The influence of the picaresque evidenced in selected novels of Benito Pérez Galdós

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This thesis, having been a p p ro v ed b y the special Faculty C om m ittee, is accepted by the Graduate School o f the U niversity o f W yom in g, in partial fu lfillm en t o f th e requirem en ts fo r the degree o f

ter _Gf Ar_ts_______ ____ Dean of the Graduate School.

Date

June 5, I 9$0__

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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

THE INFLUENCE 0? THE PICARESQUE EVIDENCED I F SELECTED NOVELS OF BENITO PgRSZ GALDfls by E ls ie E leanor T u ttle

A T hesis S u b m itted t o t h e Department o f Modern and C l a s s i c a l L an g u a g e s and t h e G raduate School o f t h e U n i v e r s i t y o f Wyoming i n P a r t i a l F u l f i l l m e n t o f R e q u i r e m e n t s f o r t h e D e g ree o f M aster o f A rts

U n i v e r s i t y o f Wyoming L a r a m i e , Wyoming J u n e , 1950

LI BRARY o f

THE

U N IVERSITY OF W Y O M IN G LARAMIE

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UMI N um ber: EP24271

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iiskni Acom

TABLE OF CONTENTS C h a p te r

I

.

II. III. IV . v

INTRODUCTION............................................................... CHARACTERISTICS OF PICARESQUE LITERATURE THE BODY OF PICARESQUE LITERATURE IN SPA! TRANSITION FRCH PICARISE TO IDDER

REAL IS:

THE LIFE AND HORNS OF OALDtDS . . 1 . S k e t c h o f L i f e a nd I n t e r e s t s 2. C l a s s i f i c a t i o n o f Hovels

VI.

EL DOCTOR CENTENO....................

V II.

MISERICORDIA .............................

VITT .

OTHER T7CEK3 OF OALDOS. . . 1 . La D e s h e r e d a d a

. . .

2 . The Torquem ad a S e r i e s 3 . La F o n t a n a de P r o IX.

. .

JCHCLUSICN

BIBLIOGRAPHY, APPENDIX A

,

APPENDIX B

,

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CHAPTER I

INTRODUCTION The c o n t r i b u t i o n s o f p e r m a n e n t v a l u e w h ic h S p a i n h a s made t o E u r o p e a n l i t e r a t u r e h a v e o f t e n b e e n i n t h e r e a l m of the n ovel.

C e r t a i n l y S p a i n h a s p l a y e d an i m p o r t a n t

p a r t i n t h e development o f t h e no v el a s a l i t e r a c y form . In f a c t,

i t i s l i h e l y t h a t E u r o o e Ts g r e a t e s t n o v e l was

w r i t t e n by a S p a n ia rd .

The c o n n e c t i o n b e t w e e n t h e Greek

d e v e l o p m e n t o f t h e n o v e l an d t h e e a r l y s t a g e s o f d e v e l o p ­ ment o f t h e n o v e l i n modern E u r o p e a n c o u n t r i e s was v e r y slig h t;

the t a l e ,

or sh o rt s t o r y o f ad v en tu re, lo v e , or

s u p e r n a t u r a l i n c i d e n t s , f l o u r i s h e d i n t h e K i d d l e Ages, b u t t h e n o v e l had n o t t a k e n d e f i n i t e s h a r e a s a l i t e r a r y f o r m . T h e r e f o r e , when t h e n o v e l b e r a n t o d e v e l o r i n E u r o p e i n t h e f i f t e e n t h and s i x t e e n t h c e n t u r i e s ,

i t was n o t r e s t r i c t ­

ed b 3r a n y p r e v i o u s l i m i t a t i o n s o f form, o r s u b j e c t .

The

n o v e l s o f c h i v a l r y e v o l v e d f ro m t h e r a m b l i n g t a l e s o f t h e K i d d l e A g e s, and. t h i s e x t r a v a g a n t r o m a n t i c g e n r e e n j o y e d g r e a t p o p u l a r i t 3'-, w a n i n g o n l y a t t h e end o f t h e s i x t e e n t h century.

A t y p e o f f i c t i o n w hic h may be c a l l e d t h e d r a ­

m a t i c n o v e l o r i g i n a t e d w i t h La C e l e s t i n a ( 1 4 9 9 ) , w r i t t e n c o m p l e t e l y i n d i a l o g u e and t o u c h e d w i t h a new r e a l i s m i n s u b j e c t m a t t e r and s t y l e .

A lso, in s i x t e e n t h c e n tu ry B rain

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2

t h e r e appeared th e p a s t o r a l n o v el, w ith shepherd heroes i n v o l v e d i n c o m r l i c a t e d l o v e p l o t s t h a t were d e v e l o p e d i n c l a s s i c s t y l e and s e t i n a b e a u t i f u l , im ag in ary r e g i o n .

A

f o u r t h c l a s s o f n o v e l o r i g i n a t e d i n t h e sa ne p e r i o d : t h e p ica resau e n ov el, u n if ie d by a n a r r a t io n of th e ad ventu res o f one c h i e f c h a r a c t e r

(no l o n g e r a n o b l e h e r o , b u t an

a n t i - h e r o , a r o g u e ) , made r e a l i s t i c

in th e a u th o r s 1 obser­

v a t i o n s o f l o w e r s t r a t a o f s o c i e t 3r, and c h a r a c t e r i z e d h?/ a s a t i r e on s o c i e t y a s a w h o l e .

Of t h e f o u r d i s t i n c t l i n e s

o f development t a k e n by t h e n o v e l i n i t s e a r l y s t a g e s ,

it

a p p e a r s p r o b a b l e t h a t t h e r e a l i s t i c n o v e l o f t o d a y owes i t s g r e a t e s t d e b t t o t h e m ost p e c u l i a r l y S p a n i s h o f t h e s e f o u r developm ents, t h a t o f t h e p ic a r e s a u e n o v e l.

Thus, i t

a p p e a rs i n e v i t a b l e t h a t B e n ito Perez Galdos, c o n s id e r e d by many t h e o r i g i n a t o r o f t h e modern S p a n i s h n o v e l , a l t h o u g h n e v e r a f o l l o w e r n o r an i m i t a t o r ,

s h o u l d show t h e i n f l u ­

en ce s o f t h i s p a r t i c u l a r development of t h e e a r l y n o v e l. I n what m anner and t o what d e g r e e e v i d e n c e s o f t h e p i c a r e s a u e a r e t o be f o u n d i n c e r t a i n o f t h e n o v e l s o f P £ r e z Galdtfs i t

i s th e o b ject of t h i s paper to e x p lo re .

It

i s t o be ho p e d t h a t a s a r e s u l t o f t h i s i n v e s t i g a t i o n we may come t o u n d e r s t a n d more c o m p l e t e l y t h e r e a l an d p e rm a ­ n e n t v a l u e o f t h e body o f p i c a r e s q u e l i t e r a t u r e a s i t

ex ist­

ed p r i o r t o t h e n i n e t e e n t h c e n t u r y i n S p a i n a n d t o g a i n a b e t t e r k n o w le dg e o f t h e f a c t o r s c o n t r i b u t i n g t o t h e g r e a t ­ n e s s o f P £ r e z G a ld os t h r o u g h a s t u d y o f some e l e m e n t s

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3 w h i c h l i v e i n t h e a g e s o f l i t e r a t u r e and w h ich make l i t e r ­ a t u r e r e a l , l a s t i n g , and u n i v e r s a l .

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CHAPTER I I

CHARACTERISTICS OF PICARESQUE LITERATURE The l i t e r a t u r e o f r o g u e r y , o r o f t h e oSTcaro, h o l d s a unique p la c e in l i t e r a r y t r a d i t i o n , because i t

is d eter­

m in e d b y f o r m r a t h e r t h a n b y c o n t e n t o f s u b j e c t m a t t e r , and b e c a u se i t

i s b u i l t a r o u n d an a n t i - h e r o and p o r t r a y s

low l i f e r a t h e r t h a n h e r o i c .

It is ch arac teristically

prose r a t h e r th a n p o etry , n a r r a t iv e , not dram atic, th u s f o r m i n g a s u i t a b l e mold f o r t h e b e g i n n i n g s o f t h e novel."*" The n f c a r o must b e d i s t i n g u i s h e d fro m t h e c r i m i n a l m a i n l y b e c a u se he i s not v i c i o u s .

He i s a r a s c a l e i t h e r f o r t h e

s a k e o f humor o r a s a r e s u l t o f h i s s o c i a l e n v i r o n m e n t , u su a lly both.

C h a n d l e r ” c l a s s e s him a s e i t h e r an o c c a ­

s i o n a l o r an h a b i t u a l c r i m i n a l , a v i c t i m o f c irc u m s ta n c e who, u n d e r f a v o r a b l e c o n d i t i o n s l i v e s a n o rm al l i f e , b u t under th e s t r e s s of d i f f i c u l t i e s b re a k s th e law .

F o r exam­

p l e , G i l B i a s i s an o c c a s i o n a l c r i m i n a l who, a f t e r becom­ ing s k i l l e d in h is crim es, tu r n s h o n e st.

