Spanish by Choice/Novelas Cortas 04/Print version
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Novelas Cortas: La Corneta de Llaves, pt. 1
Introduction
Part 1 of the short story “La Corneta de Llaves,” which appears in the book “Novelas Cortas” by Pedro Antonio de Alarcón with notes by W.F. Giese. LibriVox recording read by Karen Savage.
Text
Querer es poder.
I
Don Basilio, ¡toque V. la corneta, y bailaremos!—Debajo de estos árboles no hace calor(71)....
—Sí, sí..., D. Basilio: ¡toque V. la corneta de llaves!
—¡Traedle a D. Basilio la corneta en que se está enseñando Joaquín!
—¡Poco vale!...—¿La tocará V., D. Basilio?
—¡No!
—¿Cómo que no?[14-1]
—¡Que no!
—¿Por qué?
—Porque no sé.
—¡Que no sabe[14-2]!...—¡Habrá hipócrita igual![14-3]
—Sin duda quiere que le regalemos el oído[14-4]....
—¡Vamos![14-5] ¡Ya sabemos que ha sido V. músico mayor[14-6] de infantería!...
—Y que nadie ha tocado la corneta de llaves como V....
—Y que lo oyeron en Palacio[14-7]..., en tiempos de Espartero[14-8]....
—Y que tiene V. una pensión....
—¡Vaya,[14-9] D. Basilio! ¡Apiádese V.!
—Pues, señor.... ¡Es verdad! He tocado la corneta de llaves; he sido una... una especialidad,[14-10] como dicen ustedes ahora...; pero también es cierto que hace dos años regalé mi corneta a un pobre músico licenciado, y que desde entonces no he vuelto[14-11]... ni a tararear.
—¡Qué lástima! —¡Otro[15-1] Rossini!
—¡Oh! ¡Pues lo que es esta tarde,[15-2] ha de tocar[15-3] usted!...
—Aquí, en el campo, todo es permitido....
—¡Recuerde V. que es mi día,[15-4] papá abuelo[15-5]!...
—¡Viva! ¡Viva! ¡Ya está aquí la corneta!
—Sí, ¡que(72) toque!
—Un vals....
—No..., ¡una polca!...
—¡Polca!... ¡Quita allá![15-6]—¡Un fandango!
—Sí..., sí..., ¡fandango! ¡Baile nacional!
—Lo siento(73) mucho, hijos míos; pero no me es posible tocar la corneta....
—¡Usted, tan amable!...
—Tan complaciente....
—¡Se lo suplica a V.[15-7] su nietecito!...
—Y su sobrina....
—¡Dejadme, por Dios!—He dicho que no toco.
—¿Por qué?
—Porque no me acuerdo; y porque, además, he jurado no volver a aprender....
—¿A quién se lo ha jurado?
—¡A mí mismo, a un muerto, y a tu pobre madre, hija mía!
Todos los semblantes se entristecieron súbitamente al escuchar estas palabras.
—¡Oh!... ¡Si supierais a qué costa aprendí a tocar la corneta!...—añadió el viejo.
—¡La historia! ¡La historia! (exclamaron los jóvenes.) Contadnos esa historia.
—En efecto.... (dijo D. Basilio.)—Es toda una historia. Escuchadla, y vosotros juzgaréis si puedo o no puedo tocar la corneta....
Y sentándose bajo un árbol rodeado de unos curiosos y afables adolescentes, contó la historia de sus lecciones de música.
No de otro modo, Mazzepa,[16-1] el héroe de Byron, contó una noche a Carlos XII,[16-2] debajo(74) de otro árbol, la terrible historia de sus lecciones de equitación.
Oigamos(75) a D. Basilio.
II
Hace diez y siete años que ardía en España la guerra civil.
Carlos e(76) Isabel[16-3] se disputaban la corona, y los españoles, divididos en dos bandos, derramaban su sangre en lucha fratricida.
Tenía yo un amigo, llamado Ramón Gámez, teniente de cazadores de mi mismo batallón, el hombre más cabal que he conocido....—Nos habíamos educado juntos; juntos salimos del colegio; juntos peleamos mil veces, y juntos deseábamos morir por la libertad....—¡Oh! ¡Estoy por decir,[16-4] que él era más liberal que yo y que todo el ejército!...
