UBC_1971_A8 S65 - cIRcle - University of British Columbia

UBC_1971_A8 S65 - cIRcle - University of British Columbia

THE
MADRID NOVELS OF PEREDA
by
Clifford
Smith
B.A., Cantab», 1 9 6 8
A THESIS SUBMITTED IN PARTIAL FULFILMENT OF
THE
REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS
i n the Department
of
H i s p a n i c and I t a l i a n S t u d i e s
We accept t h i s t h e s i s as conforming t o the
required
THE
standard
UNIVERSITY OF BRITISH COLUMBIA
April, 1971
In p r e s e n t i n g t h i s
thesis
an advanced degree at
the
I
f u l f i l m e n t o f the requirements f o r
the U n i v e r s i t y of B r i t i s h Columbia,
L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e
f u r t h e r agree
for
that permission
for
I agree
r e f e r e n c e and
f o r e x t e n s i v e copying o f t h i s
that
study.
thesis
s c h o l a r l y purposes may be granted by the Head o f my Department o r
by h i s
of
in p a r t i a l
this
representatives.
thesis
It
i s understood that copying o r p u b l i c a t i o n
f o r f i n a n c i a l gain shall
not be allowed w i t h o u t my
written permission.
Department of
H(spo.nic
The U n i v e r s i t y o f B r i t i s h
Vancouver 8, Canada
Date
lb*" April
tto.Up.ii
Columbia
Sbu.oUes
(
ABSTRACT
J o s e M a r i a de
at
h i s house
Coast.
the
he
The
i n Polanco,
greater
towns and
was
was
Pereda
conscious
exerting
on
the
most c l e a r l y
two
f u l l - l e n g t h novels,
which the
principal
These n o v e l s
their
by
expressed
due,
o f the
of the
his
analysis
of v a r i o u s
the
political
His
on
heritage
give
this
the
and
novels,
This
aspects
and
press
sex,
aesthetics
rise
the
short
the
o f a r t and
two
and
novels,
of h i s s u c c e s s
artistically
to
Is
them
Pereda's
and
o f the
novels
and
fashion-
religion.
two
A final
credible.
that
judge
literary
i n his narrative
host
in
life, especially
s i t u a t i o n s , and
i s the
centers
city.
acclaim
on S p a i n ' s
i n order
them,
and
La Montalvez ,
a t t i t u d e s of
to education
in
force
stories
thesis studies
and
set
small
social
o f many c r i t i c s
a t some l e n g t h .
c r e a t i o n of c h a r a c t e r s
made human and
of t h i s
of Madrid
Cantabrian
i t s customs
i n the
critical
to c e r t a i n trends
i s discussed
r e a l measure
and
Spanish c a p i t a l
t e c h n i c a l accomplishment
o f themes i n t h e s e
he
desire
s y s t e m , the
the
life
long
the
throughout
h i s t o r i c a l background t o the
s o c i e t y to love
ideas
but
P e d r o S a n c h e z and
s e t t i n g i s the
presentation
his
i n three
non-literary criteria.
able
awareness
have n e v e r r e c e i v e d
because
of
on
life
s t o r i e s are
that Madrid
t r a d i t i o n a l way
His
and
province,
influence
of p r o v i n c i a l s o c i e t y .
is
of h i s n o v e l s
of t h i s
of the
most o f h i s
i n Santander Province
part
villages
(I833-I906) l i v e d
style;
full-length
section
his
analyses
treatment
t o show t h a t
the
o f c h a r a c t e r s , whom
TABLE OF CONTENTS
Introduction
The Theme o f Madrid i n Pereda's
Novels
The F i v e Madrid Novels
Suum Cuique
La Mu.jer d e l Cesar
Los Hombres de P r o
Pedro Sanchez
La Montalvez
Chapter I s
The H i s t o r i c a l Background
Chapter 2;
Pereda's L i t e r a r y O p i n i o n s and Technique
i n the Madrid N o v e l s
4-9
Chapter 3
P o l i t i c s and t h e P r e s s i n Pereda's Madrid
Novels
78
!
C h a p t e r 4:
t o Pedro Sanchez
S o c i e t y i n Pereda's Madrid Novels
24
104
Fashion
Love
Education
Religion
Chapter 5
:
The Themes and C h a r a c t e r s of Pedro Sd.nch.ez
and La Montalvez
137
Conclusion
191
Bibliography
197
ACKNOWLEDGEMENT
I wish t o express my thanks t o Miss Maria G. Tomsich,
without whose u n s t i n t i n g e f f o r t s , guidance and advice* the
w r i t i n g of t h i s t h e s i s would not have been p o s s i b l e .
I would a l s o l i k e t o express my a p p r e c i a t i o n
f o r the
encouragement and many h e l p f u l suggestions made by the other
members o f the Department of H i s p a n i c
and I t a l i a n S t u d i e s
a t the U n i v e r s i t y of B r i t i s h Columbia; and t o the members
of the I n t e r - L i b r a r y Loan D i v i s i o n of the L i b r a r y of the
U n i v e r s i t y of B r i t i s h Columbia f o r t h e i r u n t i r i n g s e a r c h
f o r obscure
materialo
F i n a l l y I should l i k e t o thank my w i f e , Ann, and Miss
Lynne Gardner f o r t y p i n g t h i s t h e s i s , and Mr. Ron R i t e r
for editing i t .
Y este culto
local
dose a e l como una
l a n d o " d e s p u e s de
la
encuentra
que
la
hoy
de
e x i s t a una
su
influjo
en
Hoy
y a , que
tido
no
p o r una
a g u d a , mas
mas
g r a n p r o m e s a que
mas
Pereda
se nos
fue.
d e j a de
La f r a s e
como
en
aquella agria
cantabra
y
se
si
definitihubo un
tiempo
asis-
rigurosa—critica,
mas
c u m p l i r plenamente l a
historica
e l caso
No
n e u r o s i s o no,
de que
esta espaciosa y t r i s t e
sombriamente d r a m a t i c o
Pereda
sorprender,
hombres y l o s g a s t a , p o d r i a tomar un
Castilla
de
manuales t u v i e r a n
aparece
e l novelista,
los
los novelistas
i r r e m e d i a b l e ; pero
h u b i e r a podido
exactamente, toda
hace sus
no
c o m p r e n s i v a - - o mas
alerta,
aniqui-
desproporcion
"oficial"
y l o s susodichos
l o e r a , en que
enroscan-
seguido
l a pluma de
l o que
vamente p a s a d o , e l dano es
en que
l o ha
l a n o v e l a moderna.
n u n c a s u nombre b a j o
susomentada c r i t i c a
l o ahogo,
tan extrana
la critica
trabajan y crean,
razon.
que
A l e l debemos l o s t o p i c o s de
l a s a f i r m a c i o n e s de
realidad
Pereda,
"boa c o n s t r i c t o r ,
muerto.
manuales y e l que
entre
de
de
Pereda.
l o gasto
JOSE F.
Castilla—
patria
sesgo
A
nuestra-mas
Pereda,
s i n hacerlo.
MONTESIMOS
1
INTRODUCTION
Many attempts
have been made t o c l a s s i f y the works of
Jose* Maria de Pereda.
The f i r s t was t h a t of Augusto Charro
Hidalgo y D i a z , and many c r i t i c s s i n c e have s i m i l a r l y
2
attempted
t o c a t e g o r i s e Pereda's n o v e l s .
d i s c o v e r e d t h a t t h i s i s an unrewarding,
task.
They have
immediately
i f not i m p o s s i b l e ,
A t f i r s t glance i t may not appear so, f o r Pereda's
p r o d u c t i o n i s not l a r g e by any standards; but the d i f f i c u l t i e s
occur once the c a t e g o r i e s have been decided upon, and an
attempt
critic
made t o a s s i g n the n o v e l s t o these c a t e g o r i e s . A
c o u l d , f o r example, c a l l the n o v e l Don Gonzalo
Gonzalez
de l a Gonzalera a p o l i t i c a l n o v e l , a r e g i o n a l n o v e l , a
humorous n o v e l , a c o s t u m b r i s t a n o v e l or a t h e s i s n o v e l .
Because i t i s i m p o s s i b l e t o p l a c e Pereda's n o v e l s
mutually e x c l u s i v e c a t e g o r i e s , any s i g n i f i c a n t
into
classifications
can be made only by c o n c e n t r a t i n g on a theme which i s common
to s e v e r a l of them, and by d i s c u s s i n g these novels w i t h regard
to t h e i r theme.
Then, i n s t e a d of having f i v e c a t e g o r i e s , each
of which contains a f i f t h p a r t o f h i s n o v e l s , any n o v e l may
be assigned t o f o u r or even f i v e of these c l a s s i f i c a t i o n s ,
and consequently any category may be comprised
of a l l , or
most o f , the n o v e l s .
The two l a r g e s t groups which r e s u l t
from such a thematic
d i v i s i o n of Pereda's works a r e the r e g i o n a l n o v e l s — w h i c h
i n c l u d e a l l but La M o n t a l v e z — a n d the t h e s i s
novels—which
-
i n c l u d e a l l but S o t i l e z a .
2 -
Such d i f f e r e n t i a t i o n of the
author's w r i t i n g s by a comparison of t h e i r s u b j e c t matter
would produce s m a l l e r and more c l e a r - c u t d i v i s i o n s .
