Her stories lose immensely in the translation, for it is almost impossible to reproduce in another tongue the racy native speech, with its constant play on words, its wealth of epigrammatic proverbs, its snatches of ballad or song interwoven into the common talk of the day. The Andalusian peasant has an inexhaustible store of bits of poetry, coplas, that fit into every occurrence of his daily life. Fernan Caballero gathered up these flowers of speech as they fell from the lips of the common man, and wove them into her tales. Besides their pictures of Andalusian rural life, these stories reveal a wealth of popular songs, ballads, legends, and fairy tales, invaluable alike to the student of manners and of folk-lore. She has little constructive skill, but much genius for detail. As a painter of manners and of nature she is unrivaled. In a few bold strokes she brings a whole village before our eyes. Nor is the brute creation forgotten. In her sympathy for animals she shows her foreign extraction, the true Spaniard having little compassion for his beasts. She inveighs against the national sport, the bull-fight; against the cruel treatment of domestic animals. Her work is always fresh and interesting, full of humor and of pathos. A close observer and a realist, she never dwells on the unlovely, is never unhealthy or sentimental. Her name is a household word in Spain, where a foremost critic wrote of 'La Gaviota':—"This is the dawn of a beautiful day, the first bloom of a poetic crown that will encircle the head of a Spanish Walter Scott."
Perhaps the best summary of her work is given in her own words, where she says:—
"In composing this light work we did not intend to write a novel, but strove to give an exact and true idea of Spain, of the manners of its people, of their character, of their habits. We desired to sketch the home life of the people in the higher and lower classes, to depict their language, their faith, their traditions, their legends. What we have sought above all is to paint after nature, and with the most scrupulous exactitude, the objects and persons brought forward. Therefore our readers will seek in vain amid our actors for accomplished heroes or consummate villains, such as are found in the romances of chivalry or in melodramas. Our ambition has been to give as true an idea as possible of Spain and the Spaniards. We have tried to dissipate those monstrous prejudices transmitted and preserved like Egyptian mummies from generation to generation. It seemed to us that the best means of attaining this end was to replace with pictures traced by a Spanish pen those false sketches sprung from the pens of strangers."
THE BULL-FIGHT
From 'La Gaviota'
When after dinner Stein and his wife arrived at the place assigned for the bull-fight, they found it already filled with people. A brief and sustained animation preceded the fête. This immense rendezvous, where were gathered together all the population of the city and its environs; this agitation, like to that of the blood which in the paroxysms of a violent passion rushes to the heart; this feverish expectation, this frantic excitement,—kept, however, within the limits of order; these exclamations, petulant without insolence; this deep anxiety which gives a quivering to pleasure: all this together formed a species of moral magnetism; one must succumb to its force or hasten to fly from it.
Stein, struck with vertigo, and his heart wrung, would have chosen flight: his timidity kept him where he was. He saw in all eyes which were turned on him the glowing of joy and happiness; he dared not appear singular. Twelve thousand persons were assembled in this place; the rich were thrown in the shade, and the varied colors of the costumes of the Andalusian people were reflected in the rays of the sun.
Soon the arena was cleared.