Pero he aquí(77) que cierta injusticia cometida por nuestro Jefe en daño de Ramón; uno de esos abusos de autoridad que disgustan de la más honrosa carrera; una arbitrariedad, en fin, hizo desear al Teniente de cazadores abandonar las filas de sus hermanos, al amigo dejar al amigo, al liberal pasarse a la facción, al subordinado matar a su Teniente Coronel....—¡Buenos humos tenía[16-5] Ramón para aguantar insultos e injusticias ni al lucero[16-6] del alba!
Ni mis amenazas, ni mis ruegos, bastaron a disuadirle de su propósito. ¡Era cosa resuelta! ¡Cambiaría el morrión[16-7] por la boina,[16-8] odiando como odiaba mortalmente a los facciosos!
A la sazón nos hallábamos en el Principado,[16-9] a tres leguas del enemigo.
Era la noche en que Ramón debía desertar, noche lluviosa y fría, melancólica y triste, víspera de una batalla.
A eso de las doce entró Ramón en mi alojamiento.
Yo dormía. —Basilio....—murmuró a mi oído.
—¿Quién es?
—Soy yo.(78)—¡Adiós!
—¿Te vas(79) ya?
—Sí; adiós.
Y me cogió una mano.
—Oye... (continuó); si mañana hay,(80) como se cree, una batalla, y nos encontramos en ella....
—Ya lo sé: somos amigos.
—Bien; nos damos un abrazo, y nos batimos en seguida.
—¡Yo moriré mañana regularmente,[17-1] pues pienso atropellar por todo hasta que mate al Teniente Coronel!—En cuanto(81) a ti, Basilio, no te expongas....[17-2]—La gloria es humo.
—¿Y la vida?
—Dices bien: hazte comandante.... (exclamó Ramón.) La paga no es humo..., sino después que uno se la ha[17-3] fumado....—¡Ay! ¡Todo eso acabó para mí!
—¡Qué tristes ideas! (dije yo no sin susto.)—Mañana sobreviviremos los dos a la batalla.
—Pues emplacémonos(82) para después de(83) ella....
—¿Dónde?
—En la ermita de San Nicolás, a la una de la noche.—El que no asista,[17-4] será porque haya muerto.—¿Quedamos conformes?
—Conformes.
—Entonces.... ¡Adiós!...
—Adiós.
Así dijimos; y después de abrazarnos tiernamente, Ramón desapareció en las sombras nocturnas.
III
Como esperábamos, los facciosos nos atacaron al siguiente día.
La acción fué muy sangrienta, y duró desde las tres de la tarde hasta el anochecer. A cosa de las cinco, mi batallón fué rudamente acometido por una fuerza de alaveses[18-1] que mandaba Ramón....
¡Ramón llevaba ya las insignias de Comandante y la boina blanca de carlista[18-2]!...
Yo mandé hacer fuego(84) contra Ramón, y Ramón contra mí: es decir, que su gente y mi batallón lucharon cuerpo a cuerpo.
Nosotros quedamos vencedores, y Ramón tuvo que huir con los muy mermados restos de sus alaveses; pero no sin que antes hubiera dado muerte por sí mismo, de un pistoletazo,[18-3] al que la víspera era su Teniente Coronel; el cual en vano procuró defenderse de aquella furia....
A las seis la acción se nos volvió desfavorable, y parte de mi pobre compañía y yo fuimos cortados y obligados a rendirnos....
Condujéronme, pues, prisionero a la pequeña villa de..., ocupada por los carlistas desde los comienzos de aquella campaña, y donde era de suponer[18-4] que me fusilarían inmediatamente....
La guerra era entonces sin cuartel.
IV
Sonó la una de la noche de tan aciago día: ¡la hora de mi cita con Ramón!
Yo estaba encerrado en un calabozo de la cárcel pública de dicho pueblo.
Pregunté por mi amigo, y me contestaron:
—¡Es un valiente! Ha matado a un Teniente Coronel. Pero habrá perecido[18-5] en la última hora de la acción....
—¡Cómo! ¿Por qué lo decís?
—Porque no ha vuelto del campo, ni la gente que ha estado hoy a sus órdenes da razón[18-6] de él....