One
of these would be t h a t of the Madrid s t o r i e s , whose a c t i o n ,
or a l a r g e p a r t of i t , takes place w i t h i n the Spanish c a p i tal.
T h i s group has never been s t u d i e d i n d e t a i l , nor has
i t r e c e i v e d the c r i t i c a l a c c l a i m t h a t i t d e s e r v e s .
The
f i v e novels whose s e t t i n g i s Madrid were w r i t t e n a t
d i f f e r e n t periods
of Pereda's l i f e .
The dates are not w i t h -
out s i g n i f i c a n c e , f o r they r e v e a l the author's
preoccupation
w i t h the m e t r o p o l i s .
continuing
The f i v e n o v e l s ,
and the
dates of t h e i r f i r s t p u b l i c a t i o n , are»
1864,
Suum cuique
18?0,
La mujer d e l Cesar
1871,
Los hombres de pro
1884,
Pedro Sanchez
1888,
La Montdivez
The
It
theme of Madrid i n Pereda's novels
can be argued t h a t a s s i g n i n g of Pereda's works t o
watertight
compartments i s p u r e l y a r b i t r a r y , s i n c e the theme
of Madrid runs through the m a j o r i t y
of h i s n o v e l s .
be an immense task t o document t h i s m o t i f
his
at
production,
this
The
I t would
i n the whole of
but a b r i e f o u t l i n e of i t would be i n order
point.
f i r s t ' appearance of the theme i s , i n f a c t , Suum
cuique i n h i s f i r s t c o l l e c t i o n , Escenas montanesas.
This
- 3 s h o r t n o v e l w i l l be s t u d i e d i n d e t a i l , as w i l l the next two
developments of the theme i n the c o l l e c t i o n Bocetos
(the
a l temple
two novels La mu.jer d e l C6sar and Los hombres de p r o ) *
He f o l l o w e d t h i s c o l l e c t i o n w i t h another
titled
Tipos trashumantes,
which was t o be h i s f i r s t
i n t o a n t i - M a d r i d w r i t i n g s by d e f a u l t .
become a f a v o r i t e w i t h Pereda
ment.
of s h o r t e r p i e c e s enventure
T h i s approach was t o
from t h i s p o i n t on i n h i s develop
He achieves i t e i t h e r by d e s c r i b i n g the v i r t u e s of the
Montana and then r e v e a l i n g the d i s r u p t i v e f o r c e of the s o p h i s t i c a t e d ideas of the c a p i t a l or he d e s c r i b e s the f a u l t s and
the r i d i c u l o u s n e s s of the madrilenos
sane and h e a l t h y country
It
people.
i s t h i s technique
of n e g a t i o n and c o n t r a s t which
s u p p l i e s the s o l u t i o n t o the apparent
novels.
by c o n t r a s t w i t h the
paradox i n Pereda's
Pereda's p r o d u c t i o n was p a r a d o x i c a l s i n c e he only
composed f i v e novels s e t i n Madrid, and y e t the well-worn
theme of Menosprecio de Corte y Alabanza de A l d e a i s e v i dent i n e v e r y t h i n g he wrote.
Pereda had an almost
guilty
p r e o c c u p a t i o n w i t h the Court and consequently the reader must
always supply the f i r s t
Corte) t o h i s thoughts
ideal
h a l f of the phrase
(Menosprecio
de
on any work t h a t p r a i s e s the p a s t o r a l
(Alabanza de A l d e a ) .
These two aspects of Pereda'a technique can be found i n
many of h i s n o v e l s about l i f e i n the mountains of Santander.
The
two e a r l y t h e s i s n o v e l s , Don Gonzalo Gonzalez
de l a
Gonzalera and De t a l p a l o , t a l a s t i l l a are c o n s t r u c t e d i n
accord w i t h t h i s method.
The former d e s c r i b e s the impact of
_ 4 r e v o l u t i o n a r y Madrid p o l i t i c s
province.
on a s m a l l community i n Santander
S i m i l a r l y De t a l p a l o , t a l a s t i l l a i s concerned
w i t h the c l a s h between o l d - f a s h i o n e d r e l i g i o n and "newf a n g l e d " Madrid atheism.
His f i r s t
had gone one stage f u r t h e r .
n o v e l , E l buey s u e l t o . . .
I t a t t a c k e d the ideas
expressed
i n B a l z a c ' s P h y s i o l o g i e du mariage and P e t i t e s miseres
vie
de l a
con.jugale, which were, by i m p l i c a t i o n , Madrid S o c i e t y ' s
ideas on marriage,
The
s i n c e Madrid so o f t e n aped P a r i s .
f i v e novels t h a t form the c e n t r a l p a r t of Pereda's
p u b l i c a t i o n s , and which a r e h i s g r e a t e s t achievements, make a
strange c o n t r a s t w i t h h i s e a r l i e r and l a t e r books, and w i t h
each o t h e r .
its
life
Three of the f i v e simply d e s c r i b e the Montana,
and i t s b e a u t i e s , and show a world
from the e v i l i n f l u e n c e of the m e t r o p o l i s *
completely
free
I n the two i n t e r -
v a l s between w r i t i n g them he produced the f i v e works which
d e a l most s p e c i f i c a l l y w i t h the C o r t e , i n the f o l l o w i n g orders
1882,
E l sabor de l a t i e r r u c a
1883,
Pedro Sanchez
1885,
Sotileza
1888,
La Montalvez
1889,
La puchera
These f i v e form a strange group, s i n c e three a r e f r e e from a n t i Madrid s a t i r e and the other two comprise i t s most complete
manifestation.
His l a s t three n o v e l s , Nubes de e s t i o , A l primer
vuelo,
and Penas a r r i b a are a l l t h e s i s n o v e l s , as h i s e a r l i e s t ones
- 5 had been.
Two
of the three r e v e a l Pereda's view of m a d r i l -
enos i n the Montana, i n a s i m i l a r v e i n to Tipos
trashumantes.
Nubes de e s t i o c o n t a i n s many of Pereda's most v i t r i o l i c
a t t a c k s on the treatment of the p r o v i n c e s by the c a p i t a l ,
e s p e c i a l l y the chapter e n t i t l e d
" P a l i q u e " ; and some c r i t i c s
have seen the"summer c l o u d s " as the veraneantes
themselves.
The s i m i l a r i t y between the t h e s i s of t h i s n o v e l and t h a t of
the
somewhat i d y l l i c A l primer v u e l o , a f a c t caused by the
composition of the two w i t h i n the same year and from the
same i d e a s , makes the l a t t e r seem f a r worse d e s p i t e i t s
b u c o l i c charm.
masterpiece, now
Penas a r r i b a , so o f t e n c l a i m e d a s
Pereda's
appears to p r e s e n t a r a t h e r f o r c e d
thesis,
i n which the madrileno Marcelo i s converted t o a love of
the
Montana.
Thus i t can be seen t h a t the theme of the p r a i s e of the
country and the d e s p i s i n g of the c a p i t a l can be found i n the
m a j o r i t y of Pereda's w r i t i n g s .
Even the s o - c a l l e d
Escritos
de juventud ( I 8 5 8 - 7 9 ) c o n t a i n many p o l i t i c a l a r t i c l e s
a t t a c k the government.3
which
Madrid i s a major theme, whether i t
be by n e g a t i o n (as i n E l sabor de l a t i e r r u c a , La puchera),
contrast
(Penas a r r i b a , Nubes de e s t i o which are m a n i f e s t a t i o n s
of Alabanza de A l d e a ) , or by a d i r e c t s a t i r i c a l a t t a c k
(La
mujer d e l Ce^sar, La Montalvez which are m a n i f e s t a t i o n s
of Menosprecio de C o r t e ) •
- 6 The F i v e Madrid Novels
Suum Cuique
T h i s was Pereda's f i r s t
also h i s very f i r s t
cuadro.
e x c u r s i o n t o Madrid, and was
s t o r y , as opposed
t o s k e t c h , scene, or
I t was i n c l u d e d i n h i s f i r s t p u b l i c a t i o n , the
Escenas montanesas of 1864, which was the b i g g e s t s t e p f o r ward i n Spanish r e a l i s m s i n c e the p u b l i c a t i o n of La g a v i o t a
by Fernan G a b a l l e r o i n 1849.
Suum cuique i s a v e r y simple s t o r y w i t h a double
It
action.
has a minimum of c h a r a c t e r s f o r i t r e v o l v e s around the
f i g u r e s of Don S i l v e s t r e Seturas and an unnamed pea, gordo
from Madrid who i s always r e f e r r e d t o as Don Fulano de T a l .
The two men r e q u i r e a c e r t a i n amount of a t t e n t i o n f o r
they a r e the p r o t o t y p e s of important stock f i g u r e s i n Pereda's
fiction.
L i k e many n i n e t e e n t h c e n t u r y n o v e l i s t s ,
Pereda
gave names t o c e r t a i n of h i s c h a r a c t e r s t o emphasize
personalities.
their
Dickens i s the prime example w i t h Count
Smorl-
t o r k , Lords Dedlock and V e r i s o p h t , and C a p t a i n C u t t l e .
Galdos was t o use the same s o r t of symbolism
w i t h T e r e s a and
S a n t i a g o Ibero, Don Benigno Cordero, Angel Guerra and many
others.
