The aggressor almost always wins a fight, he said. He who strikes first is most often the one who will live to fight again. "But what is aggression?" Mateo asked. "It is not the charge of a bull or mindless slashing. Successful aggression derives from a combination of great defensive maneuvers and brilliant offense. Even if you are hacking your way through a troop of the enemy, you must make every slash count because the one you miss may cost your life."
Mateo viewed fencing as another form of dancing.
"A swordsman must adopt the posture of a dancer, standing tall with body straight, but with knees flexible. Only then can we move quickly. Rapiers extended before us, our opponent at bay, our feet must move like a dancer's, never pausing, always in motion, but not capriciously. Dancers do not move their feet any which way but in harmony with the music, their partner, their mind, and the rest of the body. You must hear the music and dance to the rhythm."
"Where does the music come from?"
"The music plays in your mind, the tempo created by the movements of you and your opponent, and you dance to it. Thrust, parry, dance, standing straight up, your arm extended, keeping him from drawing a circle around you, dance, dance."
Mateo pranced like a young girl at her first ball, and I made the mistake of giggling—his sword whizzed by my cheek and cut a locket of my hair.
"Laugh again and they will call you One-Ear instead of Bastardo. En garde!"
When I stumbled with my footwork, Mateo cursed me. "It is my fault to ask a lowly lépero to wield anything more strenuous than a begging cup. If you cannot dance because your feet and your brain are not in the same body, then at least think of it as swimming. You must use all of your body at once when you swim. Swim toward me, Bastardo, step, step, thrust, parry, and step—small steps, you oaf! If you tread on your dance partner's toes, he will thrust his sword into your throat."
Each day I learned more about pain. And I noticed more and more scars on Mateo's face, arms, and chest when he took off his shirt to rinse the heat and sweat from his body. He had a name for every scar—Inez, Maria, Carmelita, Josie, and other women he had fought duels of honor for. There were even scars on his back, one particularly nasty one when an angry father's thrown dagger caught him in the back after he leaped from a girl's balcony.
I began to accumulate my own scars from Mateo's angry slashing.
"You must follow your body's instinctive reaction, not your eye. A flashing sword lies to the eye because it moves quicker than the eye can follow. You sword must be in position to ward the blow and counter, relying on the eye to follow the action. Your eye will lie to you and kill you.
"I have studied under Don Luis Pacheco de Narvaez, the greatest swordsman in all the world, he who was a student of Caranza himself. Caranza taught that the fluid, dexterous dance, what he called La Destreza, was the way of the swordsman."
After months of practice, Mateo made his judgment of me as a swordsman.
"You are dead, dead, dead. You might be able to hack your way through a side of beef with a two-handed sword or maybe an indio who has been tied up and thrown on the ground, but you are too slow and too clumsy to survive against a good swordsman."
That glint of cunning came into his eyes that I have seen when he is about to cut another man's purse or steal his woman.
"Since you will never be able to survive with the skills of a gentleman, you must learn how to be a tricky swine."
"I want to be a gentleman!"
"A dead gentleman?"
The lépero in me decided the issue. "Show me how to be a swine."
"You have as much strength and skill—or lack of skill—in your left hand as in your right. Swordsmen call the left hand the devil's paw for good reason—the Church frowns on the use of the left hand, and most men are taught to use the right hand for sword fighting only, even if their left hand is their superior one. You are not a gentlemen. You can fight with the left hand. But you must understand that simply using your left hand against a skilled swordsman will not give you a great advantage—unless you combine it with surprise.
"I will teach you a movement that you can use in desperation when you realize that the swordsman you are up against is going to slice pieces of meat off of you until you bleed to death standing up. You begin the fight with your sword in your right hand and your dagger in the left. When you are out of the circle, you suddenly let your dagger drop and switch the sword to your left hand as you step into the circle. It means dropping your guard for the briefest moment, and he would put his point in your heart if you did not ward off the thrust"
"How do I ward off the thrust?"
"With your shield."
"What shield?"
Mateo pulled up one of his sleeves. He had a thin piece of bronze metal strapped to his arm. "You will use your "armored" arm to knock away his blade."
Armor in a duel was dishonorable to the extreme. Switching to the left hand during a fight was ungentlemanly. But I would rather be a live swine than a dead gentleman.
SEVENTY-FOUR
The first time I saw the don's wife, Isabella, she was stepping down from a coach in front of the great house at the hacienda. A flutter of silks and petticoats, her Chinese satin bodice was encrusted with gem stones, and she had pearls strung around her neck and both wrists. Her red, shoulder-length hair was all curls from the ears down.
I have seen beautiful women before—colorful mulattas on the streets of Veracruz, beautiful, dark-eyed india women in out-of-the-way villages—but none of the Spanish women I had seen compared to Isabella.
I was beside Don Julio as he helped her step from the coach, and I gaped as she descended. Had a servant not laid out a carpet upon the dusty ground to protect her shoes, I would have flung myself on the ground for her to step on. My mind swirled and I nearly passed out as a whiff of her perfume found me.
