THE BRIDGE OF SAN LUIS REY
ards of the theatres in some Heaven whither Calderón had preceded them. The public for which masterpieces are intended is not on this earth.
With the passing of time Camila lost some of this absorption in her art. A certain intermittent contempt for acting made her negligent. It was due to the poverty of interest in women’s rôles throughout Spanish classical drama. At a time when the playwrights grouped about the courts of England and France (a little later, of Venice) were enriching the parts of women with studies in wit, charm, passion and hysteria, the dramatists of Spain kept their eyes on their heroes, on gentlemen torn between the conflicting claims of honour, or, as sinners, returning at the last moment to the cross. For a number of years Uncle Pio spent himself in discovering ways to interest the Perichole in the roles that fell to her. Upon one occasion he was able to announce to Camila that a granddaughter of Vico de Barrera had arrived in Peru. Uncle Pio had long since com-
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