Pereda was not g i v e n t o u s i n g symbolic names w i t h
such frequency, but there are o c c a s i o n s when he does s o . I t
i s s u f f i c i e n t t o mention the stubborn Don Roque i n Nubes de
e s t i o , Angel and Luz i n La Montalvez, and Don S e r a f i n i n
Pedro Sanchez as examples of p r o t a g o n i s t s w i t h meaningjul
names; and such secondary f i g u r e s as the " p r i c k l y *
Leticia
E s p i n o s a and the a r i s t o c r a t i c S a g r a r i o M i r a l t a and Manolo
- 7 Casa-Vieja.
The symbolism
i n Suum cuique r e v e a l s Don
S i l v e s t r e ' s p a s t o r a l o r i g i n s and n a t u r e .
Don Fulano de T a l i s the f i r s t appearance
i n PeredaV
of a pez gordo
T h i s c h a r a c t e r w i l l be developed i n l a t e r n o v e l s ,
but here i s the p r i m i t i v e o r i g i n a l of such " g r e a t " men as
Don Augusto V a l e n z u e l a (Pedro Sanchez) and E l margues
de C a s a - G u t i e r r e z (Nubes de e s t i o ) •
In t h i s f i r s t
airing
he i s , indeed, the harassed man of the world who has l i t t l e
or
no time t o r e s t from h i s problems,
but he i s a v e r y k i n d l y ,
benevolent s o u l .
He has no malice i n him, but, b e i n g human,
has many f a u l t s .
Pereda s a t i r i s e s h i s f a u l t s
constantly.
What i s , perhaps, much more s u r p r i s i n g i s t h a t Pereda
satirises
Don S i l v e s t r e f a r more h a r s h l y than Don Fulano de T a l .
Don S i l v e s t r e i s the l a s t of a l o n g l i n e of r a t h e r
single-
minded h i d a l g o s , who have c a r r i e d on a p o i n t l e s s and r i d i culous p l e i t o f o r many y e a r s .
T h i s aspect of h i s c h a r a c t e r
i s s t r e s s e d by Pereda a t a l l times, although he does a l l o w
t h a t " S i l v e s t r e no c a r e c i a completamente de s e n t i d o
comun" ( I , 262). The l a t e r a n a l y s i s of S i l v e s t r e * s c h a r a c t e r
w i l l r e v e a l t h a t he s u f f e r e d from a G a l d o s i a n monomania.
Don S i l v e s t r e i s another o r i g i n a l f o r l a t e r c h a r a c t e r s ,
s i n c e he i s marked by a benevolent and v i r t u o u s i f somewhat
boorish nature.
H i s adventures i n Madrid are amusing, but
the humor i s based on the o l d d e v i c e of s e t t i n g a c o u n t r y man's l a c k of p o l i s h a g a i n s t the n i c e t i e s and f i n e r y of
society.
The c h a r a c t e r , f i r s t
seen here, w i l l l a t e r be
developed as Ram6n (La mu.jer d e l C^sar) and Pedro
Sanchez.
- 8 Suum cuique i n i t s a n t i - M a d r i d ideas a l s o p r e f i g u r e s
the l a t e r development of Pereda's n o v e l s .
T h i s n o v e l must
always be taken i n t o c o n s i d e r a t i o n when d i s c u s s i n g the c i t y /
country theme i n Pereda.
Pereda
The country i s never
idealised.
i s a t g r e a t pains t o d e s c r i b e the Montana and i t s
b e a u t i e s but h i s novels always remain r e a l i s t i c .
Pereda
never doubts f o r a moment the v i r t u e s of the country
over
the c i t y f o r him, but he has no p a t i e n c e w i t h the p a s t o r a l
i d e a l of the c o u n t r y s i d e i n which f a i r shepherds make chaste
love t o b e a u t i f u l shepherdesses,
under c l o u d l e s s s k i e s , w i t h
f l o c k s t h a t never wander.
Don Fulano meets w i t h many d i s c o m f o r t s i n the c o u n t r y .
Perhaps the most famous of these occurs a f t e r G a r c i l a s o has
been invoked on account
of h i s " t i e r n a s eglogas" and Don
Fulano has been d e s c r i b e d as r e a d i n g " c u a l q u i e r a de l o s
poetas, desde Gonzalo de Berceo
hasta e l u l t i m o b u c o l i c o de
nuestros g a c e t i l l e r o s y romancistas,"
(I,
279)•
Pereda
d r i v e s home the f a l s e i m p r e s s i o n g i v e n of the country by these
poets by q u o t i n g two p a s t o r a l stanzas and exclaims "IY d i r a n
l a s almas de prosa que l a p o e s i a es una quimeral
The
sequence i s c a r e f u l l y prepared
i n order t o make the
reader's and Don Fulano*s d i s i l l u s i o n m e n t g r e a t e r .
This
comes when Don Fulano, t h i n k i n g he hears G a l a t e a approach
through the bushes, goes t o i n v e s t i g a t e and d i s c o v e r s "en
l u g a r de l o s c a b e l l o s de l a n i n f a . . . a t r o p e l l a n d o l a s enmaranadas
argomas, madreselvas,
espinas, zarzas, juncias y o r t i g a s ,
- 9 l a s a f i l a d a s a s t a s de un n o v i l l o de c u a t r o anos," ( I , 279-80).
He does not stop running t i l l
Montesinos
he reaches Don S i l v e s t r e * s house.
has p o i n t e d out t h a t these ideas were o l d -
f a s h i o n e d by 1864 , but
does r e v e a l t h a t Pereda was con-
cerned w i t h the r e a l i t y of the country, not w i t h an i d e a l i s a t i o n of i t .
Montesinos
has developed
a theory about
r e a l i s m , which i s c l e a r l y r e v e a l e d i n Suum c u i q u e .
novels are an uneasy mixture
and
of i d y l l s — i n t h e i r
of Realism or even N a t u r a l i s m — i n t h e i r
Pereda's
Pereda's
Pereda's
totality—
details—.
view of l i f e was t h a t the country was p r e f e r a b l e t o
the c a p i t a l , but i t was s t i l l
the l e s s e r of two e v i l s .
He
c o u l d see the f a u l t s of the c o u n t r y s i d e and c o n s t a n t l y
a t t a c k e d the v i c e s of i t s i n h a b i t a n t s .
Cities, after a l l ,
c o n t a i n more people, and p r o v i d e
mathematically a g r e a t e r p o s s i b i l i t y f o r e v i l .
Pereda
never
l o s t the v i s i o n of the country he had i n Suum cuique, and
both h i s own house a t Polanco, and the Casona of Penas a r r i b a
had many c i v i l i s e d a l t e r a t i o n s made t o accommodate the
s o p h i s t i c a t e d Pereda and the madrileno Marcelo.
Pereda was
never able t o f o r g e t the advantages of progress and Madrid,
d e s p i t e h i s hatred of i t s f a u l t s .
La Mu.jer d e l Cesar5
T h i s , the second
of Pereda's
s a l l i e s from the Montana,
has much i n common w i t h Los hombres de pro and f o l l o w s Suum
cuique by s i x y e a r s .
the heroes
I t a l s o has two heroes, b u t , u n l i k e
of Suum cuique, they do n o t both s u f f e r d i s c o m f i t u r e
- 10 as the n o v e l p r o g r e s s e s .
On the c o n t r a r y , there i s a t e n -
dency f o r the very s t r i c t moral t o be emphasized by Pereda,
and
the moral judgments of one of the heroes are supported
by the author r a t h e r too f u l l y .
F a r from s u f f e r i n g d i s -
c o m f i t u r e , he i s shown as being a paragon.
The
n o v e l concerns two b r o t h e r s , Ramdn and C a r l o s .
Ramon
has remained i n the Montana, C a r l o s has become a s u c c e s s f u l
Madrid lawyer.
The d e s c r i p t i o n of Ramon, which opens the
n o v e l , b r i n g s t o mind S i l v e s t r e Seturas,
i s s t r e s s e d by Peredai
and one c h a r a c t e r i s t i c
" n i de su a i r e n i de su r o s t r o podia
deducirse que f u e r a un p a l u r d o . . . "
( I , 533)•
Another s i m i l a r i t y
whichKas a b e a r i n g on the a c t i o n i s t h a t both men are l a r g e
and
powerful.
Ramon i s t o be the hero of the n o v e l , y e t h i s b r o t h e r
provides
the c e n t r a l a c t i o n i n i t .
really
The c o n t r a s t between
the two i s c o n t i n u a l l y s t r e s s e d , but d e s p i t e what has been
s a i d about the extreme p e r f e c t i o n of the countryman, i t i s
the c i t y - l a w y e r , C a r l o s , who i s d e s c r i b e d as "mas i d e a l i s t a
y mas f i n o "
( I , 538)•
r e l i e f the true nature
Pereda i s once more throwing i n t o
of the c o u n t r y s i d e , which he does not
i d e a l i s e , f o r h i s r e a l i s m s t r e s s e s both i t s beauty and s h o r t comings .
Despite
the over-emphasis on the v i r t u e of the montanes,
what has escaped most c r i t i c s
i s the f a c t t h a t he i s not the
only v i r t u o u s c h a r a c t e r i n the s t o r y .
C a r l o s and I s a b e l , h i s
w i f e , are shown t o be both honest and honorable, even though
he i s a l i t t l e
" b l i n d " and " l a v e t a de I s a b e l e r a l a
- 11 ostentaci6n"
( I , 539)•
As such they provide
the o r i g i n a l s
f o r Pedro Sanchez (who i s " b l i n d " ) and h i s f i r s t w i f e
(who
i s o s t e n t a t i o u s ) , although
Clara
the l a t e r n o v e l develops the
c h a r a c t e r s much more f u l l y .
