6 moler!
No he hecho la ensalada,
VWnganla ustedes 6 hacer.




THE SHEPHERDS


55


LUCIFER    Thou, Michael, to protect them com'st!
If once in Heaven thou didst prevail,
On earth thou canst not! I am king
Of earth! Perish beneath my brand!
ANGEL      What power like God's!
[Exit ANGEL, driving LUCIFER before him
Enter Shepherds


CUCnAR6N
BATO
CUCHAR6N


Come, shepherds all,
Since here we 're safe and sound arrived,
Let us sit down and sup in peace.
Brothers, how long the day has seemed!
I 'm faint with hunger.


N


As for me,
I 'd make no bones of eating nails.


BARTOLO   Dear wife, get supper quickly. Hear
What Cuchar6n and Bato say.
GnLA      Barely arrived, I'm out of breath;
I wish they would not bother me.
I have not made the salad, come,
Make it thyself, if such thy haste!




56


LOS PASTORES


LISARDO    Desde anoche, d recato,         710
Salf s61o, de entre esas brefias,
Buscando a tato Bartolo,
A Nabal, 6 Gila y Bato.
Pues con rigor ingrato,
Me han dejado en la ocasi6n.
El ganado a su elecci6n,
Pero si los llego a hayar,
El pellejo han de largar
En la punta del chirri6n!
Yo soy el hombre valiente,      720
Que si mucho la hambre me apura,
Les he de dar de patadas
Si la fortuna me alluda.
GLA        A mi no me anden moliendo,
Mucho me van molestando.
Si tanto hambre les apura,
Vallanse pues arrimando,
Para que vallan senando.
HERMITANO A mi sin que me conviden
Ya me voy arrimando,            730
Demen un bado, hermanos,
De lo que estin hoy senando;
Que el frio que hace en esta cierra,
Es cruel sin comparaci6n;
Pues les afianso, hermanitos,
Que de hambre iba 6 morir hoy.
LISARDO    Atenci6n, hermanos mios,
Por lo que ten6is de "beatos,"
Que aqui el grande, Don Toringo,




THE SHEPHERDS


57




LISARDO
(aside)
GILA
HERMIT


Enter LISARDO
Last night in secret I set forth
Alone, across the dreary moors,
Looking for Uncle Bartolo,
For Gila, Nabal, Bato, - then
My cattle strayed on every side.
Let me but find the beasts, their hides
Shall stretch beneath my whip!
There, there,
Don't worry me to death. If they
Are famished, let them come and eat
At once!
For my part I draw near
Without twice asking. Give me part
Of what is ready, for the cold
Is cruel on this height, and I
Assure thee hunger makes me faint.


LISARDO    Attention, brothers, pious men,
See grandee Don Toringo take
A morsel from the spit! Are there




58


LOS PASTORES


Quita de los garabatos,
Un pedaso de torin,
Y si teneis vocoli,
Les comensare a decir,
Lo que Tebano me ha contado.
Bendecire este bocado,
Como hasen los padres santos
Cuando comer sentados.
Nominis, santi adentro
Abiscum, pastores,
Cantis - contifiores -
Habeis de saber mis fieles,
Que estando yo con Bartolo,
Debajo de unos laureles
Oll0 tocar, con biolines y areboles.
BARTOLO    Para poder senar bien,
He de tomar un traguito,
Que estando bien arropado,
Dormire bien y vonito.


740
750


CUCHAR6N
BARTOLO
CuTCHAR6N


Yo no s6 amigo Bartolo,
Que haremos con tanto frio,
Que el yelo traigo cuajado,
En el espinaso mio.
El baciero Cuchar6n valla
A ver pronto el ganado,
Antes que el lobo haga
Presa, y coma de lo contado.
Pues ya no valen quejas,
Ni advitrios en esta vez!
De andar me duelen los pi6s,
D6nde iran ya las obejas?


760


770




THE SH3EPHERDS


59


Fritters? Then listen to the tale
Tebano told me. First I bless
The mouthful, as the Fathers use
When they eat sitting: "Nominis
Santi adentro abiscum, cantis
Pastores contiflores! " Know,
My faithful flock, that when I stood
With Bartolo beneath the bays,
We heard sweet viols sound! a light
Rosy as dawn played o'er the sky.
BARTOLO    To finish off my supper well,
Give me a pot of wine. Then warm
Wrapped up in shawls, I '11 sleep till
dawn.


CUCHAR6N


Friend Bartolo, how cold it is!
The marrow 's frozen in my bones.


BARTOLO   Quick Cuchar6n, run guard the flock,
Lest wolves devour the little lambs.


CUCHAR6N


No use complaining! Though my feet
Ache still with running. Tell me, friends,
Where are the lambs?




00


LOS PASTORES


HERMITAO Cucharo~n, hermano mio,
Pienso que no han de ir muy lejos.


CUCHAR6N


Muy bien estd el fandango,
Yo soy e1 que tengo frio,
Y Bartolo esta' temblando!
Pues yo ya me voy, hermanos.


LUZBEL     De estos villanos espera,
Tener alguna razo'n;
Porque yo en tal confuci6n
Ardo en rabia, y desespero.
De d6nde sois vos, pastor?
CucHAR6N De la cabafia, sefior.
LuZBEL     De vuestra patnia os pregunto.


780


CUCHiAR6N


Ya mi padre es difunto,
Encomie'ndolo ud. a' Dios.


LUZBEL    No te pregunto boberas.


CUCELA-R6N


Lo que le digo es de veras,
Mas entre e6sto, dc'jeme ir.


LUZBEL     Eso sera' si yo quiero.


CuczAR6N


Esta sf, que es otra peor,
En que pararat todo esto?


790




THE SHEPHERDS        6i


HEmRNET
CucHAR6N
LUCIFER
(aside)


Poor Cuchar6n
I wager they have not strayed far.
I freeze afield, while here in camp
Bartolo shivers, - by the fire!
Well, friends, I 'm off!
[The Shepherds all lie down to sleep
Enter LUCIFER, meeting CUCHAR6N
From these rude hinds
The truth despairing fury seeks.
[To CucIIAR6N
Whence com'st thou, shepherd?


CUCHAR6N


From the camp,


Good sir.


LUCIFER
CUCHA6N


I ask thy country, fool.
My cousin 's dead, God rest his soul!1


LUCIFER
CucHAR6
LuCIER
CUCHAR6N


Knave, how darest thou jest with me?
Nay, I spake true. Now let me pass.
Later, mayhap, if so I choose.
Woe Is me, what meanest thou, my
Lord?


'A




62


LOS PASTORES


LUZBEL     Hay te lo dire despues.
CUCHAR6N Que? no es lo mismo ahora que luego?
LUZBEL     Hay lo sabras, no te aflijas.
CUCHAR6N Vestido vienes de negro.
O este color significa
Que por la posta me he muerto,
O este cuervo me ha olido,
Y hoy viene a hacer el entierro.
LUZBEL     De aqueste simple me valgo,      800
Por ver si puede saber
De su boca lo que 4 mi,
No me ha descubierto el cielo.
Bien puede ser, pero no;
Porque siempre aqui estos buenos,
Rebela Dios su hermosura
Encanto de sus desvelos.
Mira pastor: si me dices
La verdad, te prometo
El no haserte nada; y de no,    8I0
Seran despojos sangrientos
Para que el mundo escarmiente.
CUCHAR6N Buena encomienda seri,
Ya se me erizan los piez,
Quiera Dios que pare en bien!
LUZBEL     Dime: no haz oido
Decir en tu pueblo,
Si habra nacido el Mecias,
O que dicen que vendrd presto?




THE SHEPHERDS


63


THE SHEPHERDS       63


LUCIFER


Thou shalt know later.


CUCHAR6N


Why not now?


LUCIFER   Soon shalt thou know! But fear me not.


CUCHAR6N Thou 'rt clothed in black! Perchance
I 'm dead,
And this a carrion crow, well taught
By scent, come straight to bury me!
LUCIFER    This simpleton may serve my turn,
(aside) Reveal what heaven hides from me;
For oft God grants these innocents
Grace to perceive His high designs.
[To CUCHAR6N
Look thou, shepherd, answer truly,
And naught of harm shall come to thee;
But palter with me, and thy flesh,
To quiv'ring morsels torn, shall bleed
A warning to the world!
CUCHAR6N                          This is
A fearful threat! Ah! how my teeth
Do chatter! God grant some good end!


LUCIFER     Say then, hast heard the gossips tell
Of the Messiah's birth, or that
He soon shall come?




64


LOS PASTORES


64         LOS PASTORES


CUCa4,R6N


Un primo tengo Matfas,
Que hard dos afios enteros
Que e'ste causo6 una muerte,
Y lo echaron 'a' un destierro.
Las partes le han perdonado,
Y aunque viene como un trueno,
Si acaso no ha ilegado,
Puede ya no estar muy lejos.


820


LUZBEL     No pregunto por Matias,
Lo que digo es, buen baciero,
Que si acaso habrdt nacido
Ese Mecias, verdadero.


83o


CUCHaR6N


No hay tal: por mas sefias,
Que me acuerdo que lo vi *circuncidar,
Y estuve yo en su patena.
Que le pucieron Matias,
Por ser Hio de Mateo,
Primo carnal de mi padre,
Pariente de tata abuelo,
Que cas6' con prima hermana,
De este Mateo primero.            844
Porque, mire usted, sefior,
Todos estos Matanes,
Vienen de Matusal6m,
Y 6stos dicen que fue nieto
De Mata'n, y de Mateo
Que matan su suegra.
Estos vienen de Ar6n,
Por la parte de mi tio,
Y el nombre de mi abuelo,
Es el Mesias verdadero.           5








THE SHEPHERDS


65


CUCHAR6N


O sir, kind sir,


Matias is my cousin, sir!
Two years ago, by accident
He slew a man, was banished for 't,
But some days since they pardoned him.
Had he come home with lightning speed
He might be here,- or near at least.
LUCIFER    Matias, fool! I said not so!
Again, good shepherd, answer me.
The true Messiah's born, or no?


CUCHAR6N There is no True Matias! I
By the same token now recall
I saw him circumcised, and stood
For him at baptism. Him we named
"Matias" plain, no hint of "True."
'T was for his father, Matthew, sir,
First cousin to my father, and
Akin to my old Grandpa, who
Married his cousin german. See,
Good sir, these Mats descend each one
From old Mathusalem; and he
They say was grandson of Matan.
Matthew who killed his ma-in-law
Descended, by my uncle's side,
From Aaron. I believe, kind sir,
My grandfather must be the True
Matias!




66


LOS PASTORES


LUZBEL     Que' dices, bdrbaro! quieres
Que te abrase el juego?


C-CiOA.RON


Ah! s'i seilor, ya me acuerdo,
Que en este lugar conosil
Un tata Matilas, errero;
Mas yo no puedo asegurar
Que e-ste sea el verdadero.


LUZBEL     Viva el ardor en que peno,
Que te arranco el corazo~n!
Baiirbaro, tu parentela
Me refieres con rigor,
Cuando entre mis, iras
Ardiendo de rabia estoy!
CUCIA.R6'N Hay que me quemo, Dios mio!
LUZBEL     Por este nombre me ofendes.
CucH::AR6N Aqui', de Dios! que me abrazo!
LUZBEL     Por ese nomnbre te dejo,
Que si no me lo metaras
Te sepultaria en mi mismo.


86o


CucnAR6N


Anda, ve~te -a los profundos!
Que a' conjurarte no acierto.
Aqui se queda Cuchar6n
Ahogado para lo eterno.


870




THE SHEPHERDS


67


TH    HPHRS6


LUCIFER
CUCHAR6N
LUCIFER
CUCMAR6N


Cease thy chatter, fool!
Must flames burn truth from thee?
What, flames!
Ah! no, kind sir, I recollect
Here in this very village I
Knew one Matias, smith by trade.
An honest man, still I'11 not swear
He is the True Matias.
Now
By the fierce fire that tortures me,
Thy heart I '11 tear from out thy breast!
Slave! Ass! thy family pedigree
Thou dar'st recite, while I consume
In helpless rage!
[Seizes CUCHAR6N
0 God! I burn!


LUCIFER   That name affronts me!


CUCHAR6N
LUCIFER
CUCHARON


In God's name!


I burn!


At that name's power
I loose my hold; but saving it
I should have swallowed thee in flames.
Down to the depths! If now I fail
To rout thee, Cucharon is lost
For aye!




68


LOS PASTORES


LUZBEL     No mientes al seguidor,
Que si viene es mi enemigo,
Me convenciste te digo;
Soy minima de furor,
Demonio, infierno y terror
Y remedio no ha de haber.
Aqufl dieron fin mis voces,      880
V6yme a' los calabozes
Para siempre ai padecer.
MELISO     Dejando, el uno por el otro,
A d6nde estar6 el hermano Cucharo'n?
BARTOLO    Sin duda el frio lo ha matado,
O ya lo estain enterrando.
Oigan: los cencerros suenan,
Por aili viene volando.
BATo       Este Bartolo, seniores,
Nos da mucho en que pensar,     890
Duerme sin ningu'n cuidado,
O el frio lo hace disvariar.
Aila' viene Cucharo'n,
Miralo, hermano hermitanjo,
Viene con un semblante,
Como que viene asustado.
HERmiTM4o Cuchar6n, hermano mio,
Di'me, qu6 te hablia susedido,
Que me teni'as con cuidado?
Te quedaste dormido,            900
O habi'as perdido el ganado?




THE SHEPHERDS


69


LUCIFR               Lie not to him who comes,
He is my enemy, and I,
Devil, Torment, Hell, o'erthrown,
Seek nor encounter aid. Here end
My words! I go, in blackest Hell
To suffer everlasting pain!
[LUCIFER disappears, and CUCHARON rushes
off the stage. The Shepherds wake
MELISO     Now to speak of something else,
What has become of Cuchar6n?
BARTOLO    Perhaps he's frozen with the cold,
And these his funeral chants, for hark!
The music sounds! Nay, here comes he,
Flying!
BATO               Bartolo frightens me!
He 's talking in his sleep mayhap,
Or else the cold has turned his brain!
Here comes the fellow; look at him,
Good brother Hermit! One would say
The man with fright had lost his wits!
Enter CUCHAR6N in great fright and confusion
HERMIT     Cuchar6n, my good fellow, tell
What has occurred. Thoufrighten'st me.
Hast thou been dreaming, or hast lost
The sheep?




70


LOS PASTORES


70        LOS PASTORES


CUCMARO6N


Lo que me habi'a susedido,
Quieres que te cuento yo?
Que sin duda fue el demonio
El que se me apareci6'.


NABAL      OhIa! escuchen y miran,
Aunque de una tosca lengua,
Un anuncio mi'lagroso
Que se ha visto en estas selvas.
Pues ya por los aires suena,
Lo que les querf'a decir.
Oigamos todos y atiendan,
Nueva del cielo, es aquesta.
CANTO
Hoy inmortal soy de mi
De un palmo, sombra. y prodigicoI
Que el padre Eterno dispone,
Entregarnos Itoy a' su hijo.
LUZBEL     Aqul esas voces concordan
Lo proprio de sus escritos,
Que se ha de llegar ese dia,
Al pesar del valor mio.
CANTO


910


92.0


Ve     nid    Mi-     guel di    cho   -  so,
Del Ar -ca ce -les-t -al,   A    pre - su - rad el




THE SHEPHERDS


7i


CUHARO6N


The sheep! I would 't were that!
Friends, I have met the Devil!


Enter NABAL
Ah!
Let me, though with a rustic tongue,
Describe the wondrous vision seen
But now within this wood. Yet stay,
Celestial music fills the air!
Listen all, 't is heaven's message.
SONG
To-day I am immortal made.
By a heavenly prodigy,The Son in human flesh arrayed,
Sent by God to set us free.


LUCIFER
(aside)


Enter LUCIFER
Hark how the voices chant the words
I read; declare the day is come
'Spite of my wiles! Again they sing!


SONG




72


LOS PASTORES


pa -so,      Ve   nid  co - rred vo - lar.   De
Da -niel   y    de       Y    sai-as         Se
cum.plen  los  ba -ti -si -nios.           Que
hoy su    cuer -po       sus ten   -ta       La
p. ~ I
low I% A.A                          f'


u - ni6n del


v   v   v   I   I
Ver -bo  D i - vi - no.


De Daniel y de Ysaias,
Se cumplen los bcttisinios.
Que hoy su cuerpo sustenta
La unidn del Verbo Divino.
Lun3E Que nuevas voces concordan
0 visitan estos aires!
Escucharlas es fuerza
Aunque mi pena rabie.
CANTO
Venid Miguel dickoso,
De la Arca celestial,
Apresurad el paso,
Venid corred volar.


930




THE SHEPHERDS


73


THE SEPHEDS       7


Behold your prophecies come true,
Seers of the holy line I
A tender babe unites the two,The human and divine.
LUCIFER    What ringing voices join the song,
Flooding the air! I cannot choose
But listen, though I burst with rage I
SONG
Swift, happy Michael, run,
Leave the host on high!
To greet the Holy Son
Haste thy footsteps, fly!




74             LOS PASTORES
L-uzBEL    Qu6- ruido escucho en el viento?
Que' rubor siento por el1?
Este sin duda es Miguel -
Pero si es, que lo sea,
Al cabo yo no lo siento.
ANGEL      Para darles las noticias,
Del gusto que han de tener,       9P1
Primero he de desterrar,
Al Principe Lucifer.
Dime, serpiente engafiosa,
Que6 pretenden tus rigores?
Si engafiar estos pastores,
Aquf estoy 6i su defensa.
Y para que lo veas, soberbio,
Que yo, te he de castigar,
A mis plantas has de estar
Para siempre sumerjido.           950
LUZBEL     Viva el infierno, que aqui
Esto es morir con tal rigor!
A los volcanes de fuego
Donde habita mi inclinaci6n,
A pesar de quien me manda,
Tan penosa ejecucion!
Que me responddis, pastores,
Les hablare' claro; soy
El demonio, y a' que les quite
La vida me manda Dios.            960
Y si no, vente conmigo, pastor;
Te dare' jollas y perlas,
Del oro que me dej6
Mi padre el ejemplador.




TLIU-E SHEPHERDS


75


LUCIFER    What sound of rushing in the wind!
(aside) What rosy gleams across the night!
Michael, perchance? Well, let him come,
I care not now!
The ANGEL appears
ANGEL                      Before I give
This waiting band the joyful news,
To endless exile must I hurl
Prince Lucifer. Speak, crafty snake,
What mean thy threats? Wouldst thou
deceive
These shepherds? Then behold me
come
Swift to their rescue! Haughty prince,
My mission is to humble thee,
Soon shalt thou writhe beneath my foot,
There vanquished for eternity!
LUCIFER    Then long live Hell! Thy rigor here
Were death indeed! I will away
To the volcanoes of my realm!
Defiance to the will that craves
This vile submission! Answer me,
Ye shepherds, I will speak at length.
Plainly, I am the Devil! God
Himself has ordered me to kill
You all! Wouldst thou escape? Then
come,
Follow me, brother. Jewels, gold,
Pearls, -riches of the Emperor
My father, - all are thine! [to Michael]
Scorner,




76


LOS PASTORES


QuI~e me quer6is aqui, esquivo?
Es posible que no baste
Del cielo estar despedido,
Sino que quere'is tamnbie'n
Con escrituras, y libros,
Con acordes, instrumentos,       970
En voces de para ninfo,
Esplotar mis confusiones,
Que hoy quieren en mis voces
Causar delirio? Pero
Hay de mf, que es envano
Creerme lo que miro.
Para con tu Dios empefiado
Para destruir mi brio!
Yo hare' que a' un mismo tiempo
Sea el hombre ante Dios el olvido. 980
ANGEL      Por esa misma jactancia,
Te he de poner por librea,
Aunque e'sta tambie'n sea
Tu vii arrogancia.
Qu6 auardas, que6 determinas?
El medio que haz de tomar,
Si te quieres retractar?
O es que tu daflo adivinas,'
Si con armas me provocas?
El remedio estI en la mano;      990
Pero el delirio es envano,
Y son tus fuerzas, muy pocas.
LUZBEL     Ya te conozco, Miguel.
Piensas venserme, arrogante,
O basonarte triunfante,
Oponic'ndote 6 Luzbel?




THE SHEPHERDS


77


Wherefore dost seek me here on earth?
Did not suffice my banishment
From heaven, and must the Holy Writ,
And these celestial harmonies,
And messengers announcing peace,
Still deeper render my despair,Bring fresh confusion on my head?
Ah! woe is me! Art thou indeed
Commissioned by Almighty God
To crush my power? Then man as well
Shall perish in the sight of God!
ANGEL      For this vain menace thou shalt feel
An added pang, although the boast
Is but thy ancient pride, I know.
Why linger'st thou? What dost thou
seek?
How to retract, or dost thou weigh
Thy peril, shouldst thou challenge me
To combat? Nay, the remedy
Lies in thy hand! Cease raving, fiend,
Thy little strength is useless now.
LUCIFER    Michael, I know thee well.  Thou
think'st
To conquer me with arrogance,
Trumpet thy triumph, matching thee




78


LOS PASTORES


Si en la primera venciste,
En la secunda no es facil;
Una la hierra el mas ajil,
Dos, quien de necio se viste.  Iooo
Y asi lo que mis furias quieren,
Es matar a esa mujer.
ANGEL      No es facil vestia infernal,
Porque esa sefiora tiene
Quien del peligro la quite,
Y quien de te la celebre.
LUZBEL     Sin duda esta es la mujer,
Que Ysaias os promete;
Sin duda que la vara de Jos6,
Aqui es endonde florese         1010
Aquella flor misteriosa.
En fin, mujer, tfi me venses!
Mas que pronuncian mis labios?
Habrete, caberna ardiente,
Que Miguel ha de pagar
La traici6n conque me ofende.
ANGEL      Que dices de mi, miserable?
LUZBEL     Si me preguntas, atiende;
Sabras que qued6 pendiente,
En la disputa pasada,          I020
El despique de las armas.
Y con razones urgentes,
Te reconvengo primero,
Que esta mujer me dejes.




THE SHEPHERDS


79


With Lucifer! Although thou didst
In our first contest vanquish me,
The second count not, therefore, gained.
The agile foe wounds first, but oft
Presuming, falls in later strife.
One right my fury claims, - to kill
This woman.
ANGEL                    Hellish beast, thy wish
Must leap divinest barriers. Round
About her circle hosts to guard
'Gainst perils, most of all 'gainst thee!
LUCIFER   'T is she Isaiah promised! Here
Blooms Joseph's staff with mystic flower!
Woman, at last thou conquerest me.
Nay, words, stay on my lips! Open,
Ye fiery depths, Michael must pay
The treason which offends me!
ANGEL                                  Wretch,
What sayest thou?
LUCIFER                      Thou owest me,
Michael, revenge for my defeat.
Proudly I claim this woman. - No?
Then Hell assist me! These her guards,
In bloody fragments will I hew,
A warning to affright the world!




8o


LOS PASTORES


Y sino, Viva el infierno!
Esas guardias que le asisten
A esa mujer que defiendes,
Serin despojos sangrientos,
Para que el mundo escarmiente.
ANGEL      Ahora veras, sobervio,          1030
Cumplirse literalmente,
De David las profesias
De esta verdad evidente:
El aspid, el basilisco,
Te han de servir de tapete.
Ah! maldito, rinde el cuello!
LUZBEL     Qu6 he de rendir!
ANGEL      Ya defenderte no puedes.
LTZBEL     Qui6n como yo aqui, Miguel?
ANGEL      Quien como Dios, vestia fiera?  1040
LUZBEL     Otra vez me lo dijiste,
Cuya voz mas me atormenta;
Hoy querer que vuelva y sienta,
A cumplir lo que dijiste;
Ya mis fuerzas las rendistes.
ANCEL      Ya ti mismo conosiste,
Que por tu infamia veloz;
Mas yo por mano de Dios,
De los cielos te arroj6.
Mas dime; que causa fu6,        1050




THE SHEPHERDS       8I


ANGEL      Proud spirit, thou shalt see fulfilled
The prophecy of David,- truth
Made evident by this event:
"Under thy feet the dragon thou
Shalt trample!" Yield thyneck, accursed!
LUCIFER   Yield!
ANGEL            Thou canst no longer choose.
LUCIFER    Michael, what power on earth like
mine?
ANGEL      Monster, what power like God's?
LUCIFER                            That name
Again, my master torment! I
Must turn and hear my sentence. Thou
Didst conquer me.
ANGEL                       Thou knowest well
For thy mad crime I chased thee forth
By word of God from heaven's seat.
But tell me, wherefore didst thou sin?




82


LOS PASTORES


Que tii buscaste tu mal?
Y asi, venid a' postrar
A mis plantas la serviz.
LUZBEL     Hoy, pues, haz de conoser
De mis fuerzas el valor,
Y para que lo yeas mejor,
Mil pedasos te he de hacer.
ANGEL      Rendido, esta's a' mis pies,
Y para tu mayor pena,
Para siempre te has de ver       zo6o
Preso con esta cadena.
LUZBEL     Hay miserable de ml',
Qu6 sera' ma's nil dolor?
Como no reviento,
De pura rabia y furor?
Har6 que de mi valor,
Tiemblan Los cuatro elementos.
Hay de la invidia veloz,
Que en tal rigor cruel me abate!
Y es fuerza, el que yo desate,   1070
El tormento, mas atroz.
Mas tti, por mano de Dios,
Bajaste del alto imperio,
Donde caigo sin remedio,
A aLfombras, de vuestros piez.
Rendiste, Miguel, mi bri'o.
Solo ese nombre pudiera
Hacer que yo me rindiera,
Y asombrar el valor mnfo.




T]HE SHEPHERDS


83


Come hither first; beneath my foot
Bow low thy stubborn neck.
LUCIFER                              Michael,
The measure of my strength this day,
No later, thou shalt know! Thyself
In pieces straight I '11 hew to show
My mettle.
ANGEL                Vanquished at my feet
Art thou, and shalt behold thyself,
For greater punishment, bound down
Forever with this chain.
[The ANGEL binds LUCIFER with a chain
LUCIFER                          Ah me,
Could pain be greater? Shame and rage,
Why burst ye not my heart? My wrath
Shall fright the elements! Alas!
The sudden malice, ruthless force
That crushes me! I must endure
The most atrocious torment! Thou
Descendedst at the word of God
From heaven, whence I fell, to prove
A carpet for thy feet! Michael,
My spirit yields; that name alone
Could vanquish me, subdue my will.




84


LOS PASTORES


CANTO
No siento mi caida,9 no,       1080
Ni la gracia que perdi;
S6lo siento el ver que aqul,
Nueva i`njuria espero yo.
LUZBEL     Miguel, rendido me tienes;
Yo para dar guerra al hombre,
Llamar6' todo el infierno,
Para que de ml se asombre.
Yo hare' que ese oscuro seno,
Hare' que ese espeso monte,
Se descubra cual falsonte,        lg
En lo marchito y ameno.
CANTO
Hay infierno, que- tirano
Has puesto en pena tan cruel!I
Mira en que tormento se lzaya
El principe Lucifer!
LUZBEL     Aquf de las ancias mi as,
Aqui de mi gran valor,
Aquip, tropas infernales,
Hoy las he de menester.
Ved, ministros, co'mo, vienen!     10
LIa no quieren mds tardarse.
Que no hay raz6n para que viva,
Quien tan desdichado nase.




SEVEN DEVILS AND SHEPHERD LAD








THE SHEPHERDS


85


SONG
I grieve not for my fall,
Nor mourn my perished state,
But sorrow to await
This fiercest pain of all.
LUCIFER    Michael, thou hold'st me captive here,
But for my war on man I call
The bands of hell; and to inspire
Terror, this mount, this dusky cave
Shall vomit out the murky host.
SONG
Inferno, what a tyrant thief
Thou hast laid in cruel pain.
See what shackles now restrain
Accursed Lucifer, thy chief.
LUCIFER    Here at my cry of anguish haste,
At valor's call, ye troops of Hell!
Infernal legions, aid me now
In hour of need! Come, minions, come!
They gather, will not linger! Ah!
Why should he still breathe air whose
birth
Was marked for evil from the first?




