It is to be noted that no character in any of these early plays is represented as utterly bad. That would be contrary to the author's conception of human nature. Benavente insists that no man or woman can be regarded as entirely perverse or entirely admirable. Although his attitude is nearly always objective, and his general method satirical or ironical, he evinces upon occasion the ability to sympathize with the very weaknesses of the persons whom he ridicules. If we will try to forget for a moment that Benavente is making fun of an idle aristocracy vainly seeking relief from boredom, we shall understand that we are brought face to face with individuals drawn from real life, whose principal attributes are a discouraging mediocrity and inability to rise above a certain level.
Originality.—Benavente has been accused of plagiarism in his early plays. The charge has been brought, particularly with reference to Gente conocida, that he borrowed the character of the strong woman from Ibsen. His reply to this censure argues that there was no conscious imitation. He declares that Henri Lavedan served as a model as much as any writer can be said to have done so. That is to say, Benavente wished to unfold a picture of life as it is, in a series of photographic scenes.[6] Such a species of play has always been preferred by him. In days of more mature power, when he was writing with a more obvious purpose, he lamented that he was no longer doing what was pleasing to him, but was catering to the desires of others.
It may be gathered from what has just been said that there is not a strong element of plot in these plays of Spanish society. The object is rather delineation of character. Among the longer plays Gente conocida, La comida de las fieras and Lo cursi have perhaps received the greatest attention. Lo cursi is an excellent example of a skilfully constructed society comedy. Some of the shorter pieces, such as Operación quirúrgica, Despedida cruel, and Por la herida are very effective. A glance at the list of plays shows that Don Juan, La farándula, Cuento de amor, and Viaje de instrucción are unconnected in subject matter with the characteristic type just discussed.
It may not be amiss to call attention to Benavente's reason for choosing the aristocracy as a butt of ridicule. That he is not a mere vulgar reviler of rich and prominent people is shown by the following remarks, made in the course of a panegyric of the interest of the nobility in agriculture.
"If at times I have lashed our aristocracy, it was not on account of prejudice against it, but because, called upon to satirize, and considering the natural and roguish desire of the public to laugh at somebody's cost, it seemed to me more charitable to excite laughter at the expense of those who enjoy many advantages in life, rather than at the expense of the humble who toil and who suffer privations of all kinds. It has never seemed to me that hunger is a fit subject for laughter, and we know that in half of our comic plays hunger is the principal cause of merriment."[7]
Transition.—Many discussions and criticisms of Benavente indicate that he is known principally as a composer of plays that deal with society, written objectively to depict life as it is, without any betrayal of the author's opinions. As we pass beyond the year 1901, we realize that a change is taking place. This does not mean that pictures of life in the upper classes are to constitute an unimportant part of Benavente's teatro. As has been noted, they are especially congenial to his artistic sense. However, the later periods of his career give evidence of ever-expanding powers and of increasing versatility. The early type of play does not disappear, but it becomes only one of a number of different genres, all of which are connected by their author's keenness of observation, fidelity to life, genius for irony and universal human interest.
1901-1904.—No convincing bond of union is found in the eighteen plays written in the first three years of the present century. Four translations and adaptations are encountered. The society play is continued in El automóvil and El hombrecito, although the latter shows elements of the problem drama. With scarcely any change of method the scene of action is shifted from Spanish to royal and international society in La noche del sábado and La princesa Bebé. El primo Román, Al natural, and La casa de la dicha, although differing widely in details, evidence a broader view of human nature. Free rein is given to the spirit of fun in El tren de los maridos and No fumadores. Serious steps toward a thesis drama are evident in Alma triunfante and Por qué se ama. But the two most striking plays of the period are La gobernadora and El dragón de fuego.
La gobernadora.—In this play the spectator or reader is introduced to prominent political characters in a provincial town. The successive incidents show how influence may be brought to bear upon an administrative official from a variety of undesirable sources. The governor's wife, a shrewd, capable woman, persuades her husband to use his authority against his better judgment. The moneyed classes, devoted to reaction, use intrigues of all kinds to force him to forbid the performance of a play that extols liberal tendencies. The working classes attempt a riot in order to compel him not to interfere with the spectacle. The details of the plot need not be given. One thing, however, deserves to be mentioned—the brilliancy of the scenes in which a great number of characters are shown on the stage at the same time. One scene brings before our eyes a crowd collected in a café, and another shows us the spectators at a bull-fight. Benavente portrays faithfully and vividly the gayety inherent in the outdoor life of the races of Southern Europe. He reminds us of the splendid pictures that mark some of the best plays of Goldoni.[8]
Political Ideas.—Benavente has more than once called himself a reactionary in politics. Unfortunately we do not know just what he means by reaction. He speaks of the folly of endeavoring to correct abuses by law, but just when he appears to be on the point of committing himself, a satirical or ironical remark leaves us in doubt as to his real convictions. In recent utterances he has demonstrated greater willingness to discuss current problems from a severely logical point of view. In many respects he is a modern thinker; projects for the gradual improvement of Spanish and world-wide ills meet with his unqualified approval. Unfortunately, or perhaps fortunately, he is not always consistent in his desire to see things accomplished without governmental interference; for instance, he favors state control of the theater.
El dragón de fuego.—No better example could be given of the difficulty of determining Benavente's political notions than El dragón de fuego. It is at the same time his most serious, most mysterious, and, in the opinion of some critics, his most pessimistic work. The plot is as follows: A certain civilized country called Sirlandia has gained control over the uncivilized people of Nirván, thereby outdistancing the rival powers, Franconia and Suavia (the names may be applied to Western European nations as each reader sees fit). The emissaries of civilization are a general, a merchant, and a clergyman, who symbolize arms, money, and spirituality. The Europeans uphold upon the throne a puppet-king, Dani-Sar, who is the protagonist of the play and whose character is in every respect admirable. His weakness and his strength are those of a man removed from western civilization. Although in love with a maiden, Sita, he surrenders her to his brother Duraní, whom he thinks she loves. Foreigners and natives are alike dear to him, but he falls victim to the selfish and cruel policy of civilization. When the Sirlandians discover that Dani-Sar is not a pliant tool, they dethrone him and make his brother king. Dani-Sar is taken to Sirlandia, where he is held in custody. Outwardly he receives good treatment, but his heart is eaten away by loneliness, despair, and homesickness. He cannot endure the cold climate of the north and the hypocritical hospitality of his captors.