CHAPTER XVI
MODERN LITERATURE
The name of Pascual de Gayangos is known far beyond the confines of his own country as a scholar, historian, philologist, biographer, and critic. Although now a man of very advanced age, he is one of the most distinguished of modern Orientalists, and his History of the Arabs in Spain, Vocabulary of the Arabic Words in Spanish, and his Catalogue of Spanish MSS. in the British Museum are known wherever the language is known or studied. He has published in Spanish an edition of Ticknor's great work on Spanish literature, and has edited several valuable works in the Spanish Old Text Society besides innumerable other historical and philological books and papers, which have given him a European reputation. His immense store of knowledge, his modesty, and his genuine kindness to all who seek his aid endear him as much for his personal qualities as for his learning.
Next to Gayangos in the same class of work, Marcelino Menendez y Palayo may perhaps be mentioned. His History of Æsthetic Ideas in Spain has been left unfinished so far, owing to the demands made on his time by his position in the political world as one of the Conservative leaders. Don Modesto Lafuente, though scarcely possessing the qualities of a great historian, is accurate and painstaking to a great degree; but in the field of history many workers are searching the archives and documents in which the country is so rich, and throwing light on particular periods. Cánovas del Castillo, in spite of his great political duties, was one of the most valuable of these; and the eminent jurist, Don Francisco de Cardenas, and the learned Jesuit, Fidel Fita, and other members of the Academy of History are constantly working in the rich mine at Simancas. New papers and books are continually being brought out under the auspices of this society, throwing light on the past history of the country.
Fernan Caballero, a German by race, but married successively to three Spanish husbands, may be said to have inaugurated the modern Spanish novel de costumbres, and her books are perhaps better known in England than those of some of the later novelists. By far the greater writer of the day in Spain, however, in light literature, is Juan Valera, at once poet, critic, essayist, and novelist. His Pepita Jimenez is a remarkable novel, full of delicate characterisation and exquisite style, second to none produced in any country—a novel full of fire, and yet irreproachable in taste, handling a difficult subject with the mastery of genius. It has been translated into English; but however well it may have been done, it must lose immensely in the transition, because the Spanish of Valera is the perfection of a perfectly beautiful language. In this novel we have the character of a priest, who, while we know him only through the letters addressed to him by the young student of theology, the extremely sympathetic hero of the story, lives in one's memory, showing us the best side of the Spanish priest. Other novels of Valera's, Doña Luis and El Comendador Mendoza, a number of essays on all sorts of subjects, critical and other, and poems which show great grace and correctness of style, have given this writer a high place in the literature of the age.
Perez Galdós is a writer of a wholly different class, although he enjoys a very wide reputation in his own country and wherever Spanish is read. His Episodes Nacionales, some fifty-six in number, attract by their close attention to detail, which gives an air of actuality to the most diffuse of his stories. They are careful and very accurate studies of different episodes of national life, in which the author introduces, among the fictitious characters round whom the story moves, the real actors on the stage of history of the time. Thus Mendizábal, Espartero, Serrano, Narvaez, the Queen of Ferdinand VII., Cristina, and many other persons appear in the books, giving one the impression that history is alive, and not the record of long-dead actors we are accustomed to find it. Galdós appears to despise any kind of plot; the events run on, as they did in fact run on, only there are one or two people who take part in them whom we may suppose to be creations of the author's brain. Certainly, one learns more contemporary history by reading these Episodes of Perez Galdós, and realises all the scenes of it much more vividly than one would ever do by the reading of ordinary records of events. As the tendency and the sympathy of the writer is always Liberal, one fancies that Galdós has written with the determined intention to tempt a class of readers to become acquainted with the recent history of their country who would never do so under any less attractive form than that of the novel. His works must do good, since they are very widely read, and are extremely accurate as history. His play, Electra, which is just now giving him such wide celebrity, is of the actual time, and the scene is laid wholly in Madrid. The freedom that he advocates for women is merely that which Englishwomen have always enjoyed, or, at least, since mediæval times, and has nothing in common with the emancipation which our "new women" claim for themselves. Galdós, also, is fond of introducing the simple-minded and honest, if not very cultivated, priest. His style is pure, without any great pretention to brilliancy, or any of the straining after effect which so many of the English writers seem to think gives distinction.
Pedro Alarcón is novelist first, and historian, poet, and critic afterwards. That is to say, his novels are his best-known and most widely read works. He has two distinct styles. His Sombrero de Tres Picos is a fascinating sketch of quaint old village life, full of quiet grace, while El Escándalo and La Pródiga are of the sensational order. He writes, like Galdós, in series, such as Historietas Nacionales, Narraciones Inverosímiles, and Viajes por España. Parada is a native of Santander, and writes of his beloved countrymen. Sotilezas, his best-known, and perhaps best, novel, treats of life among the fisher-folk of Santander, before it became an industrial town. Writing in dialect makes many of his stories puzzling, if not impossible for foreign readers.
The lady who writes under the pseudonym of "Emelia Pardo Bazan" may be said to be the leader or the pioneer of women's emancipation in the sense in which we use the words. She is a native of Galicia, and is imbued with that intense love of her native province which distinguishes the people of the mountains. Her novels are chiefly pictures of its scenery and the life of its people, though in at least one she does not hesitate to take her readers behind the scenes of student life in Madrid. It would not be fair to apply to this writer's work the standard by which we judge an English work, because in Spain there is a frankness, to call it by no other name, in discussing in mixed company subjects which it would not be thought good taste to mention under the same circumstances with us. Una Cristiana and La Prueba, its sequel, are founded on the sex problem, and, probably without any intention of offence, Pardo Bazan has worked with a very full brush and a free hand, if I may borrow the terms from a sister art. Her articles on intellectual and social questions show an amount of education and a breadth of view which place her among the best writers of her nation. She is not in the least blinded by her patriotism to the faults of her country, especially to the hitherto narrow education of its women. She holds up an ideal of a higher type—a woman who shall be man's intellectual companion, and his helper in the battle of life. She is by no means the only woman writer in Spain at the present time; but she is the most talented, and occupies certainly the highest place. Her writings are somewhat difficult for anyone not conversant with Portuguese, or, rather, with the Galician variety of the Spanish language, for the number of words not to be found in the Spanish dictionary interfere with the pleasure experienced by a foreigner, and even some Castilians, in reading her novels. Pardo Bazan was an enthusiastic friend and admirer of Castelar, and belongs to his political party. A united Iberian republic, with Gibraltar restored to Spain, is, or was, its programme.
Hermana San Sulpicio, by Armando Palacio Valdés, is one of the charming, purely Spanish novels which has made a name for its author beyond the confines of his own country; but since that was produced he has gone for his inspiration to the French naturalistic school, and, like some English writers, he thinks that repulsive and indecent incidents, powerfully drawn, add to the artistic value of his work. Padre Luis Coloma, a Jesuit, obtained a good deal of attention at one time by his Pequeñeces, studies, written in gall, of Madrid society. His stories are too narrowly bigoted in tone to have any lasting vogue, and his views of life too much coloured by his ultramontane tendencies to be even true. Nuñez de Arce is, like so many Spaniards of the last few decades, at once a poet and a politician. He played a stirring part from the time of the Revolution to the Restoration, always on the side of liberty, but never believing in the idea of a republic. His Gritos del Combate were the agonised expression of a fighter in his country's battle for freedom and for light. Since the more settled state of affairs, Nuñez de Arce has written many charming idyls and short poems. In the Idilio is a wonderful picture of the, to some of us, barren scenery of Castile, in which the eye of the artist sees, and makes his readers see, a beauty all the more striking because it is hidden from the ordinary gaze.