¡Ah! ¡Cuánto sufrí aquella noche!
Una esperanza me quedaba.... Que Ramón me estuviese aguardando en la ermita de San Nicolás, y que por este motivo no hubiese vuelto al campamento faccioso.
—¡Cuál será su pena al ver que no asisto a la cita! (pensaba yo.)—¡Me creerá muerto!—¿Y, por ventura, tan lejos estoy de mi última hora? ¡Los facciosos fusilan ahora siempre a los prisioneros; ni más ni menos que nosotros!...
Así amaneció el día siguiente.
Un Capellán entró en mi prisión.
Todos mis compañeros dormían.
—¡La muerte!—exclamé al ver al Sacerdote.
—Sí—respondió éste con dulzura.
—¡Ya!
—No: dentro de tres horas.
Un minuto después habían despertado[19-1] mis compañeros.
Mil gritos, mil sollozos, mil blasfemias llenaron los ámbitos de la prisión.
V
Todo hombre que va a morir suele aferrarse a una idea cualquiera(85) y no abandonarla más.
Pesadilla, fiebre o locura, esto me sucedió a mí.—La idea de Ramón; de Ramón vivo, de Ramón muerto, de Ramón en el cielo, de Ramón en la ermita, se apoderó de mi cerebro de tal modo, que no pensé en otra cosa durante aquellas horas de agonía.
Quitáronme el uniforme de Capitán, y me pusieron una gorra y un capote viejo de soldado.
Así marché a la muerte con mis diez y nueve compañeros de desventura....
Sólo uno había sido indultado... ¡por la circunstancia de ser músico!—Los carlistas perdonaban entonces la vida a los músicos, a causa de tener gran falta de ellos en sus batallones.... —Y ¿era V. músico, D. Basilio?—¿Se salvó V. por eso?—preguntaron todos los jóvenes a una voz.[20-1]
—No, hijos míos.... (respondió el veterano.) ¡Yo no era músico!(86)
Formóse el cuadro, y nos colocaron en medio de él....
Yo hacía el número once, es decir, yo moriría el undécimo....
Entonces pensé en mi mujer y en mi hija, ¡en ti y en tu madre, hija mía!
Empezaron los tiros....
¡Aquellas detonaciones me enloquecían!
Como tenía vendados los ojos, no veía caer a mis compañeros.
Quise contar las descargas para saber, un momento antes de morir, que se acababa mi existencia en este mundo....
Pero a la tercera o cuarta detonación perdí la cuenta.
¡Oh! ¡Aquellos tiros tronarán eternamente en mi corazón y en mi cerebro, como tronaban aquel día!
Ya creía oírlos a mil leguas de distancia; ya los sentía reventar dentro de mi cabeza.
¡Y las detonaciones seguían!
—¡Ahora!—pensaba yo.
Y crujía la descarga, y yo estaba vivo.
—¡Esta es!...—me dije por último.[20-2]
Y sentí que me cogían por los hombros, y me sacudían, y me daban voces(87) en los oídos....
Caí....
No pensé más....
Pero sentía algo como un profundo sueño....
Y soñé que había muerto fusilado.
Notes
(The first figures refer to the original pages of text, and second figures to the reference figures in text).
14-1: ¿Cómo que no?: que is redundant. It is dependent on some form of the verb decir understood: How can you say that you will not?
14-2: ¡Que no sabe!: a kindred usage to that in the last note. Que is frequently used in this elliptical and emphatic manner at the beginning of a sentence.
14-3: ¡habrá hipócrita igual!: can there be, etc. Cf. note no habría andado, p. 8, 6.
14-4: regalemos el oído: flatter; say pleasant things.
14-5: ¡vamos!: cf. note vamos, p. 5, 11.
14-6: músico mayor: military bandmaster.
14-7: Palacio: the royal palace.
14-8: Espartero: (1792-1879) Spanish general and statesman, at one time regent.
14-9: ¡vaya!: used like vamos above, p. 14, 5.
14-10: especialidad: (in familiar parlance) a notability.
14-11: no he vuelto: cf. note se volvió a reír, p. 2, 3.