86             LOS PASTORES
CANTO
z. A - pren -ded       flb - res       de
2. Que a - yer  ma       ra - vi   -   Has
mf,.  o que a  de-yrIhy
Lfu,  Y hoy som - bra  d e ml' no  soy.
Aprended fibres de mi
Lo que vct de ayer 4 hoy;
Que ayer mctravillas lull,
Y hoy sombra de mi no soy.
LUZIBEL     Astros, Iluvias y elementos
Desde el Norte hasta el Poniente,
Planetas de Sur 6i Oriente,        11
Atended a' mis lamentos.
Ya los engrandecimientos
Se acabaron para ml;
Yo a' los cielos no volvi,
Pero con justa razon,
Amarte pluta y plut6n,
Aprended fibres de mi.




THE SHEPHERDS


87


SONG
Ye blossoms, learn your fate from me,
How unlike morrow follows morrow;
At eve an angel I, and free,
At dawn this captive shade of sorrow.
LucIFER     Ye planets, stars and elements,
From northern to the western sky,
From southern bound to orient,
Give ear unto my bitter cry!
Now all my glory's growth is o'er,
The heavens I ne'er again shall see,
For pride is an ill counsellor, -
Ye blossoms, learn your fate from me!




88


LOS PASTORES


CANTO
A prended fibres de mi.
LUZBEL     Ya que ocupaste mi silla,
Di, Miguel, que no me has visto,  12
Que al nacimiento de Cristo,
Veniste por mi fatiga.
Fortuna, mue'strate, esquiba,
De la malicia, en que estoy,
Si he sido, si ful 6 Si soy,
De"Jame, Miguel valiente,
Que veo al mundo diferente,
De lo que va de ayer d Ihoy.
CANTO
De lo que va de ayer d ihoy.
LUZBEL     Dios en su enperio, me cri6',    1130
Y por mi vana locura,
Se marchit6 mi' hermosura,
Pero mi ciencia, 6sa no!
Lo grangeado se perdi6,
Se cumplio6 lo que lei0;
Pero aunque el trono perdi,
Con tan funestas, porflas,
Sepa Daniel e Ysa~ias,
Que ayer maravillas jull.
CANTO


Que ayer maravillas Jul.I 4


1140




THE SHEPHERDS


89


THE SHEPHERDS       89




SONG
Ye blossoms, learn your fate from me!
LUCIFER    Since now thou hast usurped my place,
Thou doest despise my ancient worth;
To render deeper my disgrace
Thou com'st to hail the Saviour's birth.
O fortune, turn thy scornful face,
Mark not the grief that tortures me!
O'er that bright dream of sovereignty, -
Mine e'er I learned this depth of sorrow,Let memory hang, and anguished sigh:
How unlike morrow follows morrowl
SONG
How unlike morrow follows morrow I
LUCIFER    God reared me midst his shining host,
But through excess of lust and pride,
My godlike beauty soon was lost,
My envious spirit mortified;
My power became an empty boast,
The Prophets' words were justified.
But though the throne be lost to me,
Know, Daniel, where I took my stand!
Isaiah, great was my degree!
Though now a slave in Michael's hand,
At eve an angel I, and free I
SONG
At eve an angel I, and free I




90            LOS PASTORES
LUZBEL    Lla lleg6 la Redenci6n,
Y yo quede avergonzado.
Si soy padre del pecado,
Mirad si tengo raz6n.
Yo a Adan meti en confuci6n.
De la malicia en que estoy,
Ya a lo profundo me voy,
De mi sepulcro al abismo,
Y por sobervio yo mismo,
Hoy sombra de mi no soy.        1150
CANTO
Hoy sombra de mi no soy.
LUZBEL     Dime, Miguel, no ful yo,
Aquel que en el cielo enpirio,
Me vi, y fui acompafiado,
De inumerables espiritus?
Y hoy por mi bana locura,
No me conosco yo mismo.
ANGEL      Pues si todo lo conoses,
Y todo lo vez, drag6n,
C6mo atrevido te pones,         116o
A quitar la deboci6n
A estos cristianos pechos,
Que invocan a tu Criador?
C6mo, loco, temerario,
Tubo tu rabia valor,
Para, furioso, oponerte,
A lo que Dios complaci6?
Retirate de mi vista
Muy pronto, porque si no,
Hare que de tu malicia,        1170




TLKTE SHEPHERDS


9I


LUCIFER    Ah! second, deadlier hour of pain,
Redemption dawns in Jesus' eyes;
My schemes for Adam's fall were vain,
Father of Sin, I lose my prize!
The abysses gape to swallow me,
My torment ne'er shall know a morrow!
At eve, that form of majesty,
At dawn, this captive shade of sorrow!
SONG
At dawn, this captive shade of sorrow!
LUCIFER    Ah, Michael, was I not a chief
In yon celestial court on high?
Yes, now that folly's work is wrought,
I scarcely know myself, so lost!
ANGEL      Well, dragon, since thou knowest all,
And seest all, how dar'st presume
To steal their faith from Christian
breasts,
From these who pray thy very Lord?
How, fool, audacious, found thy wrath
Courage to wage a frenzied war
On those whom God was pleased to bless?
Haste thee away, serpent, lest I
To thy just torment add of woe
A double part, to 'quit the crime
I frustrate, 'gainst these simple souls!




92


LOS PASTORES


Se doble la ejecuci'n,
Por el delito que este dia cometi6.
LUZBEL     Todo lo que me has mandado,
Ejecutar6', Miguel;
Mas no se va Lucifer,
Hasta concluir lo enpesado.
ANGEL      Que6 hases, Lucifer, que6 aguardas,
Que no te mudas muy pronto,
Y dejas estos pastores
Que vallan a' ver al Verbo?     1i80
Lebantdos, fiera horrorosa,
Y septiltate al abismo,
Donde castigues tii mismo,
Tu malicia perniciosa.
Cingete, cruel venenosa
Serpiente, que de la tierra,
El mismo Dios te destierra,
Y con amor soberano,
Deja al. linaje humano
Armas para darte guerra.        fl90
LUZBEL     Veneno, he de respirar,
Volcanes he de ensender,
Y al hombre que ha de nacer,
Mil injurias preparar.
Desesperado de andar,
Al hombre me he de oponer,
Y Si no lo puedo hacer,
Ser6 su enemigo eterno;
Que yo todo compondr6,
Con marcharme 6 Los infiernos.   10




THE SHEPHERDS                 93
LucIFER    All thy commands I will obey,
But Lucifer will not depart
And leave unfinished his last work.
ANGEL      What, Lucifer, thou lingerest still?
Begone! and let these shepherds haste
To see the Word made human flesh.
Arise, thou loathsome beast, plunge
down
The yawning chasm, where damning sin
Will prove itself thy sharpest pain.
Gird up thy loins, since from the earth
Thy Maker exiles thee for aye,
While man receives through sovereign
grace
The gift of love which conquers sin.
LUCIFER    A crater, belching poisonous fire,
I fain would bury rescued man
Beneath the lava of my hate!
Hopeless with thee my further strife;
Man must I tempt, and should I fail,
Eternal enemies we rest,
And all will follow in God's plan
When I, engulfed, embitter Hell.




94            LOS PASTORES
ANGEL      Befte 6i tu centro, Luzbel,
Ma'rchate, fantasma inicua;
Pu&' te mando que te vallas,
Al abismo a' padeser.
LUZBEL     Qu6' Miguel, tu me persigues?
Y asi' te advierto primero,
Que he de ser contra todos,
Pena, furor, mejibelo,
Basilisco, lobo, Ie6n,
Sentella, ira, rallo, y trueno;.1
Por que por el hombre haun
Se me ha hecho gran daflo.
He de gemir, respirar,
Y he de llorar sin consuelo,
Con aponderable rabia,
Para cuya fin apelo;
Que para sentir mi daflo,
Se derrita parte de ello.
Que yo todo compondr6,
Con marcharme -a los infiernos.  1220
CANTO




THE SHEPHERDS


95


ANGEL      To thy abode, Demon! Depart,
Iniquitous phantom, I command!
Plunge in the abyss, well-earned thy
pain!
LUCIFER    How, Michael, thou pursuest me still!
Then know me wrathful foe to all,Aspid, gad-fly, raging lion,
Thunderbolt charged with deadly fire!
For man has sorely wounded me.
I sigh and groan and weep with rage,
Calling for surcease, -since to speak
One's sorrow dulls its sharpest pang.
Now all will follow in God's plan
When I engulfed embitter Hell.
[SATAN vanishes, and the Shepherds sing their
song of victory


SONG




96             LOS PASTORES
cie.los, por -que ha ven-ci -do  Mi -guel.
fer.     pe -sar  de sus des -ye -los.
Victoria claman los cielos,
Puesque ha vencido Miguel;
Corrido va Lucifer,
A pesar de sus desvelos.
ToDOs       Todos alegres cantemos
Al pesar de Lucifer;
Muera el dragon infernal
Viva el Arca'ngel Miguel!
ANGEL       Aqui este triunfo, sefilores,
Vine a' dar el parabie'n,          12Z30
Que ha rendido la serviz
El Espiritu rebelde.
Escuchad, pastores,
La ma's feliz nueva
De alegria y goso,
Que hoy se ye en la tierra.
No temaiis el oirla,
Que es de salud liena,
Porque ha nacido Dios,
Esta noche buena,                 11240
Entre humildes pajas,
Y dos rudas vestias.




f
9
Y


GABRIEL AND GILA


"O' ":: 10 0, 1 4, 00, ", 0 ", *, c0 f "
0   0     4,c      11,
6...  0      O    f




-,   0,                      I       I
I.I,     0




THE SHEPHERDS


97


THE SHEPHERDS        97


The heavens are chanting " Victory,
Saint Michael has prevailed! "
Watch Lucifer crestfallen flee,
His baneful schemes unveiled!
ALL          Together let us joyful sing
In Lucifer's despite;
Confusion to th' infernal king,
Glory to Michael's might.
ANGEL      This song of triumph celebrates
Submission of the rebel prince.
Now hear, ye shepherds, gladdest news,
The greatest joy to-day on earth.
Fear not to listen. Grace is yours,
For God is born this holy night,
In humble manger, 'mid the straw
Of two dumb beasts, - His wond'ring
hosts.
Have done with trembling, seek Him out,
Close following my guiding light,
That you may know His gracious face.




98


LOS PASTORES


Y asi dejad esos temores,
Y venid con prisa,
Que siguiendo mi luz,
Vereis su precencia.
CANTO
Bato y Parrado
Sigan cantando,
Ahora que al monte
Vamos llegando.                 2s50
Pastores todos
Con alegria,
Pues ya la noche
Parese dia.
Pastores todos,
Por estas sejas,
Vamos arreando
Nuestras obejas.
Pastores todos,
Con gran contento,              I260
Pues ya llegamos
Al Nacimiento.
PA.IIADO    Queridos hermanos,
Pues lla lleg6 el dia
Que al portal llegamos,
Ofrescamos todos
Al Dios inmortal.




THE SHEPHERDS


99


THE SHPHRD              99........Il


SONG
Sing Parrado and Bato still,
Brothers, we reach the sacred hill.
Shepherds, sing our blissful lay,
Now the night shines bright as day.
Shepherds, across the mountains steep,
Climb on, sing on, driving our sheep.
Shepherds, the joyful notes rise wild,
We soon shall greet the Holy Child.
PARRADO       Beloved brothers, day has dawned,
Haste to the manger, off'ring each
His humble gift to immortal God.
[The manger is unveiled, and the Shepherds
approach slowly
U     or*




100


LOS PASTORES


TEBAN    Liegad todos, y vere~is
Ese portento Divino.
PAYuJro    Tan lindo como Divino.         12,70
Pero, que6 miro, sefiores,
No es 6'sta Marla, la hermosa?
HEMTA4O Es la pura, y de Dios mnadre,
Del cielo sagrada rosa.
PAR1FADO   Hay Dios mio!
Quie'n a' mf me lo dijera,
Cuando ya nos despedimos.
Sierto es, buen gusto tubimos!
Dios Ai esta la ha escojido,
Para que fuese su madre;        iz80
Yo habria hecho, lo mismo.
MELISO     Habla con tiento, que es Dios.
PARR~ADO   Pues qu6 nflifo tan chiquito!
Si fuera un poco mas grandecito,
Allai lo ilevar'la yo 6 que jugara tantito
Con nil sobrino, Andrecito.
MELISO     Mira que hablas con consierto.
P~AIuADO   Juro 6 Dios santo y bendito
Que pienso el volverme loco.
GILA       C6mno, juras al chiquito?       19
PARRADO    Eso, Gila, no importa,
Vamos 6 adorar al niflo,




THE SHEPHERDS


101


TEBANO     Approach and view the Sacred Babe.
PAMRADO Divine in beauty as in might!
But friends, whom see I by the Child?
Is she not Mary, called the Fair?
HERMIT     The purest Mother of Our Lord, —
Virgin and sacred Rose of heaven!
PARRADO    Ah me! who could have dreamed last
eve
So fair a face would greet us, here?
In truth, good fortune guided us!
God chose her out of all to be
His mother; would that she were mine!
MELISO     Bridle thy tongue, for this is God.
PARRADO    O what a pretty little Babe!
Were he but grown a bit, I'd steal
Him off to play with nephew Jim.
MELISO     Brother, thou speakest like a fool!
PARRADO    Now by our gracious Lord, I swear
I 'm like to lose my wits for joy!
GILA       What, art thou swearing at the Babe!
PARRADO Enough, dear Gila, let 's approach,
Adore the Child, and lay our gifts




102


LOS PASTORES


A ese portento Divino.
Vamos, pues, 6 ver a Dios.
TEBANO     Bamos, pues, en hora buena.
PARRADO    Pastores, la noche buena,
Que tanto la hemos deseado,
Que os parese, no es aqui esta?
TODOS      Claro esta que lo es, hermanos.
PARRADO    Paraninfos vellos,
Por los haires suenan,
Cantando de Dios
La paz en la tierra.
Ya estamos en el portal,
No ven la luz que de 61 sale?
Quien habra que se le iguale?
Que llegue a la adoraci6n.


1300


TEBANO     Llega tui, que heres mayor.


PARRADO    Tebano, Nabal y Mengo,
La Gilita, Don Bartolo y el
Todos atentos esten,
A lo que voy / ordenar:
Tebano por mas antiguo
Ha de ir primero f adorar,
A Ilevarle al nifio Dios,
Esa humildad que le trae.
TEBANO     Si por mis viejo ordenfis
Que valla & ver ese ninio,
Ha de ser con todo el aliflo,
Para que de ml aprend/is.


1310
hermano,


I320




T HE SHEPHERDS


0o3


Before this miracle of love,
And look with wondering awe on God.
TEBANO     Quick, let us go, in Heaven's name.
PARRADO   This night, miraculously fair,
Is our long-wished-for Holy Night.
ALL       Yes, brothers, this is Holy Night.
PARRADO    Beauteous angels hover round
Singing the peace of God on earth.
See the manger ringed with light
Brighter than earthly radiance far!
Draw near in peace and offer prayer.
TEBANO     Thou shouldst go first, that art the chief.
PARRADO    Tebano, Nabal, Mengo, come;
Gila, Hermit, Don Bartolo. —
Listen, thus you all shall go.
Tebano, thou as eldest, first
Must say thy prayer, and humbly bring
Thy offering to the infant God.
TEBANO     Since as the eldest I begin,
I must approach the Child with awe,
To teach you all due reverence.




104


LOS PASTORES


CAMNATA
Que linda es Maria
Aurora brillante,
Naci6 el ninfo Undo
Cual su amante.
ADORACI6N
Hoy que recibo favores,
Traigo en el alma alegria,
Por tu concepci6n y honores,
Virgen sagrada Maria.
Toma un canasto de flores       1330
Que te ofresco, madre mia,
Que ruegues por los pecadores.
A que campos tenga yo
Que daros con bizarria!
Llegen pastorsitos todos
A decir Ave Maria.
Queda en paz Divino clavel,
Que hay viene Parrado,
Que te viene a ver.
Hermano Parrado,                1340
Llgate & adorar
A ese tierno infante
Que estd en el portal.
CAMINATA DE PARRADO
Voy para BelIn
Con gusto crecido,
A ver al Mecias,
En pajas nacido.




THE SHEPHERDS


IOS


TEBANO approaches singing
How tender is the mother,
Rosy bright Aurora;
Jesus smiles her lover,
A Zephyr for this Flora.
PRAYER
To-day when graced by favors high
Joy fills my heart at sight of thee,
Thou holy Maid Immaculate!
Take my poor basket, heaped with
flowers.
(Would I had lands to offer thee!)
And give us - sinners all - thy prayers!
Come nearer, shepherds, say with me
Ave Maria! at her feet!
Farewell in peace, thou holy Rose,
Parrado comes to greet thee now.
Approach, Parrado, and adore
The tender Babe in manger laid.
PARRADO      To Bethlehem I take my way,
(singing)    With joy and reverent awe,
To see the Saviour, born to-day,
Low laid in humble straw.




io6


LOS PASTORES


ADOPACION
IDios te salve, Maria,
Hija del Eterno Padre,
De los pecadores gufa,           13350
Y de Cristo fuiste madre.
Adi6s te digo Princesa,
Hermosa flor de castilla,
Que el cordero, sin mancilla
Te ha Ilenado de grandeza.
Parrado tus plantas besa,
Con humilde corazo'n,
H6chale tu bendici6n,
Por tu infinita clemencia.
Queda en paz Divino clavel,     1360
Que hay viene la Gilita
Que te viene a' ver.
Hermana, Gilita,
Hase'rcate adorar
Ese tierno infante
Que esta' en el portal.
GILA       Bartolo, Parrado me ha convidado
Que valla a ver ese niflo,
Y si tii me das licencia,
Ire6 con gusto y cariflo.        1370
BARTOLO    Si Parrado lo ha intentado,
Que vallas 6, ver al chiquito,
Te concedo la licencia,
Pero has de bailar tantito.
GILA       S6lo por ver la hermosura,
De ese niflo tan chiquito,




THE SHEPHERDS


107


PRAYER
Heaven save thee, daughter of the Lord,
Mary, the sinners' constant friend,
Mary, the mother pure of Christ.
Princess, lovely flower of Spain,
I greet thee! for the spotless Lamb
Hath made thee mistress of the world.
Parrado bows to kiss thy feet,
And humbly craves thy blessing. Grant
The boon, with mercy infinite.
On thee be peace, thou holy Rose,
Gilita comes to greet thee now.
Approach, Gilita, and adore
The tender Babe in manger laid.
GILA       Bartolo, hear him ask me now
To go with him, and see the Child.
I fain would go; dost thou consent?
BARTOLO    Well, since Parrado wishes it
I give thee leave, but first thou must
Dance us a round to earn the boon.
GILA       I long to see the shining face
Of this most gracious holy child,




io8


LOS PASTORES,


Hare lo que t(t me mandes.
Maestro, toque un sonecito.
CAMINATA DE GILA
Berme'i'to Undo,
Del cielo envelezo,           -1380
Candor de las ayes,
Y alegrita del cielo.
ADoRAci6N
Yo, seflor, aunque mujer,
Humilde y postrada estoy
Mirando entre humildes pajas
Al Altisimo Creador.
Y como la humildad es tanta,
Y la fe me escita,
Estos blancos lienzos doy;
Le har~is unas camisitas.        1390
Y del gusto que publico,
De lo que mi dicha ha logrado,
Sefior que al mundo ha bajado,
Un Dios que yo justifico,
Recibe los cortos dones,
Los dijes, las sabanitas.
Y al fin como pastorcita
Duefio de mi corazo'n,
De aquf se aparta Gilita,
H6chale tu bendicion.            1400
Queda en paz, Divino clavel,
Que hay viene el hermano Hermitanio,
Que te viene 6 ver.
Hermano Hermitanio,
Lle'gate a' adorar,




I
0        1:      11, 9,      I, I       ",     I
I     -      - -1,    I,.         a.,


GILA








THE SHEPHERDS


I09


And so for once I will obey.
Come, piper, blow a jolly tune!
[Singing
Rosy little treasure,
Joy of saints above,
Star from heaven's azure,
Pure as snow-winged dove.
PRAYER
Jesus, see me, a mere woman,
Humble, prostrate, here before thee,
Gazing at my high Creator
Shivering on the wretched straw.
His humility incites me,
Faith emboldens me to offer
This poor linen, Virgin Mother,
Praying Thou wilt shape Him garments.
And for the joy which I profess
At Thy heavenly grace to me,
O Lord who comest down to earth,Whom I confess, —receive these gifts,
These toys and linen, —all I have.
Now this poor shepherdess retires,
Gila by Thy leave withdraws,
Bless her, 0 Master of my heart.
Farewell, farewell, thou holy Rose,
The hermit comes to kiss thy feet.
Approach, dear Hermit, and adore
The tender Child in manger laid.




II0


LOS PASTORES


A ese tierno infante
Que estai en ei portal.
HERMITA&o Ahora que estaba rezando
Mi rosario esciarecido,
Me haz venido a' perturbar,      1410
Para que valla a' ver ese nifio.
Pero si tfi Gilita te nombras,
Y ya veiste al chiquito,
Para que valla el hermano,
Que le toquen un torbeilin,
Que ei corazo'n se me sale
Por conocer ese niflo.
CAMTNATA DEL HIERMITANO
Desde mi cabctii
Te vine d adorctr,
Nubi Diods chiquito,            1420
Mas no hubo lugar.
Te ojresco, niftito,
El rico collar,
Y aquif este rosario,
Que voy a4 rezar.
Pues un solo libro,
Que es mi caudal,
Y una desiplina
Para mi azotar.
ADoRACI6N
Todos con gran gusto estafn,     1430
Y no ha habido quien advierta;




THE SHEPHERDS


III


THE SHPHRD          III


HERMIT      As I was telling o'er my beads,
Thou cam'st to lead me to the Child.
But, Gila, hast thou really seen
The Babe? Ah! how my heart leaps up!
To joyous music I draw near.
[Singing
From my desert cell,
I hastened forth to greet
The Infant God, and swell
The crowd about His feet.
Jesus, Lord, I bring
A necklace fair for Thee,
And this pretty string
Of beads, my rosary.
Last of all I urge,
Thou take my book of prayers,
And the well-worn scourge
That speeds my soul's affairs.
PRAYER
All slept, none watched for Thy advent,
But I alone, alert and glad,




II2


LOS PASTORES


S6lo yo que estaba alerto,
Les dije que aquil han faltado.
Pero ahora les ha traido,
Siempre con alguin esmero.
Que me los hizo un platero,
De M6xico, (ajubilado,)
Un relicario adornado
De una liga primerosa.
T6malo madre amorosa,            1440
Para el nifl Dios Jesfis,
Y en medio una santa cruz
Que con ella le callara's.
Y con esto, queda en paz,
Soberana Emperatriz,
Eminentisimo Dios,
Sefior de las alturas,
Amador de las criaturas,
Dominus, momentus deus.
Que libre estdi tu rebaflo,      1450
Del demonio y del engafio!
Y para que cubraiis el frio,
Toma esta capa, Dios m~o,
De vuestro humilde hermitaflo.
Yo soy un pobre hermitafio
Que abito en aquella cierra,
Y el afecto me lleva,
Y por eso no lo estrafia.
Quie'n mds quiciera que yo,
Acompanarte y amarte,            1460
Y este romerito darte,
Que le traigo 6, tu chiquito
Para cuando lo estes vistiendo,
Le cures el hombliguito.
Queda en paz, Divino clavel,




THE SHEPHERDS


II3


I urged them on, I brought them here,
Vouchsafe us welcome, gracious Lord.
A silversmith of Mexico,
Our glorious country! made me this,
A reliquary richly wrought.
Take it, dear Mother, for thy Son,
Behold on it the holy cross.
'T will hush the Baby when He cries!
O my sweet Jesus, Lord of Hosts,
Thy creatures' lover, -Dominus,
Momentus Deusl How Thy flock
Is freed from Satan and his wiles!
I fain would shelter Thee from cold.
Accept this cloak, Thy hermit's gift,
For naught but a recluse am I,
My dwelling in yon rugged mount.
Devotion brings me, wonder not,
For who should love Thee more than I,
Or sooner strive to see Thy face?
Dear Virgin, look, this rosemary
I bring thee for thy Babe. When thou
Dost dress him, rub the healing herb
Upon his navel. Fare thee well,
Peace be on thee, thou holy Rose,
Here Nabal comes to kiss thy feet.




II4


LOS PASTORES


Que hay viene Nabal
Que te viene a' ver.
CAMINATA DE NAI3AL
Voy para Belgn
Siguiendo mi ley,
VerM d mi Griador,            1470
Y le dare el buey.
ADOPACIT6N
Aunque cansado ha Ilegado
El pastorcillo Nabal,
Ni el cansancio, ha sentido,
Con la ancia de liegar.
Mia! Prodigio, tan sin par,
Qu6 hermosura de nifiito,
Se encuentra en este portal!
Pues yo en vez de conquiztar,
Hasta quisiera danzar.           1480
Bien nos dijo aque-I con las alas,
Cuando nos vino 6i abisar,
Que la gloria estaba aqui,
Adentro de e-ste portal.
Recibe, pues, amoroso,
Lo que te vengo a' ofertar;
Al buey para que caliente,
Virgen, todas las mafianas,
Te lo ofresco humildemente,
Al hijo de tus entrafias,        1490
Que es el fruto de tu vientre;
Y para que lo caliente,
Y quede constante con 61.
Con grande regocijo,
Te voy 6, enbiar 6, Meliso




THE SHEPHERDS


II5


NABAL        To Bethlehem I take my way
(singing)   Led by love within;
O'erjoyed I seek my Lord to-day,
And bring the ox to Him.
PRAYER
Although poor Nabal weary comes,
He recks not of fatigue, his wish
To reach the manger winged the miles.
Zounds! What unequalled prodigy!
The dearest little angel Child,
Lies in the manger! Well he said,
The stranger with the shining wings,
When he announced the miracle,
That Glory in the manger lay!
Receive my gift, thou loving Maid.
The ox to warm Him every morn,
And patient watch Him while He sleeps,
With pious joy, Virgin, I give
Thy heaven-sent Son, fruit of thy womb.
Now will I send Meliso here,
Farewell, farewell, thou Holy Rose,
Meliso comes to kiss thy feet.




ii6        LOS PASTORES
Para que te venga a' ver.
Queda en paz, Divino clavel,
Que hay viene Meliso
Que te viene a' ver.
MELIso     Si tdl Naval te nombras,         I0
Y ya veiste al chiquito,
Para que salga Meliso
Que toquen un fandanguito.
CANTO
Al ruido de la boruca
Adonde durmiendo estaba,
Olli una voz que decia
De estcz manera cantaba:PA.RRADO Ola! rato ha que estaba ollendo,
En alegria que has estado!
Que asi' se gana el dinero,      II
Dejando solo el ganado?
MELISO     Escuche usted, caballero,
Atiendo ud. sefior Amo,
Que la mtisica y el baile,
Me hasen dejar el ganado.
CANTO
Al ruido de la boruca
Adonde durmiendo estaba,
OlIU una voz que decia,
Y de estct manera cantaba:
Pastorcillos que durmiendo,    I2
Estdis en vuestra cabaina
Caininad para Behgn,
Veregis la gloria y la lama.




