Heath's Modern Language Series: Mariucha. Benito Pérez Galdós

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СКАЧАТЬ apply especially to Alma y vida, Bárbara, Sor Simona, and Santa Juana de Castilla, but they indicate in general Galdós' growing simplicity of manner and his increasing interest in purely moral qualities.

       V. The Subject-matter of His Plays.—Rather than by time, it is better to classify Galdós' plays by their subject-matter, although the different threads are often tangled. Galdós had three central interests in all his work, novels and dramas alike: the study of characters for their own sake; the national problems of Spain; the philosophy of life.

      1. Character Study.—"Del misterio de las conciencias se alimentan las almas superiores," said Victoria in La loca de la casa (IV, 7), and that phrase may serve as a guide to all his writings that are not purely historical. The study of the human conscience, not propaganda, was the central interest of the early novel, Doña Perfecta, just as it was in Electra, and to a far greater degree in works of broader scope.

      Yet the statement, often made, that Galdós was a realist, as if he were primarily an observer, a transcriber of life, requires to be modified where the dramas are concerned. Pure realism is present in his dramatic work, but it does not occupy anything like the predominant place which some suppose. A "keen, minute, subtle study of the manners of humble folk" (Azorín) formed, indeed, the backbone of certain novels, but in the later period, to which the plays belong, it was already overshadowed by other interests. In the dramas, realism is usually abandoned to the secondary characters and the minor scenes. For genre studies of a purely observed type one may turn to the picture of a dry-goods store in Voluntad, to the parasites and the children in El abuelo, to the peasants in Doña Perfecta and Santa Juana de Castilla, and to other details, but hardly to any crucial scene or front-rank personage. So too, Galdós' humor, the almost unfailing accompaniment of his realism, is reserved for the background. Only in Pedro Minio, the sole true comedy, is the chief figure a comic type. Not a single play of Galdós, not even Realidad, can be called a genuine realistic drama.

      To demonstrate was Galdós' aim, not to entertain or to reproduce life. Hence, in the studies of unusual or mystical types, in which he grew steadily more interested, one always feels the presence of a cerebral element; that is, one feels that these persons are not so much plastic, living beings as creations of a superior imagination. In this respect also Galdós resembles Balzac. The plays having the largest proportion of realism are the most convincing. That is why Realidad, with its immortal three, La loca de la casa, with the splendidly-conceived Pepet, Bárbara, which contains extraordinarily successful studies of complex characters, and especially El abuelo, with the lion of Albrit and the fine group of cleanly visualized secondary characters, are the ones which seem destined to live upon the stage.

      We should like to emphasize the cerebral or intellectual quality of Galdós' work, because it has been often overlooked. It contrasts sharply with the naturalness of Palacio Valdés, the most human of Spain's recent novelists. Nothing shows this characteristic of Galdós more clearly than his weakness in rendering the passion of love. The Quinteros, in their slightest comedy, will give you a love-scene warm, living, straight from the heart. But the Galdós of middle age seemed to have lost the freshness of his youthful passions, and Doña Perfecta, precisely because its story dated from his youth, is the only play which contains a really affecting love interest. Read the passional scenes of Mariucha, as of La fiera, Voluntad, or of any other, and you will see that the intellectual interest is always to the fore. Examine the scene in Voluntad (II, 9) where Isidora, who has been living with a lover and who has plucked up strength to break away from him, is sought out by him and urged to return. The motif is precisely the same as that used by the Quinteros in the third act of Las flores (Gabriel and Rosa María), but a comparison of the handling will show that all the emotional advantage is in favor of the Quinteros. Galdós depicts a purely intellectual battle between two wills; while the creations of the Andalusian brothers vibrate with the intense passion of the human heart. For the same reason, Galdós, in remodeling Euripides' Alceste, was unable to clothe the queen with the tenderness of the original, and substituted a rational motive, the desire to preserve Admetus for the good of his kingdom, in the place of personal affection. The neglect of the sex problem in the dramas is indeed striking: in Amor y ciencia, Voluntad and Bárbara it enters as a secondary interest, but Realidad is the only play based upon it.

      This may be the place to advert to Galdós' romantic tendencies, which French critics have duly noted. In his plays Galdós, when imaginative, was incurably romantic, almost as romantic as Echegaray, and proof of it lies on every side. Sra. Pardo Bazán coined his formula exactly when she christened his dramatic genre "el realismo romántico-filosófico" (Obras, VI, 233). Many of the leading characters are pure romantic types: the poor hero of unknown parentage, Víctor of La de San Quintín; the outlaw beloved of a noble lady, José León, of Los condenados; the redeemed courtesan, Paulina, of Amor y ciencia. In his fondness for the reapparition of departed spirits (Realidad, Electra, Casandra, novela), a device decidedly out of place in the modern drama,7 the same tendency crops out. Some of the speeches in Gerona (II, 12) might have been written in 1835; and the plot of La fiera dates from the same era.

      All this shows that Galdós was not, in the direction of pure realism, an original creator. The Quintero brothers and Benavente excel him in presenting a clear-cut profile of life, informed by a vivifying human spirit.

      2. National Problems.—Galdós is not the most skilled technician among the Spaniards who discuss, through the drama, the burning problems of the day. Linares Rivas excels him in this rather ephemeral branch of dramaturgy. But Galdós has the great advantage of breadth. He is never didactic in the narrow sense. He sometimes hints at a moral in the last words of a play, but he is never so lacking in artistic feeling as to expound his thesis in set terms, like Echegaray and Brieux. The intention speaks from the action.

      Galdós has said that the three great evils which afflict Spain to-day are the power of the Church, caciquismo or political bossism, and la frescura nacional or brazen indifference to need of improvement. All three he tried to combat. In spite of the common belief, however, his plays—thesis plays as they nearly all are in one way or another—seldom attack these evils directly. Caciquismo is an issue only in Mariucha and Alma y vida, and in them occupies no more than a niche in the background. Sloth and degeneracy are a more frequent butt, and Voluntad, Mariucha, La de San Quintín, and, in less degree, La loca de la casa, hold up to scorn the indolent members of the bourgeoisie or aristocracy, and spur them into action. From this motive, perhaps, Galdós devoted so much space to domestic finance. The often made comparison with Balzac holds good also in the fluency with which he handled complicated money transactions on paper, and in the business embarrassment which overtook him in real life. He had a lurking affection for a spendthrift: witness Pedro Minio and El tacaño Salomón.

      Against the organization of the Catholic Church Galdós harbored intense feeling, yet he never displayed the bitterness which clericals are wont to impute to him. In view of his flaming zeal to remedy the backwardness of Spain, a zeal so great as to force him into politics, which he detested, Galdós' moderation is noteworthy. The dramas in which the clerical question appears are Electra, and Casandra. Doña Perfecta attacks, not the Church, but religious fanaticism, just as La fiera and Sor Simona attack political fanaticism; and the dramatist is so far from showing bias that he allows each side to appear in its own favorable light. Thus, in Casandra, Doña Juana, the bigot, is a more attractive figure personally than the greedy heirs. Doña Perfecta gives the impression of an inevitable tragic conflict between two stages of culture, rather than of a murder instigated by the malice of any one person. One can even detect a growing feeling of kindliness toward the clergy themselves: there was a time when Galdós would not have chosen a priest to be the good angel of his lovers, as he did in Mariucha.

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