S im ila r ly , Laza-

r i l l o de Torn.es be comes a njTcaro b e c a u s e he must c h e a t h i s

■^Rogues o r " a n t i - h e r o e s ” h a v e , h o w e v e r , o f t e n b e e n c e l e b r a t e d i n p o e t r y and i n d r a m a , b u t the?/ a p p e a r t o be b e s t s u i t e d t o and most o f t e n c u l t i v a t e d i n p r o s e n a r r a t i v e . F r a n k Tl. C h a n d l e r , The L i t e r a t u r e o f R o g u e r y ( B o s t o n a n d New Yor k: H o u g h to n , T d i f f l i n an d C o . , 1 9 0 ? ) , v o l . I , p p .

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m a s t e r s o r d i e o f s t a r v a t i o n , b u t when he i s d e a l t some good f o r t u n e , he t u r n s t o t h e h o n e s t , a l t h o u g h i g n o b l e , o c c u p a ti o n o f town c r i e r .

The l i t e r a t u r e o f t h e p l c a r o

c a n i n c l u d e man}/- t^ r p e s o f i n d i v i d u a l s , r a n g i n g fr o m t h e humoro us p r a c t i c a l j o k e s t e r T i l l E u l e n s p i e g e l t o t h e s h a l ­ lo w a n t i - h e r o i n e Becky S h a r p i n Vani t y F a i r .

However, t h e

s p e c i f i c g e n r e a s c o n c e i v e d i n S p a i n i s more r e s t r i c t e d than th e se .

The p i c a r e s q u e n o v e l i s ,

a s i t s name i n d i ­

c a t e s , a n o v e l whose c e n t r a l f i g u r e i s t h e n l f c a r o .

The

o r i g i n o f t h e word h a s b e e n a q u e s t i o n o f some d i s c u s s i o n , b u t n l c a r o , u s u a l l 3r r e n d e r e d by modern d i c t i o n a r i e s a s a k n a v e , a r o g u e , o r a l o a f e r , was o r i g i n a l l y a synonym o f p i n c h e , m e a n in g c o o k ’ s b o y o r s p i t - t u r n e r .

I t came t o

mean a whole c l a s s o f i n d i v i d u a l s c h a r a c t e r i z e d b y a l l o f th e a t t r i b u t e s of th e h eroes of th e p icaresq u e novels: th e L a z a r i l l o s , t h e P a b l o s , t h e Guzmanes, e t c .

B alseiro^ r e ­

cords A tk in so n ’ s d e f i n i t i o n o f th e p ic a re s a u e novel, n a r ­ rowing i t s

scope p r i m a r i l y i n s u b j e c t n a t t e r :

TT. . . t h e p i c a r e s q u e n o v e l may b e t a k e n t o b e t h e p r o s e a u t o b i o g r a p h y o f one who r e b e l s a g a i n s t a l l

^F o r a b r i e f d i s c u s s i o n o f t h e e ty m o l o g y o f t h e word p f c a r o , s e e n o t e i n E r n e s t Y erim ^ e and S . G r i s w o l d Y o r l e y , A H i s t o r y o f S p a n i s h L i t e r a t u r e (New Yor k: Henrv H o l t and C o . , 1 9 3 1 ) , P- 2 0 2 . 4 J o s £ A. B a l s e i r o , N o v e l i s t a s E s p a f i n l e s T"To d e r n o s (New Y o r k : l l a c m i l l a n and Co . , 1 9 3 3 ) , p • 2 5 6 .

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6

d i s c i p l i n e a nd s e n s e o f o b l i g a t i o n , b y h i s a s t u t e ­ n e s s p a s s e s t h r o u g h v a r i o u s c l a s s e s o f society*-, t o t h e i r c o s t , and s a t i r i z e s w ith p i t i l e s s b u t d i s i n ­ t e r e s t e d pen t h e e v i l s f r o m w h i c h t h e y s u f f e r . ” Merim£e and K o r l e y ^ r e e m p h a s i z e t h e s u b j e c t o f t h e p i c a rescu e n ovel,

s t r e s s i n g t h e low l e v e l o f s o c i e t y fr o m

w hic h t h e r l ’c a r o i s drawn and t h e u n s c r u p u l o u s n e s s o f h i s p o sitio n : ”By p i c a r e s o u e n o v e l i s m ea n t a n o v e l whose c h a r a c t e r s a r e d ra w , from t h a t p a r t i c u l a r c l a s s o f p e o p l e , o f lo w b i r t h o r f a l l e n i n s t a t i o n , who l i v e a t o t h e r s ’ expense, d e l i b e r a t e l y p la c e them selves be y o n d t h e p a l e o f s o c i a l c o n v e n t i o n and l a w , and keep th e m s e lv e s a l i v e by s h e e r t r i c k e r y , by t h e fe rtility

of t h e i r unscrupulous im a g in a tio n .”

Follow ing a d is c u s s io n of th e c e n t r a l f ig u r e of th e p i c a ­ r e s q u e n o v e l, Warren^ c l a s s i f i e s t h e n o v e l i n k in d : ”I t i s th e re fo re evident t h a t the f i r s t purely rea listic

n o v e l £ t h e p i c a r e s o u e n o v e l]

was u s h e r e d

i n t o e x i s t e n c e u n d e r t h e m ost u n t o w a r d a u s p i c e s . d i d n o t p r o f e s s fr o m t h e s t a r t t o d e s c r i b e l i f e

It in

^E. Merim^e and S. G. I T o rle y , o n . c i t . , p . 2 0 2 . ° F . M. W a r r e n , A H i s t o r y o f t h e H o v e l P r e v i o u s t o t h e S e v e n t e e n t h C e n t u r y (Hey; Y ork-: JTenrv H o l t and C o . , 1§95), p . 286.

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i t s g e n e r a l r e l a t i o n s , b u t onl~/ t h e r a s c a l l y s i d e o f life .

I t was a n o v e l o f c h a r a c t e r p e r h a p s ,

or r a t h e r

o f t h e d e c e i t w h i c h c a n be made t o p r e d o m i n a t e i n a l o w c h a r a c t e r , a n d i t was a l s o a n o v e l o f m a n n e r s i n i t s d e s c r i p t i o n of th e v a r i o u s c l a s s e s o f people t h r o u g h which our rogue t h r e a d e d h i s d ev io u s w a y .” A g e n e r a l p i c t u r e o f t h e t y p i c a l p a t t e r n i n t o which t h e S p a n i s h p i c a r e s q u e n o v e l f i t s i s t h a t d e s c r i b e d t o u s by A ndrenio:

7

”La n o v e l a p i c a r e s c a e r a l a h i s t o r i a de un l u c h a dor por l a v id a .

De niffo o a d o l e s c e n t e d e s g a r r S b a s e de

l a c a s a de s u s p a d r e s o e l l o s l e e n v i a b a n a g a n a r s e l a v i d a p o r e l mundo.

S irviendo unas veces,

o t r a s l a s a r t e s de l a p i c a r d l a ,

ejercitan d o

o s im u lte a n d o anbos

o f i c i o s , e l de p f c a r o y e l de c r i a d o , e l n o z o i b a s a l i e n d o de l o s a p u r o s de c a d a d l a .

Fnas v e ce s l e

vemos , 1 u n t a r s e a a l g u n a c o m p a n ia de r e r r e s e n t e n t e s , o t r a s de e s c u d e r o de damas b u s c o n a s o de h a m b r i e n t o s hidalgos;

cuand o a l s e r v i c i o de un c l £ r i g o a v a r o o de

algun r i c o m ercader;

cu an do a s o c i a d o a m a l h e c h o r e s , a

m e n d i g o s , a un e r r n i t a n o e m b a u c a d o r , y no e s r a r o v e r l e l l e g a r com.o G i l B i a s , a l a p r i v a n z a de un s e n o r p o d e r o s o y a c a b a r h o n r a d a n e n t e s u s d i e s , n i tam ^o co

"^Eduardo G6mez de B a q u e r o ( A n d r e n i o ) , h o v e l a s y F o v e l i s t a s ( M a d r id : C a sa E d i t o r i a l C a l l e i a , 19 1 S j , p . 11A.

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verle v i s i ta r ,

c o n t r a su g u s t o , l a s g a l e r a s d e l r e y ,

y s u f r i r p e r s e c u c i 6 n de c o r c h e t e s y g o l i l l a s .

En

e s t a a z a r o s a e x i s t e n c i a l a s armas d e l p l c a r o son l a aleg rla,

e l i n g e r i o , l a r e s u e l t a a f i r n a c i d n de l a

voluntad

de v i v i r ,

cue l e

s a c a a f l o t e en l o s mfs

d if f c ile s la n c e s .”^ F o r t h e p u r p o s e s o f o u r p r o b l e m a more s p e c i f i c a l l y s t a t e d c h a r a c t e r i z a t i o n of th e p ic a r e s o u e i s needed th a n t h a t o f f e r e d by any" d e s c r i p t i o n o r i s o l a t e d d e f i n i t i o n o f t h e term .