THE SHEPHERDS


II7


TH  HPHRS"


MELISO     And hast thou seen Him? Now 's my
turn!
Strike up, fandango, beat the drum!
SONG
Above the shouting multitude
As I lay thinking dreamily,
I heard a voice from out the wood
Chanting, chanting joyfully.
PARRADO    What listening, friend? a merry way
To earn thy wage, the while my sheep
Stray herdless?  greater sheep's-head
thou!
MELISO     Hear me, Master, 't was the music,
'Twas the dancing made me leave them!
SONG
Above the shouting multitude
As I lay thinking dreamily,
I heard a voice from out the wood,
Chanting, chanting joyfully:
"Ye shepherds sleeping night away
In mountain pasture wild,
Seek Bethlehem, make no delay,
Adore the Holy Child."




ii8


LOS PASTORES


ii8        LOS PASTORES


Que esta' el Salvador del mundo,
Tirado en humildes pajas,
Que por redimir al hombre,
Nacio6 de Maria amada;
La que es concebida en gracia,
De aquella que fue' anunciada;
La que caso6 con Jose',       1530
Que es hija de Joaquin y Ana.
Por conoser a' Jesus,
El corazo'n se me sale,
Que gloria para Marla,
Y para Jose' su padre!
Co'mo esta's buena mujer,
Esfta' bueno tu marido?
Tiene mucha obra que haser?
Hayer se me quebro6 un tarro,
Y el me lo ha de componer.    1540
Ayer estando ordefiando
La buena de mi mujer,
Tir6 un respingo la vaca,
Y lo quebr6' con los pies.
Y yo enojado le dije:
Ven aca', buena mujer,
Si tuii no cuidas la hacienda,
Que hacienda hemos de tener?
Asi mi hermana la viuda,
Se te encomienda tambie'n     1550
Que le mandes al chiquito,
Que ella te lo criara' bien,
Lo criara' la vaca osca
Que cri6 al hermano Gabriel.




THE SHEPHERDS


II9


PRAYER
Here see the Saviour of the world
Low lying on the stable straw;
He who to save mankind from sin
Was born of Mary, Anna's child,
The gracious, prophet-promised Maid,
Saint Joseph's blessed, spotless wife.
My heart beats high to see His face!
What glory have the chosen pair,
Mary and Joseph, in their Son!
[To MARY
Good woman, how dost thou to-day?
And how thy husband? Has he work
In plenty? See, my milking pail
Is broken; he shall mend it straight.
Last eve, as my good woman milked,
The black cow beat her vicious hoof
Sharp on the pail, and crash it went!
Angry I cried, "Good mother, faith,
If thus thou carest for my goods,
I 'm like to barter goods for care!"
I have a sister widowed late,
She begs to tend thy little one.
She 'd feed Him well on dun cow's milk,
The same 's made brother Gabe so stout.




120


LOS PASTORES,


PARRAD    Atiende tti lo inpiorado,
Que asil se le habla 6. Maria.
MELISO     Pues, quie'n es esta mujer?
PARRADO    Es hija de joaquin y Ana,
La que cas6' con Jos6.
MELISO     Serenisima Princesa,             x6
Reyna del cielo y la tierra,
Perdona los yerros, madre,
Del pastor que te venera.
La &Iidiba, aunque no es grande,
Que le traigo d tu chiquito,
Comerain entre los dos,
Sefiora, de este quesito.
Queda en paz, Divino clavel,
Que hay viene Toringo
Que te viene 9i ver.             1570
CAM1INATA DE TORINGO
LIa que la jortuna,
Me ojrecid este lance,
Le lievo la cuna,
Para que descanse.
ADOPAcION
Aunque cansado ha liegado,
El humilde Toringuio,
A tus plantas se ha postrado,
S6lo por ver al nifio;
Yo siempre traje destino
De ofrecer di mi Sefior;         1580
Para cuando este6 durmiendo,




THE SHEPHERDS


I21


PARRADO Listen how he importunes her!
How darest thou speak to Mary thus?
MELISO     Who is 't thou callest Mary, say?
PARRADO    Daughter of Anne and Joaquin, faith,
The Virgin bright, Saint Joseph's wife!
MELISO     Mighty princess, heavenly queen,
Mother! Vouchsafe to pardon me,
A foolish shepherd and thy slave.
No costly gift I bring thy child,
But be thou pleased to share with Him
My rustic offering of a cheese.
Heaven's peace be on thee, Holy Rose,
Toringo comes to kiss thy feet.
TORINGO      Now at last I 'm able,
(singing)    By fortune's kind behavior,
To bring a pretty cradle
And rock the Infant Saviour.
PRAYER
Weary and footsore, still I come
Before I rest, to see the Child.
It is my privilege to give
Thee, Lord, this cock,- Thy Passion's
bird,To wake Thee when Thou slumberest
deep.




122


LOS PASTORES


El gallo de la paci6n.
Recibelo, nifio lindo,
Mira que es buen cantador,
Que canta a'i la madrugada,
Y tambie~n a' la oracio'n.
Este gallito que traigo,
En su canto anuncio6
Este Ilustre Nacimiento,
Diciendo, Cristo naci6!   /      1590
Queda en paz, Sefiora Divino clavel,
Que hay viene Gerardo
Que te viene a' ver.
CAMINATA DE GERARDO
Naciste entre pajas
AlI calor de un buey,
Sufriendo del tiempo
La sobervia cruel.
ADORACI6N
Temblando esta's, niflo hermoso,
En los rigores del frio,
Y en esos temblores frios        x6oo
Haya el hombre su reposo.
Mue'strese Adan, y gozoso
Amante su voz resuene,
Porque este niflo Dios viene
A borrar por rmi la culpa,
Que su restaurador tiene.
Aqui te traigo estas sestas,
Que se recerva entre, pajas,
A voz lastimosa y ojas.
Tomad, gran Se-nor,              x6zo
Lo que te doy constante,




THE SHEPHERDS


123


Accept it, gracious Child, and hear
How loud it crows! It chants at dawn,
Again at prayer-time. Cockerel dear,
This morn thy clarion heralded
Our glorious Lord's Nativity!
Trumpeting: "Christ is born to-day!"
Heaven's peace be on thee, Holy Rose,
Gerardo comes to kiss thy feet.
GERARDO      Baby born amid the straw,
(singing)    Laid with cattle in the stall,
Suffering winter's cruel law,
The ox thy warmth, thy comfort all!
PRAYER
How Thou art trembling, lovely Child,
Chilled with extremity of cold.
These quivering limbs show human
frame, -
High pledge of God, redeeming man.
Adam rejoicing shows himself,
His voice in loving accents sounds,
Praising the Child-Restorer, - He
Who bears for all the weight of sin.
To Thee, 0 child, with pleading eyes
And piteous voice, couched on straw,
I bring an humble gift. Accept
These little baskets. Virgin sweet,
Thy constant lover offers thee




I24


LOS PASTORES


Estos liensecitos,
Para vuestro, infante.
Queda en paz, Sefiora Divino, clavel,
Que hay viene Mengo,
Que te viene a' ver.
CAMINATA DE MENGO
Voy para Belken
Siguiendo obejitas,
Y al niin-o le yevo
Estas cucharitas.              i62o
ADORACI6
Mengo es mi nombre, Se-nor,
Y soy pastor de obejitas,
Recibe estas cucharitas,
Que te doy con fino amor.
Si el mundo fuera info, Sefior,
EL mundo Li tus piez puciera.
Alma y vida te rindiera
Porque eres el Sefior tfi,
Que todo el mundo enciera.
Queda en paz, Divino Clavel,     x630
Que hay viene Tuijo,
Que te viene a' ver.
Hermano Tuijo,
Hace'rcate a' adorar,
A ese tierno infante,
Que esta' en el portal.
Tuuio      Si quieres que yo te cante,
Tfi y la Gila han de bailar,
Pues ya saben todos ustedes,
Que no s6 in~s que tocar.        x64o




THE SHEPHERDS


I25


These lengths of linen for thy Babe.
Heaven's peace be on thee, Holy Rose,
Here Mengo comes to kiss thy feet.


MENGO
(singing)


I drive my sheep, I do not tarry,
Bethlehem I enter soon;
To the Child of Grace I carry
As a gift this baby-spoon.


PRAYER
Mengo am I, a shepherd lad
Who loving brings these rustic spoons.
And were the wide world mine, I'd lay
It at Thy feet, with life and soul.
Thou art my God, and Lord of all,
The Universe lies in Thy hand!
Heaven's peace be on thee, Holy Rose,
Here Tulio comes to kiss thy feet.
Approach, my brother, and adore
This tender babe in manger laid.


TULIO      If I'm to sing, why thou must dance,
Gila and thou, - for well thou know'st
My feet are lead when music sounds.




I26             LOS    PASTORES
PARRADO Hermanos, no es tiempo
De estar en conversaci 'n,
Ca'ntenle de una vez,
Y que valla ha hacer su adoraci6n.
CANTO
Tocd Tulio su bcindolct,
Y Ixtilod con gran contento,
Porque va -a ver ese mnu
Que de Jocaquin y Ana es nieto.
CANTO DE TULIO SOLO
_p_     _ f
UV vW                                 7~7It
i. Pas -to -res  con re- go - ci- jo:2. Es -ta es  la  cau -sa  que A  to  dos
a - Ilu-den me A fes-te - jar...A Aun ni-fto Di6s que ha
nos es pre-ci-soelde-jar... La ca-ba-fia donna- ci - do, En Be-16n en un  por   -  tal.
de a-bit-amos Por ye- nir-te  a  -do  - rar.




THE SHEPHERDS               I27
PARRADO   Shepherds, disputes are out of place,
Strike up, and after let him pray.
SONG
Tulio thrummed his lute and chanted,
Capered as he ran
To see the infant God, the vaunted
Grandson of Saint Anne.




I28


LOS PASTORES


Pastores con regocijo
Allfdenme d festejar,           1650
A un niio Dids que ha nacido
En Belen, en un portal.
Esta es la causa que a todos,
Nos es preciso el dejar,
La cabana donde abitamos
Solo por venirte a adorar.
ADORACI6N
Como he esplicado la letra
Lo vengo a haser con gusto igual,
Pues traje ni un tamal
Para ofrecerte siquiera.          I660
Pero siempre que trajera
Siquiera un cordero gordo,
Se lo ofreceria a este nifio;
Pero hay lo traerd Bartolo.
Sois refulgente del cielo,
Hijo de una hermosa aurora.
Yo no traigo que ofrecer
Si no es aquf esta bandola;
Recibela, bella aurora,
Pues traigo mas que dar,          1670
Se la sonaras al nifio,
Cuando enpesase i llorar.
Queda en paz Divino clavel,
Que hay viene Lisardo,
Que te viene a ver.
CAMINATA DE LISARDO
Aunque soy chiquito
Deceo el conocerte,




PARAPHERNALIA OF THE PLAYERS


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.             1
I Ir




THE SHEPHERDS


I29


TULIO
(singing)


Kind brother shepherds, lend your aid,
To praise the God in manger laid.
Our homes we left behind us far,
To worship 'neath the guiding star.


PRAYER
As we have sung, my errand here
Is to adore my infant Lord.
I did not think to bring a gift,
Not even a tamal for Thee;
But were I owner of a lamb,
How gladly would I offer it!
Rich Bartolo supplies my lack.
O Light of heaven, Thou art the Son
Of virginal Aurora bright!
Nothing have I to offer Thee,
Unless it be this lute of mine.
Take it, my fair Aurora, since
'T is all I have. Should Jesus cry,
Why sound the strings, and straight He '11
smile!
Heaven's peace be on thee, Holy Rose,
Lisardo comes to kiss thy feet.


LISARDO
(singing)


Though I 'm but a little boy,
I long to see Thy face,




I30             LOS   PASTORES
Parct darte grctcias,
Y gustar de verte.
ADORACION
Pisando escabrosas brefias,         i68o
Por regiones muy extrafias
Pisa Maria las montafias,
Yntemada entre las pefias,
Por lo qual. adoro, a' voz.
Recibe aquil estas dos sintas
Y piesecitas de hoki'n,
Para que le hagas al niiio
Carnlisisitas y fajeros,
Y otras muchas cosas ma's.
Queda en paz Divino clavel,
Que hay viene Bato
Que te viene a' ver.
CANTO
sa
Se le- van -t6 her -ma. - no Ba -  to,  De
don -de   es - ta -ba sen- ta     do,   Ca -
mi- na pa-ra Be-ldn,Ver un Dios hu-ma-na-do.
Se levantd Isermano Bato,
De donde estaba sentado,




THE SHEPHERDS


W3


To thank Thee for Thy gift of joy
And marvel at Thy grace.
PRAYER
Along rough paths in regions wild,
See Mary climbs among the cliffs.
My voice I raise in praise of Thee,
I offer Thee a homely gift,
Two ribbons, and these Holland strips.
Dear mother, use them for thy Babe;
Make for Him little shirts and bands,
And what thou pleasest else. Farewell,
Peace be on thee, thou Holy Rose,
Here Bato comes to kiss thy feet.
SONG


Our brother Bato rose in haste,
From   where he sat, in great surprise;




I32


LOS PASTORES


Camina para Bel6n,
A ver un Dios humanado.
BATO       Me levante6 con contento
De donde estaba sentado,
Camine' para Bel~n
A ver un Dios humanado.          7
Yo no traje que lievarle,
A ese Deidad Soberana,
Le llevar6' este panal,
Ayer me hay60 en la montafia.
Que mfisicas tan sonoras!
Ma-s dulces que las que anuncian
Los orizontes del di'a,
Cuando la aurora madruga;
Salil organisando acentos
De los cielos que me escuchan.  1710
Que un hombre descubri6 un tronco,
De cuya y noble rotura.
CANTO
Ha liegado hermano Bato
Con gusto ya prevenido,
Que dejc5 s6lo el ganado
Por venir d ver at nin-0.
BATo       Pajarillos que sale el sol
Que estdis ollendo mis quejas,
Adorados horizontes
Ollendo de la noche al dia,      1720
De mi voz lastimosa,
Lloro en estos prados,
Sospiro en estos montes;
Cuando el sol. sale con rallos rojos,




THE SHEPHERDS


I33


He journeyed o'er the dreary waste
To greet his God in human guise.
BATO         I rose, I donned my cloak in haste,
(singing)    I sallied forth in great surprise;
I journeyed o'er the dreary waste
To greet my God in human guise.
PRAYER
I did not bring an offering
To this high Deity, but I
Will give him a wild honeycomb.
I climbed the mountain yesterday,
(Ah! what clear celestial music,
More sweet than strains that usher in
Aurora and the God of Day!)
I climbed and uttered my lament,
Calling the heavens to pity me.
SONG
Brother Bato leaves his home,
Leaves his sheep to pasture wild,
Leaves his cattle free to roam,
Leaves his all to seek the Child.
BATO       Ye little birds, the sun is up,
Cease your chatter, hear my woes.
Beloved scenes that day and night
Ring with my sorrows, hear once more!
O'er hill I sigh, o'er dale I moan,
And when the sun's red rays shoot up
Like bloody arrows, still I weep.
The wildest beasts that roam the woods




I34


LOS PASTORES


Veo llorar a mis ojos,
Que los brutos mas feroses
Que por el campo van,
Y si me escuchan estan
Suspensos a mis voces.
Que descuidado estaba            1730
Yo ayer en mi aldea,
De estas cosas,
Que han llegado a suceder.
Entonses dijo mi padre:
Ensilla y camina Andres,
Sin pararte ni 6i comer,
Mira a ver que ha susedido
Y havisame lo que fue.
Entonses dije a mi hermano:
Mi rusio me haz de ir a traer,   1740
Que mi rucio es elegante,
Para camirar en el.
Mas con espuelas y botas,
Me he venido aqui a meter,
Por ver ese hermoso nifio,
Miren lo apacible que es.
Hay! mas hermosa muieca,
Que fuerzas ha de tener!
Asi Maria me lo llevar6
Se te criara hombre de bien,     1750
Le asentar6 por conveniencia
Treinta reales cada mes.
Que me parese sefiora,
Que en eso se ha de vender!
A que nifio tan vonito!
No me canso de mirarlo,
Ni yo tendria tan buen talle,
Cuando era chiquitito.




THE SHEPHERDS


I35


Listen to me, tamed by my grief.
How ignorant, how lost was I
Back in my hamlet yesterday,
Unthinking of this morn's event!
Then said my father: "Mount away,
Andrew, nor stop to eat or drink.
Go learn the truth, fetch me the news."
Then called I to my brother: "Quick,
My dapple gray, my graceful steed!"
I mounted, and by dint of spurs
I reached the spot, I found the child.
How still He lies, the pretty Babe,
And what a mighty power is this!
O Mary, give thy Boy to me,
Trust me to rear Him brave and strong;
I '11 give Him for His daily needs
Thirty reales every month, -
A goodly sum it seems to me.
Oh! what a darling little Babe,
I'd never tire of watching Him!
Nor was I half so stout and trim
When I lay on my mother's knee.
O new-made mother, beautiful,
More lovely than the evening star,
A pair of wonders are ye twain!
No longer would I tend my sheep,
Thy Infant's page I fain would be,
And follow Him to win thy grace.




I36


LOS PASTORES


Mas yo de pastor me quito,
Oh! madre panida y vella,        1760
Ma's hermosa que una estrella,
Par de asombros ha de ser.
Cuartamente y quintamente,
Paje del nifio he de ser,
Esto solamente lo hago
Por gozar de tu placer.
GILA       Bato, Bato, qu6' hases tan confuso?
Qu6' nos quieres, disgustar?
BATO       De'jame, Gila, por Dios,
No trates de incomodar,          1770
Que todos ofresen al nifio,
Y yo no tengo que dar.
GILA       Ofr6sele el coraz6n.
BATO       Asil sf, el corazo'n y no m~s.
Agua'rdate Gila un poco,
Pues quiero ver si aun que loco,
Salgo con bien de un cuidado.
Como yo en mis frioleras
Cargo una sierta cosita,
Que para este nifio es propia.   1780
Sentimiento me estai dando
Y tambie'n grande conflicto,
Que entre lo que estoy tentando,
No hayo lo que solicito.
Mas de'nme aibricias, pastores,
Daime un abraso, Gilita,
Lia encontr6' lo que buscaba
Mira, que pirinolita?




THE SHEPHERDS


I37


- --


GIA        Bato, thou ramblest in thy talk,
Thou makest us ashamed of thee.
BATO       In God's name, Gila, let me be.
You all bring Jesus offerings,
And I alone find naught but words.
GILA       Offer thy heart.
BATO                      Ah! yes, my heart,
And nothing more. But wait a bit,
Let's see if I, though half a fool,
Can't find a way to show my love.
Among the trifles in my pouch
I carry something sure to please
The Babe. O sorrow, O mischance!
All else I find but only that!
Ha! Ha! at last! Now give me joy!
Joy, brothers, joy! Gila, a kiss!
At last I find the pretty toy.
See the little perinola!
Now, Jesus, thou and I can play.
This game concerns me, brothers, see,
And all ye lookers-on as well.




.138


LOS PASTORES


Voy 6i jugar con el ninio,
Este'n con cuidado ustedes,      1790
Por que este juego me importa
Y 6, cuantos me estain mirando.
Los ojitos ha serrado,
Debe de querer dormir.
Sefiores, ya los abri6,
Lia me llama, ya sopira;
Haya, gracia, de gilerito,
Adorado bermejito!
Yncado esta' este pastor,
Mira nifio aquil traigo,         18oo
Esta sierta cosita.
C6mo podemos jugar!
Mira, que pirinolita!
Yo te enzefiar6 a' jugar.
Porque as'i mi fe cree,
Que si yo te gano me dares
Lo que yo te pidiere.
De aqufi se agarra,
Y se le dan vueltas;
Que seguin lo que saliere,       i8io
Yo te ajuntare6 las cuentas.
La de significa, deja;
La pe, que pongas cuidado;
La ese, que me sostengas;
Y la te, que te he ganado.
Ya la comienzo 6i bailar,
Atenci6n, nifto agraciado,
Porque este juego me importa,
V 6i cuantos me estan mirando.
Va, la primera bailada I          1820




THE SHEPHERDS


I39


His eyelids droop, they almost close,
The Love! He wants to take a nap!
No, look, He's opening His eyes,
He beckons, sighs, - the little dear!
See, Baby Master, Goldenlocks,
Behold thy Bato on his knees.
Look, pretty, here's a toy for Thee,
See what a'dainty game to play;
Bato will teach Thee how to play!
For I have faith that if I win
Thou '11 grant me what I ask. Look
here,
Grasp it and spin it, - so, buzz! buzz!
Then as the different letters fall
Bato will keep the count for Thee.
The L means: leave it; and the P,
Put in; the S, sustain Thou me;
The T, that I take all from Thee.
Now I begin to dance the round.
Watch, dearest Child, the game Thou
know'st
Concerns me and the others here.
Strike music, while I dance the round!




140             LOS PASTORES
CANTO
i. A    la   som  -bra    de mi ar -bol fron2. A    bre -via-daen     su  som -bra   des -
do -so, Es - ti la ma -dre del gran Re -den - tor.
can- sa, Fa -ti -ga -da del gran- de do - lr.

C.)              4




- 4- 4-  4   -4      -4.4''
(us.)
A la sombra de un arbol frondoso
Estad la macire del gran Redentor;
A breviada en sut sombra descanza,
Fatigada del gran dolor.
Y las ayes con sonoras voces
La acarician y juegan con,
Y el cihiquito ilorando les dice,
Akh! mama, que fria es la nieve!
Camina seinora y no desmall~is,
Que d Behgn dichtoso presto llegart~is. 1830
RELATO
La D. salio6 esta vez.
Mi Jesu's, no formes quejas.
Porque significa dejar,






THE SHEPHERDS


141


SONG
Underneath a leafy tree
Rest the Mother and her Son;
In its grateful shadow, she
Lies with suff'ring overcome.
The birds caress Him with their wings,
Twitt'ring to one another,
But Jesus sobs (the while one sings),
"How cold the snow is, Mother!"
Journey on, Mary, be not afraid,
Bethlehem's near, thou blessed Maid.
SPOKEN
The L has fallen (Jesus, hush!),
And L means, leave me at Thy feet;
Let arrogance be overcome




142


LOS PASTORES


Dejame estar a tus piez;
Deja que la altivez
Se rinda la azafia brava.
Por que ya la muerte acaba
Las maximas del engafio,
Deja conocer su dafio,
Al hombre que no te alaba.      1840
Va, la secunda bailada.
CANTO
A la sombra de un arbol frondoso,
RELATO
La P. sali6 con raz6n,
Y es letra favorecida,
Que poniendo en Dios la vida,
Tambien lo esti el coraz6n.
Poned, Sefior, con sas6n,
La vida en los pecadores,
Disfrutan vuestros honores,
Vuestro aucilio y eficacia,     1850
Y colmandonos de gracia,
Disfruta vuestros favores.
CANTO
A la sombra de..
RELATO
La S. aqui se aparese,
Y para salir de calma,
Saca Sefior las almas
Del error en que padesen.
Saca al impio que apetese
Morir en su seguedad,




THE SHEPHERDS


I43


By loyal courage, virtue's sword.
Since death cuts short deception's arts,
Let him who will not praise thy name
Learn his great peril e'er too late.
Now let the second dance begin.
SONG
Underneath a leafy tree...
SPOKEN
The P falls this time, rightly too,A highly favored letter 't is.
Pluck, Lord, the scales from sinners'
eyes;
Permit them to enjoy Thy love,
Thy aid and comfort, till they climb
The path that leads them to Thy throne.
SONG
Underneath a leafy tree...
SPOKEN
The S comes now. By Thy sweet peace
Save, Lord, our souls from error's bond;
Save the apostate, who would die
In blindness; save him from despair;
Save him from cruel sin and shame;
Save by Thy voice, unseal his eyes,




I44


LOS PASTORES


Sakcalo de la crueldad           x86o
Del delito que le oprime.
Que hoya tu voz y se arrime
A conocer la verdad.
Va la ultima jugada,
Y en ella tengo de ver
Si Jesu'is se la ha de Ilevar,
0, yo me la he de traer.
CANTO
A la scm...
RELATO
La T. todo representa,
Y con muy singular modo         J1870
A ella lo pido todo,
Y el darlo esta' de tu cuenta.
Todo tu poder ostenta,
Porque todo el mundo alabe
Tu santo, nombre, y acabe
El sisma, error y la guerra;
Y el hombre desde la tierra,
Vuele al cielo como el ave.
Ganaste la pirinola,
TUmala, Jesu's querido,          x88o
Y no te olvides de Bato
En tu feliz natalicio.
Vuestra piedad recomiendo,
Y me ofresco a' tu servicio
V no olvides mi venida.
Tui, Divino Rosicler,
Peidad de aqueste portal,
Divinidad de los, cielos,
Aqul te traigo, un panal.




THE SHEPHERDS


I45


That he may hear and see the truth
Now the last twirl, for that decides
If Jesus, or if I gain all.
SONG
Underneath a leafy tree...
SPOKEN
T means take all, and all I ask, -
Thy care to grant it. Show the strength
Of Thy great power, that all may praise
Thy holy name; and error, war,
And schism vanish from the earth,
So men may rise from earth to heaven
As freely as the wild birds soar!
Thou hast won the perinola,
Take it, beloved Child, from me;
Remember Bato on this day
Of Thy most glad Nativity.
I praise Thy mercy, offer free
Myself, to serve Thee evermore.
Remember me, Thou Rosy Babe,
God of the Manger, heaven's Lord.
See, I bring this honeycomb.
Take it, sweet Child, pure flower of
Heaven.
When next I come, I promise Thee
A dish of fritters crisp and hot.




:146


LOS PASTORES


Recibelo nifto lindo,            2890
Vello candor de los cielos,
Yo te prometo traerte,
Un platito de bufiuelos.
Queda en paz, Sefiora Divino clavel,
Que hay viene Cucharo'n,
Que te viene a' ver.
CAMINATA DE CUcH~AR6N
Cantcindo y bctilcndo
Con los pajaritos,
Y al nub- le lievo
Estos tamalifos.               igoo
ADORACI6N
A vuestros piez obediente,
Estd este humilde pastor,
Que con finesa de amor,
Vuestro nacimiento adora;
Y siento el no traerte ahora,
Lo que merese tu amor.
Humildemente te ofresco
Aunque indigno, no meresco
Mirar vuestro resplandor.
Queda en paz Divino clavel,       1910
Que hay viene Bartolo
Que te viene a' ver.
Bartolo, bien te puedes prevenir,
Porque a' Bel6n hemos de ir,
Lo que le lieves al. niflo;
Bien lo puedes prevenir.
BARTOLO    Que6 le tengo que Ilevar,
Si antes, le voy a' pedir




THE SHIEPHERDS


I47


Peace be on thee, thou Holy Rose,
Cuchar6n comes to kiss thy feet.
CUCHAR6N     Dancing and singing
(singing)    Like bird on a tree,
Joyfully bringing
Tamales to thee.
PRAYER
At Thy feet with grateful heart,
This shepherd boy in perfect love
Adores Thy great Nativity,
I sorrow that I may not bring
Rich gifts as merits Thy great love.
I offer these poor cakes, and gaze
Unworthy on Thy splendor. Now
Farewell, farewell, thou holy Rose,
Bartolo comes to kiss thy feet.
Bartolo, thou canst understand
What draws us on to Bethlehem;
What thou wouldst take to give the
Child
Thou shouldst prepare; the time has
come.
BARTOLO    Why take Him gifts? The rather I
Will ask that He relieve these pains




I48


LOS PASTORES


Que me quite estas flojeras,
Que no me dejan bullir?         1920
TEBANO
Antes que los reyes vengan
PAYO      Tiraremos a llegar.
BARTOLO    Mejor llegar esta noche,
Que habia mucho que senar.
GILA       Levantate, Bartolito
Que ya habiamos de ir caminando.
BARTOLO    Vete tu por tu camino,
Y no me estes Bartoleando.
HERMITANO A la gran Jerusalen,
Bartolo con alegria.           1930
BARTOLO    Ballan a darle las gracias
Al verdadero Mesias.
NAVAL      Vamos, y veras el buey,
Que a Dios calentando estai.
BARTOLO    No quiero que sea brabo
Y cornadas me dara.
MELISO     Vamos, y veras la mula
Que comiendo paja esti.
BARTOLO    No quiero que sea vil,
Y no me convidara.              1940




I -


2.