There are wicked and v i c i o u s people i n Madrid, but
Pereda g i v e s a reasonably
there
balanced
p i c t u r e of s o c i e t y f o r
i s a mixture of v i c e and v i r t u e i n the main c h a r a c t e r s .
He may appear t o be c e n s u r i n g
v e r y s e v e r e l y , b u t , g i v e n the
tempered a c c o r d i n g l y .
h i g h s o c i e t y occur
the whole of Madrid S o c i e t y
^ o f f e s , c r i t i c i s m must be
Pereda's two most severe
a t t a c k s on
i n t h i s n o v e l and i n La Montalvez, and
both are b u i l t around b e a u t i f u l women and the attempts t h a t
are made on t h e i r honor.
Another t r a i t
of many of Pereda's t h e s i s n o v e l s , r e -
v e a l e d by Suum cuique and La mu.jer d e l C^sar, i s t h a t he has
a tendency t o use a proverb or s a y i n g as a b a s i s f o r a n o v e l .
Suum cuique e x e m p l i f i e d
the i d e a of " t o each h i s own,"
La mu.jer d e l C6sar the importance of "appearing
and not j u s t
being v i r t u o u s , " j u s t as De t a l p a l o , t a l a s t i l l a
illustrated
the i d e a of "a c h i p o f f the o l d b l o c k " or " l i k e f a t h e r ,
son,"
like
and ( u n u s u a l l y ) E l buey s u e l t o . . . Q b i e n se lame] a t t a c k s
the i d e a t h a t the "unyoked f j i . e . unmarried) s t e e r does w e l l
for
himself."
Much of the p l o t and the theme of the s t o r y w i l l be
dealt with
l a t e r i n more d e t a i l , but the c o n c l u s i o n s
from the theme must be t r e a t e d w i t h c a u t i o n .
may appear somewhat o l d - f a s h i o n e d
drawn
Although i t
i n i t s e x h o r t a t i o n to women
* 12 to
s t a y a,t home a n d l o o k a f t e r t h e i r h u s b a n d s a n d f a m i l i e s ,
it
was v e r y much i n l i n e w i t h t h e i d e a s o f more
liberal
novelists.
Montaigne had, perhaps,
advocation
of domestic
v a l u e s o f t h e home.
by
been most i n f l u e n t i a l
i n his
p l e a s u r e s and a r e t u r n t o t h e s i m p l e
These i d e a s were a b s o r b e d
and r e a s s e r t e d
the greatest nineteenth-century n o v e l i s t s — B a l z a c ,
Gald6s—and
had,
also the majority of Spaniards.
predictably, subscribed to t h i s
Spanish n o v e l i s t s o f such
Dickens,
Pernan Caballero
t h e s i s , b u t so h a d o t h e r
diversified
political
backgrounds as A l a r c 6 n , Coloma, P a l a c i o V a l d e s
and p h i l o s o p h i c a l
and G i a r i n .
B e c a u s e o f t h i s n i n e t e e n t h c e n t u r y t r e n d , c a r e must be
tpken
i n a s s e s s i n g P e r e d a t h a t one i s n o t b l i n d l y p r e j u d i c e d
against him.
He d e s c r i b e d l i f e
as i t r e a l l y
l a s t i n g v a l u e s among i t s many f a l s e
tendency to over-moralise,
was a n d s o u g h t
a l l u r e m e n t s . He h a d a
something he shares
w i t h many
other
writers.
L o s h o m b r e s de p r o ^
This n o v e l has s i m i l a r i t i e s
t o .La m u j e r d e l C e s a r f o r
it
p r e f i g u r e s themes i n P e r e d a ' s l a t e r n o v e l s , and p a r t o f
it
c a n be seen a s t h e i m m e d i a t e p r e c u r s o r t o P e d r o
The
t h e m e s t h a t a r e t r e a t e d i n some d e t a i l
amplified
those
Sanchez.
i n t h i s book a r e
i n P e d r o S a n c h e z i n v e r y much t h e same way a s
i n La mujer d e l Cesar
a r e expanded i n L a
Montalvez.
- 13 Los hombres de pro i s a much more complex work than
e i t h e r of the two e a r l i e r ones.
Suum cuique had a c e r t a i n
p l o t development but c o n s i s t e d e s s e n t i a l l y of the c o n t r a s t
between two extended
p e r i l s of l i f e
s e t s of scenes; the f i r s t
showed the
i n the b i g c i t y , the second d e s c r i b e d the
disadvantages of country l i f e .
La mu.jer d e l Cesar was
like-
wise a s e r i e s of scenes which s e t i n r e l i e f the v i c e s of the
c a p i t a l , but i t had a more complex p l o t s t r u c t u r e which h e l d
the scenes t o g e t h e r .
Los hombres de pro i s a f u r t h e r advan-
cement i n n a r r a t i v e technique, f o r the emphasis i s now
s t o r y i t s e l f , and the c o s t u m b r i s t a scenes are used to
on the
fill
i n the d e t a i l s of the stages of the s t o r y .
It
a l s o c o n t a i n s - l a r g e a u t o b i o g r a p h i c a l element*
as
do the t w o - f u l l - l e n g t h Madrid novels (Pedro Sanchez and
La
Montalvez).
Pereda's use of these elements
i s rather
like
D i c k e n s ' i n David C o p p e r f i e l d and Great E x p e c t a t i o n s , f o r
he d e s c r i b e s the heroes i n s i t u a t i o n s s i m i l a r to those he
h i m s e l f had experienced, but he c r e a t e s autonomous heroes
whose l i f e
In
as a whole i s completely d i f f e r e n t from h i s
Los hombres de pro, f o r example, the p o l i t i c a l
which Don Simon . c c r v d u c t s i s modelled c l o s e l y on
own
own.
campaign
Pereda's
p o l i t i c a l campaign, but the c h a r a c t e r s of Don Simon and
Pereda are t o t a l l y d i s s i m i l a r , as are the developments i n
t h e i r l i v e s a f t e r the campaign i s over.
The n o v e l has a g r e a t e r v a r i e t y of scenes than the
e a r l i e r ones, which had e i t h e r a s i n g l e s e t t i n g
La mu.jer d e l C6sar) or a double s e t t i n g
(Madrid i n
(the country and
- 14 Madrid i n Suum c u i q u e ) .
Los hombres de pro has a t r i p l e
s e t t i n g which p r e f i g u r e s a l l the l a t e r developments
Pereda's f i c t i o n .
The f i r s t
stage of the s t o r y i s s e t i n a
mountain v i l l a g e , a s e t t i n g which was
and was
in
to be Pereda's
t o be expanded throughout h i s l a t e r c r e a t i v e
Thus he uses i t f o r h i s second l o n g n o v e l , Don
favorite
life.
Gonzalo
Gonzalez de l a Gonzalera, and develops i t i n EdL sabor de l a
t i e r r u c a and La puchera, u s i n g i t f i n a l l y i n h i s l a s t l o n g
n o v e l , Penas a r r i b a .
The second stage occurs i n p r o v i n c i a l
towns, one f a i r l y s m a l l , the other the p r o v i n c i a l
T h i s s e t t i n g was
last
capital.
a l s o t o be developed i n l a t e r n o v e l s .
of the Bocetos a l temple
The
(Pros son t r i u n f o s ) i s s e t i n
Santander, as are S o t i l e z a , Nubes de e s t i o and h i s l a s t
n o v e l , P a c h i n Gonzalez.
short
The t h i r d stage of the n o v e l i n -
v o l v e s Madrid, and t h i s w i l l be developed i n the two n o v e l s
Pedro Sanchez and La Montalvez.
In
many ways Los hombres de pro i s c l o s e r to Suum cuique
than to La mu.jer d e l Cesar, f o r the l a t t e r tends t o s a t i r i s e
Madrid S o c i e t y and to s e t up Ramon, the montanes, as a symbol
of
virtue.
Although the other n o v e l s a l s o a t t a c k Madrid, the
p r o v i n c i a l s are shown as having c o n s i d e r a b l e f a u l t s as w e l l .
I t has been noted t h a t Pereda s a t i r i s e d Don S i l v e s t r e more
than Don Fulano de T a l .
In the same way
he a l s o exposes
f a u l t s of Don Simon, h i s w i f e and daughter, who
the
are the main
r e p r e s e n t a t i v e s of the Montana.
This novel, despite i t s , f a u l t s ,
attempt t o c o n s t r u c t a complex p l o t .
i s Pereda's f i r s t
real
I t s u f f e r s from b e i n g
- 15 too e p i s o d i c , as do many of h i s n o v e l s ; Pedro Sanchez
having been compared to Lesage's G i l B i a s ? *
Los hombres de
pro i s s i m i l a r l y p i c a r e s q u e — i n i t s widest meaning-in construction.
He was
to achieve a f a r g r e a t e r u n i t y i n h i s n a r r a t i v e
technique, e s p e c i a l l y i n La Montalvez,
a c h i e v e s the p a i n s t a k i n g complexity
Dickens*
of
although he
never
of such a n o v e l as
Our Mutual F r i e n d , i n which i t seems the removal
oris t i n y t h r e a d would cause the complex f a b r i c t o d i s -
integrate •
Pereda*s n o v e l i s t i c technique w i l l be analysed i n g r e a t e r
detail later.