C om b in ing t h e c l a s s i f i c a t i o n o f ”t h e s p i r i t and t h e

artistic

q u a l i t i e s o f t h e new g e n r e ” (new a t t h e t i m e o f

L a z a r i l l o de Tormes) g i v e n us b 3r Jfngel d e l Rxo^ a n d some a d d e d d e f i n i t i v e p o i n t s , we c a n l i s t t h e s a l i e n t c h a r a c t e r ­ i s t i c s of t h a t c la s s e d as p ic a re s q u e i n th e narrow er sense i n t h i s way:

(l) I t

i s a prose n a r r a t io n , u s u a lly a u to b io ­

g r a p h i c a l i n form, o f t h e l i f e so c ial o rig in , is a satire

o f an a n t i - h e r o o f low

who g e n e r a l l j / s e r v e s s e v e r a l m a s t e r s .

(2)

It

on t h e d i f f e r e n t c l a s s e s o f s o c i e t y a s r e c o r d e d

from t h e p o i n t o f view o f t h e o f c a r o . s o c i a l an d m o r a l s u r r o u n d i n g s .

( 3 ) I t i s s e t i n lo w

I t u su a llx ^ f e a t u r e s t h e

e f f o r t s o f t h e o f c a r o , alw ays a " s o c i a l c l i m b e r , ” t o p a s s thro u g h v ario u s s o c ia l l e v e l s .

( 4 ) I t i s w r i t t e n f ro m t h e

See t r a n s l a t i o n i n A p p e n d i x A, p . S i . ^ I n g e l d e l R f o , H i s t o r i a de l a L i t e r a t u r a E s n a n o l a (Few York: The Dr^rden P r e s s , 194*37, v o l . I , o p . 1 5 1 - 2 .

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p o i n t o f v i e w t h a t t h e eco nom ic p r o b l e m , h a n d l e d a s an u r b a n an d n o t a r u r a l q u e s t i o n , a nd t h e s t r u g g l e f o r t h e b a s i c n e ce ssitie s of l i f e , force in l i f e .

p a r t i c u l a r l y f o r food, i s the s tr o n g e s t

( 5 ) f t d e p e n d s upon t h e u s e o f d e c e i t ,

t r i c k e r y , o r o t h e r means b o r d e r i n g on o r b r e a k i n g t h e l a w a s t h e o n l y e f f e c t i v e means o f o b t a i n i n g t h o s e n e c e s s i t i e s i n c o n t r a s t w i t h a s o l u t i o n t h r o u g h work o r o t h e r c r e a t i v e a ctiv ity . istic ,

(6) As a c l a s s o f n o v e l , t h e p i c a r e s q u e i s r e a l ­

a n o v e l o f c h a r a c t e r and o f m a n n e r s , and c h a r a c t e r ­

i s t i c a l l y c o n ta in s an elem ent o f d i d a c t i c i s m .

The

v a r i a t i o n s o f t h e p i c a r e s o u e th em e w i t h i n t h e s e l i m i t s a r e m anifold.

Many more a r e t h e d e v e l o p m e n t s b e y o n d t h e s e

b o u n d a r i e s and i n c o r p o r a t i o n o f t h e s p i r i t in to o th e r l i t e r a r y form s.

It

of th e n£caro

is p rim a rily the v a ria tio n s

of the picaresque w ith in th e lim its of the

form o f t h e

p i c a r e s q u e n o v e l a s c o n ce iv e d i r S pain which a r e im p o rta n t t o an u n d e r s t a n d i n g o f t h e i n f l u e n c e s w h i c h t h i s , body o f l i t e r a t u r e , P^rez Gald6s.

as a

has e v e r t e d upon t h e n o v e ls o f B e n ito

For t h i s re a so n , th e l i m i t s of th e p ic a ­

r e s q u e n o v e l h e r e d e f i n e d w i l l be o f i m p o r t a n c e t o t h i s s t u d y i n t h e i r a p p l i c a t i o n t o t h e n o v e l s o f C-ald6s s e l e c t ­ ed f o r s t u d y , and h e n c e , i n s u b s t a n t i a t i o n o f t h e e v i d e n c e s o f th e p i c a r e s q u e found i n t h e s e w orks.

F o r t h e same

r e a s o n , i t w i l l be o f p rim a ry c o n s i d e r a tio n t o o b t a i n a b a s i c u n d e r s t a n d i n g o f t h e i m p o r t a n c e o f t h e b o dy o f p i c a ­ resque l i t e r a t u r e in t h e h i s t o r y o f Spanish l e t t e r s .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

CHAPTER I I I THE BODY OF PICARESQUE LITERATURE IN SPAIN I t i s doubtful th a t r e a l i s t i c

l i t e r a t u r e has ever

b e e n h e l d i n a s g r e a t a vogue a s i d e a l o r r o m a n t i c l i t e r ­ atu re.

P e o p l e want t o b e e n t e r t a i n e d ; t h e y a r e h o p e f u l

and b e l i e v e i n t h e m s e l v e s .

A l i t e r a t u r e o f p a i n f u l ex­

p e r i e n c e o r discouragem ent has usuall^r a fo llo w in g o f o n ly t h e few.

T h ose o f w e a l t h and h i g h b i r t h , w i t h t h e

l u x u r i e s and f a v o r s a cc o rd e d t o them , a re u s u a l l y to o s a t i s f i e d w i t h t h e i r own p l e a s a n t l i f e t o be i n t e r e s t e d in a lite r a tu r e of d isco n ten t.

The mass o f p e o p l e a r e

h o p e f u l a b o u t t h e f u t u r e , a n d t h e hone o f t e n b eco m es e v e n more d e t e r m i n e d when c o n d i t i o n s o f l i f e a r e u n n l e a s a n t . N e v e r t h e l e s s , t h e r e h a s b e e n a c o n s t a n t demand i n t h e h i s ­ t o r y o f l i t e r a t u r e f o r r e a l i s t i c w r i t i n g , a demand n o t d e p e n d e n t u p on f a s h i o n a s a r e many f o r m s o f i d e a l f i c ­ t i o n . T h i s ten t,

demand, Td a r r e n s t a t e s ,

n . . .in c r e a s e s in ex­

o r d e c r e a s e s , a c c o r d i n g as t h e c l a s s which s e e s i n

i t the r e f le c tio n s of i t s f e e lin g s ,

absorbs th e upper

■ ^ T h i s demand f o r r e a l i s t i c w r i t i n g i n t h e h i s t o r y of f i c t i o n , as w ell as re a so n s f o r i t , i n s p i t e of i t s l a c k o f t h e w ide p o p u l a r a p p e a l won by r o m a n t i c l i t e r a ­ t u r e s , i s d i s c u s s e d b y F . I?, “w a r r e n , o n . c i t . , n n . 2&L295 •

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

11

stra tu m of s o c ie ty , as in a tim e of g e n e ra l u n r e s t ,

or

s h r i n k s t o t h e r e s t r i c t e d num bers o f t h o s e who a r e p e r e n ­ n i a l 1}^ d i s c o n t e n t e d . ” ^'*' “

The n i c a r e s o u e a xp p e a r s t o h ave -i

-

o rig in ated as a l i t e r a r y re v e rsa l, l i t e r a t u r e then p r e v a ilin g :

J.

p r o te s tin g a g a in s t the

th e p£caro e x i s t e d no t o nly as

a r o g u e i n a s t o r 3'-, b u t a s a p r o t e s t a g a i n s t t h e n o b l e , a r i s t o c r a t i c hero of th e l i t e r a t u r e

o f t h e d a y , who no

l o n g e r r e p r e s e n t e d t h e i d e a s and i d e a l s o f t h e r e a d e r s . The c h i v a l r i c f i g u r e i n t h e l i t e r a t u r e o f t h e c o u n t r y had outgrown h i s u s e f u l n e s s , o tic

s i n c e he was no l o n g e r o f p a t r i ­

s i g n i f i c a n c e an d most o f t e n p a r t i c i p a t e d i n p e t t y

c a m p a i g n s and j o u s t s o f no i m p o r t a n c e t o t h e c o u n t y .

The

b a t t l e s w i t h t h e 'd o o r s i n w h ic h t h e n o b l e h e r o h a d p l a y e d a p a r t o f m a j o r i m p o r t a n c e w e r e o v e r ; t h e more r e c e n t c o n ­ q u e s t s i n t h e New TT o r l d o f t e n h a d a s h e r o e s men w i t h o u t h i g h b i r t h and a s i d e a l s n o n e o f t h e o l d p r i n c i p l e s o f h o n o r and c h i v a L r g .

The d i s d a i n f o r h o n e s t , h a r d l a b o r

c a u s e d by e a s y money p o u r i n g i n fro m t h e New hro r l d made ch eating easy.

D uring t h e l a t t e r p a r t o f th e r e i g n of

C h a rle s V i n Spain t h e r e e x i s t e d a l a r g e c l a s s o f i d l e r s and v a g a b o n d s who g a i n e d a l i v i n g by i n g e n u i t y i n o b t a i n ­ i n g t h e e a s y m o n ey .

However, w a r s and e x p e d i t i o n s a b r o a d

d r a i n e d t h e n a t i o n a l r e s o u r c e s and to o k th e lo w er c l a s s e s fr o m t h e i r f a r m s a n d c r a f t s .

■^Warren,

op.