Fo.:!  i


IF


v\.   ', -t


SHEPHERDS URGING BARTOLO TO RISE




I' d
I.




THE SHEPHERDS


I49


Which keep me wretched, cold, and
weak.
TEBANO
and     Haste to arrive before the Kings.
PARRADO
BARTOLO    Better arrive at fall of night,
When supper time is drawing on.
GILA      Rise, Bartolito, rise, 't is time
To start.
BARTOLO             Nay, Gila, go thy ways,
Bartolo me no Bartolitos.
HERMIT    To holy ground, Jerusalem,
Come, Bartolo, with joyful heart.
BARTOLO    Go thou, and give the Saviour thanks.
NABAL      0 come and see the kindly ox,
Warming his guest and Infant Lord.
BARTOLO    Indeed not I; he might prove fierce
And gore me sadly with his horns.
MELISO     Come, thou shalt see the friendly ass
Munching his hay beside the ox.
BARTOLO    Not I, I hate to watch a feast
When I get neither bite nor sup.




150        LOS PASTORES,
TORINGO    LIa las cabri'as van altas,
Bien te puedes levantar.
BARTQOW    V6te tid por tu camino,
No me vengas a' amolar.
GERARDo    Levaintate, Bartolito,
Que ya el lucero sali6'.
BARTOLO    Esas si que son mentiras,
Estain dando la oracio'n.
MENGO      Leva'ntate Bartolito,
No seas flojo, ni pesado.        1950
BARTOLO    Lia me canso por aqu'i,
Me voltear6' al otro lado.
TuLio      Vamos y verds, Bartolito,
A Jesu's con todo amor.
BARTOLO    Si quieren que lo conosco,
Triigamelo aqu'l entre dos.
LisARDo    En Bele'n se hase un bautismo,
Bartolo, vamos alla'.
BARTOLO    Si yo no soy el padrino,
Qu6 tengo de ir alla'?          r960
El volo que a mi me toque,
Que me lo traigan ace.
BATO       Levdntate Bartolito,
Por vida de tu nobleza.




THE SHEPHERDS                I5I
TORINGO    Come now, the Pleiades ride high;
Thou shouldst arise.
BARTOLO                      Nay, go thy ways,
Nor bother me.
GERARDO                   Come, Bartolito,
The morning star is shining bright.
BARTOLO    Oh, what a tale, the vesper bell
Has scarcely rung!
MENGO                        Arise, Bartolo,
Be not so lazy, waspish friend!
BARTOLO    Arise? I'm tired on this side,
Let's try the other.
TULIO                        Bartolo,
Come look on Him with eyes of love.
BARTOLO    If thou 'rt so anxious, bring Him here.
LISARDO    In Bethlehem's a baptism feast;
Let 's thither.
BARTOLO                  I 'm not god-father,
Why go then? Bring me, one of you,
The baptism gift which falls to me.
BATO       Bartolo, rise, for honor's sake.




152           LOS PASTORES
BARTOLO    No me hagas que me levante
Y te romper la besa.
CUCmAR6N Levintate, Bartolito,
Caminemos 6 Belen.
BARTOLO    V6te tu por tu camino,
No me muelas tui tambien.       1970
TODOS      Tti eres el porfiado,
Te hemos de llevar
A ver ese nifo
Que esta en el portal.
BARTOLO    Aguardense ustedes,
Dejeme taparme,
Porque este airecito
Bien puede resfriarme.
LUZBEL     Este pastor que va aqui,
De tormento me ha servido,      1980
Mas c6mo me ve abatido!
Y aqui quedo avergonzado,
Pues la batalla he perdido,
Ahora que sumerjido
A un eterno padecer,
Y al infierno me ire a arder,
Por maldito y atrevido.
CAMINATA DE BARTOLO
Voy para Belen
Con gusto infinito,




THE SHEPHERDS


I53


BARTOLO
CUCHAR6N


Take care thou dost not make me rise,
And break thy jaw!
Rise, Bartolo,
Let us be off to Bethlehem.


BARTOLO    Away, thou needst not plague me too.
ALL        Stubborn fellow, we must carry
Thee to greet the Son of Mary.
BARTOLO    A minute then to wrap me up,
In this sharp wind I might catch cold.
Enter LUCIFER unperceived by the Shepherds
LUCIFER    How I tormented yonder lout,
But now he sees me conquered quite.
Bowed down with shame, the battle lost!
Condemned to endless punishment,
I take my way to darkest hell,
In cursed gloom to burn for aye!
[Exit LUCIFER


BARTOLO
(singing)


To Bethlehem I take the road
With joy my Lord to know;




I54


LOS PASTORES


Y al nifi-o le ilevo        J990
Este corderito.
ADQRAci6N
Aqui tienes a' Bartolo,
Todo cargado de males,
Algo falto de tamales,
Por que Gila se ha enfermado.
Hay cosa tan peregrina,
De niflo tan chiquito,
V lo ingrata que es tu madre,
Que usa con vd. mil rigores;
Ella es la alfombra de fibres,   zooo
Y til entre pajas tirado!
Aqui traigo, leche y miel,
Y darte muy bien quisiera
Un tesoro, si tubiera.
He de cantar y bailar,
Voy al serrenado industriar,
V asi me han de perdonar
Las faltas que hayan notado.
PAPCRADO   Pues Bartolo, ha dicho muy bien;
Mientras que duerme Marlia,        0
V descansa su esposo,
Con general alborozo
V con muestras de alegria,
Sin perder la cortesia,
Ni despertar al chiquito,
Para arrullarle ei sueflito,
Que toquen un sonecito.




THE SH3EPH-3ERDS


I55


I offer to the Infant God
This lambkin white as snow.
PRAYER
Behold Bartolo weak and ill,
He brings but few tamales now
For Gila is not well. Indeed,
A wonder is this tender Child!
Ungrateful mother, who dost use
Severity with this dear Babe!
The fragrant "Bed of Flowers" thou,
While He lies stretched upon the straw!
I bring Thee milk, and honey wild,
Poor gifts! O would that wealth were
mine
To offer! Now for song and dance.
I must arrange the serenade,
So pardon, all, for any faults
You may have noted in my part.
PARRADO    Right, Bartolo, while Mary sleeps
And Joseph rests, with joyful tone, -
But softly not to wake the Child,
Rather to soothe His slumber light, -
Chant Him a tender lullaby.




I56


LOS PASTORES


CANTO
A     la    ru- ru,     ni - fib   lini  do,
Du&r- me- te       gra - ni    to   de o- ro,
Ya    se   dur - nii6 el ni -  ib  lin- do,
A     la    ru- ru,      vi -    da  nil- a,
Que    la    no - che es -t4   muy   f ri - a.
Ya    se   dur -mi6 el    a  - gra - cia - do.
H    I        I K,
Mien  -tras    que   duer -me     des -can   za
La    pe -na       de   mi     cui -da -do.
Dudr- me -te,       nii  -  o   chii   qui -to,
Sien -do     til    la    her -mo-     su-ra


A - ma - ble,
Te mues - tras


tier - no y gile - ri
tan     po, - bre     - ci


- to.
- to.


A la runt, nMM lind,
A la runt, vida mia,
Dugrmete, granite de cro,
Que la noche estd muy fria.


z020


Ya se durmid el nifi0 linde
Ya se durmid el cagraciado.
Mientras que duerme, descanza
La pena de mi cuidado.




THE SHEPHERDS


i57


SONG
Hush-a-bye, my little son,
Hush-a-bye, my heart of gold;
Softly slumber, little one,
Night is dark and wind blows cold.
Hush-a-bye, my pretty nestling,
Safe in mother's bosom warmed;
While he slumbers, peace my wrestling
Heart,   thy   anxious   sorrow 's
charmed.




I58


LOS PASTORES


158      LOSPASTORE
Dugrmete, nifio chiquito,
Amable, tierno, giierito,
Que siendo tW la kermosura,
Te muestras tan pobrecito.
Entre la Brisay la nieve         20310
lVe velando al pastor,
Porque estaban sus obejas
Reclinadas en su amor.
A la ruru, niftito
Duerme sin susto,
Los pastores te velan
Con mucko gusto.
A la ruru, n~ii-ito,
Duerme sin miedo,
Los pastores te velan            2040
Con mucko anelo.
Este tecolotito,
Con su carino,
Desde el palo en que duerme,
Despierta al ni1-0.
PARRADO Aguarda'os; que parese ha despertado
Este Hermoso Rosicler.
El nos d6' licencia de hablar,
Que todo lo puede haser.
Este chiquito,                       0
Que en pajas ten~lis,
Ll6valo 6, mi casa,
Y en ella estar6is




THE SHEPHERDS


I59


Now thou sleep'st, my little treasure,
Gracious, tender, heavenly wise;
Beauty finds in Thee her measure,
Though Thou corn'st in humble guise.
'Mid wind, and snow, and bitter cold,
See the good shepherd watching
there;
His sheep are slumbering in the fold,
Confiding in his loving care.
Hush, baby, slumber blissfully,
The shepherds watch Thee joyfully.
Hush-a-bye, baby, sleep all night,
The shepherds watch Thee with delight.
Sh-sh, blinking owl from willow shoot,
Thou wakest my baby with thy hoot I


PARRADO


Enough, our Rosy Babe's awake,
We may address the Almighty one.
Darling Babe there on the straw,
I long to take Thee home with me,
And keep thee warm beside my ox.
I 've bed and food to please Thee, Sweet,
And see what offering I bring, -
A pretty pipe that whistles shrill!




I6o


LOS PASTORES


Muy ai gusto vuestro
Al calor de un buey.
Tambien tengo cama,
Y bien que comer.
Pues al ninfo traigo
Aqui que ofreser,
Un lindo silvante,              2060
Que chilla muy bien.
CANTO
De un rudo un tronco se queja,
De los rigores del haire;
Mas como se ve abatido
Con mds rigor le conbate.
PARRADO    Al momento que supimos,
De este nuevo alumbramiento,
Se alborot6 el cristianismo.
Hicimos fuertes hogueras,
Unos terribles relinchos.       2070
Tulio toc6 su bandola,
Cant6 (aunque mal) Toringufo,
Meliso quiso bailar,
Y no lo dej6 mi tio,
Temiendo que no le ollese,
Y le diera un tabardio.
Mas a mi, por mas discreto,
De la edad de treinta y cinco,
Para dar el parabien,
Por todos me han elejido.       2080
Pero primero que 6 todos,
Se lo doy 6 este chiquito;
Los piez le quiero besar,




THE SHEPHERDS


i6I


TH SHPHRS -


PARRADO


Straight when we knew of this new light
Our bonfires blazed to greet the sky,
And Christendom arose in joy.
Tulio struck his lute; Toringo
Sang (though badly out of tune);
Meliso fain would dance, but Uncle
John forbade the silly fellow.
Now all the other shepherds here
Have chosen me to speak for them,
Thinking me most discreet (my age
Is thirty-five). So in their name
I wish you all the season's peace.
But first of all to this dear Child
I wish to bow, and kiss His feet,Nay kiss Him all from head to foot,
This Infant God so beautiful!
One who resembled a great bird,
But bore a face of man, a youth,




i62


LOS PASTORES


A este niflo Dios tan lindo.
Quie'n se lo comiera a' besos!e
Que es proprio para colmillo,
Que todo lo que heres, cielo,
Es mdis que el haberlo sido.
Uno, como pajarote,
Si no era brujo, lampifio,209
Con cara como persona,
Zapatos de lo mismo.
Tu raposa minimas,
Cantando entre paz y paz,
Nos deja medios tullidos;
Quie'n creer6d que nos huelguemos,
Que nos encuentremos vivos!
Con Meliso me encontr6,
Que al chiquito habia visto;
Con la boca, ojos y manos        20
LIenos de placer me dijo:
Si vas ti Bele'n, Parrado,
Vera's un raro prodigio,
Que entre dos rilisticas vestias,
Un ninlo Dios ha nacido.
Dicen que es hermoso y tierno,
Asi' anda presto a' adorarle.
No os tarde'is en el camino.
Y entonses con mas empeflo,
Porque nos acompafien todos,     21
Para que le vallamos a' adorar,
Con reverencia y cariflo.
Veris tamaflito Dios,
Por que de amores se ha vuelto,
Que hard mds de mil aflos,
Y es de la edad de los nM'ios.
Veris en un portalejo,




THE SHEPHERDS


i63


A wizard, very like, came by
Singing Peace! Peace! He left us dazed,
Then joyful that we were alive.
Then came Meliso who had seen
The Child. With joy in eyes and voice
He cried: " Run quick, Parrado, run
To Bethlehem, a wonder's there,
A Child - God, born between two beasts.
Divinely beautiful He is,
And loving. Hasten to adore,
Delay not on the road; let all
Accompany thee, adore with thee
In reverence and love. There thou
Shalt see the little God whose love
Has wrought this miracle. His years
Are countless, yet an hour-old babe
He seems, there in the manger. Round
About Him hosts of angels stand,
A thousand stars shine o'er His head,
All kindly spirits wait on Him
To mark His rank with honors due.
A jar of honey and a chain
I bring, - a cross hangs from it, sign
Of safety for thy trusting flock.
This crown of laurel I put on.
Farewell, thou Bread of Shepherds, here
The distraught shepherd's loa ends.
To all the noble company
We wish a Merry Christmas.




i64


LOS PASTORES


Los aingeles a' racimos,
Las estrellas a' millares,
Y Mais, a' su lado, espliritus!    20
Mira a' ver que representa
El sagal recie'n nacido.
De este pobre morteria,
Y de miel un cantarillo,
Este collar os traigo,
De cruz, por que imajino,
Que hoy se ha de quedar colgado
Por cuidar su ganadillo.
Esta corona me pongo,
De laurel 6' de junquillo;.       2130
Adio's, Pan de los pastores,
Y mdis cercado, de lirio.
Aqui' se acab6' la loa,
Del pastor alrevesado.
Gocen felices pasquas,
Todo la victoria honrada.
TEBANO      Pues Parrado me direis
A quie~n pedimos la venia,
Para vuestro empleo mas, alto.
PARRADO    A todos, los sefiores,            2140
Que vivan muchos, aifios;
Y entre tanto, cantando
Y bailando el perd6n pidamos,
Al publico, honrado,
De los grandes defectos
Que habra~n ya notado.




THE SHEPHEERDS


I65


THE.. SHEPHERDS..65


TEBANO
PARRADO


Nay,
our prayers


To whom shall we address
For pardon?


Sure, to all these friends,
Long life to them! With song and dance
We beg their grace for all our faults, -
Too many to escape their sight!




i66             LOS PASTORES
CANTO
I   I    Ie        I   F
A  tu ran- cho, pas- tor  ci -  llo, A  tu
A - di6s, por - tal ven - tu - ro  - so, A - di6s
ran-cho,bue - na tie - rra, Pues a -Dios her - mo - so
mi Je-sus a - ma - do,Puesya se van los pas -
ni - flo,  A-qufenel por - tal  te  que - das.
to - res,  A  re-co -jer sus   ga- na - dos.
A tu rancho, pastorcillo,
A tu rancho, buena tierra,
Pues d Dios hermoso nifo,
Aqui en el portal te quedas.       2150
Anden, hermanos pastores,
Dgnle recio d su ganado;
Que alal viene el mayor domo,
Y el baciero se ha enojado.
En los campos los dejamos.
Sdlo por venirte d ver;
En vuestra piedad esperamos,
El que no se han de perder.
Lla la estrella del Oriente
Lleg6 primero al portal,           zi6o
Y d los pastors va guiando,
Que te vallan d adorar.
Adids, portal venturoso,
Adi6s, mi Jesfs amado,
Pues ya se van los pastores




THE SHEPHERDS


i67


SONG
To the cabin, shepherd brother,
Home across the mountains wildl
Farewell, Baby, farewell, Mother,
In Thy manger rest, sweet Child.
Onward, brother, see our master
Angry looks; make haste to drive
Sheep and lambkins fast and faster;
Night may fall e'er we arrive.
We left our flocks to pasture free,
Forsaking all to see Thy face;
Since Thou dost guide our footsteps, we
Shall trust to find them by Thy grace.
The Star of Bethlehem stood still
Above the manger, as a sign;
The shepherds followed, by Thy will,
To greet the human Child divine.




I68


LOS PASTORES


A recojer sus ganados.
Adi6s, portal venturoso,
Adids, mi Jesus tambi6n,
Pues ya se van los pastores
De los campos de Belen.         2170
Adi6s, portal venturoso,
Adi6s, Jesus verdadero,
Que ya se van los pastores
Hasta el ano venidero.
Hechanos tu bendici6n
A todos y al Ermitanio,
Y ddnos vida y salud
Para llegar al otro ago.
PARRADO      Adi6s, nonanche Maria.
GILA       Adi6s, totanche Jose.             2180
MELISO     Adi6s, luz del claro dia.
TORINGO    Adi6s, Divino Jesfis.
GERARDO    Yo te doy el coraz6n.


HERMITANO Yo te ofresco el alma mia.




THE SHEPHERDS


I69


Happy manger, Jesus loving,
Now farewell, Thy shepherds haste
To gather far and near their roving
Sheep, and drive them o'er the waste.
0 manger blest, we must not stay;
0 loving Jesus, time constrains
The shepherds now to speed away
From Bethlehem's consecrated plains.
O happy manger, mercy-seat,
Farewell! True Saviour, loving, dear,
The shepherds humbly kiss Thy feet,
And leave Thee, till another year.
Bless all the shepherds, mighty Lord,
Our Hermit, too. Let grace abound;
And grant us life to praise Thy word,
Until another year comes round.
PARRADO Farewell, Aunt Mary!
GILA                                Uncle Joe,
Farewell!
MELISO              Farewell, clear light of heaven!
TORINGO     Farewell, dear Jesus!
GERARDO                           Thee I give
My heart!


HERMIT


I offer Thee my soul!




170


LOS PASTORES


PARRADO Y en mi esperanza confia.
Y el corazo'n se me alienta,
Que te ofresco yo, mi vida,
Mis obejas, son sincuenta,
En cuenta de mi partida,
Para darte buena cuenta.         2,190
Adio~s, padre soberano,
Que nos habe'is consedido,
El conoser que heres Dios,
Y que de ti el ser hubimos.
Te suplico, reverente,
Que mires por vuestros hijos.
No permitas que la culpa
Rompa de nuestros sentidos,
Ni al pecado, se introdusca
A hacernos graves perjuicios,    22,00
Por el honor y carifio,
Que nos habe'is consedi'do,
De hacerte este corto sacrificio.
CANTO
Iloy con grande sentimiento
Me despido, que" dolor!I
Del centro de mis amores,
Que me aucento, que me aucento I
RELATO
Suplico, hermanos pastores,
Que me alluden a' liorar,
Que me es presiso el dejar,      21
Al centro de mis, amores.
Estos son crueles rigores,
Esto A~ que es vil tormento;
Y que este lance violento,
Puede costarme la vida;




THE SHEPHERDS


I7I


PARRADO    On Thee I hang my hopes. My heart
Is cheered; I offer Thee my life,
My sheep as well, fifty in all, -
Fifty when we set out, at least:
They all are Thine, - would they were
more!
Sovereign Father, Thou whose mercy
Grants us to know Thy heavenly power,
And that we are Thy children all,
Let not wrong our senses snare,
Nor sin creep in to kill our souls.
We ask with faith, since Thou permit'st
This humble service in Thy praise.
SONG
Now with heavy heart,
Witness ye stars above,
Poor shepherd, I depart,
I leave the spot I love.
SPOKEN
I pray you, brother shepherds all,
Sorrow with me, for I must leave
The centre of my dearest love.
This is cruel anguish, yes;
My life may pay for such a pang,Leaving behind me what I leave!
To-day with tears and bleeding hearts,
We turn away who glad approached.




I72


LOS PASTORES


Siendo como es mi partida,
Hoy con grande sentimiento.
Cuando venimos, sefiores,
Cantos y bailes de amor,
Con muchisima alegri'a y contento; 22
Hoy con grande sentimiento,
Me despido, que dolor!


Sigue      En fin y sin dilacio'n,
PARRu~ADO  El irnos, nos es forzoso.
Entre vos, Marla, y tu esposo.,
H6chanos tu bendicio'n.
Yncado esta' este pastor
A recibir, muy contento.
Inquense luego, al momento,
Compafieros, 6, una voz,
Y digan todos adio's,
Que me ausento, que me ausento.


2230


CUCIIARO6N


A vuestro, pa'rrafo, amado,
Que fervoroso se esmera
A cuidar de su rebaflo,
Que a' su cargo se le entrega;
Donde sin riesgo ninguno,
Goce de Dios su, velleza.
Pues conseguimos la licencia,
Y nos la dieron actual;
Vamos a' darle las gracias
Al cerra de este lugar.
Por que se va Cucharon,
Y no lleva ni un tamal;
El ganado, se ha perdido,
Y es presiso irlo 'a buscar,
Antes de que venga Bato,
Y me enpiese 'a' regafiar;


2240




THE SHEPHERDS


I73


THE SHEPHERDS        '73


PARRADO    The hour has come. Without delay
We must depart. Dear Mary, thou
And Joseph, too, thy servants bless.
Humbly kneeling, see this shepherd,
Waiting joyfully the blessing.
Friends, raise your voices one and all
To say farewell, we must depart!
CUCHAR6N To our beloved priest who strives
So fervently to guide his flock
Whither they may enjoy God's love,
We fain would go, and offer up
Our thanks on yonder hill, - now see,
Cuchar6n 's off! The sheep are lost,
And we must find them, Bato else
Will scold!




174            LOS PASTORES
BATO        Solo falta, gran Sefior,
Que es lo que mi fe procura,      25
Por el clero, 6 sefior cura,
Que es el tercero por ahora;
Y la patria donde mora
Su Magestad reverente,
Y el lugar donde se siente
A alabar a' tu hijo amado.
Que' viva sin pecado,
Y le alabe eternamente!
FIN.
Rio Grande City, Dbe. 5 de i891.
FRANCISCO COLLAZO.




THE   SHEPHERDS               I75
BATO                   It only needs to bless,
Great Lord, our priest, the country
Where dwells our King, and our dear
church
Where he doth glorify Thy Son.
Long may he live secure from sin
To praise Thy name unceasingly!
END
Rio Grande City, December 5, I89i.
FRANCIS COLLAZO.








NOTES








NOTES
Ver. 1-32. In this chorus we find Mecias for Mesfas; has for
haz; imajen for imagen. These errors in spelling, and the others
mentioned in the Introduction, are so frequent and so easily understood that we need call attention to only a few typical examples.
Ver. 19. Alabd: alabaron.
Ver. 33-36. A corruption of the following lines in El Pleito
Matrimonial del Cuerpoy de la Alma, by Calder6n:
Ya sabes que desterrado
salt de mi patria augusta,
por aquel delito infame,
aquella ambiciosa culpa.
Ver. 50. Digalo el mundo y la estrella. The construction is
confused, and the rhymes indicate that two lines, at least, are
missing.
Ver. 57. asia: hacia.
Ver. 58. hayo: hallo.
Ver. 68. Isaiah i, 3: The ox knoweth his owner.
Ver. 69. reconse: reconoci6.
Ver. 74. Daniel ix, 24: Seventy weeks are determined on thy
people.
Ver. 75. Que le dicte. Perhaps, que 41 dict6, or que le dict6
Gabriel.
Ver. 78. Judia: Judea. Some words or lines are missing here.
The allusion seems to be to Ezekiel xxxvii, 22: And one king
shall be king to them.
Ver. 79. Atajer?
Ver. 89. sallar. Perhaps sayal.
Ver. 94-I04. Most of the allusions are to the coming of Christ's
kingdom, which Daniel prophesied to Nebuchadnezzar when he
interpreted the vision of the statue with feet of clay. The mission
of Michael is not clear. According to Daniel, the archangel was
to "persuadir" the Persian king.
Ver. 94. Publiqudlo: public6lo. The same error occurs in ver. 99.
Ver. o6-i 12. Benedict was one of the holy men particularly tormented by the devil, whose interference with the saint's building
operations is shown in this extract from the Golden Legend, Caxton's translation:
"It happed on a time that as the monks should lift a stone for




I80                     NOTES
a work of an edifice, they might not move it, then there assembled
a great multitude of people, and yet they all might not lift it, but
anon as Saint Benet had blessed it, they lifted it anon. Then apperceived they that the devil was upon it and caused it to be so heavy.
And when they had a little made the wall high the devil appeared
to Saint Benet and bade him go see them that edified, then Saint
Benet sent to his monks and commanded that they should keep
them well, for the devil went to destroy them. But ere the messenger came to them the devil had thrown down a part of the wall, and
had therewith slain a young monk. Then they brought the monk,
all tobruised, in a sack to Saint Benet, and anon Saint Benet made
upon him the sign of the cross and blessed him, and raised him to
life and sent him to work again."
In the seventeenth-century play, El Diablo Predicador, Lucifer is shown persecuting certain Franciscan monks until Michael
interferes, and compels him to restore their influence and rebuild
their monastery. Lucifer works valiantly at his odious task, lifting
huge masses which twenty monks were unable to move. The play
has always been exceedingly popular in Spain. Perhaps the allusion in the text is a confusion of this building feat with the legend
of Saint Benedict. Anachronisms like the reference to Saint Benedict before the birth of Christ are common in all works of this class.
Ver. I31. Que arrastrard el hombre. Again words or lines are
missing. This soliloquy is the only long passage which was written out as prose. The corrupt state of the text makes it difficult
to divide some lines which have lost their rhymes, but the majority
preserve the metre fairly well. In its original state the soliloquy
was a good specimen of its kind. Here, as elsewhere in doubtful
passages, the translation aims to give the probable sense rather
than a word for word rendering.
Ver. 141. The Hermit. This character is spoken of as the clown
of the play by those who have seen Los Pastores. In our version
scarcely anything jocular remains in his part, and the clownish element is transferred to Cuchardn. Traces of the Hermit's humor
are found in the New Mexican Pastores.
Ver. 148. Para seguir es metodo. A singular construction, but
the sense is evident.
Ver. I49-I52. Four disjointed lines omitted in the translation.
Ver. I55. berigud: berigu6, from verigar, an old form of averiguar.
Ver. 157. Encontrd d, or some similar verb, is lacking to complete the sense.
Ver. I68. The four following verses form a glosa on the preceding song. The Spanish glosa is an amplification of the sense
of a given stanza, in as many original verses as there are lines in
the stanza glosed. The first verse must end with the first line of




NOTES                         I8I
the stanza, the second verse with the second line, and so on. This
poetical exercise has long been a favorite with Spanish authors.
In the Madrid Codex of sixteenth-century autos, published in
1904, there are several glosas, including one on the Ave Maria;
the learned shepherds in Los Pastores de Beldn amuse themselves
by glozing appropriate stanzas; and the modern Mexican Pastorela, La Boda de Gilay Bato, contains a glosa on Aprendedflores
de mi. Captain Bourke comments on this passage as follows:
"We may indulge in the by no means violent conjecture that
the pious friar who prepared the original libretto, back in Spain
or in the Canaries, fancied he saw an appropriate moment for
inspiring the spectators with proper sentiments of duty towards
Mother Church."
There is a passage in the Reminiscences which seems to throw
light on the shepherds' plan of catching birds for the church on
Christmas morning. Father Parisot writes:
" Nine days before Christmas the Misa de Aguinaldo is celebrated at three A. M. in all the churches of Mexico. Every day
for nine days crowds are gathered at that unusual hour to assist
at the Mass of the Infant Jesus. Led by curiosity as much as
by devotion, I assisted at one of the masses. At the Kyrie there
was a burst of enthusiasm, a real explosion, which caused me to
exclaim in surprise,' What is this?' ' Padrecito,' said the priest,
'they are the birds announcing the coming of the Child Jesus.'
What was it? Nearly every member of the congregation -not
only children, but men and women- was furnished with a whistle, and at the Kyrie, Gloria, Sanctus, Agnus, &c., there went the
explosion of five or six hundred whistles, accompanying the organ
and the singers."
Ver. 178. carmuncos: carbuncos, more commonly written carbunclos.
Ver. I8o. jallas: joyas.
Ver. I8I. albortantes: arbotantes.
Ver. 221. jatos: hatos.
Ver. 264. Cielo soberano. This and the following verse appear
in the New Mexican Pastores.
Ver. 271. estila: destila.
Ver. 272. brillas: brillan.
Ver. 284. bules: calabazas, Diccionario de Mejicanismos.
Ver. 285. descargan: descarguen.
Ver. 289. Lia: ya. The word is often written correctly, as in
ver. 266.
Ver. 304-305. Hasta cuando... sesaron. Such errors of construction are not infrequent, and generally occur in the more elevated passages, which would naturally present sound rather than
sense to the actors.