Montesinos,
No c r i t i c , w i t h the p o s s i b l e e x c e p t i o n of
has p a i d much a t t e n t i o n to the t e c h n i c a l
excel-
lence of many of Pereda*s n o v e l s , nor has the i n f l u e n c e of
his
into
technique
on l a t e r w r i t e r s , i n c l u d i n g Galdos, been taken
account.
Pedro Sanchez
"La mejor n o v e l a de P e r e d a . "
de Pereda."9
0
"La p e r l a de l a c o l e c c i o n
" A q u e l l a gran hazana de n o v e l i s t a que l e
ponia a par de G a l d o s . "
1 0
D e s p i t e the e n t h u s i a s t i c
critical
a c c l a i m t h a t Pedro Sanchez r e c e i v e d , the n o v e l has been the
s u b j e c t of more c o n t r o v e r s y than any of h i s other n o v e l s , w i t h
the e x c e p t i o n of La Montalvez.
The reasons f o r the
t i o u s n e s s were v e r y d i f f e r e n t , however.
The
conten-
l a t e r novel
was
c r i t i c i s e d because of i t s s u b j e c t matter, Pedro Sanchez f o r
the way
i t came to be w r i t t e n .
- 16 In her famous hook La c u e s t i o n p a l p i t a n t e , E m i l i a
Bazan took Pereda t o task f o r h i s r e g i o n a l i s m .
Pardo
In what are
p r o b a b l y her most famous words she d e s c r i b e d Pereda's a r t as
"huerto hermoso, b i e n regado, b i e n c u l t i v a d o , oreado por
aromaticas y s a l u b r e s a i r e s campestres, pero de muy
horizontes."**
limitados
These words have been quoted by every c r i t i c
of Pereda s i n c e ; but v e r y few have done more than a c c e p t
them.
Menendez y Pelayo took them as a compliment,
f o r he
says "aquel huerto e t c . , como d i j o de p e r l a s , E m i l i a Pardo
Bazan."*
2
Jean Camp, i n h i s worthy but a t r o c i o u s l y
t h e s i s on Pereda, has p o i n t e d out t h a t l a Pardo
c r i t i c i s m i s n e i t h e r a c c u r a t e nor t o t a l l y
her a t t a c k she goes on to says'
edited
Bazan's
justified.*-3
in
"jamas i n t e n t o e s t u d i a r a
fondo l o s medios c i v i l i z a d o s , l a v i d a moderna en l a s grandes
c a p i t a l e s , v i d a que l e es a n t i p a t i c a y de l a c u a l abomina."
Her
remarks are not f u l l y
j u s t i f i e d f o r two reasonss
had a l r e a d y w r i t t e n three n o v e l s about l i f e
Pereda
i n Madrid; and
she suggests t h a t he i s not c i v i l i s e d and hates a l l a s p e c t s
of modern c i t y - l i f e , which i s p a t e n t l y a complete
exaggera-
t i o n of Pereda's r e a l a t t i t u d e to l a r g e c i t i e s and to p r o g r e s s .
The b i t t e r polemic which took p l a c e between the two
n o v e l i s t s has been d e a l t w i t h i n g r e a t d e t a i l by the m a j o r i t y
of c r i t i c s T h e
v a r i o u s w r i t i n g s of l a Pardo Bazan are
c o l l e c t e d i n her book Polemicas y e s t u d i o s l i t e r a r i o s ,
which
i n c l u d e s Pereda's Las comezones de l a senora Pardo B a z i n .
order t o understand the i s s u e f u l l y ,
In
i t i s n e c e s s a r y to read
Chapter X I I I of Nubes de e s t i o , e n t i t l e d
"Palique."
In
-
t h i s chapter
press and
in
17
-
there i s a g r e a t d e a l of c r i t i c i s m of the Madrid
there i s a d e s c r i p t i o n of La c u e s t i o n p a l p i t a n t e
v e r y d i s p a r a g i n g terms, which nobody has mentioned
but which must have caused the argument between the
novelists,
It
may
directly,
two
( I I , 884).
be t a k i n g matters to extremes, but
t h a t the i n q u i s i t i v e and
i t i s possible
" p r i c k l y " L e t i c i a Espinosa
could
be a parody of the Condesa de Pardo Bazan, s i n c e Pereda
s t i g m a t i s e s the l a t t e r f o r her comezones, and
nature
has been a t t e s t e d by her
her
"prickly"
contemporaries
Perhaps the only good to come of t h i s
controversy—which
improved the r e p u t a t i o n of n e i t h e r of them—was t h a t Pereda
was
d i r e c t l y s t i m u l a t e d to w r i t e Pedro Sanchez, and
later,
i n d i r e c t l y to w r i t e La Mon'talvez.
Pedro Sanchez makes a s l i g h t development from the
nique of Los hombres de pro, but s t i l l
picaresque
is
construction.
The
f a r more complex than Don
r e t a i n s the
c h a r a c t e r of Pedro
complexity
essentially
himself
Simon, but the n o v e l i s s t i l l
h e l d t o g e t h e r by the f i g u r e of the hero.
n a r r a t i v e form was
tech-
The
autobiographical
to provide Pereda w i t h a model f o r the
of technique
of La Montalvez.
La Montalvez
La Montalvez was
w r i t t e n a t a time when many s o c i a l
problems were under heated dis'cussion.
S e v e r a l had a t t r a c t e d
p u b l i c a t t e n t i o n ; a l l were p r i n c i p a l l y concerned with
sexual
e t h i c s , but, by i m p l i c a t i o n , a l s o w i t h the whole f a b r i c
of
- 18 society.
Among these problems were s e x u a l m o r a l i t y and
v i r t u e ; a r e s u l t i n g problem of the que
d i r a n , of the
escandalo;
the r e t r i b u t i o n f o r s i n s — t h e b i b l i c a l " r e a p i n g the w h i r l w i n d ; "
and
the d i f f i c u l t i e s
of the e d u c a t i o n of young women.
Pereda
had a l r e a d y approached the theme i n La mu.jer d e l Cesar i n
"JE
1870,
of
b u t r e c e i v e d i t s g r e a t e s t p u b l i c i t y w i t h the
A
A l a r c o n ' s E l escandalo i n I 8 7 5 «
V a l e r a was
publication
l 6
to add t o the problem w i t h h i s somewhat
immoral and d i s i l l u s i o n e d Pasarse de l i s t o i n 1877•
Other
n o v e l i s t s a l s o d e a l t w i t h some of these problems i n the
fol-
lowing y e a r s :
de
E l marques de F i g u e r q ^ a i n La Vizcondesa
Armas, Antonio F l o r e s i n Fe, esperanze
V i l l e r g a s i n Los m i s t e r i o s de Madrid
y g a r i d a d , Martinez
and Ayguals
i n a v e r y popular n o v e l Maria, o l a h i j a de un
In
1888
La Montalvez appeared
and
de
Izco
gornalero.
i n the next t e n years
three more important novels were to d e a l w i t h the theme:
Pequeneces by L u i s Coloma i n 1890;
in
1891
and
P a l a c i o Valdes• La espuma
i n I898 V a l e r a ' s Genio y f i g u r a . . . .
This
was
the most P e r e d i a n of a l l , s i n c e V a l e r a not only supported
much of Pereda's t h e s i s but chose the proverb f o r the
title:
"Genio y f i g u r a hasta l a s e p u l t u r a . "
was
This l a s t novel
the only one t o develop the e d u c a t i o n theme as f u l l y as E l
escandalo and La Montalvez.
These themes w i l l be d e a l t w i t h
l a t e r i n f a r g r e a t e r d e t a i l , but i t i s necessary to g i v e the
background to the c o n t r o v e r s y over La Montalvez a t t h i s
ture.
junc-
T h i s began w i t h a g r e a t f u r o r e over the m o r a l i t y , or
l a c k of i t , i n the n o v e l .
Because of the a c c u s a t i o n s t h a t
- 19
the n o v e l was
heartache,
from, and
-
immoral, i t probably
gave Pereda the
f o r i t had been the n o v e l he had
i t was
the one
t h a t he was
greatest
hoped the most
to d e s p a i r ? o f , and
vir-
t u a l l y disown.
The
who
c r i t i c s have c l a s s e d Pereda as being a mere
only d e s c r i b e s i n g r e a t d e t a i l what he sees.
observer,
The
same
c r i t i c s were j u s t as q u i c k to s e i z e on the i n a c c u r a c i e s of
his
p i c t u r e of High S o c i e t y i n Madrid.
tenacidad
"Los mismos que
habian aconsejado a Pereda a que
de l a observacion,
microscopico
d i l a t a s e e l campo
f u e r o n l o s primeros en a p l i c a r e l l e n t e
y e l espejo m u l t i p l i c a d o r de doce caras a l o s
lunares de La Montalvez."*''
One
7
wonders whether Padre Blanco
had E m i l i a Pardo Bazan i n mind when he wrote
These arguments, l i k e
n a t u r a l i s t or a r e a l i s t ,
The
con
those
now
this.
as to whether Pereda was
seem, not
only p e t t y but
a
irrelevant.
same reasons t h a t make Pereda's Montana novels e x c e l l e n t
m a t e r i a l f o r s o c i o l o g i s t s and/or a n t h r o p o l o g i s t s , make La
Montalvez l e s s u s e f u l f o r such s c i e n t i s t s , but i n no
negate i t s value as
way
fiction.