T his c o n d itio n reduced

c i t . , p . 2$ S.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

12

p r o d u c t i o n , a n d r e s u l t i n g h u n g e r made a l i f e o f c h e a t i n g f o r many n o t m e r e l y p r o f i t a b l e , b u t n e c e s s a r y f o r e x i s t e n c e . 12 The work w h i c h i s c r e d i t e d a s t h e f i r s t an d one o f t h e g r e a t e s t o f p i c a r e s q u e n o v e l s was La V id a de L a z a r i l l o de Tormes (1 5 5 4 ) *

I t was n o t w i t h o u t i t s r e a l i s t i c

d e c e sso rs in Spanish l i t e r a t u r e ,

pre­

e. g. th e c le v e r s a t i r e

o f J u a n R u i z ’ E l L i b r o de Euen Amor ( 1 3 5 0 ) , t h e e a r t h y t r a g e d y o f La C e l e s t i n a ( 1 4 9 9 ) , end t h e s p i c y e p i s o d e s o f life

i n F r a n c i s c o D e l g a d o ’ s La L o za n a A n d a l u z a (1 5 2 7 ) *

However, i t i s t h e f i r s t o f t h e s t o r i e s o f t h e p f c a r o s i n novel form .

The anonymous a u t h o r o f L a z a r i l l o c l e v e r l y

n a r r a t e s t h e r i s e o f h i s r o g u e - h e r o a s he s e r v e s a b l i n d beggar, a m iserly p r i e s t ,

a poor but proud nobleman, a

s e l l e r o f i n d u l g e n c e s , a busybody f r i a r ,

a p ain ter, a

c h a p l a i n , and an a l g u a c i l . and e v e n t u a l l y a c h i e v e s t h e honest, or a t th e l e a s t le g a l,

s t a t i o n o f town c r i e r .

L a z a r o f i n a l l y e n t e r e d h i g h s o c i e t y t h r o u g h a ’’m a r r i a g e o f c o n v e n i e n c e ” t o t h e m i s t r e s s o f an a r c h p r i e s t o f T o le d o who, a l s o f o r t h e s a k e o f c o n v e n i e n c e ,

s e t up o u r h e r o i n

a h o u s e n e x t d o o r t o h i s own. The s e c o n d m a j o r p i c a r e s q u e work was La V i d a de Guzman de A l f a r a c h e

(1 5 99 ) by LTa t e o Aleman.

T h i s was a l o n g e r ,

12

For Spanish p o l i t i c a l c o n d it i o n s i n t h e tim e o f t h e p i c a r e s q u e n o v e l , s e e TTa r r e n , o n . c i t . , p p . 2 $4 - 3 2 2 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

13 more a m b i t i o u s f i c t i o n w h i c h p o r t r a y e d t h e p i c a r o a s a c o n ­ s t a n t w a n d e r e r and a r e a l c r i m i n a l when f a c e d w i t h l i f e ’ s cruel r e a l i t i e s ,

and w h i c h b a l a n c e d t h e s o r d i d a c c o u n t s n o t

w i t h humor b u t w i t h l o n g m o r a l i z i n g p a s s a g e s .

The o u b l i -

c a t i o n o f t h e s e two g r e a t w o r k s , v e r y d i f f e r e n t , 3^et i n t h e same s p i r i t , w i t h t h e p r a g m a t i c p h i l o s o p h y o f t h e p i c a r o , was f o l l o w e d b y mamr i m i t a t i o n s and some o t h e r works o f equal m agnitude.

A good i m i t a t i o n was F r a n c i s c o de t l b e d a ’ s

La P i c a r a J u s t i n a ( 1 6 0 5 ) , i m p o r t a n t b e c a u s e o f i t s f e m i n i n e p r o t a g o n i s t who was a n a n t i - h e r o i n e .

I n Don Q u i x o t e C e r ­

v a n t e s c r e a t e d an u n f o r g e t t a b l e c h a r a c t e r , O i n l s de P a s a n o n t e , and d e c l a r e d t h a t i f h i s a u t o b i o g r a p h y were w r i t t e n i t would b e t h e b e s t p i c a r e s q u e n o v e l e v e r w r i t t e n .

In

C e r v a n t e s ’ IJ o v e la s E .je rno la res he t o l d s u c h s t o r i e s o f r o ­ g u e r y a s R i n c o n e t e y C o r t a d i l l o and C o l o q u i o de l o s F e r r o s , which a r e l a r g e l y , a lt h o u g h n o t p u r e l y , p i c a r e s o u e in t h e n a r r o w s e n s e . 13J

V i c e n t e E s p i n e l p r o d u c e d a w o r t h y exam ple

~-^These two named H o v e l a s B i e m n l a r e s a r e g e n e r a 3 . l v c o n s i d e r e d b?/ t h e c r i t i c s a s p i c a r e s q u e n o v e l s ; h o w e v e r , t h e r e a r e t h o s e , n o t a b l y Am£rico C a s t r o , who den y t h a t C e r ­ v a n te s ev er w rote i n th e genre o f th e p ic a re s q u e n o v e l, g i v i n g a s r e a s o n s t h a t t h e p i c a r e s o u e was i n t e n d e d t o b e c y n ic a l, d is b e lie v in g in id e a ls , b i t t e r , p e s s im is tic . ( He d o e s , however, adm it t h a t t h e r e a r e p i c a r e s o u e e le m e n ts i n O in € s de P a s a m o n te and i n t h e " o v e l a s E j e m o l a r e s . ) A dis­ c u s s i o n o f t h e r e a s o n s f o r t h e d e n i a l o f C a s t r o ’ s a rg u m e n t w i l l n o t be c o n t i n u e d h e r e e x c e p t t o s a y t h a t f o r t h e p u r ­ p o s e s o f h i s a r g u m e n t he a l s o d e n i e s t h e n i c a r i s m o f L a z a ­ r i l l o de T o m e s . H is n a r r o w v i e w may be u n d e r s t o o d when he c o n t i n u e s , s t a t i n g t h a t t h e p i c a r e s o u e n o v e l i s e S v S e n tia lly t h a t r e a l i z e d b y I-'ateo Aleman. H is a r g u m e n t s a r e s e t f o r t h i n Am£rico C a s t r o , E l P e n s a n i e n t o de C e r v a n t e s ( M a d r id : I m p r . de l a l i b r e r t f a y c a s a e d i t o r i a l H e r n a n d o , 1 9 2 5 ) , op . 2 3 0 - 2 3 6 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

o f t h i s g e n r e i n La V i d a de ' 'a n c o s de 0 b r e g 6 n ( l 6 l o ) i n w h ic h t h e h e r o i s a r o g u e a n d a w a n d e r e r who t r a v e l l e d a s f a r a s I t a l y and A l g i e r s .

Cf a l l o f t h e p i c a r e s o u e n o v e l s

t h i s is outstan d in g in t h a t i t as w ell a s i n form.

is au to b io g rap h ical in fa c t

M a r c o s de Obregtfn i s

a nd t h e s t o r y o f h i s l i f e

E soinel h im self,

an d w a n d e r : n g s a s a n i c a r o i s

t h e a c c o u n t o f E s p i n e l 1s l i f e

and t r a v e l s .

I t rem ains in

S p a n i s h l e t t e r s a s a document t o t h e t r u t h o f t h e r e a l ex isten ce of the o ic a r o .

La V i d a d e l B u sc d n (1 626) b y

F r a n c i s c o de Quevedo y V i l l e g a s ,

an other m ilestone in th e

p ica reso u e t r a d i t i o n , re c o u n ts th e adven tu res of Pablos in b o a r d i n g s c h o o l and u n i v e r s i t y a n d among o r g a n i z e d r o g u e s i n S e v i l l e and M a d rid .

For a half-centur?/- a f t e r th a t th e

v o g u e o f e v e r y t h i n g p i c a r e s o u e l a s t e d i n S p a i n , b u t i t gave way i n l a t e r y e a r s t o a r o g u e who was a r o m a n t i c a d v e n t u r e r o r a p i c a r o t r a n s f o r m e d i n t o a c lo w n o r a v i l l a i n . t h e end o f th e s e v e n te e n th c e n tu r y , i n S p a i n was e x h a u s t e d .

Before

the p icareso u e novel

The dram a c a r r i e d on t h e t r a d i t i o n

w i t h i t s g r a c i o s o s and c h a r a c t e r s o f t h e u n d e r w o r l d .

The

n o v e l o f m a n n e r s and c u s t o m s , b o r n w i t h t h e n i c a r o , b u t now i n d e p e n d e n t o f i t s c e n t r a l c h a r a c t e r , was t h e n f r e e t o develop a s e p a r a te e x is te n c e .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

CHAPTER IV

TRANSITION FROM PICARISM TO MODERN REALISM The p i c a r e s o u e n o v e l waned , b u t d i d n o t d i s a n n e a r a f t e r F r a n c i s c o S a n t o s ’ P e r i o u i l l o , S i de l a s C - a .ll i n e r a s ( I 6 6 O).

In t h e e i g h t e e n t h centur}/, e x ce p t f o r t h e t r a n s ­

l a t i o n o f L e s a g e ’ s O i l B i a s made b y P a d r e I s l a , t h e o n l y e f f o r t i n t h i s g e n r e i n S p a i n was t h e p a r t l y f i c t i o n a l A u t o b i o ,g r a p h y o f T o r r e s V i l l a r r o e l .