15-1: otro Rossini: cf. note a otro, p. 10, 1. Rossini: (1792-1868) Italian composer who once enjoyed an immense vogue. His music, light, brilliant, but lacking in sincerity and deeper artistic qualities, is now much neglected.
15-2: lo que es esta tarde: as far as this afternoon is concerned.
15-3: ha de tocar: must play. Cf. note había de conocer, p. 3, 4.
15-4: es mi día: it is my saint's day (which among Catholics is celebrated as a birthday).
15-5: papá abuelo: dear grandpa. Abuelo is often used in addressing an old man.
15-6: ¡Quita allá!: a phrase used to express emphatic dissent. Translate Not much!
15-7: Se lo suplica a V.: Se = le, redundant pronoun anticipating usted. See note se la, p. 4, 6.
16-1: Mazzepa: (or rather Mazeppa) a Pole, who in punishment for an intrigue, was bound to the back of a horse, which carried him among the Cossacks, where he rose to distinction and high command. Vide Byron's poem Mazeppa.
16-2: Carlos XII: (doce— the ordinal numerals above décimo not being used with names of sovereigns) Charles XII, king of Sweden (lived 1682-1718). He fought, at first with brilliant success, against the Czar, Peter the Great, but was ultimately defeated.
16-3: Carlos e Isabel: Fernando VII (see notes Fernando, pp. 34, 5 and 51, 17) left the Spanish throne to his daughter, Isabel II, but Don Carlos. her uncle, laid claim to it by virtue of the Salic law excluding women from the throne. A long and disastrous civil warfare ensued between his party, the Carlistas, and the party of the queen-regent, Maria Cristina, the Cristinos.
16-4: Estoy por decir: I am on the point of saying.
16-5: buenos humos tenía: was much too proud.
16-6: ni (al lucero, etc.): even. The negative is intruded from the underlying negative psychologic notion: Ramón would not have suffered an affront—not even from, etc. Cf. note ni, p. 99, 3. lucero del alba: the planet Venus, bearing (as morning star) the name Lucifer. For el alba cf. note al ave, p. 25, 3.
16-7: morrión: a kind of tall helmet-cap, worn by the Cristinos.
16-8: boina: a round woolen cap, worn by the Carlists.
16-9: el Principado: the territory of Asturias, in the north of Spain. The term is also applicable to Cataluña in the northeast of Spain.
17-1: regularmente: (i.e. según reglas; naturalmente) presumably.
17-2: no te expongas: cf. note no seas, p. 6, 7.
17-3: se la ha fumado: for se cf. note lo que me digo, p. 7, 5.
17-4: El que no asista, etc.: a very loosely constructed sentence. Translate: If either of us does not appear, etc.
18-1: alaveses: natives of Álava, a Basque province in the north of Spain.
18-2: boina blanca de carlista: see note boina, p. 16, 8.
18-3: pistoletazo: pistol-shot. Observe the use of the ending azo, denoting a blow, cut, or shot with a weapon.
18-4: era de suponer: it was to be supposed; it was presumable.
18-5: habrá perecido: cf. note no habría andado, p. 8, 6.
18-6: da razón: give an account.
19-1: habían despertado: (intransitive).
20-1: a una voz: with one voice.
20-2: por último: finally. Cf. por fin.
Idiomatic Commentary
71. No hace calor; hace frío (cf. 45). — It is not warm; it is cold.
(Review 61, 18, 30, 12, 53, 54).
72. ¡Que venga! — Let him come!
73. Lo siento mucho. — I deeply regret it.
(Review 61, 59, 39).
74. Debajo de otro árbol (cf. 61). — Under another tree.
75. Digámoslo así. — Let us say it thus.
76. Isabel y Carlos. — Isabella and Charles.
Carlos e Isabel. — Charles and Isabella.
77. He aquí el libro. — Here is the book.
Helo aquí. — Here it is.
N.B. He aquì is equivalent to the French voici, voilà.
(Review 9, 22, 42, 39, 70).
78. Soy yo. — It is I.
79. Me voy. — I am going away.
Se fué. — He went away.
80. Hay tres amigos. — There are three friends.
Hubo un hombre. — There was a man.
Un hombre como los hay en África. — A man such as there are in Africa.
8l. En cuanto a mí. — As for me; as far as I am concerned.
