SARRIO, the well-known town on the Cantabrian coast, boasted some years ago of a theatre neither bright, light, nor commodious, but quite good enough to afford entertainment to the pacific, industrious residents during the long winter evenings.

It was built, as such places usually are, in the form of a horseshoe, and it consisted of two floors besides the ground floor. On the first were the boxes—goodness knows why they were so called, for they were nothing but a few benches stuffed with goat's hair and upholstered with scarlet flannel, placed behind a balustrade. To take one of these places, a push had to be given to the back, which raised the seat with a spring, and once the person was in it readjusted itself, and he was as comfortable as a human being can be on an instrument of torture. On the second floor all the rabble vociferated, scuffled, and pushed, irrespective of social distinctions between the well-to-do seaman, the poor mussel-picker from the rocks and pier, and Amalia, the respected dealer, and the sellers in the streets. This part of the house was called the gallery. The stage-boxes were of the same wretched style as the others, and the upholstering seemed to be the same, as far as one could see. Beyond them came the "front rows," reserved, according to the old-fashioned way, for certain handicraftsmen, who, from their calling, their position as employers, or for any reason, were averse to going up into the gallery and mixing with the common herd. From the roof hung a prismatic cut-glass chandelier, lighted with fish oil, which was subsequently replaced by petroleum; but that reform I never saw. Under the staircase leading to the boxes there was an alcove, enclosed by a curtain, which went by the name of "Don Mateo's box." Of this Don Mateo more anon.

Then you must know that in this provincial theatre the same dramas and comedies were played as in the capital, and the same operas given as at La Scala in Milan. Incredible as it seems, it is perfectly true. There the narrator of this story heard for the first time the famous lines:

They certainly struck him as splendid, and the theatre a marvel of luxury and good taste. Everything in the world depends on imagination. Would that mine were as fresh and vivid as it was in those days, so as to be able to give you a few hours' pleasant amusement!

There it was I saw "Don Juan Tenorio," with its flour-whitened corpses, its commander gliding away on a door pulled with cords, its infernal regions made of lighted spirits of wine; and its apotheosis of paper, stuffing, and packing-cases made such an impression on me that I never slept that night. In the auditorium the same things went on more or less as in the grandest houses of the capital. However, more attention was given to the performance here than in Court theatres, because we had not arrived at that high state of culture in which behavior is in direct contradiction to the place—swearing and chattering in playhouses, laughing and giggling in church, and silence and sedateness at the promenade, after the delightful fashion in Madrid. Even now I do not know if they have attained to this state of culture in Sarrio.

But it must not be thought that there were not some enlightened spirits who were sufficiently advanced to give a sample of correct manners at the theatre. Pablito de Belinchon was one of these. With three or four kindred spirits he had a season ticket for one of the stage-boxes, and from thence they spoke across to other gentlemen, older men, who subscribed to the opposite stage-box. They cracked jokes, they turned the soprano or bass into ridicule, and they threw sweets and pellets of paper. The people in the gallery, not yet conversant with this advanced stage of refinement, loudly insisted on silence. The families of importance arriving, as usual, after the curtain had risen, came in with as much fuss as if they were passing into the dress-circle of the Royal Theatre, and, be it said, with much more noise, for it is impossible to imagine the horrible sounds with which the backs of the boxes were pushed back, and the seats dropped, as if on purpose to attract attention.

The party now making its pompous entry into one of these boxes remains standing until all wraps are removed, while the eyes of the audience are instantly turned from the stage and fixed upon the newcomers until they are seated. They are the Belinchons. The head of the family is a tall, spare gentleman, with bent shoulders, bald head, small sharp eyes, a large mouth, wreathed with a Mephistophelian smile, disclosing two long even rows of teeth, the masterpiece of a certain dentist, recently established in Sarrio; he has whiskers and mustache, and his age is about sixty.

He is reported to be the richest merchant in the town, being one of the chief importers of codfish on the Biscayan coast. For many years he had the entire monopoly of the wholesale trade of this commodity, not only in the town, but in the provinces, and had thus amassed a considerable fortune.

His wife, DoÑa Paula—but why does her arrival excite so much talk in the theatre? The good lady, hearing it, trembles, looks confused, and, being unable to collect herself sufficiently to take off her cloak by herself, she is relieved of it by her daughter, who says in her ear:

"Sit down, mama."

DoÑa Paula sits down, or, to speak more correctly, she drops into a seat, and casts an anxious look at the audience, while her cheeks are suffused with crimson. In vain she tries to collect and calm herself, but the more she tries to keep the blood from rushing to her face the more it mounts to that prominent position.

"Mama, how red you are!" said Venturita, her younger daughter, trying not to laugh.

The mother looked at her with a pained expression.

"Hush, Ventura, hush," said Cecilia.

DoÑa Paula then murmured: "The child delights in upsetting me," and nearly burst into tears.

At last the audience, wearied of tormenting her with their glances, smiles, and whispers, turned their attention to the stage. DoÑa Paula's distress gradually diminished, but the traces remained for the rest of the evening.

The cause of the excitement was the velvet mantle, trimmed with fur, that the good lady had donned. It was always like this whenever she appeared for the first time in any fine article of apparel. And this for no other reason than because DoÑa Paula was not a lady by birth.

She had belonged to the cigarette-maker class. Don Rosendo had made love to her when she was quite a young girl, and then came the birth of Pablito. However, Don Rosendo let five or six years elapse without marrying, not wishing to hear of matrimony, but continuing to pay court to her and assisting her with money, until finally, vanquished more by the love of the boy than the mother, and more than all by the admonitions of his friends, he decided to offer his hand to Paulina.

