"And Jesús continued talking of a vague ideal of love and justice, of energy and pity; and those words of his, chaotic, incoherent, fell like balm on Manuel's ulcerated spirit. Then they were both silent, lost in their thoughts, looking at the night.
"An august joy shone in the sky, and the vague sensation of space, of the infinity of those imponderable worlds, filled their spirits with a delicious calm."
III
Spain is the classic home of the anarchist. A bleak upland country mostly, with a climate giving all varieties of temperature, from moist African heat to dry Siberian cold, where people have lived until very recently,—and do still,—in villages hidden away among the bare ribs of the mountains, or in the indented coast plains, where every region is cut off from every other by high passes and defiles of the mountains, flaming hot in summer and freezing cold in winter, where the Iberian race has grown up centerless. The pueblo, the village community, is the only form of social cohesion that really has roots in the past. On these free towns empires have time and again been imposed by force. In the sixteenth and seventeenth centuries the Catholic monarchy wielded the sword of the faith to such good effect that communal feeling was killed and the Spanish genius forced to ingrow into the mystical realm where every ego expanded itself into the solitude of God. The eighteenth century reduced God to an abstraction, and the nineteenth brought pity and the mad hope of righting the wrongs of society. The Spaniard, like his own Don Quixote, mounted the warhorse of his idealism and set out to free the oppressed, alone. As a logical conclusion we have the anarchist who threw a bomb into the Lyceum Theatre in Barcelona during a performance, wanting to make the ultimate heroic gesture and only succeeding in a senseless mangling of human lives.
But that was the reduction to an absurdity of an immensely valuable mental position. The anarchism of Pío Baroja is of another sort. He says in one of his books that the only part a man of the middle classes can play in the reorganization of society is destructive. He has not undergone the discipline, which can only come from common slavery in the industrial machine, necessary for a builder. His slavery has been an isolated slavery which has unfitted him forever from becoming truly part of a community. He can use the vast power of knowledge which training has given him only in one way. His great mission is to put the acid test to existing institutions, and to strip the veils off them. I don't want to imply that Baroja writes with his social conscience. He is too much of a novelist for that, too deeply interested in people as such. But it is certain that a profound sense of the evil of existing institutions lies behind every page he has written, and that occasionally, only occasionally, he allows himself to hope that something better may come out of the turmoil of our age of transition.
Only a man who had felt all this very deeply could be so sensitive to the new spirit—if the word were not threadbare one would call it religious—which is shaking the foundations of the world's social pyramid, perhaps only another example of the failure of nerve, perhaps the triumphant expression of a new will among mankind.
In Aurora Roja ("Red Dawn"), the last of the Madrid trilogy, about the same Manuel who is the central figure of Mala Hierba, he writes:
"At first it bored him, but later, little by little, he felt himself carried away by what he was reading. First he was enthusiastic about Mirabeau; then about the Girondins; Vergniau Petion, Condorcet; then about Danton; then he began to think that Robespierre was the true revolutionary; afterwards Saint Just, but in the end it was the gigantic figure of Danton that thrilled him most....
"Manuel felt great satisfaction at having read that history. Often he said to himself:
"'What does it matter now if I am a loafer, and good-for-nothing? I've read the history of the French Revolution; I believe I shall know how to be worthy....'