“And so very wise for his age,” retorted Decoud. “But here we have the naked truth from the mouth of that child. You are right, Don Jose. The natural treasures of Costaguana are of importance to the progressive Europe represented by this youth, just as three hundred years ago the wealth of our Spanish fathers was a serious object to the rest of Europe--as represented by the bold buccaneers. There is a curse of futility upon our character: Don Quixote and Sancho Panza, chivalry and materialism, high-sounding sentiments and a supine morality, violent efforts for an idea and a sullen acquiescence in every form of corruption. We convulsed a continent for our independence only to become the passive prey of a democratic parody, the helpless victims of scoundrels and cut-throats, our institutions a mockery, our laws a farce--a Guzman Bento our master! And we have sunk so low that when a man like you has awakened our conscience, a stupid barbarian of a Montero--Great Heavens! a Montero!--becomes a deadly danger, and an ignorant, boastful Indio, like Barrios, is our defender.” But Don Jose, disregarding the general indictment as though he had not heard a word of it, took up the defence of Barrios. The man was competent enough for his special task in the plan of campaign. It consisted in an offensive movement, with Cayta as base, upon the flank of the Revolutionist forces advancing from the south against Sta. Marta, which was covered by another army with the President-Dictator in its midst. Don Jose became quite animated with a great flow of speech, bending forward anxiously under the steady eyes of his daughter. Decoud, as if silenced by so much ardour, did not make a sound. The bells of the city were striking the hour of Oracion when the carriage rolled under the old gateway facing the harbour like a shapeless monument of leaves and stones. The rumble of wheels under the sonorous arch was traversed by a strange, piercing shriek, and Decoud, from his back seat, had a view of the people behind the carriage trudging along the road outside, all turning their heads, in sombreros and rebozos, to look at a locomotive which rolled quickly out of sight behind Giorgio Viola’s house, under a white trail of steam that seemed to vanish in the breathless, hysterically prolonged scream of warlike triumph. And it was all like a fleeting vision, the shrieking ghost of a railway engine fleeing across the frame of the archway, behind the startled movement of the people streaming back from a military spectacle with silent footsteps on the dust of the road. It was a material train returning from the Campo to the palisaded yards. The empty cars rolled lightly on the single track; there was no rumble of wheels, no tremor of the ground. The engine-driver, running past the Casa Viola with the salute of an uplifted arm, checked his speed smartly before entering the yard; and when the ear-splitting screech of the steam-whistle for the brakes