harmoniously in song, and even seem to take part in the fiesta as
they flash back and break up the rays of light, reflecting them on
the white walls in all the colors of the rainbow. The children play
about amusing themselves by chasing the colors, they stumble and break
the globes, but this does not interfere with the general merriment,
although at other times in the year the tears in their round eyes
would be taken account of in a different way.
Along with these venerated lamps there also come forth from their
hiding-places the work of the girls: crocheted scarfs, rugs, artificial
flowers. There appear old glass trays, on the bottoms of which are
sketched miniature lakes with little fishes, caymans, shell-fish,
seaweeds, coral, and glassy stones of brilliant hues. These are heaped
with cigars, cigarettes, and diminutive buyos prepared by the delicate
fingers of the maidens. The floor of the house shines like a mirror,
curtains of pina and husi festoon the doorways, from the windows
hang lanterns covered with glass or with paper, pink, blue, green, or
red. The house itself is filled with plants and flower-pots on stands
of Chinese porcelain. Even the saints bedeck themselves, the images
and relics put on a festive air, the dust is brushed from them and
on the freshly-washed glass of their cases are hung flowery garlands.
In the streets are raised at intervals fanciful bamboo arches, known
as sinkaban, constructed in various ways and adorned with kaluskus,
the curling bunches of shavings scraped on their sides, at the sight
of which alone the hearts of the children rejoice. About the front
of the church, where the procession is to pass, is a large and costly
canopy upheld on bamboo posts. Beneath this the children run and play,
climbing, jumping, and tearing the new camisas in which they should
shine on the principal day of the fiesta.
There on the plaza a platform has been erected, the scenery being
of bamboo, nipa, and wood; there the Tondo comedians will perform
wonders and compete with the gods in improbable miracles, there
will sing and dance Marianito, Chananay, Balbino, Ratia, Carvajal,
Yeyeng, Liceria, etc. The Filipino enjoys the theater and is a deeply
interested spectator of dramatic representations, but he listens in
silence to the song, he gazes delighted at the dancing and mimicry,
he never hisses or applauds.
If the show is not to his liking, he chews his buyo or withdraws
without disturbing the others who perhaps find pleasure in it. Only
at times the commoner sort will howl when the actors embrace or kiss
the actresses, but they never go beyond that. Formerly, dramas only
were played; the local poet composed a piece in which there must
necessarily be a fight every second minute, a clown, and terrifying
transformations. But since the Tondo artist have begun to fight every
fifteen seconds, with two clowns, and even greater marvels than before,
they have put to rout their provincial compeers. The gobernadorcillo
was very fond of this sort of thing, so, with the approval of the
curate, he chose a spectacle with magic and fireworks, entitled, "The
Prince Villardo or the Captives Rescued from the Infamous Cave." [78]
From time to time the bells chime out merrily, those same bells that
ten days ago were tolling so mournfully. Pin-wheels and mortars rend
the air, for the Filipino pyrotechnist, who learned the art from
no known instructor, displays his ability by preparing fire bulls,
castles of Bengal lights, paper balloons inflated with hot air, bombs,
rockets, and the like.