182                       NOTES
Ver. 308-3 1 and 325-327 include the fragmentary extracts from
La Vida es S7ueiio.
Quien me hace companifa
aquf, si a' decirlo acierta,
son araflas y ratones;
miren que dulces jilgueros!
Jor. 3, esc. I.
Y aunque desde que nacif,
si esto es nacer, solo advierto
este riistico desierto.,
donde miserable vivo,
siendo un esqueleto vivo,
siendo un animado muerto.
Jor. i, esc. 2.
Ver. 326. esquelto: esqueleto.
Ver. 353. ezego': ensef!6.
Ver. 355. airevesado: revesado, IDiccionario de Mfejicanismos.
Ver. 356-359. We do not understand these four lines.
Ver. 367-368. yiinole... tamal. These are among the few
Mexican words. The Hermit has never met any of the company
before, and yet he says that Gila has always suited him. This is
one of the many inconsistencies of the play.
Ver. 398. enborrachar: emborrachar.
Ver. 409. Es/a si que es noche buena. A corruption of the song
in Mira de Mescua's Coloquio:
Esta si que es noche buena
en que nace el nifio Dios,
esta s1 que es noche buena,
esta sif que las otras no.
Esta sif que es noche buena,
donde no reyna la pena,
de placer y gusto liena,
de regozijo, y amor.
Esta si que las otras no.
Ver. 422. A j~ersibido: ha apercibido.
Ver. 423. /1/ireando: tiritando.
Ver. 442-449. We do not know the meanings of turendero and
turricin. Le hicieron ralas should be reflexive both for sense and
metre, but the next few lines of the stanza are so corrupt that the
disappearance of the pronoun here is not surprising.
Ver. 468-469. These verses are in the New Mexican Pastores.
In Fernan Caballero's Cuentos y fioesias Popiulares anda/uces a
traditional Christmas verse closely resembling the preceding stanza
is given:




NOTES                         i83
En el portal de Belen
Naci6 un clavel encendido,
Que por redimir el mundo
Se ha vuelto lirio morado.
Ver. 473. De la Area. The article la is used several times before an accented a or ha, as in ver. 721 and 931. But in ver. 302
and elsewhere we find el hambre. Probably this lack of uniformity
is due to carelessness on the part of the scribe.
Ver. 475. Venid, corred, volar. The infinitive is frequently used
for the imperative in the text, but the present case is singular, as
the infinitive immediately follows two regular imperatives. The
same slip occurs ver. 933.
Ver. 476. Gloria en exelsi deus. An excellent bit of popular
Latin.
Ver. 542. estadse: estaos.
Ver. 546. The object of veremos is wanting.
Ver. 563. os prevenirse: prevenfos.
Ver. 600. Te arrancarl el corazdn. Lucifer's first attempt on the
shepherds ends with this line. Another scene, or a change of scene,
must have intervened before the next line, which is the beginning
of a new soliloquy, at the end of which Lucifer addresses the shepherds, and asks again for hospitality.
Ver. 60o. mazmoras: mazmorras.
Ver. 605. Ecxalando: exhalando.
Ver. 6I I-688. Most of this scene is from the Del Castillo Auto,
of which an account is given in the Introduction. See Appendix for
parallel scenes. One of the modern Pastorelas, entitled Miguely
Luzbel Pastores, by Don Jose Marfa Escobar (Mexico, 900o), also
contains nearly the whole Lucifer part from Del Castillo. The lines
are not inserted in the fragmentary form which they assume in
our text, but are given almost word for word, with only such
changes of details and names as the new plot demands. The rest
of Escobar's play is entirely modern, and very commonplace. It
is not a variant of Los Pastores, nor in any way inspired by it.
Escobar does not acknowledge indebtedness to any source, and
we do not believe that he would borrow so extensively from a
known writer; perhaps the Del Castillo lines became traditional
in Mexico so long ago that the author's name is now forgotten.
Ver. 636-655. The translation of this speech follows the original.
Ver. 646. creado. Possibly criado. Neither word is used in the
original.
Ver. 692. Sentimosnos: Sentemonos.
Ver. 696. Ddmen. Perhaps metathesis for d6nme. The same
form occurs in the New Mexican Pastores.
Ver. 707. enpiesan: empiezan.
Ver. 715. One or more lines are missing.




184                     NOTES
Ver. 719. Chirrion: litigo, Diccionario de Mejicanismos. The
next four lines are so vague that they have been omitted in the
translation.
Ver. 731. bado. Bocado?
Ver. 737. The shepherds paid no attention to the arrival of
Lisardo, and now no one makes any reply to this jocular speech.
He does not speak again until the manger scene. See ver. I676.
Ver. 74I. torin. Tocino?
Ver. 742. vocoli. Possibly bocoles, or "tortillas gruesas fritas
en manteca de res." Diccionario de Mejicanismos.
Ver. 748. Nominis, etc. This Gerundian Latin is printed verbatim, as are all the other Latin words in the text.
Ver. 768. advitrios. Advertencias?
Ver. 777-882. This low comedy scene is admirable in Spanish,
but unfortunately the play on words cannot be rendered adequately
in English.
Ver. 786. boberas: boberfas.
Ver. 804. iero no. The sense seems to require porqud no?
Ver. 805. aqui estos buenos. Aquf is superfluous, and the necessary a is omitted.
Ver. 842. Todos estos Matanes. Cuchar6n's mistake of believing
the word Mesias to be the proper name Matfas, and the resulting
litany of " Matanes," recalls a passage in Godinez' Secundo Coloquio
de los Pastores de Beln (I655). While the shepherds are resting
on their journey, one of them proposes to play El Rey de la M, a
game resembling I love my Love with an A. Rubdn explains the
game as follows:
Su nombre, a q pueblo ha de ir?
que ha de comer y beber?
quien ha de darle posada?
y quien le dira despues
un cantar, y un cantar mismo?
todo lo preguntar6,
y ha de comencar con M.
The shepherds take turns in guessing who is the King of M.
SIMON.   Digo que el Rey de la M.
le l1ame Matusalem.
SALOMON. Matusalem le llamasteis?
mejor es Matusalen,
viva el buen rey muchos afios I
RUBeN.   Ninguno de essos lo fue.
SIMdN.   Pues llamase Matatias.
SALOM6N. Matatias, si pardiez,
como aya un Rey en el mundo
Matatias, y otro Rey
Mata suegras, esta bueno I




NOTES                           i85
RUntN.    Capit~in fu6 de Israel
Matatias, mas no Rey.
ELIUD.    No encuentras con Manases?
Sim6N.    Sera Matias.
SALOM6N.              Matias;
pero que Rey puede aver,
aunque Matatfas sea,
que las mate de una vez I
RuBfN.    No es Rey Matias.
Sim6N.                     Mateo.
ANGEL.    Que al vivo hazes el papel
del Pueblo Judaisino, errando
de uno en otro parecer.
Sim6N.    Sea, Matanias, pues,
vaya. a matar 'a Ciudad
de Arman, posada le d6 Matain.
SALOm6N. Vilgate el diablo por Fariseo.
SIM6N.    Porque?
SALOm6N.          Matusalen, Matatias,
Matanias, y despues,
Matias, Matain, Mateo,
Matani, todo ello es
de matar, y mas matar;
plegue A Dios no le mateis, I
Que ha de cornerI
Salom6n there anticipated Cuchar6n's joke, Matan su "~egra
(Kill-their-mother-in-law), which is thus proved to be at least two
centuries and a half old.
Ver. 852. eljuego: al fuego?
Ver. 874. No mientes al seguidor. This and the three following
lines are very blind.
Ver. 892. disvariar: desvariar.
Ver. 91 5. Palmo. Perhaps pasmno.
Ver. 964. ejemptador: emperador.
Ver. 980. Sea el hombre ante Dios el olvido. A corrupt line, and
the sixteen verses before are rather vague, although the meaning is
evi'dent.
Ver. 999. la hierra. Perhaps le hiere.
Ver. 1003-1036. Lucifer is described by Miss Brodbent as
seeking to kill or injure Mary before the birth of Jesus. This scene
is evidently a fragment of or reference to that preliminary episode.
Ver. xoo6. la ce*?ebre. La libre?
Ver. 1032. De David lasprofesfas. Psalm xci. 13: The dragon
shalt thou trample under feet.
Ver. 1043. querer: quiero.
Ver. 1048. Masyopor mano de Dios. A line i's missing.
Ver. io58-i220. Michael's triumph. The absence of stage di



i86                     NOTES
rections and the corrupt state of the text would make it difficult
to follow the action here, were it not for Miss Brodbent's description. She says that in this last struggle Lucifer was vanquished
and bound with a chain; but he made so piteous an appeal that
Michael released him, on promise of repentance. The promise was
instantly broken, and Lucifer rallied his imps for a last attempt.
He was again subdued, dismissed to his punishment, and reappeared no more. In ver. Io6I we have him bound with the
chain; ver. II04-IIS1 presumably include the lament which softened Michael; and ver. 1201 is Michael's final command. Lucifer
makes one more appearance in our version. He recites nine lines
(beginning ver. 1979), which are evidently extraneous to the manger scene in which they are introduced. No doubt they belong in
one of the earlier scenes with the shepherds.
Ver. Io85. Yoiara darguerra al hombre. This and the following ten lines are found in different order in the New Mexican
text:
DIABLO. Ah! infierno, que tirano
has puesto en pena tan cruel I
mira en que tormento se haya
el principe lucifer!
Para dar bataya al hombre
llamare a todo el infierno.
Ah! de aqul este espeso monte I
Ah! de aqui este oscuro seno,
en donde, de astucias lleno,
me despefn, cual fratante,
de lo marchito y anelo.
This passage throws a conjectural light on the extraordinary word
falsonte, ver. o190. Fratante, which takes its place in the passage quoted, is equally meaningless; but we notice that there the
rhyme calls for a word in onte, not ante, and the context suggests
the name Faetonte (Phaeton). This emendation gives a line which
completes the redondilla, while applying admirably to Lucifer's
fall:
Me despefie cual Faetonte.
The preceding line, En donde, de astucias Ileno, is left out of our
text, and several alterations have been made in the preceding and
following lines on account of the omission.
Ver. II04-II151. The song Aprendedflores de mi is by G6ngora. Ver. 1107 should read: Yhoy sombra rma aun no soy. The
song and the following glosa are given also in the New Mexican
Pastores, with slight differences, and this stage direction which
precedes the song: Se rinde d Miguel, y canta el Diablo. The
four verses forming the glosa are better preserved in our ver



NOTES                            i87
sion, as some of the New Mexican dlcimas have lost one or more
lines.
Ver. iiI5-iI8. Pero con justa razdn, Amarte ilutayfiluttdn.
It is difficult to say which reading is more absurd, this or the New
Mexican: y con injuesta razdn, a muerte a fiolo y flutdn.
Ver. II 21-1122. Que at nacimiento de Cristo, Veniste fior mi
fatigra. The New Mexican reading, que el nacimiento de Cristo, se
hiso fiara mifatzga, is preferable.
Ver. 1 123. Fortuna, mui~strate, esquiba. 0 muerte, afiufta te,
esquiba, in the New Mexican text, is a better reading. The remaining lines of this stanza are unsatisfactory.
Ver. I1130. enjierio: empi'reo. This word is written etfiirio in
ver. 1153.
Ver. 1176. enfiesado: empezado.
Ver. 1185. Cingete. From cingir, an old form of ceflir.
Ver. 1 208. mejibelo?
Ver. 'I215. afeionderab~le: ponderable.
Ver. 1322. Caminata. This verse is sung while the shepherd
walks (camina) to the manger. This caminata and two or three
others are given in the phonographic records. They are all sung
to the same air, that already used for the song, En risuexgos cantos, ver. 228.
Ver. 1413. veiste: viste.
Ver. 1428. desijPlina: disciplina.
Ver. 1430-I433, There is a confusion of tenses here.
Ver. 1436. Que me los hizo un filatero. A line or more missing. The gifts offered in Nativity plays, and the remarks made
on them, are often delightfully quaint. The Hermit here suggests
that the cross on the reliquary will quiet Jesus when he cries. In
the Castillo Auto, referred to above, is a similar conceit:
Y estos dos sonajeritos
que ya risuefio miraiis,
para que os entretengaiis
cuando hizi6reis pucheritos.
In an anonymous auto, entitled El tormento del DVemonio (Salamanca, no date), there is a curious passage in which a shepherd
offers the Child a pack of cards, because the four suits symbolize
four events of His Passion:
Y asi tomad, nubl mio,
esta baraxa de naypes,
porque ay de vuestra Pasi6n
una cifra en sus manjares.
Ay oros, con que un amigo
os venda por treinta reales,
estadas, para que os prendan




i88                      NOTES
en el Huerto, y os maltraten.
Bastos, para que en un lefio
las manos y pies os claven,
y copas, para que os den
a' beber hiel y vinagre.
In Lope de Vega's Pas/ores de Be/In, a shepherdess named Bartola makes this practical offering:
Bartola, nifio, os ofrece
este enjugador de salce,
para que la madre vuestra
os enjugue los pafiales.
Silvia, in Mira de Mescua's Nacimienlo, brings a similar gift, made
of oak. In Godinez's Coloquio, Salom6n says:
Tomnad 6'stas de azavache,
que alguno a' veros vendra',
que miraindoos de mal ojo
pue'dese que os haga mal.
The belief in the evil eye came no doubt from long contact with
the Moors. The power of azabache (a charm made of a black mineral) to avert the evil eye is alluded to in Lope's Pas/ores de Be/In,
and in Mira de Mescua's Sol ti Media Noche. An offer of money
is made by Bato in our play. In Lope's Nacimiento de Cristo the
same gift is mentioned:
Y un costal de hermosos quesos,
y para cuando se vaya,
cien doblones cuando menos,
que para andar por caminos
es cosa linda dinero.
Ver. 1479. con quiz/ar. Possibly contemplar.
Ver. I486. ofertar: ofrecer.
Ver. i555. inj~lorado: implorado.
Ver. i676. Aunque soy chiquito. This verse indicates that Lisardo was a child. There is a small boy among the shepherds in
the photographs, and the phonograph gives this caminata in a very
thin childish voice. On the other hand, Lisardo's entrance speeches,
ver. 710-754, are appropriate to a well-grown lad or a man. The
Lisardo of the earlier scene bears so strong a resemblance to
the Pastor Perdido of the New Mexican Pas/ores that we think
the two characters are from one model. See New Mexican Pastores in Appendix.
Ver. i697-1882. The four Batos. The first seven lines are in
the character of the poor shepherd in our play. Ver. 1705-1729 includes the lament, which we think may be a fragment from a fifth




NOTES


i89


source. Ver. 1730-1 754 contains the account given by Andr~s of his
journey. Ver. 1755-I766 is the comic speech from Mira de Mescua.
Ver. 1767-1882 is the perinola play of the El Buen Ladrdn. With
Ver. 1886 Bato reverts to his original character, and reiterates his
offer of a honeycomb.
Ver. 1711-I712. These two lines have no connection with what
goes before, and are omitted in the translation.
Ver. 1755. A qu6 nin-o tan vonito!/ The original passage from
Mira de Mescua is as follows:
BATO. Que mochacho tan bonito,
no me harto de mirarle,
no tuue yo tan buen talle
quando era tan chiquito.
Desde hoy de pastor me quite,
Sefiora parida y bella,
hermosa mas que vna Estrella,
resuelto i seruirla estoy,
pardiobre que desde oy
he de quedarme con ella.
Paje del Nifio he de ser,
que con su vista que hago,
primeramente lo hago
por salir de mi mujer,
secundamente por ver
el Nifio que me enamora;
terceramente, Sefiora,
quartamente, y quintamente,
por cosas que de presente
no se me acuerdan agora.
Ver. 1788. Pirinoli/a: peninolita or perinola. The perinola is a
four-sided wooden top, flat above, with a slender rod projecting upwards from the centre. On the four sides are marked the letters S
P D T. The game consists in forming a pool, after which one of
the players begins to dance, continuing until the perinola falls on
one of its sides. According to the letter which remains uppermost
the dancer wins or loses. If the letter is P (pon), he must deposit
another stake; if D (deja), he leaves the pool as it is;- if S (saca),
he wins a certain amount; if T (todo), he wins the whole. The
dictionaries do not speak of the perinola as a game for children;
but in La Bib5lio/eca de las tradicionesfiofulares eshalgoles, Madrid,
1884, it is so described under.7uegos infantiles de Extremadura.
The letters are the same, except that N (nada) is substituted for
D. The stakes are sometimes nuts and acorns, but more commonly pins.
Ver. 1797. gilerito: gracioso, Diccionario de Mdjicanismos.
Ver. x 807. Lo que yo te fiidiere. After this line in El Buen La



i90                     NOTES
drdn are four lines in the burlesque spirit of the character, Rifi6n.
He says that Jesus must grant all his petitions, or he will put the
perinola back in his pocket and keep it.
Ver. 1821. This song is omitted in El Buen Ladrdn.
Ver. I836. la azana brava. In El Buen Ladrdn, la safia brava.
Ver. 1847. Poned, Senor, con sason. This and the next five lines
are much more intelligible in El Buen Ladrdn:
poned, sefior, con razon,
la vista en los pecadores,
disfruten vuestros amores,
vuestro auxilio y eficacia,
y colmandolos de gracia
obtengan vuestros favores.
Ver. 1883. Vuestra piedad recomiendo. Rifi6n ends his speech
with these four lines:
A tu piedad recomiendo
a cuantos el beneficio
alcanzan de tu venida,
sin olvidar nuestro aprisco.
Ver. 1913-1978. The Bartolo scene. This appears to be the stock
comic scene of the Mexican Shepherd Plays. We find it given
almost word for word in the New Mexican Pastores, and described
exactly in the Reminiscences. The fundamental idea of lazy shepherds giving jocular answers to such a call is found in that charming old Portuguese Nativity, El Auto da Mofina Mendes, by Gil
Vicente, written in 1534. The scene is given in the Appendix.
Ver. 1941. cabrias: cabrillas, or Pleiades.
Ver. 1961. Volo: obolo. The Diccionario de Mejicanismos gives
the following explanation: "' Mi bolo! mi bolo! padrino!' gritan
los muchachos al que acabe de bautizar.i un nino. Es par general
decir bolo por 6bolo, 6 propina, que nadie le da otro nombre."
Ver. 1966. la besa: la cabeza. See Bartolo scene in New Mexican Pastores.
Ver. 2006. serrenado: serenata.
Ver. 2018. A la ruru, nifo lindo. Miss Brodbent says: Two
shepherds then come forward, take the streamers on either side
of the cradle, and swinging it to and fro, are joined by the others
singing the lullaby.
Ver. 2062. This song is so disjointed that it is omitted in the
translation.
Ver. 2069. Hicimos fuertes hogueras. In describing the religious festivals of the native converts Molotinia says:
"On Christmas Eve the Indians light bonfires in the patios of
the churches, and on the terraced roofs of their houses. As most




NOTES                          I9I
of the houses are built with low flat roofs, and [the village] extends
in a single street for one or two leagues, it looks at night like a
heaven of flaming stars."
The custom is not necessarily of Aztec origin, as the bonfire is
a favorite popular demonstration of piety in Spain.
Ver. 2070. relinchos. A verse is left out here. The dictionaries
do not give any but the literal meaning for relinchos, but it is or
at least was used to express some demonstration of rustic joy, as
is evident from this passage in Los Pastores de Beln: " Luego
dos rdsticos vaqueros, que ya con bayles y relinchos havian sacudido el perezoso frfo de sus hombros...
Ver. 2092. This absurd line is not translated, and the next verse
is also omitted, as it seems hopelessly corrupt.
Ver. 2123. morteria?
Ver. 2132. Y mds cercado de lirio. A corrupt line which we
cannot render.
Ver. 2I33. Aqui se acabd la loa. The word boa suggests that
this long speech may be part of a loa or prologue which formerly
preceded the play.
Ver. 2233-2258. The construction of these closing verses is not
always clear, but we think the sense is fairly well given in the
translation.








APPENDIX








APPENDIX I
PARALLEL SCENES
LUCIFER SCENES FROM EL AUTO SACRAMENTAL AL NACIMIENTO
DEL HIJO DE DIOS, POR ANTONIO DE CASTILLA. 1675
Sale LuCIFER de cafador galan, Con Vn venablo, sombrero
con plumas, y baquero de llamas
LUCIFER     Donde ay rabia viuo yo;
porque sidpre en rabia estribo,
en rabia, y en fuego viuo
pues la rabia me mordib.
Guerra contra el h~bre, guerra,
y aun contra Dios la preuengo,
que soy Lucifer, y vengo
d, ta/ar toda la tierra.
No aquesta hazafia me estorue
el Cielo de luzes lieno,
dilatese me veneno
por las Prouincias del Orbe.
Crezca mi tormento eterno,.pues contra Dios mi enemigo
traygo al infierno con migo.Para hazer la tierra infierno.
En este cam.po he de entrar,
y entre vno y otro Pastor,
en trage de carador,
las almas he de Cafar.
Llega a los Pastores
Bien hallados gente honrada.
CARDENIO     Yvos seais Nien venido.
LUCIFER      En d' cam~p me heterdido,
y es mi suerte desgraciada;
de bodas pienso que estais.




196                 APPENDIX
CHAMORRO Y contento a la he.
LUCIFER (aparte) Pues yo os descontarb,
para que en mi fuego ardais.
CHAMORRO    Quien sois, y q nos quereis,
que casi con miedo estoy.
LUCIFER     Si quereis saber quien soy,
escuchad, y lo sabreis.
Yo soy aquel gran Priuado
de aquel MAonarca inuencible,
que en su valeroso puno
Tierra, Mfar, y Cielos cine.
En su casa me crib
tan hermoso, y apacible,
que era objeto de la vista
a los mas lucientes linces.
Seruianme sus vassallos,
que eran vnos serafines,
y yo altiuo, y arrogante,
viendo al sol, desvanecime.
Supe q d vn Rapaz, a vn Nino,
en brafos de Madre Virgen
auia de adorarporfuerfa.
y sabiendolo, corrime
de que esto el Rey intentasse;
y altivo, soberuio, y libre,
enarbolando vanderas,
y tocando mis clarines,
la tercera parte junto
de los que en su Solio assisten,
para formar guerra al Rey,
que ardientes rayos esgrime.
Vnos contra mi se oponen,
otros mis vanderas siguen,
comiengase la batalla
con afectacion de ardides.
Mas vn humilde vassallo,
(q h6ra el Rey a los humildes)




APPENDIX                      197
tan alentado se muestra,
que venciendo A~ mis Caciques,
los pone en huida h todos,
y sin poder resistirle,
yo me vali de la fuga:
b rabia! 1 pena terrible!I
Perdonad, nobles Pastores,
que no puede reprimirme
en Ilegando?h aqueste punto,
de mi resplandor eclipse.
En fin, yo perdi la gracia
de mi Rey, y arrepentirme
de lo echo ya no puedo,
porcq es casi en mi impossible.
Pero lo que puedo hazer,
fue con encantos sutiles
borrarle la bella imagen,
que formb de barro humilde.
Engafib h su semejan~a
con vna fruta que dizen
que ha sido la perdicion
de quantos oy muertos viuen.
De Principe le hize esclauo,
it mi obediencia rendile,
y oy errado, suspirando,
en mis mazmoras reside.
Dizen que el Principe quiere
rescatarle, y ay del triste
si yo le coxo en la tierra
donde mis brauos assisten.
A muchos lo ha prometi'do,
y segun los suyos dizen,
ha de venir diisfra~ado,
de Belen h los Paises.
Ya el termino se ha cumplido,
y he de andar por estas lindes
en trage de ca~ador;
porque de mi no se libre.
Yo le quitarb la vida,
aunque bien sb que consiste




i98


APPENDIX


su triunfo en morir, y asi
si 'el muere, el esclauo viue.
No os admireis, b' Pastores,
si es/a rabia, en mi se imftrime,
y que en vuestro territorio
tersiga d quien me persig-ue.
Haga guerra ai quiJ me ofende,
la esperanga le marchite,
el esclauo se le niege,
los poderes le registre.
Mi ardiente espada le amague,
su muerte le baticine,
y que le quite la vida,
aunque la vida me quite.
CURA       Pardiez seiior comunero,
que la desdicha le sigue;
no se meta con el Rey,
que los que contra el delinque,
la soga traen arrastrando.
LucIFER     Seiior Cura, que Latines
ha estudiado, por ventura
quiere el idiota arguirmne?
SACRIsTAN El me parece muy buen
Capitan de bolatines.
CHAMORRO Pardios, si yo huera Alcalde
que os auia de dar gentiles
a~ota~os, y ahorcaros,
que quien con el Rey compite,
merece que le agafioren.
DORISTO Lo mismo Doristo dize.
DANTEO      Y Danteo lo confirma.
CARDENIO Y Cardenio se apercibe
para defender al Rey.




APPENDIX


I99


LucIFER     0 villanos! b ciuiles!
rnorid h mis manos todos.
Juega el venablo, y los pastores se defienden
CHAMORRo Huyamos; por~ es vn t:igr
este dimulfo.
TOWoS                  Huyamos.
Ziazen que se van. Al retirarse sale SAN MIGUEL COMO
le pintan, medio cuer~po armado, escudo, y es~pada, y
afirmase con LUZBEL
S. MIGUEL No huyais, y tu. fiera esfinge
que intentas en este prado,
donde ya los Serafines
esthn inundando glorias;
donde los Cielos escriuen
agregaciones de Parques,
multitudes de pensiles,
donde ofrecen h los campos
a~afates de alelies,
donde el Sol tendrh su, Oriente?
LUCIFER     Y tu, que intentas? Rendirme
otra vez? Pues no podrhs,
aunque en tus fuer~as confies.
S. MIGUEL Huye villano.
LUCIFER                    Si harb,
que es fuer~a que has de rendirme.
Vase retirando de S. MIGUEL.
S. MIGUEL Venid con migo, Pastores.
CURA        Buen Gar~on, todos te siguen.


Entranse.




200


APPENDIX


Salen SAN MIGUEL y LUCIFER como de
primero
S. MIGUEL Parecete bien, villano,
lo que has hecho?


LUCIFER


Hago mi gusto,
que es dar al hombre disgusto,
y ser de la paz tirano.
Dexame entre estos Pastores,
Miguel, hazer mis hazanas,
Dexa sembrar mis cifanas,
dexa verter misfurores,
dexa que mis redes tienda,
dexa que ordene mis lafos
dexa que esgrima mis brafos
dexa quefuegos encienda,
dexa herir a quien hirib,
con mi veneno iracundo,
dexa que se abrase el mundo,
juesto que me abraso yo.
Dexa...


