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SUNLIGHT 139
a rainbow bridge, of each smile, and of each stanza
of a song, of each dancing step that meets them on
their path. “That’s the way my little Carlos laughs!”
says the boy’s mother. “That is just how my loved
one dances!” is the young man’s exclamation. Please
note: they do not say, “He laughed—she danced.”
They do not use the past tense, although they are
speaking of the dead; for no shadow must be allowed
to fall upon their memory, least of all the heaviest of
shadows, the shadow of death.
And how wonderful is their ability to forget! Time
and time again you may be sitting opposite a mother,
hearing her delighted account of her child’s miraculous
gifts, until some little external circumstance suddenly
causes you to doubt whether the child still lives. And
if you then proceed to ask the mother this question, she
will burst into irrepressible tears. She has actually for-
gotten the hard fact.
This obliviousness, this capacity for escape, is the
only bulwark to protect these children of the sun from
care and misfortune. They are incapable of acquiring
strength from tribulations, of obtaining a profound
view of life by reason of misfortune. But they can
shake off the whole business and simply forget it, as
the bird forgets and bursts into a flood of jubilant song
when the showers of rain have passed and the sun
shines once more.
The Andalusian is so happy as not to possess a soul.
He is not subject to the cleavage involved in this dual-
istic system. His nature is purely material. It never
is developed in the form of a protest against his en-
vironment. It always unites with the environment.
The spirit which radiates from him has neither as-
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