However, i n t h e n i n e ­

t e e n t h c e n tu r y t h e r e i s c o n ti n u i n g e v id e n ce o f t h e impor­ ta n c e o f th e genre i n Spanish l e t t e r s ,

p a r t i c u l a r l y i n some

w o r k s o f B e n i t o P € r e z C-aldtfs and Pjio Ps.ro j a .

A contem porary

o f G a ld6 s a n d B a r o j a , E m i l i a P a r d o B a z a n , o n c e r e m a r k e d t h a t t h e p r e s e n t S p an ish scho ol cannot be s a i d t o have a y e s t e r d a y , b u t o n l y " a day b e f o r e y e s t e r d a ^ r . ” ^ 1"

She m eant

t h a t in t h e development o f t h e Spanish n o v el o f t o d a y t h e p r e d e c e s s o r s o f t h e development b e g in n in g t a t h t h e s e t a l e n t ­ ed n i n e t e e n t h c e n t u r y w r i t e r s w ere n o t w o rk s o f r e c e n t t r a ­ d i t i o n b u t w ere t h e w r i t i n g s o f e a r l y a u t h o r s , r i s i n g from b e g i n n i n g s a s f a r b a c k a s t h e n a t u r a l a nd c o l o r f u l C e l e s t i n a T h i s new d e v e l o p m e n t i s c l o s e l y r e l a t e d t o Don f u i x o t e and

^ W i l l i a m Henry B i s h o p , ’’B e n i t o P £ r e z Galdd’s , ” L i b r a ­ r y o f t h e M o r l d ’ s B e s t L i t e r a t u r e (New Yo rk : R. S . P e a l e and J . A. K i l l , 16 9 7 7 7 v o l . X I , p p . 6 1 5 3 - 4 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

16

th e picaresque n o vels.

D uring t h e r i g i d n e o c l a s s i c i s m o f

th e e ig h te e n th c en tu ry and th e b r i e f flow ering o f e x tra v agant rom anticism in th e f i r s t p a r t of th e n in e te e n th cen­ t u r y t h e n o v e l was c u l t i v a t e d a s a l i t e r a r y medium by f e w S p a n i s h men o f l e t t e r s .

T h i s was t h e o m i t t e d ’h r e s t e r d a y ”

o f w h ic h P a r d o BazlCn s p o k e .

The l e g i t i m a t e d e s c e n t f r o m

t h e n o v e l o f s e v e n t e e n t h c e n t u r y S p a i n h a d t o be f o u n d o u t ­ sid e of Spain.

I n T r a n c e i t was f o u n d i n L e s a g e , and i n

E n g l a n d , i n F i e l d i n g and S m o l l e t t a n d l a t e r i n D i c k e n s and Thackeray. help ed, i t

15

They h a d t a k e n t h e p i c a r e s q u e g e n r e an d had

s u r v i v e b y m ak in g i t more u n i v e r s a l .

The n o v e l i n S p a i n b e g a n t o r e a p p e a r w i t h t h e roman­ t i c i s t s i n t h e form o f t h e h i s t o r i c a l n o v e l o f t h e t y p e made p o p u l a r b y S i r h a l t e r S c o t t .

But t h e w r i t e r s were

o f t e n l a c k i n g i n a k n o w l e d g e o f h i s t o r y and a s u b s t i t u t i o n o f a d v e n t u r e s f o r t h i s l a c k was n o t s u c c e s s f u l . ' * ' 0

At t h e

same t i m e t h e n o v e l was d e v e l o p i n g a l o n g a n o t h e r l i n e , t h e n o v e l a de c o s t u m b r e s .

I-Iartinenche a t t e m p t s t o e s t a b l i s h a

r e l a t i o n s h i p betw een t h e p i c a r e s o u e and t h i s developm ent i n a s m a l l v o lu m e , La Seg u nd a Bdad de Pro de l a L i t e r a t u r a E s p a f i o l a . i n w h i c h he s e t s o u t t o p r o v e t h e e x i s t e n c e o f s t r i k i n g s i m i l a r i t i e s b e t w e e n t h e l i t e r a t u r e o f t h e Golde n Age i n S p a i n a n d S p a n i s h l i t e r a t u r e i n t h e n i n e t e e n t h

IS-'oee b a r r e n , op>. c i t . , p . 3 2 2 . l 6 I b i d . , pp. 2S4-6.

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17 century.

He c o m p a r e s G a ld 6 s w i t h C e r v a n t e s a n d more s p e ­

c i f i c a l l y , t h e n o v e l of customs w ith t h e p i c a r e s q u e n o v e ls : ITLa n o v e l a p i c a r e s c a p o d r £ a e n c o n t r a r s u eco en l a n o v e l a de c o s t u m b r e s d e l s i g l o XIX. e r a o de o t r a

d i c e un c r l t i c o

«De u na man-

g r a n p a r t e de l a l i t e r ­

a t u r e c l& sica e sp an o la es c o s tu m b r is ta , y v e rd a d e ro s c u a d r o s de c o s t u m b r e s s o n l o s que en a l g u n o s de s u s l i b r o s no s d e j a r o n C e r v a n t e s [ Don Q u i x o t e , F o v e l a s E . j e m n l a r e s ' ] , Aleman [La V i d a de Guzman de A l f a r a c h e ( 1 5 9 9 ) 3 , S s p i n e l [ L a V i d a de " a r c o s de C b r e g o n ( l 6 l S ) J , Quevedo TH i s t o r i a de l a V i d a d e l Busc on ( 1 6 2 6 ) 1 , e t c l ) ^ T h i s new i n t e r e s t

i n t h e ^’6 n e r o de c o s t u m b r e s was

c u l t i v a t e d , a s a l i t e r a r y / - j o u r n a l i s t i c form r a t h e r t h a n a n o v e l f o r m b y a number o f n o t e w o r t h y w r i t e r s o f t h e e a r l y p a rt of the cen tu ry .

The most o r i g i n a l a n d s u c c e s s f u l

c u l t i v a t o r s o f t h e fo rm w ere n o t a b l y S e r a f x n E stfsb a n ez de C a l d e r d n , who i n h i s E s c e n a s A n d a l u z a s p o r t r a ^ ^ e d s e v e r a l d i s t r i c t s o f Sp ain c o l o r f u l l y and a c c u r a t e l v , u s in g th e l o c a l l a n g u a g e o f t h e p e o p l e , Ramdn de I l e s o n e r o Romanos, who w r o t e TTenor i a s de un S e t e n t f x n . d e m o n s t r a t i n g an i n t i ­ m ate o b s e r v a t i o n o f S p a n i s h s o c i a l a n d n o l i t i c a l h i s t o r y from. ISOS t o I C 5 0 , and V a r i a n o J o s € de L a r r a , who w i t h h i s

• ^ E r n e s t " a r t i n e n c h e , La Segunda Edad de P r o de l a L i t e r a t u r a E s n a n o l a ( P a r i s : no p u b l i s h e r g i v e n , 1 9 3 9 ) , p p . 2 0 9 - 1 0 . F o r t r a n s l a t i o n s e e Amend, i x A, n . o2 .

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e x c e l l e n t d e s c r i p t i o n s and c h a r a c t e r s k e t c h e s was a s a t i r i s t w ritin g in th e vein of th e c o stu m b rista . o f Spanish w r i t e r s o f th e f i r s t

A l a r g e number

h a lf of the n in e te e n th

c e n t u r y w e r e u s i n g t h e medium o f t h e g £ n e r o de c o s t u m b r e s as a vehicle for s a t ir e , a t th e novel o f custom s.

a lle g o r y , or e a r ly ,

crude a tte m p ts

By l o 4 3 t h i s j o u r n a l i s t i c form

was a t i t s h e i g h t and many d i s t i n g u i s h e d w r i t e r s c o l l a b o ­ r a t e d i n t h e p u b l i c a t i o n o f Los B s p a n o l e s P i n t a d o s p o r s £ IS Mismos. W ith t h i s t h e s k e t c h e s o f l o c a l c u s t o m s ga ve way t o a d e v e l o p m e n t o f t h e n o v e l o f c u s t o m s p r o p e r , w h i c h was b e g u n b y t h e a t t e m p t s o f Fe rn ltn C a b a l l e r o i n t h e m id ­ d l e o f t h e c e n t u r y a nd b r o u g h t t o f r u i t i o n i n t h e n o v e l s o f B e n i t o P e r e z Q a ld tfs.