S. MIGUEL


Que te he de dexar
villano, loco, sin ley,
comunero contra el Rey;
que subes para baxar?
No sabes que Dios se apresta
para hazer vida del bien,
y que siendo de Belen,
es selua sagrada aquesta?
TNo sabes que en aqueste prado,
con plumas de dos en dos
escriue, aqui nace Dios
para dar muerte alpecado?
No sabes que profecias
cantan en voz entonada,
que en esta tierra sagrada
ha de nacer el Messias?
No sabes que haziendo guerra
el amor a tu delirio,




APPENDIX                      201
cal~a espuelas el Impireo
para baxar h esta tierra?
Pues pon redes, y afiaga~as
por donde quiera que fueres,
y tra~a lo que quisieres,
que yo deshar~ tus tra~as.
LUCIFER     Pues sin que nos yes h los dos,
dale tu impulsos aqui,
y dexame hazer 'a mi.
S. MIGUEL Villano, qvuien como Dios?
AUTO DA MOFINA MENDES
OBRA REPRESENTADA AS MATINAS DO NATAL, NA ERA DO
SENHOR 1534, POR GIL VICENTE
In this early Nativity the remarks made by the shepherds to one another, and to the angels announcing the birth
of Christ, are in the jocular spirit which we find in the Bartolo,
scene.
" e o An]" vai aos tastores, e diz cantando."
ANJO       "Recordae, pastores! "
ANDRt       Hou de Ila, que nos quereis?
ANJO         Que vos levanteis.
ANDR-A      Para que, ou que vai 1a'?
ANjo        Nasceu em terra de Juda'
Hum Deos so, que vos salvar6.
ANDRP,      E dou-1he que fossem tres;
Eu nao, sei que nos quereis.




202                 APPENDIX
ANjo         Que vos levanteis.
ANDRP,       Quero-m'eu erguer, em tanto
Veremos que isto quer ser.
Sempre m'esquece o, benzer
cada vez que me levanto.
ANjos (canftando) "1Ah pastor!1 ah pastor!I
ANDRt        Que nos quereis, escudeiros?
ANjo         Chama todos teus parceiros,
Vereis vosso Redemptor.
ANDR1t       Nd.o durmaes mais, Payo Vaz,
Ouvireis cantar aquillo.
PAYO         Ora tu ndo, yes que he grill?
Vae-te d'hi, aramat vas,
que eu ndo hei mister ouvi-lo.
ANDRt        Pessival, acorda ja.
PESSIVAL     Acorda tu a Braz Carrasco.
BR~z     NAo creio eu, ndo, em San Vasco,
Se me tu acoihes la'.
ANDRt        Levanta-te d'hi, Barba Triste.
BARBA T.     Tu que has, ou que me queres?
ANDRt        Que vamos ver os prazeres,
que eu nem tu nunca viste.
BARBA T.     Pardeos, vae tu se quizeres,
Salvo se na refestella
Me dessem bern de corner;
Sendo, leixa-me jazer,
Que ndo hei de bailar nella;
Vae tu hIa embora ter.




APPENDIX


203


Acorda a Tibaldinho,
E 6 Calveiro e outros tres,
E a mi cobre-me os p~s;
Entdo vae-te teu carninho,
Que eu hei de dormir hum mez.
ANJO        Pastores, ide a Belern.
ANDR~t      Tibaldinho, nao te digo
Que nos charna nao sei quern?
TIBALDINHo Bern no ou~o eu, por~m
Que, tern Deos de ver conrnigo.
ANDRP,      Isso he parvoejar.
Levantae-vos cornpanheiros,
Que por valles e outeiros
Ndo fazern nego charnar
Por pastores e vaqueiros.
ANJO        Pera a festa do Senhor,
Poucos pastores estais.
PAYO        V6s bacelo quereis p6r,
Ou fazer algurn lavor
Que tanta gente ajuntais?
ANDRA       V6s ngo sois officiaes
Sendo de guardades gado.
BRAZ        Dizei, Senhor, sois casado?
Ou quando ernbora casais?
ANDR~k      Oh corno es desentoado!1
ANJO        Quisera que foreis v6s
Vinte ou trinta pegureiros.
PAYO        Antes que v6s deis tres voos,
Bern ajuntarernos n6s
Nesta serra cern vaqueiros.




204                  APPENDIX
ANJO         Ora trazei-os aqui,
E esperae naquelia estrada,
Que logo a Virgem sagrada,
A Hierusalem vai per hi
Ao templo endereqada.
Tooos anios seus instrumentos, e as Virtudes, cantando,
e ospastores bailando, se v,~o




APPENDIX II
DESCRIPTION OF SAN ANTONIO PASTORES
MIss BRODBENT'S description of the costumes used at San
Antonio has been quoted in the Introduction. We give below
her synopsis of the play in slightly condensed form.
As we sit musing and comparing, we hear the faint tinkle
of bells, which become more distinct as the " Pastores," led
by Mary and Joseph, march into the courtyard, two by two,
singing:
Volemos, pastorcitos,
Volemos con violencia
Que en elportal estd
La grande Omnipotencia.
After the chorus, the first act opens with the meeting at the
temple of the patriarchs, who have assembled to elect a husband for Mary. The shepherds open this act with the Crier's
call, and sing in loud voices:
Occurran todos al temnlo
En esta dichosa dia I
Para ver quien es elejido
Esposo de M.aria.
After the election of the husband, Mary and Joseph kneel
down before the priest, who performs the marriage rite.
The wedding feast is spread, and all are gay and happy,
unconscious of the presence of the dark sinister figures off in
one corner, who are looking upon the scene with perturbed
countenances.
As the merry-makers disappear, Lucifer comes forward and
draws his imps round him. He announces to them that a
maiden is to give to the world a Redeemer of mankind. He
tells them that the prophecies of Ezekiel are accomplished;
that he has read the signs, and that she is a virgin. The
birthplace is an humble spot in or near Bethlehem. He then
tells the demons to search the world over for the maiden, and




206                 APPENDIX
bring her to him, as he desires to kill her. The demons and
Lucifer depart, and Mary appears alone, in deep meditation.
She is suddenly confronted by Michael, who announces her
conception by the Holy Ghost.
The shepherds come in again, singing songs of praise and
exultation that the time approaches for the fulfillment of the
prophecy of Isaiah. At this juncture Lucifer returns, followed
by his imps, who inform him that they are unable to find the
maiden, but that the whole world is expecting the coming of
the Messiah. They beg Lucifer to tell her name. As he pronounces it, Michael appears on the scene. He reminds Lucifer of his former downfall, proclaims himself Mary's guardian
angel, and warns Lucifer of the consequences of pursuing his
evil purpose. After vigilant search Lucifer discovers Joseph
and Mary, and though through fear of Michael he dare not
injure the person of Mary, he poisons Joseph's mind, so that
he becomes suspicious and jealous of his wife. But a dream
reassures Joseph, and he implores Mary's pardon. The shepherds then sing:
Lioren alld los demonios,
Y lloren con afliccibn,
Que ya se abre misteriosa
El admirable encarnacibn.
The shepherds pass out, and Lucifer enters, furious at being
again balked in his designs. He is confronted with Gabriel,
whom Lucifer fails to recognize, but who shows by his conversation that he is an adversary who knows Lucifer's past
and present history. He prophesies Lucifer's final defeat
and banishment:
Yasi no sabrds, villano,
Que lo que el tiempo te advierte,
Tu rabia serd la muerte,
Tu morirds, triste sifano.
Gabriel vanishes, and Lucifer calls up his imps, and they
plot to capture Gabriel.
They are surprised by Mary and Joseph, who are on their
journey to Bethlehem. At the sight of them Lucifer and his
confederates flee, crying:
Ya Maria sale del templo
Y yose viene d su lado;




APPENDIX                       207
Abra su boca el abismo,
Sepulta un desdichado.
Upon their arrival at Bethlehem Mary and Joseph go from
door to door, begging shelter for the night, while the shepherds are singing:
Un pobre hombre y una doncella,
Que al lugar hemos venido,
Abrdnnos de caridad,
Den nos siquiera posada.
And they invariably receive for reply:
Pues ninguno uede entrar,
Porque no quiere mesonero
Solo que traiga dinero
Con que lo pueda pagar.
At last they find shelter in the stable, and are glad to rest
their weary feet. Then the shepherds begin singing:
Abrdnse las puertas,
R6bmpanse los velos,
Que viene d poseer
El rey de los cielos.
The scene now changes. Lying around a camp-fire are
shepherds, some asleep, others in low conversation. Suddenly one discovers a bright star in the east. He joyfully
announces the fact to the others, and all break out in hallelujahs and songs of praise:
En elportal de Belen
Hay muy bella claridad,
Porque ha nacido e Mesias
Ynos pondrd en libertad.
Chorus:
Guerra y guerra le daremos
Yguerra le hemos de dar,
Al demonio y su infierno;
Ahora Ie haremos temblar.
Two of the shepherds, Fevano and Parrado, continue singing and telling what beautiful presents of jewels and precious
stones they would take as offerings to the church, until they
are reminded by Gila to fill their knapsacks, as day is ap



208


APPENDIX


proaching, and they must make an early start. Lucifer then
enters. His emissaries have located the Christ-child, but his
plots to entrap the mother and babe have proved fruitless, as
they are constantly guarded by Gabriel and Michael.
The shepherds then approach on their way to Bethlehem,
guided by the Star. They sing:
Al respaldo, hermanos mios,
De un encumbrado serro;
Pues dicen ya nacio
El Redentor de los cielos.
Gila finishes the singing with this advice:
Pastores, ya llega el dia
En que alegres nos partamos
Para elportal de Belin,
A ver unfeliz milagro.
Prevengan sus bastimientos,
Dispongan muy bien susjatos,
Para caminar alegres
Festejdndonos con cantos.
Lucifer addresses the shepherds, and advises them not
to go to Bethlehem, as the road is dangerous. He says they
have been deceived, for the Messiah is not yet come. They
pay no heed to his advice, but continue their journey, selecting the best road for their sheep.
As the shepherds near the mountains, a Hermit comes out
of a cave and joins them in their pilgrimage. He is old and
bent, hair and beard are long and heavy, and he wears a long
white tunic girded with a thick white cord. From his neck
hangs a rosary composed of white spools, to which is attached
a crucifix. He is the clown of the company, and with his
merry jests keeps the shepherds in good humor on their tedious journey. They continue singing, and must have covered
quite a stretch before they come to the end of a song, the
first verse of which is:
En risueenos cantos
De los ruiseiores,
Caminemos alegres,
Hermanos pastores.
They stop on the road to take supper, and invite the Her



APPENDIX


209


mit to partake of tortillas, cabrito, pinole, and tamales. Parrado leaves them while he goes to see to the sheep. He returns and demands albricias (a present) for some wonderful
news. After exacting a promise from each, he tells them that
an angel appeared to him, and said: Gloria in excelsis, the
Christ is come! Some tell him that he has been dreaming,
others that he is deceiving them. But at this juncture Michael
himself appears, confirms Parrado's story, and assures them
of the birth of Christ. He also warns them that Lucifer is
coming again to confuse them, but says that he, Michael, will
protect them. Lucifer arrives and asks for food and shelter.
He says he is very rich, and will share his wealth with them.
He and the Hermit get into an altercation, and the Hermit
defends himself against Lucifer's attacks by merely holding
up the crucifix. Lucifer is unsuccessful with the Hermit, so
he departs and visits the two shepherds, Bato and Cuchar6n,
whom he tempts into partaking of a meal with him. They
are watching the sheep, and hunger induces them to feast
with the stranger, although they do not like his countenance.
The other shepherds turn out to look for Bato and Cucharon,
as the time for their coming into camp has past. They find
the two very sick, and bring them into camp, singing:
Venid, Miguel dichoso,
Del lado cortesano,
A sacar de prisiones
A todo genero humano.
The shepherds have stopped to rest for the night, when an
angel again appears, crying, Glory to God, Christ is come! The
Hermit falls on his knees in prayer, while the shepherds join
in songs of praise and thanksgiving. Lucifer appears and is
about to destroy them, when Michael and his hosts come to
the rescue, vanquish Lucifer, and put him in chains. Lucifer
changes his tactics, and his repentance seems so sincere that
Michael relents. He has the chains taken off Lucifer, but
the latter immediately rallies his imps and begins anew. He
is again vanquished and banished from earth forever. At this
juncture Satan's tail is ignited, and Lucifer and his host vanish amidst the noise made by exploding firecrackers. The
shepherds at last arrive at the manger, each in turn praying
before the image of Christ, and singing a verse in adoration.
eee0e




210


APPENDIX


At the same time each presents some offering, except Bartholomew, a ridiculously sleepy fellow, who cannot shake off
his drowsiness. Each shepherd goes and pleads with him to
get up and adore the Christ-child; but he has some excuse
for each, until at last two shepherds take him and deposit
him in front of the altar. There he falls on his knees in contrition, and joins the adoration. Two shepherds then come
forward, take the streamers on either side of the cradle, and
swinging it to and fro are joined by the others, singing the
lullaby:
Ah! qua hermosura de nin!o
Que boquito de coral!
Quieres que te tape
Con las telas de mi amor?
0 quieres venirte d mipecho I
Tu quieres que me arrime
Alpesebre y te arrolle,
Al-or-or-r-or-or-or-or.
Then each in turn they kneel before the image, ask a blessing on Mary and Joseph, kiss the image, and depart.




APPENDIX III
THE NEW MEXICAN PASTORES
Miss HONORA DE BUSK, who obtained this text, writes
regarding it: "The accompanying version of Los Pastores
was copied from an old manuscript volume treasured by one
of the men of San Rafael, and used by many communities
throughout that section. It had been in his family for generations, and he was not sure where it came from originally, but
thought it came from Spain, as did the Madonna in marble
in the glass case, and the old painting of Saint Philip in the
beaten silver frame, - priceless heirlooms of his race. The
manuscript was fearfully illegible and misspelled, but was
copied as nearly verbatim as possible. Evidently by many
transcriptions the original sense had been lost in several
passages, and poetry hopelessly degraded into prose. The
florid and often eloquent style would seem to indicate that it
was written by a priest or person of culture."
Unlike our text, this entire play, with the exception of a
few of the songs, was written out as prose. In punctuation,
accentuation and division of words, as well as in spelling, the
manuscript was even more eccentric than our text. For the
sake of the reader accents and punctuation marks have been
somewhat revised, and capitals supplied at the beginning of
sentences. In all other respects the text is faithfully followed.
The metrical form given here was obtained by breaking up
the long lines into short lines, the rhymes and assonances
serving as a guide; but in the process not a word or letter
was changed or transposed. The metre is fairly well preserved, but there are occasional breaks owing to the corrupt
state of the text.




2I2


APPENDIX




PRINCIPIO
LETRA DE LA VIRGEN
Cuando por el oriente sale la aurora,
Caminaba la Virgen, nuestra sejiora.
o qu6 gran gloria lts que granjea
A ti, Reina del cielo, vendita sea.
Preiiadita la Virgen, nifia y donsella,
Que no hay costs en el mundo mds
linda que ella.
o qug gran gloria la que granjea
A Li, Reina del cielo, Bendita seas.


SAN Josi' y its VIRGEN
VIRGEN
Jos6, dulse esposo amado,
no de este suerte te aflijas;
que mas me duelen tus penas,
que me atormentan las mfas.
SAN JOSA
Colmo quieres que no sienta,
querida esposa Marfa,
vie'ndote tan delicada,
caminando con fatiga,
ya por las fragosas montes,
y por las largas campifias;
ya subiendo las malesas,
y ya bajando las sismas;
ya del sol atormentada,
ya de la nieve aflijida;
de ver asercar tu parto,
sin el abrigo, alma mma,
para el rigor del Invierno?
VIRGEN
Basta, esposo de mi vida,
pues, es la Voluntad de Dios;
Pues hasi lo determina,
sabe vien nuestros fatigas;
mas como su amor es grande,
grande es su Sabidurfa;
Comiensa antes de naser,
6 darle al hombre dotrina,
de grandesas y humildad.
SAN JOSA
En esta pefia cabada,
ten6is vivienda segura,
mientras que yo boy
6 esas casas pojisas,
poco alld se divisan
las f6bricas de Bele'n,


*..y vivan
algunos de mis parientes.
VIRGEN
Jr con Dios, prenda. querida,
61 te dirija los pasos,
tus trabajos reciba.
SAN JOSP,
Sabrds, esposa amada,
que no me f u6 posible,
Hallar posada...
Por solos susplisas, valdones,
y mesones donde salif
sumamente abergonsado.
Todos me tratan de flojo,
bajo y necio, o que' amagura!I
la llorare' amargamente.
Pues pidic'ndoles Dios,
desde su ventre,
una humilde posada,
le haigan dado
con las puertas en la cara.
VIRGEN
Sigamos, pues, esposo,
sigamos el camino trabajoso;
pues que ya la omnipotencia
le tiene prometido
6 su hijo unije'nito querido
abrigo entre las vestias,
pues los hombres ingratos
*..lo desprecian.
Anuncio del ANGEL cantando
LETRA
La letra que se canta adeniro del teatro
todos los pastores, estando el Hermitaiio afuera incado
OhlI Dichosos moradores
de its ciudad de Belin,
ha de venir entre nosotros
el que ha de regir d Israel.
De its Real Jerusalim
saud6 una estrella Brillando,
que 4 los pastores va guiando
parts el portal de Belin.
De its mds bsella doncella
nacid un Clavel encarnado;
nacid parts ser la estrella
que d todo el mundo ha alumnbrado.
HERMITAIKO
Palpitante el corazo'n
de alegria 6 asusto, qui6n sabe?




APPENDIX


213


pues sociego en mi no cabe,
ni aun estando en oraci6n.
Se lebanta
Y sera acaso una iluci6n?
Pero no, que Isaias
a todos nos anunci6
la venido del Mesias.
Qu6 fuera que en estas dias
tal prodijio sucediera,
y qu6 el dichoso yo fuera
que viera esa marabillal
Canta
Ohl quien fuera tan feliz
que lograra el parecer,
al Deciado de los gentes,
al prometido en la ley,
no tomara mal alguno,
ni apeteciera otro bien;
todo seria Regocijo,
y todo seria placerl
Sale LIZARDO
Quien eres, de voto ansiano,
que con canto tan divino
suspendiste mi camino,
y suspenso me has dejado?
HERMITANO
Sabras, pastor, que yo soy
un hombre desengafiado
de los deleites del mundo,
y sus fingidos alabo.
Huyendo, pues, de los riesgos,
ora cosa de treinta afios,
me entregue a la providencia,
y viviendo por estos lobrigos montes,
todo mi vida he pasado,
ya en contemplaci6n divina,
ya la ley enterpretando;
por lo cual he conocido
que el feliz tiempo ha llegado,
en que el Mesias prometido
se manifiesta humanado.
LIZARDO
Pues mereser6 que ti,
si no sirbe de enfado,
me hagas capas de saber
ese misterio tan santo.
HERMITANO
Pastor amigo, este es asunto
que nesecita despacio,
mas yo te complacere
tu curiosidad en senando,




-


cuando el padre de los luses
sus Reflejos apacando,
se aparta de nuestra vista
dando lugar a descanso.
LIZARDO
Propicio el cielo te sea
por favor tan sefialado!
En d6nde te incontrare
para gosar tan buen Rato?
HERMITANO
No quiero que te molestes,
mas yo tendr6 ese cuidado
de buscarte en tu majada,
para donde ir~ temprano,
dejandome tu las senas.
LIZARDO
Pues ya que hasf lo has pensado,
sabrds que atras de esa monte
esti lo mas del ganado
que por aqui se apacentan;
cullos pastores honrados,
estin sujetos a mi.
Y a todos les he mandado,
que al oscurecer del dla
junten todo su Rebafio
en una majada sola;
y que todos del Rodeo
lo cuidaremos mejor,
libr[ndolos de los dafnos
que puedan ocacionarlos.
Todos los que aprisisados,
a cumplir con el edito
que el Cesar ha publicado,
pasan para empadronarse
a la ciudad, 6 poblado,
endonde tienen su orijen.
Ahm, pues, haremos Rancho,
y por la lumbre podrds
saber de nuestra majada;
endonde, como tus criados,
todos te recibiremos
con la alma y con los brasos.
HERMITANO
Pues, adi6s, pastor amigo.
LIZARDO
Pues adi6s, deboto ansiano.
[One page is missing here. It evidently contained the beginning of a
quarrel between Bato and Jila, interrupted by the arrival of the Hermit.]




214


APPENDIX




HEERMITANiO
La paz de Dios os Bendiga,
d6jense ya de pelear,
porque arruinados estdis.
BATO
Seflor, porque esta mujer, -
JILA
Sefior, porque este hombre no se
sufre, -
BATO
Tampoco esta mujer no se aguanta,
pues que de senar no me ha dado.
JILA
Ciial es la lefia que has traido?
IIERMITANO
Basta ya pastorcs mfios,
pues quien vive en los apriscos
hermanablemente unidos,
son sus dias muy felices,
y de Vicios apartados.
Por tanto, pues, Os suplico,
que dispongan la discordia,
echando todo en olbido.
BATO
Padre nuestro, ya no hay m~s.
JILA
Pues ya no hay ma's, Padre nuestro.
LIZARDO
lBato, Jila, sabr~in que ayer,
andando distante de mi ganado,
me incontre' con un ansiano,
cuyos benerables canas
son dignas de mil respectos,
y atenciones cortesanos.
Esto es lo mas siscupeto,
sonoramente cantaba
A la voz de un instrumento,
que su. caintico realsaba;
mas propiamente ablaba,
del Mesia's la venida.
Mas importa la comida,
que la sena este' pronto,.y bien cosida,
afiadie'ndole tambie'n
los vufiuelos, y apriesita,
porque ya la tripa grande
se come a' la chiquita.


JILA
Esta si es cosa bonita,
selebro vilen tus deseos!
y sin aber leila en la casa
pretendeis tantos chiqueos?
LIZARDO
Pues qui~n ha sido la causa?
lILA
Bato, que por sus flojeras
se esta' lo mds acostado,
sin tray un palo de lefia.
LIZARDO
Y que solo con lefia,
se puede hacer de comer?
Que' no hay m~s que comer?
JILA
Sin lumbre que se ha de hacer?
LIZARtDO
Baya, migos atolidos,
65 de borrego un pernalito.
JILA
Parese que eres chiquito.
Sole ABELICIO y se incuentra con el
DIABLO
DIABLO
Caballero, Vd. es servido
de llevarmne en su compafia,
aunque sea por esta noche;
le asistire' en la montafia.
BELICIO,
Pues, para d6nde camina?
qu6 busca Vd. aquf estas horas?
DIABLO
Un caminante perdido,
que entre estas tierras fragosas
de nasare', don del cielo,
me desterre', y me he quedado,
por ser mi ventura corta.
Dime, Si acaso conoces,
6 mi sentido lo ignora,
si conoces por ventura
una hija de Joaquin llama.
BELICIO
Aquella aurora m~s bella,
ese clavel ma's divino,
es la mujer mnds hermosa
que ha nacido en este siglo.




APPENDIX


215


DIABLO
Yo no te pregunto tanto,
ni tu noticia me sirve;
lo que pretendo saber;
de casada como bibe?
BELICIO
Que pregunt[is como vive?
con tal arreglo y honor,
que junta con ser casada,
es pura, casta y donsella;
poso, huerto, escala eroica,
nardo, y pues fuenta clara,
lirio, clavel, asusena,
y por tanto es Maria
de gracia ensendida antorcha.
DIABLO
Sierra el labio! no procigas!
que mis tormentas se doblan,
hollendo de esa mujer
virtudes tan prodijiosos.
Esos nombres pelegrinos
me atormentan, y me asombran,
y hacen mayor el quebranto
de mis felices memorias.
BELICIO
Pero hoiga, sefor furioso,
que no he contado la historia
de que su esposo es Jos6.
DIABLO
Sierra, billano, esa bocal
que si buelbes a nombrar
esa mujer prodijiosa,
entre mis fornidos brasos
te hara mi ardiente congoja
leves senisas, que al viento
en pabesas desconoscan.
Rayos mi aliento respira,
y asi hora en felisidad,
dadme tormentos doblados
por toda una eternidad.
Ya me boy a lo profundo,
a un eterno padecer.
"BELICIO
Anda, con dos mil demonios,
que asufre hiede y asombra!
Este es lusifer, sin duda,
que a engafiarme a venido hora.
Yo a los pastores me boy
d contarles esta historia;
porque si este diablo buelbe,
no c6mo migas de la oya!
Jila, Bato, mis hermanos!
agua pronto, que me muero,
de susto me estoy hogandol


I


HERMITANO
Qu6 tienes? de que te asustas?
Qu6 te ha susedido, hermano?
BELICIO
Dejense hora de preguntos,
Demen pronto un jarro de agua.
Ya ben ese altivo monte,
de laurel es coronado,
pues, apenas lo baje,
corriendo tras mi ganado,
cuando me incontr6 con el Diablo,
sentado sobre un pefiasco;
tan feo, susio y horrendo
que al verlo s61o era un asio,
con la mano en la mejia,
pensatibo y carisbajo.
Y he dado tal arrancada
que de correr me he cansado;
y de paso encomendr6
d Menalpos mi ganado.
LIZARDO
La mentira que has fraguado,
no nos podrds encajar;
dejastes solo el ganado,
por venirte aquf a senar.
BATO
Y yo lo que estoy pensando,
que puede haber sucedido,
es que se qued6 dormido,
y se le perdi6 el ganado;
6 que algin diablo fingido,
se le apront6 por robarle.
LIZARDO
Mas acd se biene asercando
Melideos, con un borrego
que en el hombro trai cargado.
Sale MELIDEOS con BARTOLO cargado
MELIDEOS
Que borrego, ni que porra!
si es Bartolo flojonaso!
A mas de que siempre estd
toda su vida roncando,
se comi6 un panal de miel,
y de vino se bebi6 un baso
que yo tenia guardado.
Y con esto se quedo
en un lodazal tirado,
hasta que de caridad
me lo ech6 en el espinaso, -
carga que se me ha sentado,
que pesa mas que los Diablos,
que me apenas me menea.


-




216


APPENDIX




BARToLo acostado
Ti6ndanme veinte saleas,
no me acuesten en lo duro,
que traigo el cuerpo molido,
y me lastimar6 mucho.
Y cuando ya estA la sena,
que sea horas de senar,
aqui donde estoy acostado
venga la mejor puchera,
que de hambre estoy desmallado.
LIZARDO
Bamos A ver el ganado,
6sta es noche de velar.
BARTOLO
Bela tfi por mf, hermano,
que eres moso y tienes fuerza,
y yo viejo y trabajado.
Y asi Bartolo A dormir,
mientras que hay de senar.
JILA
Por fiojo y descomedido,
ni un bocado te he de dar.
BARTOLO
D6jete de regafiar,
qu6 no me yes tan cansado?
Asi Bartolo al cuidado
de sus costillas y pulmones.
El suelo es mi buen colch6n
el cielo, tan estrellado,
le sirve de pabellon;
qu6 quieren m~s el senar de Bartolo?
JILA
Si te quedards dormido,
no creas que te despierte.
BARTOLO
Pues me nojar6 contigo.
MENALPAs enojado
Beilicio, flojo insufrible,
socarr6n de mis pecados,
porqu6 me dejastes, s6lo
en lo mejor del trabajo?
Pues, d m~s de mis quehaceres
me encarg6 de tu ganado,
porque lo dejastes s6lo
por ir huyendo del Diablo.
Qu6 diablos, ni que' demoniosl
Ojala! y por embustero
contigo se bieran cargadol


LIZARDO
No vengas tan enojado,
atiende aquf este buen ansiano,
que con su presencia
d todos nos ha honrado.
MENALPAS
Todos son desconocidos,
ingratos, pues que me cargan
A ml, s6lito, el trabajo,
no saben que es io primero;
El ganado deshijado!
y con el mayor esmero
se debe tener cuidado.
Pues se'panse que 6sta es la hora
en que no me desayunado,
si no es un puntal que echd
en la rebista de pasa,
de veinte huevos, diez tortillas
un queso, un pernalito asado,
nueve tamales de chile,
y ya nada mds, hermanos.
BELICIO
Tomando leche en un tarro
te vide sin nabedad.
MENALPAS
Esa fu6 otra porbedad,
porque me iba desmayando.
TODOS
Carambas para Menalpas,
que por la comida es cara!
BARTOLO
Carol
Sale DiNA cone una Beta en la mane y dise
DINA
A Dios gracias.
TODOS
Por siempre seas, Dina hermosa.
JILA
Din, porqu6 peresosa,
con una viaje de agua,
te has estado, hasta esta hora?
DINA
Aguirdate, hermana Jila,
yo te dir6 mi demora.
No reflejates anoche
como lusen las estrelias,
que parese que en el cielo
mil primaberas se forman?