82. Vámonos (cf. note 31, 4). — Let us go away.
83. Después de eso. — After that.
(Review 39, 66, 7, 15, 16).
84. Hice fuego. — I fired.
(Review 53, 48, 32, 41).
85. Una idea cualquiera. — Some idea or other.
Cualquier hombre. — Any (or every) man.
86. Soy músico (sastre, etc.). — I am a musician (tailor, etc.).
(Review 18, 41, 29, 1, 48).
87. Dió voces. — He shouted.
(Review 29, 39, 23, 48, 80, 18, 15, 83).
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- Preserve all the Invariant Sections of the Document, unaltered in their text and in their titles. Section numbers or the equivalent are not considered part of the section titles.
- Delete any section Entitled "Endorsements". Such a section may not be included in the Modified version.
- Do not retitle any existing section to be Entitled "Endorsements" or to conflict in title with any Invariant Section.
- Preserve any Warranty Disclaimers.
If the Modified Version includes new front-matter sections or appendices that qualify as Secondary Sections and contain no material copied from the Document, you may at your option designate some or all of these sections as invariant. To do this, add their titles to the list of Invariant Sections in the Modified Version's license notice. These titles must be distinct from any other section titles.
You may add a section Entitled "Endorsements", provided it contains nothing but endorsements of your Modified Version by various parties—for example, statements of peer review or that the text has been approved by an organization as the authoritative definition of a standard.
You may add a passage of up to five words as a Front-Cover Text, and a passage of up to 25 words as a Back-Cover Text, to the end of the list of Cover Texts in the Modified Version. Only one passage of Front-Cover Text and one of Back-Cover Text may be added by (or through arrangements made by) any one entity. If the Document already includes a cover text for the same cover, previously added by you or by arrangement made by the same entity you are acting on behalf of, you may not add another; but you may replace the old one, on explicit permission from the previous publisher that added the old one.
The author(s) and publisher(s) of the Document do not by this License give permission to use their names for publicity for or to assert or imply endorsement of any Modified Version.
5. COMBINING DOCUMENTS
You may combine the Document with other documents released under this License, under the terms defined in section 4 above for modified versions, provided that you include in the combination all of the Invariant Sections of all of the original documents, unmodified, and list them all as Invariant Sections of your combined work in its license notice, and that you preserve all their Warranty Disclaimers.
The combined work need only contain one copy of this License, and multiple identical Invariant Sections may be replaced with a single copy. If there are multiple Invariant Sections with the same name but different contents, make the title of each such section unique by adding at the end of it, in parentheses, the name of the original author or publisher of that section if known, or else a unique number. Make the same adjustment to the section titles in the list of Invariant Sections in the license notice of the combined work.
In the combination, you must combine any sections Entitled "History" in the various original documents, forming one section Entitled "History"; likewise combine any sections Entitled "Acknowledgements", and any sections Entitled "Dedications". You must delete all sections Entitled "Endorsements".
6. COLLECTIONS OF DOCUMENTS
You may make a collection consisting of the Document and other documents released under this License, and replace the individual copies of this License in the various documents with a single copy that is included in the collection, provided that you follow the rules of this License for verbatim copying of each of the documents in all other respects.
You may extract a single document from such a collection, and distribute it individually under this License, provided you insert a copy of this License into the extracted document, and follow this License in all other respects regarding verbatim copying of that document.
7. AGGREGATION WITH INDEPENDENT WORKS
A compilation of the Document or its derivatives with other separate and independent documents or works, in or on a volume of a storage or distribution medium, is called an "aggregate" if the copyright resulting from the compilation is not used to limit the legal rights of the compilation's users beyond what the individual works permit. When the Document is included in an aggregate, this License does not apply to the other works in the aggregate which are not themselves derivative works of the Document.
If the Cover Text requirement of section 3 is applicable to these copies of the Document, then if the Document is less than one half of the entire aggregate, the Document's Cover Texts may be placed on covers that bracket the Document within the aggregate, or the electronic equivalent of covers if the Document is in electronic form. Otherwise they must appear on printed covers that bracket the whole aggregate.