The town knew nothing of the marriage until it had taken place, secrecy being considered the safest course. From thenceforth the life of the cigarette-maker can be divided into different epochs. The first, which lasted for a year, dated from the time of her marriage until the "mantilla appeared." During this epoch she did not go out much, nor was she often seen in public. On Sundays she attended early mass, and the rest of the time she was shut up in the house. When she decided to don the aforementioned mantilla and attend eleven o'clock mass she was the cynosure of all eyes, in church as well as on her way through the streets; and the event was talked about for eight days afterward.

The second epoch, which lasted three years, was from the "mantilla episode" to that of "the gloves." The sight of such an adornment on the large dark hands of the ex-cigarette-maker produced an indescribable sensation in the feminine element of the neighborhood; in the streets, in church, and on visits, the ladies met each other with the question:

"Have you seen?"

"Yes, yes; I have seen."

And then the tongues were loosed in cruel remarks.

Then came the third epoch, which lasted four years, and ended with the silk dress, which gave almost as much cause of complaint as the gloves, and produced universal indignation in Sarrio.

"Do you really mean to say so, DoÑa Dolores?"

"Who would have thought it?"

DoÑa Dolores lowered her eyes with a despairing gesture.

Finally the last epoch, the longest of all, for it lasted six years, terminated (oh horror!) with "the hat." The shudder of disgust that went through the town of Sarrio when DoÑa Paula appeared one holiday afternoon at the Promenade with a little hat on her head beggars description. It caused quite a sensation: the women of the place made the sign of the cross, as they saw her pass, and remarks were uttered in loud tones so as to reach the person concerned.

"Look, girl, do for goodness' sake, look at the Serena, and see what she has got on her head."

Mention must be made that DoÑa Paula's mother, grandmother, and great-grandmother had all gone by the name of Serena. It is needless to add that even when the cigarette-maker attained to the dignity of seÑora, she was never by any chance given her proper name.

When the ladies of Sarrio met each other in the street the following day there were no words to express their horror; they could only raise their eyes to heaven, make convulsive gesticulations, and utter, with a groan, the word "Hat!"

So at that deed of daring, only comparable to those of heroes of antiquity, like Hannibal, CÆsar, and Genghis Khan, the town remained crushed and dumfounded for some months. Nevertheless, whenever DoÑa Paula appeared in public with the abhorred hat upon her head, or with any other departure from her old attire, she was always greeted with a murmur of disapproval. The fault of the matter lay in her never having resented, in public or in private, or even in the sanctum of her own feelings, this malignant treatment of her fellow-townsfolk. She considered it natural and reasonable, and it never occurred to her that it ought not to have been; her ideas of conventionality had never prompted her to rebel against the tyranny of public opinion. She believed in all good faith that in adopting the gloves, the mantilla, or the hat, she had committed a breach of laws both human and divine, and that the murmurs and mocking glances were the just retribution for the infraction. Hence her terror and dismay every time she appeared at the theatre or promenade overwhelmed her with confusion.

"Why, then," it will be said, "did DoÑa Paula dress herself thus?"

Those who ask such questions are not well versed in the mysteries of the human heart; DoÑa Paula put on the mantilla, gloves, and hat with the full knowledge of the retribution to come, just as a boy stuffs himself from the sideboard, knowing that he will be punished for the act. Those who have not been brought up in a little town can never know how ardently the hat is desired by the artisan.

It was so with DoÑa Paula, old, faded, and withered as she was. As a young girl, she had been pretty, but years, her secluded life, to which she could never accustom herself, and, above all, her struggle against public opinion in the adoption of appropriate attire, had prematurely aged her; but she still had beautiful black eyes set in regular and pleasing features.

The first act was nearly over. A fantastic melodrama, the name I do not remember, was being performed, and the company had brought into play all the scenic apparatus at its disposal. The audience was impressed, and received every change of scene with enthusiastic applause.

Pablito, who had spent a month in Madrid the previous year, made light of the performance and winked knowingly at his friend in the front row of the stalls. Then, to show how boring he found it all, he ended by turning his back on the stage, and leveling his opera-glass at the local beauties. Every time that the Russian-leather lorgnette was turned on one of the fair sex the girl trembled slightly, changed her position, and raised her hand, which slightly shook, to adjust her hair, smiled meaninglessly at her mama or sister, settled herself afresh, and fixed her eyes on the stage with insistence and decision, but a quick shy glance was soon raised to those round, bright glasses directed at her, and she ended by blushing.

Then Pablito, having carried his point, turned his attention to another beauty. He knew them all as well as if they were his sisters, he thee'd and thou'd the majority of them, and to several he had even been engaged; but he was as light and inconsistent in his love affairs as a feather in the air; the girls had all had to undergo the painful process of disillusion, and finally, wearied of courting his neighbors, he proceeded to exercise his charms on some of the visitors to Sarrio, only, of course, to throw them over, if they imprudently stayed more than a month or two in the town.

There were weighty reasons for Pablito's power to thus make havoc at his own sweet will in the hearts of all the girls of the place, as well as of those from other parts.

He was a very aristocratic-looking young fellow of four or five and twenty, of a handsome, manly countenance, and slight well-formed figure. Then, he rode splendidly, and drove a tilbury or drag and four with an ease only seen in Sarrio among coachmen. When wide trousers were worn, Pablito's looked like skirts, and when tight ones were the fashion his legs looked as slender as a stork's. When high collars were in vogue, Pablito went about half-strangled with his tongue hanging out, and when low ones came in, he had them cut down to his breastbone.

These and other striking characteristics made him irresistible. Perhaps some people will not quite credit the universal admiration he excited, but I am certain that the girls of the province who read this story will testify to the truth of the fact.