La Montalvez i s the n o v e l t h a t poses most c l e a r l y
q u e s t i o n of what one
i s l o o k i n g f o r i n a work of a r t , and more
especially i n a novel.
one
the
Reading the c r i t i c i s m of t h i s
i s s t r u c k by the f a c t t h a t the m a j o r i t y of c r i t i c s
novel,
are
not l o o k i n g f o r f i d e l i t y to a r t , i n the A r i s t o t e l i a n sense
t h a t e v e r y t h i n g t h a t happens must be r e a l i s t i c
a r t i s t i c a l l y necessary,
how
because i t i s
but they are concerned w i t h
judging
a c c u r a t e l y Pereda p a i n t s the customs, the h a b i t s , the
life
- 20 of
Madrid
society.
His inaccuracies
his fiction
and
shortcomings
carefully
highlighted;
i s ignored.
criticism
i s not concerned w i t h the a c c u r a c y of
details,
b u t w i t h t h e t r u t h and
cribed.
P e r e d a ' s work has b e e n d e b a s e d
"documentary"
de u n a d u a r
on l i f e
began w r i t i n g w i t h the
of
t h e Montana t h a t was
o de
idea
purpose
was
never allowed to f o r g e t
intent
tion
la isla
Madrid press,
of the d a i l y
intent
side
first
of
headed
on s h u t t i n g P e r e d a
group
detail,^9
based
schools
i t s judgments
the l a t t e r
Pereda described
based
the l i f e
that
Pereda
b e e n p i g e o n - h o l e d as a m i n o r ,
cause
of
of the M o n t a n i s t a s c h o o l
r e a d e r s have b e e n s u b j e c t e d
a great
ment and
"document" on t h e w i l d
writer.
Bazan,
On
i s honest:
i t s comments on how
I t i s because
criticism
well
of these
b e e n s h e l v e d , why
of c r i t i c i s m
The
I t i s t h e same
regional novelist.
two
he
has
I t i s be-
that generations
t o Perias a r r i b a , w h i c h
n o v e l a r e n o t t h e same a t
the
on k e e p i n g him i n -
approach
beauty
was
i n his descrip-
on a v e r y e l e m e n t a r y
has
He
by Menendez y P e l a y o ,
of the Montana.
s t o o d on i t s heado
of thought
a regional
i n , intent
Neither c r i t i c a l
to
matritenses).
aristocracy.
headed
picture
very s i m i l a r
by E m i l i a P a r d o
of the M a d r i d
of a
tratara
the f a l s e
( t h i s was
t h a t he was
des-
A n n o b o n . H e
Pereda f o r h i s f a i l i n g s
life
his huerto.
criticism
de
of c o r r e c t i n g
o t h e r hand, the Montana f a c t i o n ,
was
t o the l e v e l
o f Mesonero Romanos i n E s c e n a s
on a t t a c k i n g
physical
harmony o f t h e p e o p l e
current
the
The
Literary
i n t h e Montana "como s i se
de M a r r u e c o s
are
may
o f t h e Montana, b u t
all.
be
docu-
- 21 The g r e a t e s t of a l l Pereda's r e g i o n a l n o v e l s i s undoubtedly S o t i l e z a .
D e s p i t e the b r i l l i a n c e
of the "photo-
graphy," however, i t i s the drama of S o t i l e z a , of Andres,
of
C l e t o and Muergo t h a t l i f t s
p i c t u r e of l i f e
at
i n one r e g i o n of S p a i n .
Pereda's w r i t i n g was
the h e i g h t of i t s powere when he wrote t h i s n o v e l .
cannot
to
t h i s from b e i n g merely a
accept the i d e a t h a t h i s c r e a t i v e powers then
t h e i r n a d i r w i t h La Montalvez,
puchera,
plunged
I
plunged
soared up a g a i n f o r La
a g a i n f o r A l primer vuelo and Nubes de e s t i o
and then achieved a s h a t t e r i n g climax w i t h Penas a r r i b a .
2 0
I b e l i e v e t h a t what was so i n c o n s t a n t was not h i s c r e a t i v e
a b i l i t y , but r a t h e r h i s r e c r e a t i v e a b i l i t y .
S o t i l e z a and La Montalvez he i s concerned
possibilities
of human c o n f l i c t s .
a l s o t r u e of La puchera,
In Pedro Sanchez,
w i t h the dramatic
To a l e s s e r extent t h i s i s
but although he manages t o s e t the
jewel o f f b e a u t i f u l l y i n S o t i l e z a , t h i s b e a u t i f u l
i s m i s s i n g from the Madrid n o v e l s , and i t was t h i s
t h a t most c r i t i c s were concerned
with.
setting
setting
- 22 FOOTNOTES
Introduction
1.
Montesinos,
1969)
Pereda o l a n o v e l a i d i l i o
(Castalia:
Madrid,
pp. 294-5.
2.
"Don
Jose Maria de Pereda", i n R e v i s t a Contemporanea
(15 A p r i l 1884), pp. 3 4 5 - 6 .
3.
A l l q u o t a t i o n s t o Pereda's works are to the f o l l o w i n g
edition:
Jose Maria de Pereda, Obras completas
(2 volumes), ed. Jose' Maria de C o s s i o ( A g u i l a r :
Madrid, 1954). The r e f e r e n c e here i s to I, 47-200.
4.
J o s ! F. Montesinos, Pereda
Madrid, I 9 6 9 ) .
5*
I t was p u b l i s h e d f i r s t i n the R e v i s t a de Espafia (1870,
XVII, 18-39, 180-199, 556-587); then i t was r e p u b l i s h e d w i t h Los hombres de pro i n I876 under the
t i t l e of Bocetos a l temple, f o r which Pereda wrote
a t h i r d n o v e l Pros son t r i u n f o s . T h i s was s i m i l a r
to the others i n i t s s a t i r i c c r i t i c i s m of c i t y l i f e
and the power of money, but was u n l i k e them i n not
b e i n g s e t i n Madrid. When Los hombres de pro was
p u b l i s h e d s e p a r a t e l y i n 1884, as Volume I of Pereda's
Pbras completas, the two remaining novels were
p u b l i s h e d as Volume V I I I along w i t h Tipos trashumantes,
a few years l a t e r .
6.
I t had, i f a n y t h i n g , a more complicated h i s t o r y than
La mu.jer d e l Cesar.
I t was w r i t t e n i n 1871 and
d e d i c a t e d t o La R e v i s t a de Espana, who turned i t
down. Then, as f a r as can be a s c e r t a i n e d , i t was
p u b l i s h e d i n La Reconquista i n the e a r l y p a r t of
the f o l l o w i n g y e a r . In I876 i t was r e p u b l i s h e d as
the l o n g e s t of the Bocetos a l temple (along w i t h
La mu.jer d e l Cesar and Pros son t r i u n f o s ) .
In
1884 i t was s p l i t o f f from the other two n o v e l s and
p u b l i s h e d s e p a r a t e l y as the f i r s t volume of the
Obras completas.
In t h i s e d i t i o n i t has a long
prologue by the young M a r c e l i n o Menendez y P e l a y o .
7.
A l b e r t Savine, "Le G i l B i a s du XIX s i e c l e , " Revue du
Monde L a t i n e , 25 J u l y 1884.
8.
C l a r i n , Sermon p e r d i d o (Madrid, n.d.)
9.
E m i l i a Pardo Bazan, 'Pereda y su u l t i m o l i b r o , • i n
Nuevo t e a t r o c r i t i c o (Madrid, I 8 9 I - 3 ) p. 45-6.
o l a novela i d i l i o
p.
(Castalia:
77.
- 23 10.
Montesinos, p. 295.
11.
E m i l i a Pardo Bazan, La c u e s t i o n p a l p i t a n t e ,
pp. 268-9.
12.
1891)
M. Menendez y Pelayo, Prologo t o Los hombres de pro
(Madrid, 1917)
13.
(Madrid,
P» l x x v .
Jean Camp, Jose Maria de Pereda, s a v i e , son oeuvre, son
temps
TTc3"33-1906)
(Paris,
1934-)
P»
153.
1919)
14.
F o r example, J . Montero, Pereda
15*
Montesinos, p. 281, says "nadie l e p o d i a s u f r i r , n i
C l a r i n , n i Menendez y Pelayo, n i Pereda, n i V a l e r a
mismo, a.unque mas t r a n s i g e n t e • "
T h i s was the most popular n i n e t e e n t h - c e n t u r y Spanish
n o v e l ; i t s o l d 4-0,000 c o p i e s i n i t s f i r s t three
months•
16.
(Madrid,
PP»
14-1-176.
17«
Padre F r a n c i s c o Blanco G a r c i a , L a L i t e r a t u r a espanola
en e l s i g l o XIX (Madrid, 1910) P a r t I I , p. 523.
18.
J . M. Pereda, Obras completas,
19«
I t would be l i k e t e a r i n g t o p i e c e s H. G. W e l l s ' The
F i r s t Men i n the Moon, The Time Machine or s i m i l a r
romances, because they are i n a c c u r a t e i n the l i g h t
of modern s c i e n t i f i c r e s e a r c h . Whatever t h e i r f a i l ure i n t h i s way, they remain humanly " t r u e . "
20.
As f o r example i n J . M. C o s s i o , La obra l i t e r a r i a de
Pereda (Santander, 1934).
I , Suum cuique, p.