8. TRANSLATION
Translation is considered a kind of modification, so you may distribute translations of the Document under the terms of section 4. Replacing Invariant Sections with translations requires special permission from their copyright holders, but you may include translations of some or all Invariant Sections in addition to the original versions of these Invariant Sections. You may include a translation of this License, and all the license notices in the Document, and any Warranty Disclaimers, provided that you also include the original English version of this License and the original versions of those notices and disclaimers. In case of a disagreement between the translation and the original version of this License or a notice or disclaimer, the original version will prevail.
If a section in the Document is Entitled "Acknowledgements", "Dedications", or "History", the requirement (section 4) to Preserve its Title (section 1) will typically require changing the actual title.
9. TERMINATION
You may not copy, modify, sublicense, or distribute the Document except as expressly provided under this License. Any attempt otherwise to copy, modify, sublicense, or distribute it is void, and will automatically terminate your rights under this License.
However, if you cease all violation of this License, then your license from a particular copyright holder is reinstated (a) provisionally, unless and until the copyright holder explicitly and finally terminates your license, and (b) permanently, if the copyright holder fails to notify you of the violation by some reasonable means prior to 60 days after the cessation.
Moreover, your license from a particular copyright holder is reinstated permanently if the copyright holder notifies you of the violation by some reasonable means, this is the first time you have received notice of violation of this License (for any work) from that copyright holder, and you cure the violation prior to 30 days after your receipt of the notice.
Termination of your rights under this section does not terminate the licenses of parties who have received copies or rights from you under this License. If your rights have been terminated and not permanently reinstated, receipt of a copy of some or all of the same material does not give you any rights to use it.
10. FUTURE REVISIONS OF THIS LICENSE
The Free Software Foundation may publish new, revised versions of the GNU Free Documentation License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. See http://www.gnu.org/copyleft/.
Each version of the License is given a distinguishing version number. If the Document specifies that a particular numbered version of this License "or any later version" applies to it, you have the option of following the terms and conditions either of that specified version or of any later version that has been published (not as a draft) by the Free Software Foundation. If the Document does not specify a version number of this License, you may choose any version ever published (not as a draft) by the Free Software Foundation. If the Document specifies that a proxy can decide which future versions of this License can be used, that proxy's public statement of acceptance of a version permanently authorizes you to choose that version for the Document.
11. RELICENSING
"Massive Multiauthor Collaboration Site" (or "MMC Site") means any World Wide Web server that publishes copyrightable works and also provides prominent facilities for anybody to edit those works. A public wiki that anybody can edit is an example of such a server. A "Massive Multiauthor Collaboration" (or "MMC") contained in the site means any set of copyrightable works thus published on the MMC site.
"CC-BY-SA" means the Creative Commons Attribution-Share Alike 3.0 license published by Creative Commons Corporation, a not-for-profit corporation with a principal place of business in San Francisco, California, as well as future copyleft versions of that license published by that same organization.
"Incorporate" means to publish or republish a Document, in whole or in part, as part of another Document.
An MMC is "eligible for relicensing" if it is licensed under this License, and if all works that were first published under this License somewhere other than this MMC, and subsequently incorporated in whole or in part into the MMC, (1) had no cover texts or invariant sections, and (2) were thus incorporated prior to November 1, 2008.
The operator of an MMC Site may republish an MMC contained in the site under CC-BY-SA on the same site at any time before August 1, 2009, provided the MMC is eligible for relicensing.
How to use this License for your documents
To use this License in a document you have written, include a copy of the License in the document and put the following copyright and license notices just after the title page:
- Copyright (c) YEAR YOUR NAME.
- Permission is granted to copy, distribute and/or modify this document
- under the terms of the GNU Free Documentation License, Version 1.3
- or any later version published by the Free Software Foundation;
- with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts.
- A copy of the license is included in the section entitled "GNU
- Free Documentation License".
If you have Invariant Sections, Front-Cover Texts and Back-Cover Texts, replace the "with...Texts." line with this:
- with the Invariant Sections being LIST THEIR TITLES, with the
- Front-Cover Texts being LIST, and with the Back-Cover Texts being LIST.
If you have Invariant Sections without Cover Texts, or some other combination of the three, merge those two alternatives to suit the situation.
If your document contains nontrivial examples of program code, we recommend releasing these examples in parallel under your choice of free software license, such as the GNU General Public License, to permit their use in free software.