At first sight it seems as if Benavente's whole theory of art had been revolutionized. The key to the solution of the problem is in the pages of De sobremesa. In his weekly articles he frequently discusses conditions of wretchedness in the world about him. He suggests practical remedies for the alleviation of misery among the poor and in the middle classes. He evinces such a spirit of commiseration for human woes that no one can wonder that his natural feelings of sympathy and his desire to benefit his fellow men are reflected in his dramas. Thus it is that we find intensely moral plays coming from the hand of the man who wrote in the preface to the standard edition of his works: "I love art above all things, but all that I have attained in my works has been only a vain longing of my infinite love."
Plays for Children.—A passion for the welfare and happiness of children is one of the keynotes of Benavente's existence. In periodical writings he maintains that the young are neglected in Spain, that they receive a miserable education, and that the poor are wont to regard those children who die young as truly fortunate. Yet he feels that the most important element in the future improvement of the race is the careful upbringing of the newer generations. In company with other people Benavente long agitated the founding of a theater for children. His efforts were at last crowned with success, and he himself wrote for the new institution El príncipe que todo lo aprendió en los libros, Ganarse la vida, and El nietecito. He endeavored, with considerable success, to combine fairy legends, playful imagination, and educational value. Unfortunately the theater seems to have been a failure; its existence was limited to about one year.
Romantic Plays.—Benavente has always possessed a vein of poetry or of romance that makes him take delight in pure fancy. More than once in De sobremesa he defends works of imagination. In his own career the tendency can be traced back to the Teatro fantástico, and it is presumably connected with veneration of Shakespeare. Thus it is that we find among recent productions, not only the children's plays but La princesa sin corazón, La copa encantada, El último minué, and other flights of fancy. The inspiration that brought forth Los intereses creados may perhaps be assigned to the same source.[10]
Miscellanies.—It must not be supposed that recent years have witnessed a decline on the part of Benavente in power of irony and observation of character. Not only are these qualities present in nearly all his plays, but they are predominant in some. Abuela y nieta is a delightful character sketch. De pequeñas causas... is reminiscent of the earliest plays. Los ojos de los muertos is a gloomy tragedy of unhappy marital relations. And so we might continue with other scattered titles.
Señora ama and La malquerida.—To the period now being discussed belong the two most striking (from the point of view of tendencies) of Benavente's latter-day achievements, Señora ama and La malquerida. They carry us to rural districts and plunge us into an inferno of ignorance, corruption, and vice. The author of these tragic histories has no illusions about the innocence of the country. Benavente is reported to have said that he liked Señora ama better than any other of his plays. The verdict of public and critics has been in favor of the companion piece. One critic, in particular, has used La malquerida as an argument to place Benavente among the really great masters of the world's literature.[11]
La malquerida is a tragedy with a unified plot; the end of each act forms a climax, while the whole leads to a final crisis. A drama with the plot hinging upon a complicated series of incidents was about the only thing lacking to round out Benavente's teatro. It may now be claimed that he has cultivated with success practically every variety of composition that might reasonably be attempted in modern times for a modern audience.
Analysis.—The scene of La malquerida is laid among country people in fairly easy circumstances. Raimunda, the leading female character, is married to Esteban.[12] She has a daughter, Acacia, from a former marriage, and one of her chief desires is that her husband and daughter be on good terms. To her disappointment, Acacia ever since childhood has shown an aversion toward her stepfather, too strong to be overcome by Esteban's kindness and by the many presents that he has brought to her upon various occasions.
At the time of the opening scene of the play, Acacia is betrothed to Faustino, son of a neighboring farmer, Eusebio. She had previously been engaged to her cousin, Norberto, but the engagement had been broken for no obvious reason. One night, just after a visit in company with his father to the house of his fiancée, Faustino is murdered; shortly afterwards the first act ends.
The community is aroused, and the finger of suspicion is directed against the unfortunate cousin, Norberto. Especially do Eusebio and his remaining sons believe him guilty, and when justice, on account of lack of proof, does not detain Norberto, they determine to take their own revenge. They lie in wait for him as he is coming to see Raimunda, fall upon him, and wound him. He is carried to Raimunda's home, and there tells her a secret and also some horrible rumors that are being circulated in the community. He discloses that Esteban had long been in love with his stepdaughter Acacia, and that he could not bear the idea of losing her. Therefore he had threatened Norberto with death if he should insist upon marrying his cousin; that was the true reason for the breaking of the engagement. Later, when Acacia was betrothed to an outsider, Esteban could not use threats, but he was driven nearly crazy at the thought of being abandoned by his stepdaughter. He talked matters over with his servant El Rubio, and inflamed him to such an extent that he murdered Faustino.
Suspicion has been aroused by certain unguarded statements made by El Rubio while under the influence of wine. The whole community begins to suspect Esteban of the crime.