Mateo and I stood with our hands on our swords, our backs ramrod, in our finest clothes, as if an honor guard for a queen.
Don Mateo took Isabella by the arm and paused before us as he escorted her into the hacienda.
"May I present my young cousin, Cristóbal, and my aide, Mateo Rosas de Oquendo."
Isabella looked at us, her green eyes inspecting Mateo and me thoroughly, before turning back to Don Julio.
"Another poor relative to feed, and a blackguard to hide the silver from."
That was my introduction to Doña Isabella.
The great house had been an oasis of tranquillity since I had first been brought there to be molded into a gentleman. Other than the scholarly challenges of Don Julio, and an occasional kick or insult from Mateo when he became frustrated by my clumsiness, I was well-fed, slept in an actual bed, and begged the good Lord each night not to send me back to the streets of Veracruz—or the gallows.
With the arrival of Isabella, the house stopped being an oasis and became an el norte tempest. She was the center of everything—demanding and irritable to the servants, sweet and manipulative with Don Julio, rude to the don's sister, niece, and "cousin"; downright hateful to Mateo, who she treated as if he was going to abscond with her jewels at any moment. She referred to him not by name but as "that picaro."
We soon discovered that she had not come to be sociable. From overhearing a conversation between Don Julio and Isabella in the library, I learned she had grossly overspent her household budget for their home in the City of Mexico and had come demanding more money. The don was angry because it was no small amount of money Isabella needed. She had gone through a year's household expenses in a few months, a sizable amount since the house had a full staff of servants and Isabella surrounded herself with considerable luxury.
She told the don that the money had been stolen but admitted, when he questioned her, that she had not reported the loss to the viceroy or anyone else. The don was clearly incredulous, but when it came to dealing with Isabella, he was as helpless as everyone else.
After Isabella had been in residence for three days, I inadvertently was able to look upon
her hidden beauty. I entered the antechamber next to the don's bedroom looking for a book the don had left there and found myself staring at Isabella naked from the waist up. She soaked in a small bathtub. The steamy brew smelled of roses.
I was struck dumb, but Isabella, without bothering to cover her bare breasts, simply looked at me. "You're a handsome boy, aren't you," she said, "but you need to shave that vulgar beard."
I ran from the room in terror.
"She's the don's wife," Mateo told me. "We must respect her. And we must never lust for her. One does not have passion for the wife of a friend."
Mateo spoke with such heated emotion that I feared he suspected me of such thoughts. I found this odd. Mateo had loved the wives of a dozen men. I found it interesting that he had such strong feelings about the wife of a friend. Such distinctions were part of the code of honor that I was learning, the code of hombria in which honor and amorous conquest both play large roles. A true man has loved many times—but only honorably. One does not scale the wall to the bedroom of a friend's wife... but any other woman is fair game.
A code for women existed, too. A woman was to remain a virgin until marriage—and never be tempted afterward. Eh, amigas, did I say life was fair?
At times Mateo felt that he was a prisoner at the hacienda. He was a man of action and bossing vaqueros was not his brand of excitement. He would disappear for weeks at a time, and when he came back his clothes and body looked like the fur of a cat that had tangled with a pack of voracious dogs. Once he let me come with him, and we rode hard for days following a treasure map in search of Montezuma's legendary gold mine.
He had won the treasure map in a card game. The fact that the map could be a fake was not in the cards. We went near no large towns, but it was an exciting experience to jump on the horse and seek a lost treasure. We never found the mine. My suspicion was that Mateo had been duped into letting a fake map be used as a bet. Naturally, I was careful not to suggest the idea.
"Only the emperor knew the location of the mine," Mateo said, "The miners were indio slaves who were permanently locked in. They worked the mine, never leaving, never seeing the light of day or another human being. Once a year they passed the gold to Montezuma alone without ever seeing another human face."
Questions like how the miners ate if they were locked in and how Montezuma carried away gold all by himself only resulted in my getting cuffed by Mateo. Tolerance of facts that conflicted with his own notions was not a gift the Lord gave him.
SEVENTY-FIVE
Isabella had been at the hacienda a week when she announced that she was attending a social gathering at another hacienda. Don Julio said that he had to attend a sick patient, the name and exact illness of whom I was never able to ascertain. Since it would not be proper for Mateo, a notorious picaro, to escort the don's wife for a social visit, the duty fell to me as the don's cousin.
"You've had two years of education as a gentleman," the don said, after informing me that I would be accompanying Isabella. "But the only practice you have had is on the hacienda. There is a time when you will not have this cocoon to protect you, and you must know if you can carry yourself as a person of quality among others. This will be a test for you. Isabella is a difficult woman to please; she demands the respect given a queen."
Later that afternoon I walked into the library and gave the don a start as he bent over examining a strange instrument. It was a tube of brass with glass at each end and set on metal legs. He put a cloth over it immediately.
At first he appeared hesitant to show me the instrument, but after he gave me instructions about Isabella, he removed the cloth. He had the excitement of a child thrilled with a new toy.
"It's a starscope," Don Julio said. "It was developed in Italy where a cosmographer named Galileo used it to look at planets in the heavens. He has written a book, Sidereus Nuncius, The Starry Messenger, telling of his discoveries."