IS F or a com prehensive d i s c u s s i o n o f th e c u l t i v a t i o n o f t h e g £ n e r o de c o s t u m b r e s i n S p a i n i n t h e e i g h t e e n t h and n i n e t e e n t h c e n t u r i e s , s e e L. B. W a l t o n , P e r e z G a l d ^ s and t h e S p a n i s h H ov e l o f t h e N i n e t e e n t h C e n t u r y (London: J . H. Dent and Sons L t d . , 1 9 2 7 ) , C h a p t e r I~ u

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CHAPTER Y THE LIFE AND T70RKS OF OALd 6 s 1 . S k e t c h o f L i f e a nd I n t e r e s t s I n o r d e r t o o b t a i n a r e a l u n d e r s t a n d i n g o f t h e work o f B e n i t o P e r e z C-aldtfs i t

i s n e c e s s a r y t o knovr s o m e t h i n g

o f t h e f a c t o r s which h a v e i n f l u e n c e d t h e f o r m a t i o n o f h i s c h a r a c t e r and l i f e ,

and more p a r t i c u l a r l y ? - f o r u s , o f t h o s e

i n f l u e n c e s w h ic h may be c o n n e c t e d w i t h h i s i n t e r e s t i n w r i t i n g t h a t w h i c h we s h a l l i d e n t i f y w i t h t h e p i c a r e s o u e . He was b o r n i n Las P a l m a s , Grand C a n a r y I s l a n d on May 1 0 , 1&43*

had t h e a d v a n t a g e s o f a w e l l - t o - d o f a m i l y b a c k ­

g r o u n d and t h e d o t i n g a t t e n t i o n o f h i s p a r e n t s and n i n e o l d e r b r o t h e r s and s i s t e r s .

H is e d u c a t i o n a l o p p o r t u n i t i e s

w e re o f t h e b e s t a s w e r e t h o s e o f m o s t o f t h e p i c a r e s q u e w r ite r s in t h e i r tim e.

He a t t e n d e d an E n g l i s h s c h o o l i n

L a s P a l m a s , t h e C o l e g i o de San A g u s t i n , R adrid.

and l a w s c h o o l i n

He was s e n t t o t h e l a t t e r much a g a i n s t h i s w i l l

by h i s d o m i n e e r i n g m o t h e r , Dona ¥ a r £ a D o l o r e s G a l d d s . d i s l i k e f o r l a w made him a d i l a t o r y s t u d e n t .

K is

In h is l i f e

a s a u n i v e r s i t y s t u d e n t , l a r g e l y s p e n t i n c a f e s and b o a r d i n g - h o u s e s , he a c q u i r e d a much g r e a t e r k n o w le d g e o f human n a t u r e t h a n o f f o r m a l e d u c a t i o n a l d e v i c e s . life

Of h i s

d u r i n g t h e s e ye a.rs he h a s l e f t a good d e s c r i p t i o n i n

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20

E l D octor C e n te n o , which i s d i s c u s s e d i n a l a t e r c h a p t e r . A s i d e fro m h i s i n t e r e s t i n h i s t o r y and L a t i n l i t e r a t u r e h is u n i v e r s i t y c a r e e r played a sm all r a r t in h i s l i f e .

He

found i n s p i r a t i o n not i n academ ic d i s c u s s i o n s b u t i n h i s c o n t a c t w i t h l i t e r a r y and p o l i t i c a l a c q u a i n t a n c e s i n t h e cafes.

I t was t h r o u g h t h e s e c o n t a c t s t h a t he d i d h i s f i r s t

l i t e r a r y work i n M a d r i d , a r t i c l e s o f l i t e r a r y and d r a m a t i c c r i t i c i s m p u b l i s h e d i n La N a c i & i .

But h i s g r e a t e s t i n t e r ­

e s t was i n o b s e r v a t i o n o f t h e p e o p l e a n d p l a c e s o f M a d r i d . "E ven a s a s t u d e n t C-ald 6 s had fo u n d t h e s t r e e t s o f M a d r id more e d u c a t i o n a l t h a n c l a s s e s and b o o k s . U n t i l t h e da?,7' when p h y s i c a l a i l m e n t s c o n f i n e d him t o h i s room he c o n t i n u e d t o roam o v e r t h e c i t y ,

seeing

e v e r y t h i n g w i t h h i s s m a l l b u t p e n e t r a t i n g e y e s , and s t o r i n g e v e r y t h i n g i n h i s rem a r k a b l? /- f a i t h f u l memory. Day a f t e r da?/ he s t r o l l e d t h r o u g h t h e c e n t r a l s t r e e t s a nd u p a n d down t h e B a r r i o s B a j o s ^ o b s e r v i n g s t r i k i n g i n d i v i d u a l s , p i c t u r e s q u e crow ds, and c o l o r f u l i n c i d e n t s , a n d s c r u t i n i z i n g i n t e r e s t i n g b u i l d i n g s a nd u n u s u a l vistas

....

He c u l t i v a t e d t h e a c q u a i n t a n c e o f d i f f e r e n t

s o c i a l t y p e s said s t u d i e d t h e i r s p e e c h w i t h k e e n i n ­ te re st. bars,

He f r e o u e n t e d p o p u l a r and. even d i s r e p u t a b l e

civ ic

in stitu tio n s,

c h u r c h e s , and g o v e r n m e n t

^ L i t e r a l l y , B a r r i o s Ba.ios a r e " l o w d i s t r i c t s ; " i t i s t h e name g i v e n t o s u b u r b s o f M a d r id n o t e d f o r t h e i r s q u a l i d l i v i n g c o n d i t i o n s and c h a r a c t e r s o f t h e u n d e r w o r l d .

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21 b u ild in g s.

Whenever i n n e e d o f s p e c i a l i z e d k n o w le d g e

he managed t o

gain e n tra n c e i n t o an e s ta b lis h m e n t not

n o rm ally open t o th e r u b l i c .

I n c o n n e c t i o n w i t h La

de B r i n g a s , f o r e x a m p l e , he was a l l o w e d t o i n s p e c t t h e p i c t u r e s q u e p a r t s o f t h e Royal P a la c e w h ich , d u r ­ i n g t h e e a r l ; / y e a r s o f t h e R e s t o r a t i o n , formed a s o r t o f t e n e m e n t d i s t r i c t w i t h i n t h e b u i l d i n g f o r nu m erous b ureaucratic p a ra s ite s .

To document M i s e r l c o r d i a he

o b t a i n e d p e r m i s s i o n t o pose a s a m u n ic ip a l d o c to r m ak ing t h e r o u n d s o f t h e p a t i e n t s i n t h e s h a b b y d w e l l ­ i n g s o f t h e p o o r , and he a l s o f o u n d i t

necessary to

camp among t h e g y p s i e s and h o r s e t h i e v e s on t h e o u t ­ s k i r t s o f M adrid.

To w r i t e a u t h e n t i c a l l y t h e o p e n i n g

s c e n e s o f La D e s h e r e d a d a he e x am in ed t h e fam ous i n s a n e as/rlum o f L e g a n ^ s . "

PO

I n 1867, w h i l e he was b e co m in g i n c r e a s i n g l y i r r e g u l a r i n h i s a t t e n d a n c e a t t h e u n i v e r s i t y , he made h i s f i r s t t r i p to Prance.

He was v e r y much a t t r a c t e d t o P a r i s and

s n e n t many d a y s s e e i n g P a r i s on f o o t .

T h e r e h e b o u g h t and

r e a d t h e c o m p l e t e w o r k s o f B a l z a c — more t h a n e i g h t y v o l ­ u m es.

I t was t h e s a n e I n t e r e s t t h a t promoted, h im , a f t e r

r e a d i n g one s t o r y by B a l z a c , t o b u y and d e v o u r t h e com­ p l e t e w ork s w h i c h d e t e r m i n e d him t o c h o o s e t h e medium o f

PC)

—«

H. Chonon w e r k o w i t z , B e n i t o B £ re z Galdf5s: S p a n i s h L i b e r a l C r u s a d e r (M a d iso n : U n i v . o f M i s . P r e s s , 1 9 4 $ ) , p. 106.

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22

p r o s e r a t h e r t h a n d r a m a t i c f i c t i o n and t o u n d e r t a k e t h e trem endous t a s k of w r i t i n g a l a r g e group of r e l a t e d n o v e ls , a k i n d o f -Spanish Gome d i e Humaine.

The f i r s t f r u i t

of his

d e c i s i o n was t h e p u b l i c a t i o n o f La F o n t a n a de P r o w h i c h he b e g a n w r i t i n g i m m e d i a t e l y upon h i s r e t u r n from h i s t r i p t o France.

In th e

same y e a r t h a t he c o n c l u d e d h i s l e g a l

s t u d i e s , he b e g a n t o work a t h i s ,- j o u r n a l i s t i c a c t i v i t i e s in earn e st.

He was a b r i l l i a n t c o n t r i b u t o r t o and e d i t o r

of s e v e r a l H adrid p u b l i c a t i o n s ,

some o f t h e most n o t a b l e

o f w h i c h w ere L a s C o r t e s , La R e v i s t a de E s n a n a , an d E l D ebate.

A f te r working s t e a d i l y in th e s e e n t e r p r i s e s f o r

t h r e e y e a r s , he made a r a d i c a l c h a n g e i n h i s mode o f l i f e . A l t h o u g h h e had a l w a y s b e e n o f a r e t i r i n g d i s p o s i t i o n ,

he

h a d b e e n a f a m i l i a r f i g u r e a t c a f e s and was s e e n o f t e n a t c o n c e rts and th e t h e a t e r .

Then v e r y a b r u p t l y he c u t h i m s e l f

o f f f ro m o r d i n a r y l i f e a n d became a l m o s t a r e c l u s e f o r s e v e r a l 3/ e a r s .

I n lo'73 he w r o t e and p u b l i s h e d t h e f i r s t

fo u r of h is E nisodios F a c io n a le s .