'APPENDIX


2I7




[JLA
Pero que quieres, decir
en 6sta tu demora?
DINA
Entendida quedards
de la razo'n que me sobra.
A la falda de ese monte,
que con castillo de roca
la ciudad de Bel~n
la defiende la custodia,
se descuelga un arrolluelo
de agua pura y tan hermosa,
que me detube *A tomar
sus cristales mi bota.
Estando, en esto escuch6
la miisica m~s sonora;
enbelecida en sus trinos
me quede' por muchas horns.
A veces me parecfa
que algfin mormaya devino,
que el arrolluelo traf a
la mfisica A toda forma;
otras, las abecillas
por saludar 6 la aurora,
desanparaban sus nidos,
entre las doradas hojas.
Pero 6ste no a sido asi,
sino que la tierra toda
unida est-i con el cielo,
con gran dulsura entorcha;
y con grandesa y con anelo
se representa la gloria.
JILA
Ya te entiendo tus tramoyas.
B3ARTOLO
Quieres, Dina, que te diga
que te ha parecido gloria?
es el frio que me ha dado
lo m~s hermosata saba
que me aflija las entrefias
y me hace temblar la boca.
Hecha acd la bota.
JILA
Pastores, ya estd la sena.
vengan, vamos senando.
TODOS
Ya sabes que.4 tu mandado,
jilita, prontos estamos.
B3ATO
Menalpas cc~mo te apurasi
Es tan grande tu cuchara,
que en vreve no digas nada.


MENALPAS
Reparas en cosa poca;
cada cual trai su cuchara
confornie tiene la boca.
JILA
Y qu6 no temes te haga dafio?
MENALPAS
Como sea con bufluelos,
tal dfa serd un afto.
BATO
Menalpas, no te lo acabes.
MENALPAS
Ella d~janos de bistorias.
MELIDEOS
Y nuestro hermano Bartolo,
porqu6 no biene A senar?
JILA
Por flojo y desacomedido
ni un bocado le he de dar.
BARTOLO
Clavela, en qu6 te he ofendido yo?
Porqu6 me haces tan gran mal?
Porqu6 estis tan enojada
que no me das de senar?
JILA
Si no bienes d senar,
no esperes que yo te Ileve;,
ademds que no te apuras,
si tienes flojera, duerme.
BARTOLO
Hay flojera cuanto pesas,
que no te puedo cargar!
aquf estoy yo, clavelito,
qu6 no me das de senar?
JILA
A muy buena hora has venido
cuando no hay de darte ya;
Lambe la oya de las migas,
pues ya no ha quedado mids.
BARTOLW
No handes con 6sa, clavela,
que 6sa es poco caridad;
echa mis que sea rodando
cuatro tamales para acd.




218


APPENDIX




LIZARDO
Pues ya que juntos, estamos,
esplicar6' con despacio
la venida del Mesfas,
que con ansias esperamos.
HERMITAIRO
Pues atencio'n, hermanos!
Cuando por Eva enducido
el primer Padre pec6,
Di~os por un angel ech6'
del paraiso, y rebestido
de la malicia qued6'.
V desde entonces un angel
por 61 le comunic6.
No sabemos en certesa
en que tiempo, ni en que dia,
se cumplen las profecifas
de aquellos grandes profetas.
DINA
Pastores, aquf estaf el vino,
beban todos en la Bota.
MENALPAS
Dina de las Dinas,
yeas, abra'same, bebe y pronto,
que te quiero por el vino,
como dcsde aquif hasta Roma.
como baco quiso d benis,
como Saturno, 6 latona,
como jupeterio 6 Juno,
y como marte a' belona.
DINA
Quie'reme como anjerona
que fue' Diosa del silencio;
Vebe y calla la boca!
HRERMITANRO
Siento que el vino esta' guapo.
LIZARDO
No ha de estar, pues si es afiejo?
BATO
Pues tiene como nueve aflos.
MENALPAS
Pues ve'banlo con respecto,
no me lo apresuren mucho.
IBELICIO
Suelta la bota, compafiero,
pues dejas ya el puro cuero.
MENALPAS
Yo la bota no lo suelto
porque estoy tambie'n enfermo,


y me han dado de remedio,
que beba los ancientos.
B3ELICIO
Pues aprie'tale, Melideos,
el pescueso mientras yo estiro.
MENALPAS
Su~ltame, hombre, que me muero!
MELTDEOS
Pues suelta la bota, compafiero!
MENALPAS
D jame beber primero,
para poder reposar
un gran sudor quc me dieron.
BELICIO
Se bebio6 como seis libras.
MENALPAS
Dos onzas son las que siento,
y con tantos apretones
por las narises se fueron.
B3ATO
Nada quedo6, Bartolito,
pero, balle, que esta' dormidol
BARTOLO
No estoy sin bien dispierto,
dequen mi bino, porque sino,
Biba el cielo! que se los he
de sacar de dentro del pellejo.
HERMITANO
Basta, hermanos, ya
es hora de recojernos,
y esta' distante el ganado.
Tomaremos el camino
hasta donde estS majado.
LIZARDO
Obedesemos tu orden,
en inter vayamos cantando
Jila y Dina alguna cosa
hasta liegar al ganado.
Cantan, todos caminando
lBamos pastorcitos,
Bacmos caminando,
Al dulse reposo
De nuestro canancio.
En la blanda yerba,
Tomemos descanso,
Mientras que las luses
nos brindan sus rayas.
Paremos aqui,




APPENDIX


2I9




desaten los jardos,
saquen las frasadas,
gue el jrio estd muy bravo.
Se paren todos en sets puestos
BARTOWO
Cielos! qu6 larga estA la jornada,
pues, ya no podia Ilegar,
eli arrastrando mi frasada.
Bamos, pues, el descansar.
Se acuestan todos y sale el DIABLO
DIABLO
Hayl de las furias fuertes del
infierno!I
Hal de las instancias tenebrosas!
Escuchad mis quejas lastimosas,
todos los que abit~is en el aberno.
Sal en ENBIDIA Y SOBIERIBIA, y disen los
dos
Qu6 tienes, qu6 te susede,
principe del cios profundo,
que al eco de tus clamores
hemos venido confusas?
DIABLO
Hay! pues c6mo no he de jemir?
que no soy yo aqueff
que en los selestial moraba,
que d los Ingeles mandaba?
Hay!I infelices de mf!
Pues si ya el Mesfas bajando
de los cieles A este mundo
me dispoja de mi imperio,
y me quita, hay! dolor!
lo que no es suyo!I
ENBIDIA
Qu6 de eso te causa asusto,
qu6 de eso te da cuidado,
siendo el principe lusbel
duefio de todo lo criado?
No yes con cuanto obediencia
se rinde todo lo humano
al imperio de tus bozes,
al injuto de tus manos?
Pues lo mismo ha de ser ahora,
que mostr~ndote enojado,
desbarates las estrellas,
aniquiloras los astros.
Desbaratando ese infante
te quedas de soberano.
No Lusbel, no te rebajes;
absuelbe, y no te detengas;
que 61 se sentari en tu trono,
y hare desprecio de ti.


DIABLO
Hay! Enbidia, cudnto puedes
persuadir d mis furores!
Pues qu6 no viba el Mesfas,
que no se redima el hombre,
desbaratemos los astros,
descuadernemos, los montes!
Se cienta en el trono y contempla un
rato, y despues de cuyo rato se lebania
al ruido de un trueno, y apestando a'
asufre, y de esto modo se ha de desender lo mismo cuando salga la primera
VCB
DIABLO
Ah!I infiemno, que tirano
has puesto en pena tan cruel;
mira en que tormento se haya
el principe lusifer!
Para dar bataya al hombre,
llamare' e todo el infierno.
Ah! de aqulf! este espeso monte!
Ah! de aquf! este oscuro seno,
en donde, de astucias lleno,
me despeMl, cual fratante
de lo marchito y anelo!
Que ful Aingel yo, no lo niego,
que ful de Dios destenguido,
y por mi mucho altivo
soy el Reino desposeido.
Ahora siento nuevo mal
que desirlo no quisiera,
0 malaya pena fiera!I
En Bel~n, que desconsuelo,
humanado, que dolor,
pues que nacio6 el Salvador
en un pesebre, y que' anelo!
Pero para que me la mento,
pues qu6 no soy yo el sabio del
mundo,
que domino todo el orbe,
mando el sol, mando la luna,
mando ese cielo estreyado?
El sol se verd clisado
so'lo con que yo, lo mande.
Allad, espiritus derribados
y al infierno condenados,
como atormento eterno!
Caudillos y capitanes
de la milicia infernal,
porqu6 no sent~is mi mal?
porqu6 no brotdis, volcanes
de fuego, que abrasa el mundo,
hasta confundir
d estos candidos sagales!
Que te has echo, satands?
Proserpino, no respondes?




220


APPENDIX




A d6nde, plut On, te escondes
siendo el prfncipe profeo?
Apr6ntante, aqul os me veo
como el barquero aquer6n;
Sal d ver tus vuyas, asmo'n,
d d6nde estdi tu f uror?
Pues que nadien me hace caso
yo s6lo en iraz me abraso,
porque es mi ardor sin segundo,
que he de deborar al mundo.
Soy de ciencia superior,
fu6 de tanto mi furor.
Que' no viba ese Mesflas,
qu6 no le redima ci hombre I
Para eso traigo dragones!
Para eso traigo los diablos!
Pues yo con todos rifio,
c6mo es posible que un nifto
c6mo, es dable que un Jesfis,
0 prodijioso misterio!
que ha nacido en un portal,
quiere quitarme ci imperio,
por darle muerte a' mi mal?
Pero viba Lusifer!
antes que la luz del dina
se aserque al carro dorado,
verdn como en esta noche
de ese Mesfas he triunfado!
Apesar del rubio cielo
de nadien serAi adorado;
pues que yo, con mis astucias
desbelar6 4 los mortales;
y de no, mi fuego, airado
los conbertir6 en pabesas,
como yo s6lo en iras me abraso!I
Y estos viles pastorcillos
que aqul miro recostados,
no descordarin alegres;
mueran todos en mis brasos!
Pero si ya la noticia
estni dada por lo creado,
para, que vengan rendidos
9 ber sus selestes rayas;
primero mueran, primero,
yo impidiere tal recabo,
antes que Miguel venga
quederin precipitados!
Setenta disen son las
que yo incluyo ci plaso;
que ha de venir ci Mesfas
estin todos aguardando.
Pero para que me aflijo?
cfimpiase para ci hombre
ci dichoso batisimo;
que yo lo despefiar6
con mis astucias y vicios.
Y para prueba de mi intento,
sea vkctimo, este hermitaf~o,


que entre esta rfistica jente
aqui miro recostado.
Quiero infundirle, una idea,
un suefio, que al sobre salto
despaborido dispierte;
entre confuso y turbado
enquentre su principicio,
estrechado entre mis brasos.
Dar6 principio, de mi intento,
esa sierpe benenosa,
que en el cuello trais colgando
te arrebata entre las astas
hasta tirarte d los vientos,
huye de ese principicio
sin camino y sin sendero,
bas Ai dar en otro escollo
m~s horrible que ci primero;
pues desde aquel orificio,
hasta, la playa estoy viendo,
tal eminencia que jusgo
bas Ai dar al mismno infierno!I
Hombre, no dormdis asf,
tan quieto y tan sosegado;
huye de ese principicio,
mucho te bas despeflando!
HERmiTAN~o asustado
Hay! de min, que' me despeftolI
t~nme, Jila, te'nme, Bato!
que me ruedo, que me mato!
DIABLO
Te'nte un poco, benerable,
que estds asegurado entre mis
brasos.
HERMITANO
Qui~n eres que 6 horrores
de un tremendo sobre salto
me librlis de un cruel peligro
que me estaba amenasando?


DIABLO
Soy un dngel.
HERMITARO
Un angeli? El nombre
tienes de dngel, pero la cama disforme.
DIABLO
Yo soy tu mayor amigo',
que vie'ndote acongojado,
te he venido A socorrer,
tom~ndote entre mis brasos.


R-ERmITARO
Tu nombre sabe quisiera.




APPENDIX


221


DIABLO
Yo te lo dir6 contrato
de que sigas mis consejos.
HERMITARO
Como no sean malos, si, los sigo.
DIABLO
Pues bamos 6i aquel pefiasco,
que estA al pie de aquel serrito,
ahi podremos paslar un rato.
HERMITA&O
Para qu6 hemos de ir tan lejos,
no yes cuanto, esti nebando?
Cuando ilegemos all14
ya liegaremos trabados;
y aqul serca de la lumbre
al calorcito arrimados,
podremos paslar un rato.
DIABLO
Nos oyeran tus companeros?
HBFRmITA&o
No, si est~n dormidos,
y tienen el sueno, pesado.
DIABLO
Pues siendo, asf,
sientate td por aquf,
y yo por este otro lado.
HE1PMITAiRO
Comiensa, pues ya te escucho.
DIABLO
Ahora es cuando, astucias mfas
de engafiar este herniitaflo.
Yo soy, para no cansar
ni referir desendencia,
el hombre de mayor ciencia
que el mundo, haya imajinado.
Y por mi mucho saber
casi bibo, desterrado
de la patria donde naci.
No hay escritura en el mundo,
letra que no haiga estudiado,
ylos mas altos secretos
dmi se han manifestado,
tan evidentes y claros,
como, A ti te estoy mirando.
Y si no, para que yeas,
Si es cierto lo que te digo,
clime, en el llano,
que hisiste el otro dfa?
HEFRmrrA&o
No me acuerdo.








DIABLO
Mira,
que si te estfs acordando;
no fuiste y vistes que Jila
estaba durmiendo?
Y de alli fuiste, y el invitaste
el bastimento de Bato?
Y A Belicio le dijist~is
que el lobo se habf a Ilevado
el primal que le vendistes
al hijo de Felisiano.
HERM[ITARO
Cillase, Por vida sullal
able m~s bajo;
no lo hoiga Jila y Lizardo,
que est~n serca de la lumbre,
y tienen el suefio libiano.
DIABLO
Pues, hombre, es hablarte claro,
que esa vida que tfi tienes,
no es para que seas hermitafto.
RERMITA&O
Serg para ser ladr6n,
como Vd. lo est-i mirando.
DIABLO
Pues asi vale un consejo
para el que ya estA obstinado,
uno quiero dar A ti,
es 61 que dejes pefiascos;
dejes mortificaciones,
porque aunque hagas lo que hicieres
sempre estls muy arresgado.
Y lo mds prudente fuera,
ahora que estoy A tu lado,
te tomaras de la mano
aquella vea sagala,
esa perfeci6n de amor,
esa beilesa de gracia,
donde vibieras gustoso,
entre delicias mundanas.
En fin lo mejor fuera, digo,
ahora que estoy d tu lado,
te tomaras de la mano I Jila,
y te la llevaras if un dicierto,
y con ella te casaras;
y pudiera ser que casado
se remediara el peligro
que corre siendo, hermitaflo.
HERMITANO
Y qu6 querrd irse conmigo?




DIABLO
Eso dudas, estando yo d tu lado?




222


APPENDIX




HERMITANO
Pues d! la impresa, y que aguarde.
DIABLO
Apriesa, y no te detengas
que a' la vista de peligro
nadie queda asegurado.
JILA
Pero que es esto, pastores?
qu6 de la mano, me llevan!
DIABLO
Pastores, ocurran todos
con diligencia y cuidado,
que aI la inocente de Jila,
se la Ileva el Hermitaflo.
LIZARDO
No parese que tormento.
BATO
Ahora, viejo maldito,
pagards tu atrevimiento.
HERMITANO
Ya no me den, hermanitos,
que otro dfa aunque me lo manden,
no lo ha de volber hacer I
LIZARDO
Qui'n, te lo mand6', hermanito?
flERMITANO
Un hombre que estubo aquf,
estando Vds. durmiendo.
Hay! me estubo aconsejando
que me fuera del decierto,
y que d jila me tomara,
y con ella me casara,
que puede ser que casado
se remidiera el peligro
que corre siendo hernmitafio.
Yo por darle gusto en esto
solamente la he tomado.
BATO
To~mese lo que se ha llevado,
porque es capas de saber
lo que es bueno y lo que es malo.
11ERMITAfSO
Maldito mil veces sea
quien tal consejo me ha dado!
que por seguir sus consejos
maduro me han puesto d palos.
IBARTOLO
Todavfa te faltan los m'iOs_,
viejo, barbos de samarro,


que al amaneciendo el dia
Los llevard's de mi mnano.
HERMITA fO
Pues, ya todo se acab6
perdo'n hermanos -
Atisar6 bien la lumbre,
y al calorcito arrimado
lo que resta de la noche
quiero estarme calentando,
repasando mi rosario.
LIZARDO
Pues mientras nos acostamos,
tome jila la viguela,
y Belicio el tamboril
para cantar una letra.
Sale MENALPAS de la fila
MENALPAS
Aguarda, escucha, que es esto
que ha se susedido en el cielo?
Qu6 mocio'n es la del orbe
que parece voz del sieLo?
Dispierto y enajenado estoy
que no hayo consuelo;
y de noche aluminado
esta' todo el emisferio.
Ahora bien vengo en acuerdo
que cuando chico era yo,
ollif decir que nacerfa
el divino, redentor.
Puede ser que hoy haya sido
el tiempo de esta nacio'n.
Pero si sucede as!l
que ha nacido el redentor,
qu6 debo de atredutarle
en obsequio de galardo'n?
Que si apurado me veo
por ser tan corto este don,
correre' hasta mi rebaiio
y le traire' un requeson,
que primorosos Los hace
mi teresa d Bartol6n.
Ella me voy d bestir,
y A seguir la luz que veo,
porque ciertamente creo,
que esta noche es de festi'n.
Sale el ANG(EL, detenii~ndole a' MENALPAS,
y tomhndole una manio le dise
ANGEL
Hoye pastor!
detente, y deten le paso;
que vengo de parte de un Dios
soberano, tan solo avisarte,




APPENDIX


223


que ir~is volando
&A tus compafieros,
luego aI visitarlos,
avisindoles A todos
que hoy se ha ilegado
ei dichoso dia;
que por el pecado un padre
primero nos ha sujectado.
Dfles que un Dios nifio
envio6 d convidarlos;
que entre pobres pajas
estl reclinado de Bel6n,
alld al portal, en donde
los aguardo. Menalpas,
corriendo avisar d tus pastores.
Se entra MENALPAS Y el ANGEL, Y
cantata los pastores
Cielos soberanos
Tonednos piedad,
Que ya no sufrimos
La niovo quo cas.
Suspendo tus iras,
Sosan tus quebrantos,
Que ya ostdn poblados
De nieve los campos.
Suspende tus iras,
Que ya estd poblado,
Toda esid campiioa
De tan grando novada.
Las ovojas balan,
Los cordoros gritan,
Do ver tanta niove
Quo dol ciolo ostila.
Ldstima do vor
A los cordoritos,
Tomblando do jrio,
So ostdn paraditos.
Los Ziaman sus madros,
Y ollos so detionen,
For no dar un paso
Sobro tanto nievo.
Quo capos do niovo
Caen sobro ol ganado,
Cuando sobro ol vallo
Duormo roclinado.
Sale MENALPAs brincando y dise
MENALPAS
Albricias, hermanos!
sato de contento,


I






rebiento de gusto,
y de goso muero!
LIZARDO
De que tanto gusto
yo te las prometo.
BELICIO
Como sean gososos
y te las doy luego.
JILA
A ml dimelas, hermano.
MENALPAS
Deja que me pagen
todos los demds,
que ti estds segura,
depue's lo sabrds.
V tti, hermano hermitafto,
qu6 no me das albricias?
H9EPMITA&O
Yo te las dar6
con mi diciplina.
MENALPAS
Y til, herinana Jilita,
qu6 no me das nada?
JILA
Yo te mando un baso
De leche migada.
BELICOO
Yo un quesito,
aunque sea de cabra.
MENALPAS
Pues j1fintense todos,
hoigan con cuidado,
lo que en este instante
me pas6 en el ilano.
Estando senando al pie
de un ensino, Ai que iban
pasando sobre unas cuestas
dos luces volando;
y con estas quede' encadilado.
VI todo cl ganado,
intents correr,
y venir avisaros.
Pero de la mano me tom6
un sagal hermoso y gallardo,
yme dijo: Oye, pastor,
detente, y deten el paso;
que vengo de parte de un Dios
soberano, tan solo avisarte,
que ir6is volando




224


APPENDIX


a tus compaferos.
Luego a visitarlos,
avisandoles a todos
que hoy se ha llegado
el dichoso dia,
que por el pecado un padre
primero nos ha sujectado.
Diles que un Dios niino
envi6 d conbidarlos
que entre pobres pajas
esta reclinado
al rigor del frio.
Por comunicaros
determine venir avisarles
aqui este suseso
que se ha declarado.
LIZARDO
Habra otro mas embustero que tu?
BELICIO
Dime, de donde has sonado
tanto monton de mentiras
que aqui nos has contado?
MELIDEOS
No seas flojo, anda,
vuelvete al ganado;
no vengas aqui con cuentos
ni chismes a desbelarnos.
HERMITANO
No lo dudeis, hermanos,
que segdn lo prometido
ese tiempo se ha llegado.
BARTOLO
Entre todos mis desbelos,
creo que el Mesfas
ha nacido, porque horita
me han venido ganas
de senar vufiuelos.
Y yo no tengo otros anelos,
ni padesco otros males,
si el Mesfas naci6 en portales.
Hora me pongo en camino
porquc el Mesias traida vino,
y una carga de tamales.
HERMITANO
Acostemonos, hermanos,
que el frio esta brabo,
y rato ha que nos desbelamos.
Se acuestan todos. Sale el DIABLO por
trueno
DIABLO
Por mas que intento apartar
este dolor en que vibo,


no lo puedo remediar.
O tormento, o martirio!
Maldito mil veces sea
mi dolor y mi tormento!
Dable es que en mi cupiera
este dolor exsecibo?
Este veneno 6 ponsofia
de aqui esta sierbo enemigo,
que diariamente bataya
tiramente con migo?
O c6mo supiera yo
si el Mesias prometido
estara para nacer,
nacers, 6 esta nacido?
Pero para que es saberlo,
cuando albierto y cuando miro
la prueba de mi dominio?
Mas, hay de mi! mas me parese
que veo sobre esas altas regeones
Angeles, Patriarcas y Santos.
Mas acai se biene asercando
Miguel, mi peor enemigo,
que quitandome el poder
que mi ciencia ha perferido;
y Serafines cantando,
Santo, Santo, fue!
Mi cuna ha cruelado,
alli fuf tormento amargo,
al punto fue lebantado
sobre todo inteligencia,
y sobre todo lo criado.
Mas apenas tube ser,
cuando estando meditando
en mi elevada grandesa,
public6 en el cielo humbando
la divina omnipotencia,
diciendo que a su hijo amado
se rindiera bassallaje,
Dijo tambien que encarnado
en una humilde mujer,
seria hombre, y serfa
sobre todos nombres;
y nombrandole postrados
estarfamos sobre cielos y tierra.
Apuseme a sus mandatos
pues no era posible, no,
que se rindiera el bil baro
a sublime inteligencia.
Y por eso desterrado
de los cielos me ha tenido.
Pero ahora que ha bajado
s cumplir con su promesa,
intento a vengar mi agrabio.
Destruire ese tierno infante,
cobrare mi antiguo estado,
me subire hasta los cielos,
y con Dios ser6 igualado;
y asombras de mis banderas




APPENDIX


225


I


I


sereis muy afortunado.
Y asi ninguno lo crea,
ninguno baya adorarlo,
que 61 es un hombre, y yo
soy un querubin soberano.
ANGEL
Det6nte, espera.
DIABLO
Quien eres, pastor gallardo?
ANGEL
Primero di ti quien eres.
DIABLO
Soy quien puse, escucha atento,
que si Dios no hubiera habido,
del seleste firmamente
creindolo yo mismo,
todo con poco encarecimiento.
Soy quien rebolbi a los cielos,
y a Dios quise redibar
de su poderoso asiento.
ANGEL
No digas mas, que harto
has dicho; conocido estis
en ese discurso,
de tus barbaros esesas.
DIABLO
Pues dime ahora td quien eres.
ANGEL
No conoces a Rogante
a Miguel, en fortaleza
de los cristalinos cielos,
y de Jerarquia cabeza?
DIABLO
No me acuerdo a verte visto.
ANGEL
Pues soy uno de aquellos
que cuando Dios te cre6 a ti,
me creo a mf,
en el mismo imperio.
Soy aquel que 6 far6n
hise tembrar con suyo ejtrcito.
Soy quien anegue el mar
cuando Monseis iba huyendo.
Soy quien puse la corona
del martirio hasta ver
el impremio de su virtud.
DIABLO
No digas mas que harto has dicho,
que aunque yo dejar no puede




de tener alguna envidia
si de los cielos me acuerdo.
ANGEL
Rindete al poder de Dios.
DIABLO
Quien lo manda?
ANGEL
Yo lo mando.
DIABLO
Tu mandarme a mi, Miguel?
ANGEL
Lucifer, prfncipe aberno,
oso atrebido y osado,
que cruel has detuperiado
el ser de un dios sempiterno;
vete, maldito, al infierno,
antes que el criador se noje,
si no quieres que Sonrroje
mucho mds de lo que estes.
0 te rindas, 6 te vas,
una de las dos escojes.
DIABLO
Eso, Miguel, no beras,
por lo que hoy el mundo encierral
Yo prometo darte guerra,
Y asi Miguel moriras.
Venir, feroses dragones,
y venir i mi compafial
Venir, infierno temido,
con sus abernos basayos!
venid, escupiendo rayos
contra este Dios que naci6!
Miguel, pues, quinn como yo?
ANGEL
Qui6n como Dios Lucifer?
Suspende, necio insolente,
tus locuacidades torpes.
C6mo es que en tus disbarios
osadamente te arrojes
a igualarte con un Dios
que a creado a ti y a los orbes?
Pues si nada tienes tfi,
y de Dios son los favores,
aunque tfi los merecieras,
c6mo, soberbio, te opones
a los decretos mas justos
que el altisimo dispone?
Si Dios quiere que nosotros
a esa mujer, y a ese hombre
adoremos, seamos justos.
Entre sus beneraciones,


-




226


APPENDIX




que tenemos que alegar
contra los dispociciones
del que es todo, poderoso?
DIABLO
Eso no, Miguel, no, no;
mi grandesa no conoces,
ni permite mi poder
semejante sin razones.
Sobre las estrellas tengo
que fabricar una tonre,
en ella poner mi trono,
y colocar mis blasones.
Ninguno se me adelante,
tiemblen al. hoir mi nombre,
que soy lusbel, el ma's rico,
el ma's poderoso y noble.
Pero lo que m~s me rita
y Ilena de confusiones,
es que una mujer y pura
quiere Dios que yo la adore
por Reina y Seflora nuestra,
y est6 sujeto a' su orden.
No permite mi poder
semejante sin razones.
ANGEL
Calla, blasfemo atrebido,
sabes para tu tormento,
que el eterno abrebi6' el tiempo
que tenia determinado.
Esta noche ya humanado
ha nacido el Redentor.
DIABLO
Y c6mo tienes valor,
Miguel, andas, insolente,
de insultarme? Ten presente
A ti porque usurpaste
el trono que me quitaste
por mandato del eterno;
soy un. Seflor del infierno,
y puedo haserte pedasos,
saca tu espada, y mis brasos
te hardn conocerte nada.
ANGEL
Calla, serpiente ansequeado,
soberbio, rindete df Dios.
Bruto ind6mito, soberbio,
fiero drag5n, basilisco,
que con tan solo mirar
envenenas con tu echiso,
qu6 haces entre estos pastores?
No miras que son sensillos?
No tendrin poder en ellos
vuestras astucias y hechisos.


