I should always prefer the art that is disinterested, that carries within itself its aim and object, to the art that is directive, with a moral purpose; between the art that is pagan and the art that is imbecile, I should choose the pagan. If we Spaniards, who are like the Russians, at once an ancient and a young people, still ignorant of what the future may lead us to, and never able to make our traditions harmonize with our aspirations,—if we could succeed in incorporating in our novel not merely bits of fragmentary reality, artistic individualisms, but the spirit, the heart, the blood of our country, what we are doing, what we are feeling as a whole,—it would indeed be well. Yet I think this impossible, not for lack of talent but for lack of preparation on the part of the public, upon whom at present the novel exercises no influence at all. The novel is read neither quantitatively nor qualitatively in Spain. As to quantity, let the authors who publish, and the booksellers who sell, speak what they know; of the quality, let the numerous lovers of Montepin and the eager readers of the translations in the feuilletines tell us. The serious and profound novel dies here without an echo; criticism makes no comment upon it, and the public ignores its appearance. Is there a single modern novel that is popular, in the true meaning of the word, among us? Has any novel had any influence at all in Spanish political, social, or moral life?
On coming from France, I have often noticed a significant fact, which is, that at the French station of Hendaye there is a stand for the sale of all the popular and celebrated novels; while at Irun, just across the frontier, only a few steps away, but Spanish, there is nothing to be had but a few miserable, trashy books, and not a sign of even our own best novelists' works. From the moment we set foot on Spanish soil the novel, as a social element, disappears. It is sad to say, but it is so true that it would be madness to build any illusions on this matter. And yet the instinct, the desire, the inexplicable anxiety of the artist to embody and transmit the great truths of life, the impulse that lifts men to great deeds, and to desire to be the voice of the people, is secretly stimulating the Spanish novelists to break the ice of general indifference, to put themselves in communication with the sixty million souls and intelligences that to-day speak our language. Is the goal which we desire to attain inaccessible? Perhaps; but as the immense difficulties in the way of penetrating to the Arctic regions and the discovery of the open Polar Sea are but an incentive to the explorer, so the impossible in this undertaking should incite and spur on the masters of the Iberian novel.
A few words of humble confession, and I have done.
I feel that there is a certain indecision and ambiguity running through these essays of mine. I could not quite condemn the revolution in Russia, nor could I altogether approve its doctrines and discoveries. A book must reflect an intellectual condition which, in my case, is one of uncertainty, vacillation, anxiety, surprise, and interest. My vision has not been perfectly clear, therefore I have offered no conclusive judgments,—for conviction and affirmation can only proceed from the mind they have mastered. Russia is an enigma; let those solve it who can,—I could not. The Sphinx called to me; I looked into the depths of her eyes, I felt the sweet and bewildering attraction of the unknown, I questioned her, and like the German poet I wait, with but moderate hope, for the answer to come to me, borne by voices of the ocean of Time.