T h e s e were t h e b e g i n n i n g s

o f f o u r s e r i e s o f n o v e l s i n which he e n d e a v o r e d t o p r e s e n t i n f i c t i o n a l fo rm a t r u e p i c t u r e o f S p a n i s h p o l i t i c a l and s o c ia l h isto ry of the n ineteenth cen tury .

From t h a t t i m e

u n t i l I S 76 he w r o t e o n e S n i s o d i o e v e r / 7- t h r e e m o n t h s .

From

I S 76 on w a rd s h e a l t e r n a t e d n o v e l s f o r h i s E n i s o d i o s w i t h h i s N ovelas C ontem noraneas.

He r o s e h i g h i n p o p u l a r e s ­

t e e m a n d was much d i s c u s s e d i n t h e c a f e s where now he was s e ld o m s e e n .

In l£$3 a la r g e b a n q u et, a p u b lic e x p re s s io n

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o f h i s f a m e , was g i v e n i n h i s h o n o r and a t t e n d e d b y t h e most p r o m i n e n t S p a n i a r d s o f t h e dajr.

At a b o u t t h i s t i m e

G a l d 6 s b e g a n s p e n d i n g much t i m e i n t r a v e l .

He made t h r e e

t r i p s t o E n g l a n d and was p a r t i c u l a r ^ f o n d o f v i s i t i n g t h e p l a c e s w h e r e D i c k e n s had l i v e d .

He t r a v e l l e d t o H o l l a n d ,

Germany , D en m ark, Sweden, and I t a l y 7. o u t S p a i n , alwa^rs b y t r a i n ,

On h i s t o u r s t h r o u g h ­

he r o d e t h i r d c l a s s i n o r d e r

t o o b t a i n a f i r s t - h a n d k n o w le d g e o f p e o p l e a n d p o p u l a r custom s.

I n ! ' a d r i d , w h ere h i s l i f e was v e r y q u i e t , he

s p e n t most o f h i s t i m e i n h i s s t u d y and i n t h e l i b r a r y o f t h e Ateneo.

The o n l y r e m a i n i n g d i s t u r b a n c e s t o h i s t r a n ­

q u i l l i f e were i n p o l i t i c s and i n h i s e l e c t i o n t o t h e S p a n i s h Academy.

The l a t t e r had b e e n a n o i n t o f c o n t e n t i o n

among h i s f r i e n d s , an d i n 1 6 9 7 he f i n a l l y a c c e n t e d h i s e l e c t i o n i n t o m e m b e r s h ip , s e v e r a l y e a r s a f t e r a t t e m p t s by h i s f r i e n d s ha d b e e n made i n t h i s d i r e c t i o n .

His e a r l i e r

d i s a p p o i n t m e n t a t n o t r e c e i v i n g t h e e l e c t i o n t o m em b ers h ip had i t s r e s u l t i n h i s d e l a y i n g h i s a c c e p t a n c e i n w r i t i n g f o r se v e ra l y e a rs a f t e r h is e le c t i o n to t h i s honor.

In

p o l i t i c s he had b e e n a L i b e r a l and h a d s e r v e d f ro m 1 6 6 6 t o 1690 a s a L i b e r a l d e p u t y f o r P u e r t o R i c o . m anipulated to the

L a t e r he was

support of th e R ep u blican p a r ty and,

s e r v i n g a s t h e i r t o o l , he was e l e c t e d on t h e s t r e n g t h o f h i s fam ous name t o s e r v e a s d e p u t y f ro m J l a d r i d .

H is s i g h t

h a d b e e n f a i l i n g f o r s e v e r a l y e a r s , when i n 1 9 1 2 h e became to ta lly 7 b lin d .

His a d v a n c e d a g e , i n a d d i t i o n t o h i s

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2k

h a n d i c a p , made him a b u r d e n on h i s f r i e n d s ,

and he was

h a p p i e s t when l i s t e n i n g t o t h e i r p r a i s e o f h i s e a r l y s u c ­ c e s s e s i n t h e n o v e l and t h e drama.

I n J a n u a r y , 1920 G a l d o s

d i e d , t h e r e c o g n i z e d m a s t e r o f t h e modern n o v e l i n S p a i n . 2 . C l a s s i f i c a t i o n o f Novels

Galdtfs was a man who moved i n t h e p o l i t i c a l and l i t e r ­ a r y c i r c l e s o f t h e c a p i t a l , a n d y e t who, due t o a r e t i r i n g d i s p o s i t i o n , f a i l e d t o h o l d h i s own i n d i s c u s s i o n s o f t h e a f f a i r s of th e day.

H e nce , i t was n a t u r a l t h a t he m i g h t

f i n d t h e n e w s p a p e r a r t i c l e and t h e n o v e l a s a t i s f a c t o r y means o f e x p r e s s i n g h i s v i e w s on s i t u a t i o n s and i n s t i t u ­ t i o n s w h i c h he f o u n d t o be a t f a u l t . t o note t h a t ,

I t is in te re s tin g

s c a r c e l y a g e n e r a t i o n removed from t h e vogue

o f t h e c o s t u m b r i s t a s , he was a b l e t o b e g i n h i s c a r e e r where t h e j r had l e f t o f f , and he was a b l e t o p r o g r e s s fr o m t h e g e n e r o de c o s t u m b r e s t o t h e n o v e l r a t h e r t h a n t o end h i s c a r e e r a s a n o v e l i s t and d r a m a t i s t w i t h h i s j o u r n a l i s t i c en terp rises,

as did L a rra .

G a l d 6 s was on t h e s t a f f o f La

Naci&n f r o m 1&65 t o 1S6G, a n d i n t h i s t i m e he p u b l i s h e d more t h a n o n e h u n d r e d a r t i c l e s on m u s i c , a r t , lite ra tu re , p o litics,

the th e a te r ,

prom inent contem porary S p a n i a r d s /

a n d f e a t u r e s t o r i e s on N a d r i d .

I n a d d i t i o n t o t h i s he

c o n tr i b u te d a complete t r a n s l a t i o n o f D ic k en s’ Pickw ick P a r e r s i n t h e s e r i e s , L a s A v e n t u r a s de P i c k w i c k .

This

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25

was t h e f i r s t t r a n s l a t i o n o f a n y o f D i c k e n s 1 w o rks f o r S panish r e a d e r s . G a l d o s ’ f i r s t s e r i o u s l i t e r a r y a m b i t i o n s were d i r e c t ­ ed t o w a r d t h e dram a , b u t a f t e r y o u t h f u l d i s i l l u s i o n m e n t , he t u r n e d t o w a r d t h e n o v e l a s a medium o f e x p r e s s i o n .

H is

f i r s t n o v e l , La F o n t a n a de P r o ( l S 7 0 ) , was r e c e i v e d w i t h e n t h u s i a s m b].r c r i t i c s a n d t h e r e a d i n g p u b l i c .

I t nleased

G a l d o s Im mense ly t o b e c om pared b y r e v i e w e r s t o B a l z a c and D ickens, h i s f a v o r i t e f o r e ig n a u th o r s . P r o , h o w e v e r , was n o t a go od n o v e l ,

21

La F o n t a n a de

and i t shows a c o n f l i c t

b e t w e e n h i s j o u r n a l i s t i c w r i t i n g and h i s a t t e m p t a t t h e n o v e l form .

I t i s a p r e c u r s o r an d n o t a p a r t o f h i s E n i ­

s o d io s or h i s H ovelas C ontem noraneas; i t both.

p o i n t s t h e way t o

I n t h e m anner i n w h ic h i t makes w a r on r e l i g i o u s ,

s o c i a l , and p o l i t i c a l e r r o r s ,

i n i t s kn owledge o f l a d r i d

and h e r m i d d l e a n d l o w e r c l a s s e s ,

i t f o r e s e e s th e Novelas

S s n a f f o l a s C o n t e m p o r £ n e a s w h i c h he w r o t e o v e r a p e r i o d o f 3r e a r s b e g i n n i n g i n 1 S 7 0 .

B37- i t s

c u a d r o s o f r e c e n t h i s t o r 3?‘, i t

i n t e r e s t i n and e x c e l l e n t

i n i t i a t e s a l l of th e E ni­

s o d i o s U a c i o n a l e s , w hic h a r e i n f o r t y - s i x volum es c o m p r i s ­ ing four s e r i e s .

I f La F o n t a n a de Pro a n t i c i p a t e s t h e

PI I t i s s i g n i f i c a n t t o n o t e t h a t t h e s e " f o r e i g n ” a u t h o r s a r e m e n t i o n e d a s d e s c e n d a n t s o f t h e F r e n c h and E n g li s h a d o p tio n o f Sp an ish p i c a r e s q u e l i t e r a t u r e by such w r i t e r s a s L e s a g e a nd F i e l d i n g , and t h e i r w ork s a r e d i s ­ cussed in th e l i g h t o f th e picaresque t r a d i t i o n . Ifarren, o n . c i t . , p . 3 2 2 ; an d C h a n d l e r , o p . c i t . , v o l . I I , n o . 4 1 1 27, 5 2 7 - 3 /

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t e n d e n c i e s and t h e s t r o n g p o i n t s o f t h e C -a ld o sia n n o v e l s , certain ly i t ,

a weak b e g i n n i n g t o h i s f u t u r e s u c c e s s e s ,

shows t h e m a j o r d e f e c t s t o be f o u n d i n h i s l a t e r w o r k s . I t i s b a d l y c o n s t r u c t e d a nd i s much t o o l o n g .

