But all this is unseeably distant, as Stewart stumbles around in a haze of scrofulisms and alcohol. He imagines Eliza sitting out in La Recoleta doing bad needlepoint, with the back all knots and the front full of holes. She rearranges the story of her life, 'My mother Adelaide Schnock came from a family that included forty-two magistrates and a captain of the fleet.' She orders patterns from Paris. She keeps house magnificently, and it is said that the servants love her. Servants and men – any number of them – that is all she has. You could say she has everything, except the satisfaction of having it. Also, perhaps, that she cannot relax, because she is not real. It must be hard, to be just a story the matrons of Asuncion told each other between the hours of three and four. Everything Eliza does to silence them just makes them talk the more. No, the only way she can become real is by getting married, and she cannot get married until old Lopez dies.
But nothing she did could kill him: no amount of soirées or Italian poets or diamonds or new colours for a shawl. Nothing, that is, until the theatre.
That was the trigger, thought Stewart; though the bullet was slow. He dreamed of the actor Bermejo, with a revolver. Bang! The gun springs a flag from out of its long muzzle. The old Dictator laughs. He clutches his chest. He falls endlessly towards the floor.
And where does the actor come from? The actor slithers, wet and fragrant, out from under the skirts of Eliza Lynch.
A whore needs a theatre and Eliza was a very great whore, so the building was a miniature version of Teatro alia Scala in Milan (no less), though it lacked a roof – also an orchestra, scenery, gas lamps, and women of dubious reputation in very good clothes. Eliza talked to the architect over little glasses of finoand sent to Paris upholsterers for the exact shade of red. Who else understood these things so well? It was Eliza who, before the roof slates were sourced or ordered, invited Bermejo in from Madrid.
The news that a real actor was making his way across the Atlantic flung the virgins and matrons into reverie. When he finally arrived, a little redhead with a pretty wife, the blankness of their afternoons was subtly different from the usual blankness of their afternoons. The evenings he spent with Eliza, of course, but during the day they could stroll past the veranda of the Frenchman's hotel where he sat drinking coffee, ignoring them all, and suddenly writing. The excitement of it! He wrote as though pricked all over, as though attacked by bees. Sometimes, he waved his arms to clear the buzz of thought from about his head. He feigned, he ducked, he went very stilclass="underline" then mysteriously the swarm would settle, and he covered page after fluid page, sheathed in a drowsy, dangerous calm.
It was there on the page. It was growing. It was the first ever Paraguayan play.
Dangerous indeed. When a closed carriage stopped beside the veranda one afternoon Bermejo had instinct enough to run out and kiss the hand that appeared on the sill; also the small female fingers that fluttered out of one window or another, obliging him to run around the carriage, and back again. After which kissing, there was a more official beso mano at the presidential palace. Then dinner with the Lopez ladies. After which he regretted the fact that he could not attend Eliza's salon again. The first Paraguayan Theatre would belong, not to the whore, but to the nation. The actor had finally come to town.
In the theatre, vast and roofless, dried leaves stirred and eddied as Bermejo 's ghosts took to the stage. And as they thickened and moved, old Lopez began to fail. The maiden woke, and his pain turned into a lump: she started to speak, and the lump became a boil. By Act Three the boil had blossomed into an ulcer, livid from ankle to calf and quite likeable in its way. At least, that is what Stewart thought as he dressed it and wrapped it, and bled the old man a little because he asked to be bled. The Dictator made an unexpectedly sweet invalid. He propped his leg up on a chair, and had the shutters closed and let the nonsense that was the theatre, with its actors ordered in from Madrid and its dresses ordered in from Paris, wash turbulently by.
And it was because of the theatre that no one noticed how he failed to appear in the streets any more, or how his personal butcher had stopped bringing shoulders of meat to the back door.
'Chops!' he said. 'It's all chops and broth.' And so the realisation spread. The women, rifling through the bales of georgette and satin de Chine, let the cloth settle on their laps and were still. The realisation became a rumour and the rumour a terrible fact – he was dying. He was dying! and they sewed on in a guilty frenzy, as though stitching him a silken shroud. Fear seeped into the town. Carmencita Cordai started to walk at night and was seen abroad, naked, or bloodstained or dressed in white. In the morning, people found flowers jammed between doors and their lintels, and wreaths floating downstream. Cattle died of secret wounds. Eliza sent the measurements of her own body, by personal courier, to the House of Worth.
On the opening night, there is still no roof. The Guarani stand on the floor of the theatre, ghostlike in their white smocks while around them the walls rise sheer to the stars; a giant dovecote, each nook rustling with velvet and plush. Old Lopez stiffly enters his box and the audience sighs to its feet. He sits. He does not turn or speak. Beside him, the stolidly staring face of his wife and his overexcited daughters in their crinolines; all bands and zigzags, fat and festive as Bavarian eggs.
The box where they sit is strangely off-centre. The middle box – the biggest one – is empty. It is like a tic in the corner of your eye, but no matter. The play begins.
At first, Stewart cannot tell what the audience makes of it, or even if they know what they are watching. The moments trundle by – a maiden lost in the forest. A tender scene with the injured lion (Bermejo, with a tail), a gallant scene with her rescuing Guarani Prince (the Englishman Captain Thompson, very white).
The Indians are enormously silent. Do they like it? Perhaps they have no opinion, as such, or as yet. Perhaps the play is simply as interesting to them as a new kind of animal, one with three legs, or five. But, no – there is a murmuring in the stalls. The Spanish maiden confronts her Conquistador father. He is too cruel, she says, and someone shouts. A boot, an actual and expensive boot, is thrown on stage. Then a general shushing, then more shouting, women's voices too. The maiden weeps for the plight of the Indian and her father spurns her – the stalls hiss. She defies him – they cheer and hulloo. He strides off to battle – the crowd roars their contempt.
They like it.
After which, the interval. No one in the stalls knows what this is, quite. They look a little foolish while, in the boxes, the better class of people pass their maté and preen. Then a shiver gathers in the crowd. At one distinct moment, everyone turns to the central box, as the most remarkable thing they have ever seen walks in and smiles.
Oh.
In the long silence, M. Cochelet, the French envoy, stands to his feet, and bows. It is not a question of diplomacy, but of the soul. All the foreigners rise, one by one. If Eliza were a horse they would be tempted to salute an animal so fine. But she is not a horse – she has made herself, and it is to the woman who created this, as well as to the woman who is this, that they offer their deep and ironical homage, as though, in her beauty, she has transcended herself.