"What do you see when you look into this... this starscope?"
"Heaven."
My jaw dropped and Don Julio laughed.
"You see the planets, even the moons of Jupiter. And you learn something so shocking to our Church that men burn at the stake for possessing one of these instruments."
Don Julio lowered his voice into a conspiratorial tone. "The Earth is not the center of the heavens, Cristo. The Earth is just a planet revolving around the Sun as other planets do. A Polish mathematician named Copernicus discovered this many years ago but feared to reveal his works until after his death. De revollutionibus orbium coelestium, On the Revolutions of the Celestial Spheres, published in 1543 on Copernicus's deathbed, refutes the Ptolemaic presumption that the Earth is the center of the heavens.
"The starscope proves Copernicus's theory. The Church is so frightened of the starscope that a cardinal has refused Galileo's request that he look in the starscope because the cardinal fears he will look into the face of God!"
"What about the face of God?"
A musket shot in the room could not have been more startling. Isabella stood at the door to the library.
The don recovered first. "Nothing, my dear, we are talking about philosophy and religion."
"What is that thing?" She pointed at the starscope. "It looks like a tiny cannon."
"Just a device for measuring. It assists me in making maps." He put a cloth over the starscope. "As you know I cannot attend the gathering at the Velez hacienda. I am sending Cristo with you. He will escort you in my place."
She did not give me the look of derision I expected. She pointed her fan at me. "You dress like a peasant. If I am to be forced to have your company on this trip, you are to dress as if you were going to a party in Spain instead of a social gathering in this wilderness."
After she left the room Don Julio shook his head. "She is a woman who knows how to command. But she is right. You dress like a vaquero. I will have my manservant ensure that you are a properly clothed gentleman."
The road to the Velez hacienda was little more than a rural path that rarely felt the wheels of a carriage. Doña Isabella and I rocked back and forth inside the carriage, as the wheels found every rut on the road. It was hot and dusty inside the carriage, and the doña held a nosegay to her face.
There was little conversation for the first couple of hours. An early departure was necessary to reach the other hacienda before nightfall and Isabella slept.
Don Julio's valet had indeed made a gentleman of me, at least the turtle's shell of one. He cropped my hair, removing it from my shoulders so it fell to about chin length, and curled the ends. A white, linen shirt with billowing sleeves, wine red doublet that had slashes for the white shirt to show through, matching short cape, black Venetian breeches that were pear-shaped, wide, almost bombasted at the hips and narrow at the knee, black silk stockings, and round-toed shoes with bow ties... it was a reasonably modest outfit, but the street lépero in me felt that I was dressed as a dandy. The valet had refused to let me carry my heavy sword and instead saddled me with a slender rapier that would hardly cut the head off of a frog.
Isabella made no comment about my clothing. It was several hours before she gave any indication that she was sharing the coach with anything but a mote of dust. When she finally awoke and had to acknowledge my presence, she looked me over from the ostrich feathers in my hat to the silken bows on my shoes.
"Did you enjoy sneaking in to watch me in my bath?"
My face turned redder than my doublet.
"Bu—bu—but I didn't—"
She waved away my innocence.
"Tell me about your parents. How did they die?"
I related the carefully concocted story that I was an only child, orphaned at the age of three, when my parents were swept away by a plague.
"What was your parents' house like? Was it large? Are you heir to nothing?"
Doña Isabella was not questioning me out of suspicion but boredom, but while lies often leaped to my lépero tongue, I did not want to risk so much for idle chatter.<
br />
"My family is not as illustrious as yours, Doña. Nor as exciting as your life in the City of Mexico. Tell me about the city. Is it true that eight coaches could drive side-by-side at the same time down the grand avenues?"
A flood of words about her life in the city—the clothes, the parties, her grand home—erupted. Diverting her from inquiries about my past was not difficult. Isabella enjoyed talking about herself much more than hearing about others: Despite her queenly mannerisms and pretensions to being a great lady, I knew from household gossip that her father had been a petty merchant and her only claim to gentility was the fact that she had married well.
But she was always full of surprises. Startling inquiries or comments occasionally dribbled from her mouth without warning. "Tell me about the little cannon you can see heaven with," she said.
"It's not a cannon. It's a starscope, an instrument for gazing at the sky."
"Why does Julio keep it hidden?"
"Because it's banned by the Church. One could have much trouble with the Inquisition for possessing such an instrument."
I went on to tell her about Galileo seeing the moons of Jupiter, and the cardinal who was afraid to look into the scope for fear he would see the face of God.
Doña Isabella asked no further questions about the starscope and soon she had dozed off again. Some doubts had crept into my mind about telling her about the instrument. Don Julio had had the opportunity to do so and did not. A few days before he showed me the telescope, he had caught me opening a cabinet in the library. The cabinet was usually kept locked, but he had been in it earlier and left it unlocked.
The cabinet contained books that were on the prohibition list of the Inquisition. They were not scandalous libros deshonesto, but works of science, medicine, and history that the Inquisition found offensive but most men of learning did not.
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