also of red stone, stands massively above the town, and precipitously steep and cobbled streets lead up to it. Houses look sheer down from windows, balconies, and gardens to the river far below, which flows over a weir above and below the town, so that there is a perpetual sound of rushing water. From Montoro one may follow the Guadalquivir, now a majestic river, through its olive groves to the famous bridge of Alcolea, and the low white line beneath bare hills and wooded mountains which is Córdoba, seen from the East. Everywhere on the roads and in the inns of Andalucía the peasants are courteous, pleasant, intelligent, picturesque; always ready to give any service in their power, often immensely ignorant. They will ask if “Ingalaterra” is not Spain’s border-country and confuse it with Gibraltar, or if the Queen was a Christian before her marriage. For the most part they cannot read or write;[93] yet they converse willingly on the most various subjects, especially on politics and religion, the mayor and the priest. Here a woman complains: “Nine children I had, and the nine are dead; it’s better so in these times of misery”; there a peasant describes the snowy Sierra in the month of August, how it glows whiter than lilies across the plain--_más blanca, que una azucena_; or tells how beautiful is the country in later spring when the quinces, apples, and pomegranates are in flower, _que es un paraiso_--a very paradise. As they sit round the _candela_, in the cold evenings of early spring, talk flows on into the night, always pleasant and courteous, as of one _gran señor_ to another. XVI SOME CHARACTERISTICS OF SPANISH LITERATURE There is not a literature in Europe more individual than that of Spain. It has been influenced greatly at various times by other countries, especially Italy and France, but in its many masterpieces it has a flavour of the soil, a local colouring that is all its own. Even when Spanish authors have borrowed most freely they have usually succeeded in casting their own individuality over their “honourable kind of thieving.” Who has a more individual genius than Juan Ruiz, the merry Archpriest of Hita? Yet it has been shown that his debt to French, Latin, and other authors is very considerable. In this form of borrowing--practised by Shakespeare--which is not a direct imitation but a loan of bricks to make them marble, there is in fact a high originality. The phrase in which the merits of the Marqués de Santillana have been summed up might be applied to the whole of Spanish literature: when it ceases to imitate it is inimitable. Santillana’s mountain songs--his _serranillas_ are scented as it were with the thyme of the Castilian hills, whereas his sonnets in the Italian manner are colourless and artificial.