It is fu ll

o f t i r e s o m e d i g r e s s i o n s f r o m t h e s t o r y , and i n t h e p r o ­ g r e s s i o n o f t h e n a r r a t i v e Galdd’s n e v e r m i s s e s a n o p p o r t u n ­ i t y t o serm onize.

B ut p e r h a p s i t i s t h i s v e r y t e n d e n c y t o

d e l i v e r a sermon w h i c h , a s w e l l a s c e r t a i n o f h i s b e t t e r a t t r i b u t e s , u n i f i e s a l l o f h i s w o rk s a n d i s a n o t h e r c h a r ­ acteristic

c a r r i e d o v e r i n some m e a s u r e f r o m t h e p i c a r e s q u e .

D i d a c t i c i s m h a s a lw a 3rs b e e n c o n s p i c u o u s i n S p a n i s h l e t t e r s . I t was m o s t e v i d e n t i n t h e gC nero p i c a r e s c o i n no\re l form an d i t s

imm ediate p r e d e c e s s o r s .

Juan R uiz, th e A rc h p rie st

of H ita , t o l d h i s s t o r i e s o f d i s s o l u t e conduct, v e i l i n g them i n p u r i t y b y s t a t i n g t h a t t h e j r w ere w r i t t e n i n o r d e r t h a t r e a d e r s m i g h t s e e t h e s e e r r o r s p o i n t e d c u t and t h u s avoid f a l l i n g i n to th e s in s th e m se lv e s.

La C e l e s t i n a p u r ­

p o r t e d t o be w r i t t e n a s a w a r n i n g t o yo u ng g i r l s a g a i n s t the p i t f a l l s to ld th e r e in .

Almost a l l o f t h e p i c a r e s q u e

novels leavened t h e i r re a lis m w ith m o ra liz in g , gain th e approval o f the c e n s o rs .

i f onl^q t o

The d e s i r e t o p o i n t a

m o ra l, even th o u g h i t m ight be o n ly a s a p r e t e x t f o r w r i t ­ i n g o f e v i l , was a l w a y s p r e s e n t and c a n b e s e e n t o a l e s s e r d e g r e e i n r e l i g i o u s t h e m e s o f t h e G old e n Age drama and i n some more modern w o r k s .

So t o o ,

i t i s evident in th e w r i t ­

i n g s o f G a l d o s , b e c a u s e G a ld 5 s d i d n o t b e l i e v e i n a r t f o r

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27 a r t ’s sake.

When a s k e d b y h i s b i o g r a p h e r s , L u i s Anttfn d e l oo Olraet a nd A r t u r o G a r c i a C a r r a f f a , ~ ” Qu€ o p i n i o n t i e n e U d . , D. B e n i t o , a c e r c a de l a l i t e r a t u r e ? d e c i r s i es u s t e d p a r t i d a r i o answered., ”lTo, jam a’s .

...

Querenos

d e l a r t e n o r e l a r t e , ” he

C re o que l a l i t e r a t u r a d ebe s e r e n -

se f t a n z a , e j e m p l o .

Bo e s c r i b f s i e m p r e , e x c e n t o en a l g u n o s 2° momentos de l i r i s m o , con e l p r o o 6 s i t o de m a r c a r h u e l l a . ” J C h r o n o l o g i c a l l y , t h e E n i s o d i o s p r e c e d e i n l a r g e mea­ s u r e t h e n o v e l s o f h i s H o v e l a s Contempor j?neas s e r i e s .

Ac­

cording t o l / a l t o n ^ th e y are h a rd ly novels in th e s t r i c t e s t sense.

T heir i n t e r e s t i s n a tio n a l,

th e h is to r y of Spain. e lis t ically , it

d e a l i n g a s t h e y do w i t h

I n s u i t e o f t h e i r w e a k n e s s e s , nov­

was t h e y w h i c h b r o u g h t G a ld o s t h e g r e a t e s t

acclaim in h is l if e ti m e ,

and t h e y s e r v e d a v e r y u s e f u l

p u r p o s e i n s o f a r a s t h e y t a u g h t t h e a v e r a g e S p a n i a r d enough o f h i s c o u n t r y ’ s h i s t o r y t o e n a b l e b i n t o t a k e an i n t e l l i ­ gent in te r e s t in p o l i t i c s ,

" e can n o t i c e a p r o g r e s s i o n

22

L u i s A n t 6 n d e l 01met a nd A r t u r o G a r c i a C a r r a f f a , Los G r a n d e s E s n a n o l e s : G a l d i s (I la d r i d : A lrededor d el I "undo, 1 9 1 2 ) , p . 9 3 * 23

" i h e y a s k e d him, ”h h a t o p i n i o n do you h a v e , don Ben­ i t o , about l i t e r a t u r e ? . . . h e mean t o a s k i f yo u a r e an a d h e r e n t t o t h e i d e a l o f a r t f o r a r t ’ s s a k e . ” He s a i d , ”No, n e v e r . I b e l i e v e t h a t l i t e r a t u r e must b e t e a c h i n g , exam ple. I a l w a y s w r o t e , e x c e p t i n some moments o f l i r i cism , w ith t h e i n t e n t i o n o f b l a z in g a t r a i l . ” ^ W a l t o n , on. c i t . ,

c h a p . IV.

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i n t h e N o v e l a s Co n t emn o r f i n e a s w h ic h d e m o n s t r a t e s a d e v e l ­ opment o f GaldfJs a s a n o v e l i s t .

In th e f i r s t novels w r i t ­

te n in the s e r i e s ^ th e re is a strong p a trio tis m , o v e r f ro m t h e E p i s o d i o s .

carried

He d e a l s w i t h i t n o v e l i s t i c a l l y .

I t i s shown i n a d e s i r e t o s e e h i s c o u n t r y v i c t o r i o u s o v e r e v i l , but r a t h e r th an a v ic to r y over e x te rn a l fo rc e s , here t h e r e a re i n t e r n a l f o r c e s t o be overcome— p o l i t i c a l c o r ­ rup tio n ,

c le ric a lism , f a u lts in n atio n al in s titu tio n s .

d e als w ith th e s e ,

He

some o f t h e same S p a n i s h t h e m e s t r e a t e d

by p ic a r e s q u e w r i t e r s ,

i n a. v e r y n i n e t e e n t h c e n t u r y man­

n e r i n s u c h n o v e l s a s Dona P e r f e c t a (1 ^ 7 6 ) and G l o r i a (lo 77) •

I n t h e s e r i e s o f n o v e l s b e g i n n i n g c h r o n o l o g i c a l l 3r

w i t h La D e s h e r e d a d a a nd e n d i n g a t a b o u t La I n c o g n i t a , h i s p a r t i c u l a r i n t e r e s t was i n c h a r a c t e r s t u d y i n v o l v i n g t h e re a c tio n s of h is c h a ra c te rs to atio n s,

s o c i a l and p o l i t i c a l s i t u ­

i n d i v i d u a l c h a r a c t e r s t u d y , and e v en c h a r a c t e r

s t u d i e s o f th e abnorm al.

F i n a l l y , i n h i s l a s t n o v e l s , he

i s c o n c e r n e d w i t h t h e i d e a l s o f t h e t i m e s y m b o l i z e d by human b e i n g s , r a t h e r t h a n b e i n g c o n cern ed, w i t h t h e human , . . 26 bemrrs tn e m s e lv e s . -1

^^See A p p e n d i x B,

p p

.

o

6 - 9 0 .

26tFp ,o r a m p l i f i c a t i o n o f t h i s p r o g r e s s i o n i n t h e w r i t ­ i n g o f Galdtfs from c r i t i c i s m o f i n t e r n a l i n s t i t u t i o n s , t o an i n t e r e s t i n i n d i v i d u a l r e a c t i o n s t o t h e i n s t i t u t i o n s , t o an i n t e r e s t i n i d e a l s r a t h e r t h a n i n d i v i d u a l s , s e e B ' a l t o n , o p . c i t . . , c h a p . IV .

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29

L ik e t h e p i c a r e s q u e n o v e l , t h e n o v e l o f G a l d 6 s i s t h e novel o f the c i t y .

Two p r o b l e m s i n p a r t i c u l a r r u n t h r o u g h

a lm o st a l l o f h i s works: a l l a sp e c ts of t h i s , r e l i g i o u s problem .

t h e econom ic p r o b l e m ( c o n s i d e r i n g

i t includes so c ial c o n flic ts)

and. t h e

He t r e a t s t h e economic p r o b l e m i n t h e

u rb a n s e n s e and n o t a s a r u r a l o r a g r i c u l t u r a l q u e s t i o n . He i s c o n c e r n e d w i t h t h e r e l i g i o u s p r o b l e m i n i t s t u ti o n s r a th e r than i t s

ideas.

in sti­

There i s a p a r a l l e l p l a i n ­

l y t o b e s e e n b e t w e e n Gald