277«
- 24
THE
-
HISTORICAL BACKGROUND TO PEDRO SANCHEZ
Before c a l l i n g Pedro Sanchez an h i s t o r i c a l n o v e l , i t
i s necessary to d e f i n e what i s meant by the a d j e c t i v e
torical"
two
i n t h i s context.
During the n i n e t e e n t h
types of h i s t o r i c a l n o v e l were w r i t t e n :
events t h a t had
century
One
described
taken place c e n t u r i e s e a r l i e r , the
r e l a t e d t h i n g s t h a t had
many f o l l o w e r s , such as L a r r a , Espronceda and
del
Castillo.
he
Canovas
D i s r a e l i i s an example of the second group,
but h i s c o n t r i b u t i o n was
dwarfed by t h a t of Galdos i n S p a i n .
Both s e t s of w r i t e r s document the customs and
the people of the p e r i o d they are d e s c r i b i n g and
l i v e s to s p e c i f i c h i s t o r i c a l e v e n t s .
t i n c t i o n between the two
The
habits
of
relate their
essential dis-
i s t h a t the f i r s t group r e c e i v e d
through l i t e r a r y means, by r e a d i n g
documents and
Sir
t r e n d , and
had
information
other
occurred w i t h i n l i v i n g memory.
Walter S c o t t i s the best example of the f i r s t
"his-
contemporary
r e p o r t s ; the second group d i s c o v e r e d
f a c t s by
human means, by e i t h e r knowing p e r s o n a l l y the p e r i o d about
which they were w r i t i n g or by q u e s t i o n i n g
someone who
did.
1
Three of Pereda*s novels can be dated e x a c t l y because
they d e a l w i t h a c t u a l events.
Don
Gonzalo Gonzalez de l a
Gonzalera deals w i t h the e f f e c t of the R e v o l u t i o n
a r u r a l community.
i n Madrid, and
of 1868
on
Pedro Sanchez i s s e t i n the e a r l y f i f t i e s
describes
the R e v o l u t i o n
c h r o n i c l e s the e f f e c t s of the e x p l o s i o n
of 1854.
P a c h i n Gonzalez
on board the Cabo
- 25 Machichaco
i n Santander harbor on November 3, 1893*
than 600 people were k i l l e d and more than 1,000
this disaster.
More
injured i n
Three other n o v e l s can be t e n t a t i v e l y dated:
Los hombres de pro occurs about two years a f t e r Don
Gonzalo
Gonzalez de l a G o n z a l e r a as does Penas a r r i b a , and the Revolut i o n of 1868 occurs between the two p a r t s of La Montalvez.
Although the l a t t e r r e c r e a t e s the h i g h s o c i e t y of the
p e r i o d , i t i s not as c a r e f u l l y l i n k e d to h i s t o r i c a l events as
Coloma's Pequeneces i s t o the r e i g n of Amadeo I .
Pedro Sanchez and Los hombres de pro a l s o c o n t a i n l a r g e
elements
of a u t o b i o g r a p h i c a l d e t a i l .
The f i r s t
relates
Pereda's
s o j o u r n i n the c a p i t a l a t the time he s t u d i e d t h e r e ,
the second d e s c r i b e s h i s p o l i t i c a l campaign, and to a l e s s e r
degree h i s succeeding experience i n the C o r t e s .
a u t o b i o g r a p h i c a l elements
of l e s s importance
There are
i n Suum cuique,
La mu.jer d e l Cesar and La Montalvez, but they are not c l o s e l y
connected w i t h s p e c i f i c e v e n t s .
As such they become auto-
b i o g r a p h i c a l impressions r a t h e r than d e t a i l s of Pereda's
life.
T h i s s e c t i o n w i l l d e a l mainly w i t h Pedro Sanchez s i n c e
it
c o n t a i n s the m a j o r i t y of h i s t o r i c a l i n f o r m a t i o n .
attempt w i l l be made t o show how
elements
An
Pereda d e s c r i b e s most of the
of s o c i e t y w i t h i n the h i s t o r i c a l background.
This
s e c t i o n w i l l concern i t s e l f w i t h h i s i n t r o d u c t i o n of l i v i n g
p o l i t i c i a n s and w r i t e r s i n t o the n o v e l .
Los hombres de pro does not r e q u i r e much comment a t t h i s
stage, s i n c e the m a j o r i t y o f i t s i s s u e s are more r e l e v a n t
to the theme of p o l i t i c s .
The e l e c t o r a l campaign d e s c r i b e d
- 26 here was
t h a t which Pereda undertook
i n 1871* when he
e l e c t e d C a r l i s t deputy f o r Cabuerniga.
was
He seems to have
done t h i s more out of duty than p o l i t i c a l ambition, and
pears not to have been i n complete
party.
What i s c e r t a i n
only a s h o r t p e r i o d .
the
ap-
agreement w i t h the C a r l i s t
i s t h a t he remained
i n Madrid f o r
This autobiographical d e t a i l
whole of the h i s t o r i c a l i n t e r e s t .
One
comprises
can thus l i n k the
p o l i t i c a l campaign and the scenes i n the Cortes not only to
a p e r i o d but to a s p e c i f i c y e a r .
But because
there are no
p o l i t i c a l or monarchical events d e s c r i b e d , the value of the
n o v e l must be more as a h i s t o r y
history
of Pereda r a t h e r than as a
of S p a i n .
Pedro Sanchez i s a completely d i f f e r e n t
n o v e l i s h i s t o r i c a l , not only because
definite
dated p e r i o d , but because
events i n d e t a i l .
mathematics p r i o r
matter.
This
i t i s s e t i n a very
i t describes h i s t o r i c a l
Pereda went to Madrid i n I852 to study
to j o i n i n g
he d i d not l i k e mathematics,
the a r t i l l e r y .
He found t h a t
however, and spent most of h i s
time i n c a f e s and a t the t h e a t r e , and g e n e r a l l y l i v i n g a
c a r e f r e e student's l i f e .
When events took the t u r n they
did—
the
R e v o l u t i o n of 1854-—he wandered the s t r e e t s ,
satisfying
his
own
i n Madrid
curiosity.
Pereda took a g r e a t i n t e r e s t
at t h i s time, and Pedro Sanchez r e v e a l s h i s c o n t i n u i n g fondness f o r the l i f e
of the c a p i t a l .
But a t the end of 1854-
r e t u r n e d to Santander, d i s i l l u s i o n e d w i t h mathematics,
p o l i t i c s and w i t h Madrid.
he
with
- 2? T h i s n o v e l i s one of the few eye-witness accounts of
the
occurences
1854.
i n Madrid which l e d up to the R e v o l u t i o n of
The only other n o v e l d e a l i n g w i t h t h i s event i s Galdos'
La r e v o l u c i o n de j u l i o and accompanying novels of the
f o u r t h s e r i e s of the E p i s o d i o s n a c i o n a l e s .
Galdos' n o v e l
was w r i t t e n i n 1903-4-, and i t i s probable t h a t Galdos
used
Pedro Sanchez as source m a t e r i a l , s i n c e Pereda was witness
and Galdos was not even i n S p a i n a t t h a t time.
w i t h La r e v o l u c i o n de .julio i s
appropriate s i n c e
The comparison
there are
s i m i l a r i t i e s between Pedro Sanchez and the E p i s o d i o s n a c i o n a l e s .
Both Montesinos
The comparison
and C o s s i o ^ have d i s c u s s e d these
i s p r i m a r i l y based
both n o v e l i s t s .
similarities.
on the technique used by
Gald6s had c r e a t e d the heroes G a b r i e l A r a c e l i
and S a l v a d o r Monsalud, and both of them symbolised the
Spanish p e o p l e .
Pedro Sanchez i s another such symbol of the
Spanish, f o r h i s f o r t u n e s undergo changes a t the same time
as the n a t i o n ' s .
T h i s comparison
i s only made once e x p l i c -
i t l y by Pereda, but i t i s i m p l i c i t a t a l l times:
Pedro
says
"entre tanto e l gobierno de l a n a c i o n andaba t a n desatinado
como l o habia estado e l mio." ( I I , 176)
Other c h a r a c t e r s r e p r e s e n t s i m i l a r t h i n g s i n Galdos*
novels as i n Pedro Sanchez.
I n the second s e r i e s of the
E p i s o d i o s n a c i o n a l e s , the hero, Salvador Monsalud, i s t o r n
between two women who r e p r e s e n t two ideas of S p a i n — J e n a r a
and S o l a .
S i m i l a r l y Pedro f i n d s h i s a f f e c t i o n s d i v i d e d be-
tween C l a r a and Carmen, C l a r a s t a n d i n g f o r the a r i s t o c r a t i c , opulent and c o r r u p t S p a i n of the p o l a c o s , and Carmen
- 28 r e p r e s e n t i n g the honest, homeloving bourgeois S p a i n of the
liberals.
The f a t h e r s of the two g i r l s a l s o r e p r e s e n t the
same v i s i o n s of S p a i n .
What i s most d i s c o n c e r t i n g i n the
n o v e l i s t h a t Pereda gave h i s support to the same i d e a l of
S p a i n as Galdos had.
Pedro, l i k e S a l v a d o r , i s seduced by-
i l l u s i o n s of grandeur and marries the r e p r e s e n t a t i v e of a
" t r a d i t i o n a l i s t " system, but both f i n d r e a l happiness w i t h
a simple, honest, hard-working and l e v e l - h e a d e d woman.