DIABLO
Miguel, porque me persigues,
sin darte ningtin motivo?
ANGEL
Yo te mando, sierpe astuta,
en el nombre del altisimo,
te bayas de este lugar,
y di estas c~ndidas almas
no vengas d perturbar.
DIABLO
T   no me podris quitar
el poder que en ml' se ensierra,
que al mismo Dios a hecho guerra
como el tiempo ha susedido.
ANGEL
Qui6n ha sido como Dios,
6 qui6n como Dios a sido?
Calla, infeliz, que no puedes
sostenerte ni 6 ti mismo;
pues eres menos que el hombre,
y sujeto dl su dominio.
DIABLO
Por estorbar tus victorias,
Miguel, sali del abismo.
Ya sabes que de los cielos
la gracia quise perder;
por no quererme humillar,
me hayo maldito de Dios.
Lo hiso mi mismo hasta
caer en los abismos,
donde para siempre vibo
desfendiendo poderoso,
Miguel, el altivo trono,
que queria, yo, envidiar,
para el mismo sentar.
Y quiero que yeas furioso
en ml que quiso estorbar.
ANGEL
Miguel supo defender
de su patria aquel asiento.
Como altivo lo quer~is,
pues quedaste tan sediento,
que gozaras el cielo,
mientras que Dios fuera Dios.
DIABLO
Miguel, ciertas son tus profecillas,
mi alma espera penar,
porque es gloria del Meslas,
61 que baje A perdonar.
Pedasos havi mi juria
los portentos del portal!
Oh! infiernolI que es lo que miro!




APPENDIX


227




los infuerzos que he vensido
traigo aqul en estos papeles,
que den fin d tus, regiones
ei testo de tus carteles.
Romper6 las profeci as,
los que me mentaste aver
de la alta sabidurfa,
fu6 mi destierro, Miguel,
ANGEL
Debullvete, mostro, atrds;
no miras, lo consebido?
pues ya del Padre eterno
ei misterio, es perferido.
Maria en su vientre materno,
por el Espiritu Santo,
copi6 su mana criatura,
decret6 el decreto santo.
Rindete, serpiente flera,
rindete &i mis plantas pronto.
DIAB3LO
Yo solo en esta ocasi6n
le he visto la cara al miedo.
Caido, me tienes, Miguel,
y 4 tus plantas sumerjido;
que del cielo fui Lusbel,
y hoy soy ci aborrecido.
Se rinde a' MIGUEL, y canta el DiAnw
A prender fibres de mf
de lo que ba de ayer hoy,
que ayer marabilla jui,
y hoy sombra de mi no soy.
Dicho
Hoy sombra de mi no soy.
Astros, Iluvias y elementos,
desde el oriente al poniente,
planetas de fuego ardiente,
acudir i mis tormentos.
Ya los engrandecimientos
se acabaron para mf.
Yo d los cielos no volbi,
y con injusta raz6n
a muerte a polo y plut6n.
Cantando
A prender filores de mi
de lo que ba de ayer hoy
que ayer marabilla jui,
y hoy sombra de ml no soy.
Dicho
Ya lleg6 la redenci6n,
y yo qued6 abergonzado.
Si soy padre del pecado,
mirad si tengo raz6n.


Yo a dan metf en confusion
de la malicia en que estoy
si vibo, si fuf 6' soy
dejadme, Miguel valiente,
que veo ci mundo, diferente
Cantando
De lo que ba de ayer hoy,
que ayer marabilla juf
y hoy sombra de mi no soy.
Dicho
Dios en su imperio me cre6
y por mi bana locura
se marchit6 mi hermosura,
pero mi siencia, eso no.
Se cumplii6 lo que lef,
pues hasta ci trono perdi,
en tan injusta porfia,,
s6pase Daniel y Isaias
Cantando
que ayer marabilla Jul
y koy sombra de ml no soy.
Dicho
Si ya ocupaste mi silla,
Miguel, di que no me has visto,
que el nacimiento de Cristo
se hiso para mi fatiga.
0 muerte, apufla te, esquiba,
Yo 6 lo profundo me boy,
que por soberbio yo mismo
Cantando
Roy sombra de ml no soy.
Dicho
Su~ltame, Miguel valiente,
ya no me atormentes tanto.
ANGEL
Aquf te has de estar, alebe,
solamente porque sellan
tus tormentos duplicados.
DIAB3LO
Sulltame, Miguel, que boy.4 aquella oscura tabemna
arder en altibas llamas,
en fuego y penas eternas.
ANGEL
Mtfidate de aqui, maldito,.f tu m~s profundo abismo,
en donde trabajos pases,
y renieges de tu mismo.




228


APPENDIX




DIABLO se lebanta y dise
Sir6 por tu tirani'a
arder de noche y de dfa,
pues que me beo sin aiiento,
y ya loco frener,
Cayga el cielo sobre mf
para mi mayor tormento!
Ya me boy a' lo profundo
d un eterno padecer.
ANGEL
iB6te, pues, sin dilacio'n,
a ver tus habitadores,
para que sigan cantando
estos sencillos pastores,
Gloria a' Dios en las alturas!
La paz con vosotros sea,
pastores, ci nombre sea
de Manuel glorificado.
Pucs asf serd liamado
ci nifio que a de naser.
Si lo quieres conoser,
ir a' Belen al instante;
ber~is, ese tierno infante
duefio de todo lo criado,
entre pajas reclinado,
todo temblando de frf'o.
Este niflo es seflor info,
ai quien sirbo y obedesco;
y de su bondad meresco
que se dfignase confiarme
la comisio'n de mandarme
anunsiar su nasimiento.
No temadis, cobrar aliento
ir A ver al Salvador,
que por s6lo nuestro amor
a desendido del cielo.
No tengadis ningudn rescio,
encamindos 6, Bele'n,
bereis ese nifio a' quien
toda potestad se humilla,
un una humilde mantilla
que Marfa le a prebenido.
Misterio e~ste es perferido,
que Gamas podrifa pensarse:
que Dios habia de humillarse,
d humanarse con ci hombre.
Temblard ci infierno al nombre
de Manuel, y ci enbidioso
Satana's como furioso
le6n ambriento rugird.
Beses besentos santos
conmigo intonando
en la aititud en que os bello,
Gloria en iselsis deus.
Cantan
Gloria d Dios en Las alturas,
y al hombre paz en la tierra!


Qu6 es aquesto lo que beo?
La gloria in iselsis deus.
B3ATO
Albrisias al universo
pide Bato, muy gustoso,
y con desco ferboroso
quiere que aquif este congreso
de pastores, aunque necio,
logren la dicha y honor
de ir alabar al criador
en ci portal de Bel6n.
Prebiene esto sumo bien
de grandcsas y huinildad;
que rayos de claridad
se albierte en aquel Garclin.
Pues Los afngeles al fin
son Los que guardan, rendidos,
aquellos ma's escojidos,
de los antiguos profetas.
Que' verdades tan completas,
hermnanos, tenemos ya; pues
quiera aquella diaida
referirlo que es pobresa,
a' lo de toda grandesa
de velles y de marqueses,
duques, nobles afamados,
ricos medianos;
pues todos os dieron
con las puertas en la cara.
Habrd osadia ma's rara
enpiedd ma's se bera?
Abrfa injusticia, ids cLara?
Habria, quien no derramara
ldgrimas dcl coraz6n,
si supicra que ya son
cumplidas Las profeclias?
0 desdichadas porfias
de inched a' los engafiados!
de riqucsas arrastrados,
aman s6'lo su. placer!
Y as', pastores, correr
beloses hasta ci portal,
fervorosos tributar
alma, vida y corazo~n.
Aquel gran Dios ha nacido.
pues asif nos ha instruido
aquel Angel soberano,
que en ilegando a' su rebafto
anunci6' la paz al mundo,
con un amor tan profundo.
Abandon6' mi ganado
sin saber si estoy en si,
pues la grandesa. que Af
caus6 mi alma tal placer.
Estoy impuesto d correr
por montes, selbas y prados;
por ciudades por coliados;




APPENDIX


229




por mares por toda prisa.
Y asi Bato os avisa,
que elojien con varios modos,
y primero que todos
al nifio boy adorar.
Y tambie'n con que jugar
le ilebo como esquisito;
le regalar6 un trompito
en sefias del coraz6n.
La alma le he de tributar
que 6 ello, vine de propicio,
y es capas, que pierdo el juicio
si no lo hago prontamente.
Pues quisiera deligente,
que pastores, y sagales
corrieran mas que canales
ii ir adorar fervorosos;
llevando, muy animosas
seffas de agradicimientos.
Y asi, Lizardo, al momento
avisa 6 tus pastorcitos
que traigan sus sonajitos,
y dones con que ofercer
id lo de todo placer,
y i9 su madre soberano;
le ofrescan tambie'n el alma,
pues biene de medianera
ante Dios, y el hombre fuera
por la culpa ya perdida.
Esta nifia es la que ha sido,
desde abiterno escojida,
para madre esclarecida
del Mesfas que ya naci6.
Mas que digo? boime yo.
A qu6 arranco de placer,
y ni ganas de corner
tengo de tanto contentol
TODOS
Bamos, bamos.
BARTOLO
D~jense de caminar,
est~monos aquf quietos;
que los, peligros son muchos,
y los diablos andan sueltos.
MENAJPAS
A combiene nos lebantemos,
y ballamos 6 Bele'n,
d her d4 ese nifio tierno.
B3ARTOLO
Vo de aquf no me meneo,
porque no entiendo de cumplimientos.


LIZARDO cantando dos veces
En Bele'n hay grande gusto,
bamos, Bartolo, a' gozar.
BARTOLO
Es mejor gusto dormir
que no irme a' desbelar.
BATO
M~ira que noche tan clara,
mira que viento tan suabe.
BARTOLO
Mis suabe esta' mi salea,
mas linda esta' mi frasada.
BELICIO
Bartolo, si aquf te quedas
ya sabes que andan los diablos.
BARTOLO
Los Diablos, no son muy bobos;
OAl te estdn aguardando.
MELIDEOS
Bartolo, lo que ti quieres
es que te lleve arrastrando.
BARTOLO
Pobre de tus pantorrfas
que tal quedardn ii palos.
JILA
Lebdntate, Bartolito,
Por vida de tu nobleza.
BARTOLO
Quftate de aqui, Jilita,
que me duele la cabeza.
MELANPAS
Lebgntate, Bartolito,
que ya Dios te perdon6.
BARTOLO
Mds que nunca, me perdone,
estando acostado yo.
HERMITANO
Leb~ntese, Don Bartolo,
basta de tanta flojera.
IBARTOLO
Empr~stame tu salea,
para poner de cabesera.




230


APPENDIX




DINA
En Bel~n estdi brillando
el lusero ma's divino.
BARTOLO
Yo lo fuera ver volando,
si fuera quesito 6' vino.
JILA
Este no tiene remedio,
lo llevaremos cargado.
BARTOLO
Pues no ballamnos d secas
entonemos algiin canto.
Cantan todos
Quieras, 6' no quieras,
te has de lebantar,
adorar al nifio
que estd en el portal.
BARTOLO
Entre gorgeos reclinando
me tienen en glorias metido,
y con los enbelecos de estos
todo, el sueflo me ha hido.
Que' quieren, gritones?
TODOS
Que vayas adorar
Al nifto al portal.
BARTOLO cantando
No tiene remedio,
ya me lebante,
6ver a' Jesuls,
a' Marfa y Jose'.
Cantan todos caminando
Pues que ya caminamos
para el portal,
pastores, demos gracia
al Dios de abrdn.
Aquella hermosa estrella
que devisamos,
al redentor, sin duda,
estd adorando.
Baja de estos cosmnos
nos sentaremos,
y descansando un poco,
prosiguiremos.
BARTOLO
Desatando mi fardito,
destendiendo mi salea,
echare' un pistilo,
aunque sea de suefto.


MELIDEOS
Pero hoiga seflor, sefior,
hoiga, seftor Don Bartolo,
que ya ba atender su cama!
BARTOLO
Amigo, de buena gana;
daca para aca' dos 6 tres.
MELIDEOS
Pues, qu6 piensa que le digo?
BARTOLO
No le hase que sean de trigo,
tambi6n Hienan la barriga.
MELIDEOS
Pues qu6 pienza que le able'?
BARTOLO
CO'mo las desatar6?
Bien asi de este modo,
y de este otro;
mfralas ya desatadas,
yo s6lo har6 mi majada
de queso, ya que me enbitas,
y agarrare unas gorditas;
agradesco tu favor.
MtELIDEOS
Pero hoiga, sefior, sefior,
hoiga, seflor Don Bartolo!
Aqui este viejo del demonio
ya se comio6 mi raci'n!I
Que' viejo, boto a' mis males!1
para que le ablaria yo?
HERMITASTO
Melideos qu6 sucede?
MELIDEOS
Nada, nada.
HERMITANRO
Melideos, porque'estds tan enojado?
MELIDEOS
Nada, nada que no lo hoyes?
Aquif viene otro viejo
sordo, d ver que a quedado!
LIZARDO
Basta ya hermanos,
ya es hora de recojemnos.
Cantan todos caminando
Bamos pastorcitos,
aunque despreciados,




APPENDIX


23I






Que del nifi lundo
fuimos convidados.
Bamos pues d verbo,
batiws caminando,
Con duize /armwnia,
le hiremos cantando.
Por aquellos monkes,
por aquellos risos,
Entre aquellas selbas,
una luz deviso.
Pues ya del portld
las seflas miramos,
Y del nifi lUndo
ya nos acercamos.
Dicen todos
Gracias A Maria,
gracias A Jose
que hemos llegado
al portal de Bel~n.
BARTOLO
Para adorar al Mesfas,
es bueno estar acostado;
pues 61 estd acostadito,
y asi nos estA ensefiando.
So liega el ERMITANo al nii~o y dice
UERMITARO
Oh qu6 hermosural
BATO
Parese ser de alabastro.
MENALPAS
Abrd nifio m~s bonito?
MELINDEOS
Qu6 niflo tan chiquitito!
BARTOLO
Que ronquiditos tan santosl
LIZARDO incado
Ya, seflor, se te cumplieron
los deseos de tantos aflos;
nada bueno tiene el hombre
porque tanto le has amado.
Todos no te han ofendido,
todos no te han injuriado;
yo te prometo que en mi
Ao se berd mis pecado.


BATO
Yo, seflor, qu6 he de decir
cuando soy tan limitado,
que no tengo otra elocuencia
que esplicarine con el ilanto?
Bendita sea, pues, tu madre,
y tambie'n tu. Padre santo,
que mereci6 tener A Dios
por hijo humanado.
DIN~A cantando
Leb~ntate d ber la mula,
que comiendo paja estd.
BARTOLO
No baya A ser que esa mula
me reporte un par de coses,
por andar entrando df buyas.
DINA
Calla, necio, considera
tanta mansedumbre junta
por ejemplo de los hombres,
le adoran las bestias brutas.
IBARTOLO
Eso hacen con el Mesf as,
pero A mi si me machucan.
TODOS
No be faltan A el escusas.
DINA
Pues ven adorar, Bartolo.
BARTOLO
Yo desde aquf, acostadito,
be adorar6 qu6 lindo qu6 hermnoso
estd, pero bien acostadito!
LIZARDO d ojrecer
Yo, sefior, que' puede daros,
cuando soy en todo escaso,
si no es de los frutos mismos
que me produse el ganado?
Aquf te traigo este primalito,
recfbelo con agrado;
y perdona, pues, chiquito,
la cortedad de Lizardo.
JILA
Jila, que de estos pastores
viene.4 verte, gran Sefior,
como padre y redentor.
Nasiste entre las fibres,
libre de todos herrores,




232


APPENDIX




por en ti la verdad se encierra;
sois creador del cielo y tierra,
por lo cual con mucho esmero,
he venido a' presentarte
pafialitos y fajeros;
tambie'n una cafiastita,
y mi corazo'n entre ellos.
DINA
Dina con grande contento
te deseaba conocer,
para alabar tu grandesa,
y ilegarte a' ti a' ofrecer.
Hoy quisiora yo toner
riquesas solo por darte
Con fervorosos conflitos,
junto con mi coraz6n,
te ofresco estos pafialitos.
BATO
El pobre de Bato, sefior,
pero de muy buena gana,
te trai un bello'n de lana
para que hagas un colcho'n.
Y como eres tan bonito
te regalo trompito
y en compahlia este lecho'n.
MENALPAS
Menalpas ha ponsado
que como eros pastor
nesecitas un callado;
aquif lo tonois, senior.
MELIDEOS
Este guajito de miol
ofrese el afecto mino;
aunque la dddiba es corta,
el carino es desmedido.
BELICIO
Be quo hase frio,
y porque estdi muy blandita,
te trai una salellito
que no tione ni un codjfo.
BARTOLO
No bienes t-d aqui te den
pues, no nesecitas nada,
regalarme esa salea,
que la mia no tiene lana.
Y, t-6, madre soberana,
suplfcale a' tu chiquito,
que me de' con abundancia
todo cuanto nocesito,
y me quite los cuidados
para dormir muy bonito.


HERMITANO cantando
Es/a palomita,
blanca como la nieve,
se para en mi cabeza,seiiales de que quiere
que la ofresca al autor
que di mi y ella nos cre6.
Canta, pues, palomita,
can/a, pues, palomita,
currft, currfi, cu cu,
curri2, currt, cu cu.
Esta palomi/a,
cdndida inocente,
pues qug mejor presente,
que se haya limpia y pura,
de puresa y candor?
Canta, pues, palomi/a, ha-ha,
canta, pues, palornita, ha-ha,
currfi, currfi, cu cu.
Dicho incado,
Mi amado y dulce Jesfis,
y tierno niflo y soborano,
aqulf ten~is, al Ermitafio
postrado a' vuestro presencia.
Y como cosa esquisita
te traigo esta palomita,
aceptala con clemencia.
PASTOR PERDIDO
Anoche ollif a' los pastores,
que so andaban conbidando
1para ir a' no s6 que fiesta,
mas no so adonde ni cuando,
que no me hall6 yo on la fiesta.
Sera' muy chistosa mafia
no por mucho madrugarme,
amanesca mds temprano.
Dejar6 aquf mi rebafio,
que no se me ha de perder,
y ci ma's so lo encargar6
ai mi amigito tanano.
Segiin os mi parecer
de un monte quo anoche ardifa,
y como que os profecia
los montes estilarain
dulce leche en alegrila,
cierto es, seguin otro Isafas,
so cumple en osta ocacio'n.
Sin duda quo ya el Mesifas
naci6 do su encamacio'n,
y a nacido, para sor
del mundo la redoncio'n.
Me allegar6 a' ostos pastores
Ai quo me den relaci6n,
y para quo juntos todos




APPENDIX


233






le cantemos A la arro.
Qu6 hay de nuevo entre nosotros,
que parece que andl~is locos?
TODOS
Dios que jamna's se bieron,
y de estos se ofrecen pocos!I
No vez que' hermosura?
No vez qu6 veyesa?
Hay cosa comno ella
que nos embelesa?
PASTOR PERDIDO d ofrecer
Aguardad, sefiores mfos,
que tambie'n soy caballero;
boy S dar los parabienes
6 Jose del carpintero.
Santo Jose' que la dicha
te hisa tanta merced,
pues que tubites de esposa
d tan bendita mujer;
recibe de mi carino
lo que te bengo a' ofrecer.
Mfiscica yo de los cielos
te quisiera complacer,
recibir6is una danza
que en este instante pens6.
Bamos, pastorcitos,
y cantemos en Bel~n
festejemos este nifio
y al carpintero Jos6.
Agarran al nifto cuatro, el PASTOR PERMIO, BATo, GiLA y DiNA, y cantan
arroytindolo
Como en el inbierno
No producen fibres,
Estdn almirados
Los rudos pastores.
Agua, juego, tierra, aire,
Los dngeles y hombres,
Cantan, gloria, gloria,
Al Mesias Dios y hombre.
LIZARDO
Pues para que el niflo duernaa,
arrolle'mosle, Jilita,
con alguna cantadita
que le agrade 6 vuestra reina.
Lo arroyan todos
Dugrmete, nin- lindo,
En brasos del amor,
Que te arrolla tu madre
Cantdndote d la arrd.
A la rrsg d la mg


A la rri d la mg
A la rrg d la mg, mi Seiior.
Mis pecados jueron causa,
Mi amado y tierno, giierito,
Que siendo el poder del mundo
Nacieras tan pobrecito.
A la rrg, d la mg
A la rr,9, d la md, mi Sefior.
No temas d heroes,
Que nada te ha de hacer.
Dugrmete, nin- Undo,
Que no te ha de ojender.
A la rrii, d la m6,
A la rrfi, 4 la mg, mi Sefior.
Dugrmete, nubt querido,
Duefto de mi amor,
Que naciste en un pesebre
Para ser mi Salvador.
A la rrii, d la mg
A la rria, d la mi, mi Sefibor.
Dugrmete, ninio querido,
Dugrmete, mi redentor,
Que mas de cuatro tomaron
El niiio que arroyo yo.
A la rrsi, 4 la mi
A la rrs, 4 la mi, mi Seflor.
A la rrsi ru, niiio uindo,
A la rrfi ru, mi Jestbs,
Que nasiste para el hombre,
Ddndole eterna luz.
A la rrii, 4 la mg,
A la rrs2, 4 la mg, mi Seftor.
Cantan caminando,
Adi6s, niiio lindo,
Con Maria y Josg,
Ya nos retiramos
A nuestro, que hacer.
Dignate, Dios nuestro, Sefior, protegernos,
Y en nuestros trabajos, Seibor,
socorremos.
Danza que bailan los pastores luego que
salen del portal
Con que' placer y contento
En un inverno estaria,
De ver que did luz Maria
A Ian hermoso portento.
Me gusta y me gusta, y me gusta
bien,




234


APPENDIX


Me cuadra bailarle al nino
En el portal de Belen.
Se cumpli6 la profecia
De Jesis, que es nuestro bien,
Alabamos d Maria
En el portal de Belin.
Me gusta, y me gusta bien,
Me cuadra bailarle al nino
En el portal de Belen.
Las mejillas encarnadas,
Los ojitos serraditos,
Bente, Bato, y lo verds,
Como ya estd dormidita.
Me gusta, y me gusta bien,
Me cuadra bailarle al nino
En el portal de Belen.
Ya salio la luz del dia,
Y el berbo se halla humanado,
Amparado de Maria
Y Jose, su padre amado.
Me gusta, y me gusta bien,
Me cuadra bailarle al nino
En el portal de Belen.
Dispensad nuestros obsequios
Que te hacemos, nino hermoso,
Asi d ti, como a Maria,
Y d su castimisimo esposo.
Me gusta, y me gusta bien,
Me cuadra bailarle al niio
En el portal de Belen.


LA DESPEDIDA Y FIN DEL COLLOQUIO
Cantan caminando
Adios Maria, adios Jose,
Adi6s nino chiquito,
Que ya se van los pastores,
Para los valles de Ejipto.
Adios Maria, adi6s Jose,
Adorado, bolvamos d nasere,
A juntar nuestros ganados,
Que en el campo los dejamos,
S6lo por venirte d ver,
Y de tu piedad esperamos
El que no se han de perder.
Adi6s Maria, adios Jose,
Adios manso cordero;
Prestamos vida y salud
Para el ago venidero.
Echanos tu bendici6n,
Incados
Y tambien al Ermitano,
Prestanos vida y salud
Para llegar al otro ano.
Adios, nino y redencion,
Adios redentor divino,
Echanos tu vendici6n,
Y guianos por buen camino.
FIN.


SR I )f 30  I 91




II




(be   itiberdibe prefl
Electrotyped and printed by H. O. Houghton & Co.
Cambridge, Mass., U. S. A.




PUBLICATIONS OF THE
AMERICAN FOLK-LORE SOCIETY.
JOURNAL OF AMERICAN FOLK-LORE.
VOLS. I.-XIX. I888-I906.
VOL. I. FOLK-TALES OF ANGOLA.
Fifty Tales with Ki-mbundu text, literal English Translation, Introduction,
and Notes. Collected and edited by HELI CHATELAIN, late U. S. Commercial Agent at Loanda. 1894. Pp. xii, 315. (With two Maps.)
VOL. II. LOUISIANA FOLK-TALES.
In French Dialect and English Translation. Collected and edited by ALCiE
FORTIER, D. Lit., Professor of Romance Languages in Tulane University
of Louisiana. i895. Pp. xi, 122.
VOL. III. BAHAMA SONGS AND STORIES.
A Contribution to Folk-Lore, by CHARLES L. EDWARDS, Professor of Biology
in the University of Cincinnati. With Music, Introduction, Appendix,
and Notes. Six Illustrations. 1895. Pp. xiii, III.
VOL. IV. CURRENT SUPERSTITIONS.
Collected from the Oral Tradition of English-Speaking Folk. Edited by
FANNY D. BERGEN. With Notes, and an Introduction by WILLIAM WELLS
NEWELL. 1896. Pp. vi, x6r.
VOL. V. NAVAHO LEGENDS.
Collected and translated by WASHINGTON MATTHEWS, M. D., LL. D., Major
U. S. Army, Ex-President of the American Folk-Lore Society, etc. With
Introduction, Notes, Illustrations, Texts, Interlinear Translations, and
Melodies. I897. Pp. viii, 299.
VOL. VI. TRADITIONS OF THE THOMPSON RIVER INDIANS
OF BRITISH COLUMBIA.
Collected by JAMES TEIT. With Introduction by FRANZ BOAS, and Notes.
1898. Pp. x, 137.
VOL. VII. ANIMAL AND PLANT LORE.
Collected from the Oral Tradition of English-Speaking Folk. Edited and
annotated by FANNY D. BERGEN. With Introduction by J. Y. BERGEN.
I899. Pp. I8o. (Second Part to Vol. IV., with common Index.)
VOL. VIII. TRADITIONS OF THE SKIDI PAWNEE.
Collected and Edited by GEORGE A. DORSEY, Ph. D., Curator, Department
of Anthropology, Field Columbian Museum. With Introduction, Notes,
and Illustrations. I904. Pp. xxvi, 366.
VOL. IX. LOS PASTORES.
A Mexican Miracle Play. Translation, Introduction, and Notes by M. R.
COLE. With Illustrations and Music. I907. Pp. xxxiv, 234.




THE AMERICAN FOLK-LORE SOCIETY was organized January 4,
I888, for the collection and publication of the folk-lore and mythology of the American continent.
The Society holds annual meetings, at which reports are received
and papers read.
The membership fee is three dollars, payable on the Ist of January
in each year.
Members are entitled to receive the Journal of American FolkLore, a periodical appearing quarterly, and of which nineteen volumes
have already been issued, each volume containing about three hundred and fifty octavo pages.  The Journal is published for the
Society by Houghton, Mifflin & Co., Boston and New York.
The work of the Society includes publication and research in regard to the religious ceremonies, ethical conditions, mythology, and
oral literature of Indian tribes; collection of the traditions of stocks
existing in a relatively primitive state, and the collation of these with
correct accounts of survivals among civilized tribes; gathering of
the almost wholly unrecorded usages and beliefs of Central and
South American races; the comparison of aboriginal American material with European and Asiatic conceptions, myths, and customs;
a study of survivals among American negroes, including their traditional inheritance from Africa, and its modification in this Continent; preservation of the abundant folk-lore of the French and
Spanish regions of North America; record of the oral traditions of
the English-speaking population, and description of communities
now or lately existing under isolated conditions.
The publication of the Memoirs cannot be met from the regular
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Society), are requested to remit their subscriptions to the Treasurer,
Eliot W. Remick, 300 Marlborough St., Boston, Mass.




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