In
the f i n a l r e c k o n i n g , however, there i s one
essential
d i f f e r e n c e between the symbolic endings of the second
of
the E p i s o d i o s n a c i o n a l e s and Pedro Sanchez.
series
Although the
ending of the former i s much l o w e r - p i t c h e d than the triumphant
c l o s e to the f i r s t
for
s e r i e s , G a l d 6 s manages to salvage some hope
the f u t u r e and he l e t s the reader i n f e r t h a t S a l v a d o r
and S o l a w i l l be happy.
The end of Pedro Sanchez
c o n t r a r y i s v e r y p e s s i m i s t i c , f o r Pedro l o s e s
on the
everything
t h a t has meant a n y t h i n g to h i m — e v e n h i s enemies
los Garcias.
There i s a p o s s i b i l i t y t h a t Pereda i s being i r o n i c a l
the
about
l i b e r a l s , but i t i s much more probable t h a t i t stems
from a pessimism about l i f e
m
general.
These a b s t r a c t ideas on h i s t o r y are not without r e l e vance here, but the second method which both n o v e l i s t s used
was
to g i v e t h e i r symbolic dramas about S p a i n i n a d e t a i l e d
h i s t o r i c a l background.
I t i s t h i s background which makes
t h i s type of h i s t o r i c a l n o v e l so r i c h i n i n t e r p r e t a t i o n .
they were simply f i g u r e s who
If
stood f o r c e r t a i n q u a l i t i e s or
i n s t i t u t i o n s , and they fought and l o v e d , argued and hated, and
- 29 f i n a l l y came t o a moral c o n c l u s i o n , the novels would be not h i n g more than medieval m o r a l i t y p l a y s .
On the c o n t r a r y ,
these novels are e n r i c h e d because the main c h a r a c t e r s symbolise
a c t u a l events and take p a r t i n the same e v e n t s .
They have
d e a l i n g s w i t h the people who i n f l u e n c e d h i s t o r y and, a t times,
i n f l u e n c e i t themselves.
To a s c e r t a i n the way Pereda uses t h i s h i s t o r i c a l background, i t i s necessary t o gather the i n f o r m a t i o n he g i v e s us
about the p e r i o d and r e l a t e i t t o i t s c o n t e x t .
One h i s t o r i c a l f a c t t h a t Pereda makes c e r t a i n the reader
i s aware of i s t h a t the p e r i o d he i s d e s c r i b i n g i s one of
change.
There are many occasions i n h i s w r i t i n g s when he
i n t r o d u c e s t h i s element, but none i s so c l e a r as i n Pedro
Sanchez:
The whole n o v e l d e s c r i b e s the changes i n S p a i n .
The reader i s made aware of t h i s very e a r l y i n the n o v e l ,
for
Pedro i s concerned
v a c a t i o n e r s from Madrid
w i t h the e f f e c t s t h a t t r a i n s and summer
have had on h i s n a t i v e p r o v i n c e .
He
d e s c r i b e s the o l d customs of the Montana and then i n t r o d u c e s
the t r a i n which i s p e r s o n i f i e d and appears
almost as a d e v i l
i n c a r n a t e e x e r c i s i n g a magic power over n a t u r e .
"Hasta que,
de repente y como por r e f l u j o de l e j a n a tempestad, alLanaronse
los
monies, a l z a r o n s e l o s barrancos, t a l a d r a r o n s e l a s rocas
y l l e g o e l b u f i d o de l a locomotora
a c o n f u n d i r s e con e l bramar
de l a s o l a s a l e s t r e l l a r s e en l a antes d e s i e r t a o c i o s a
p l a y a . " ( I I , 10)
T h i s use of the t r a i n i s a s k i l f u l i n t r o d u c t i o n f o r the
f i g u r e of V a l e n z u e l a .
V a l e n z u e l a i s modelled
to a large
- 30 extent on Salamanca, and the name of the l a t t e r came t o
be a s s o c i a t e d with the r a i l r o a d s i n S p a i n .
The most e x p l i c i t
l i n k i n g of the two men occurs when Valenzuela's
house i n
Pedro Sanchez i s n e a r l y sacked, and i t was, indeed,
house t h a t was sacked
i n reality.
c r e a t i o n would make h i s readers
Salamanca's
Pereda was aware t h a t h i s
t h i n k of Salamanca, and t h e r e -
f o r e he l i n k s h i s r e p r e s e n t a t i v e of the c o r r u p t a d m i n i s t r a t i o n ,
V a l e n z u e l a — S a l a m a n c a , w i t h a symbol of the i d e a l s of t h a t
a d m i n i s t r a t i o n , the r a i l r o a d s .
Pereda's e v o c a t i o n of the o l d , and h i s love of stagecoaches, are p a r t of the s i m i l a r i t y t h a t e x i s t s between him
and Dickens.
Both were noted
f o r t h e i r r e a l i s m and t h e i r
Romanticism ( i n Pereda t h i s i s e x e m p l i f i e d by the i d y l l i c
nature
of c e r t a i n n o v e l s ) .
Both were a l s o t r a d i t i o n a l i s t s
i n a c e r t a i n sense, f o r they t r i e d t o f i n d and keep what was
good i n the o l d t r a d i t i o n s
of
(as, f o r example, Dickens'
love
Christmas).
The
f a c t t h a t the n o v e l takes place a t a time of change
i s r e i t e r a t e d i n the f i r s t
events
i n the l a t e r s t a g e s .
c h a p t e r s , and i s e v i d e n t from the
Pedro's f a t h e r , a symbol o f an
almost p e r f e c t " p a t e r n a l i s m , " i s h i m s e l f aware of t h i s
change, although
he never a p p r e c i a t e s i t f u l l y :
i n s i n u a c i o n . . . , de mi padre, sobre
l a c o r r u p c i o n de l o s
tiempos y l o s p e l i g r o s de l a juventud
por f a l t a de medios o v a l e d o r e s . "
The
"Una
o c i o s a en l o s
pueblos,
( I I , 29)
change i s made most c l e a r by V a l e n z u e l a , i t s r e -
p r e s e n t a t i v e , and the o r i g i n s of the new l i f e are i d e n t i f i e d .
-
31 -
T h i s i s one of the few moments when the i n f l u e n c e of Madrid
over the p r o v i n c e s
i s s t a t e d i n no u n c e r t a i n terms.
"Y
para entonces...trasformado completamente este pueblo, porque
llegara. hasta e l , un d i a no l e j a n o , e l movimiento de l a nueva
v i d a que comienze. a extenderse desde e l corazon
extremidades de l a P e n i n s u l a . "
The
alas
( I I , 30)
new h i s t o r i c a l background i s b u i l t up very
from t i n y p i e c e s of i n f o r m a t i o n which blend
composite p i c t u r e .
t o form a
The f i r s t mention s e t s the n o v e l w i t h i n
the r e i g n of I s a b e l I I , f o r V a l e n z u e l a
un r e t r a t o de l a soberana." ( I I , 6 l )
i s s i t t i n g "debajo de
The comment does not
have any g r e a t s i g n i f i c a n c e f o r the n o v e l , although
give the reader
it
slowly
some i n d i c a t i o n of Valenzuela's
i t does
p o l i t i c s ; but
i s s u r p r i s i n g t h a t t h i s i s the only r e f e r e n c e t o the queen,
towards whom Pereda, as an e x - C a r l i s t deputy, could not have
f e l t much a f f e c t i o n .
H i s p a s s i n g up of the chance t o i n -
v e i g h a g a i n s t I s a b e l i s an example of h i s open-mindedness.
It
i s not the purpose of t h i s study
t o g i v e the h i s t o r y
of the p e r i o d , and so only i n d i c a t i o n s w i l l be g i v e n of the
way he mentions r e a l persons and events.
When Pedro v i s i t s the D i c k e n s i a n
Don
Magin t a l k s about the f i n a n c i a l a c t i v i t i e s
Murillo
que
de l o s Trucos'
family,
of Bravo
("las economias de Bravo M u r i l l o " , " e l mismo d i a en
fue nombrado Bravo M u r i l l o p r e s i d e n t e d e l Consejo" ( I I , 7 0 ) ) .
T h i s i s the f i r s t mention of any h i s t o r i c a l f i g u r e i n the
government, except f o r the Salamanca-like
t i o n a l Valenzuela.
f i g u r e of the f i c -
I t i s not r e a l l y s u r p r i s i n g t h a t the
-
3
2 -
f i r s t p o l i t i c i a n mentioned by name should be another r e p r e s e n t a t i v e of the group which was t r y i n g t o change S p a i n .
Pereda's a t t i t u d e toward these f i g u r e s i s n a t u r a l l y somewhat ambiguous, s i n c e Bravo M u r i l l o h o n e s t l y t r i e d t o improve S p a i n but only succeeded i n c o r r u p t i n g
it.
I t i s M a t i c a , o o f t e n Pereda's o r a c l e , who i n d i c a t e s
V a l e n z u e l a * s days are nui»i»ered.
that
Pedro had a l r e a d y mentioned
w i t h h i n d s i g h t " l a b o r r a s c a que r e i n a b a en l a mar de l a
p o l i t i c a espanola" ( I I , 8 2 ) , but M a t i c a c e n t e r s the reader's
a t t e n t i o n on the f a c t t h a t i t i s V a l e n z u e l a (and what he
stood f o r ) who i s to bear the b r u n t ^ o f t h i s storm:
" . l i s t e d no
sabe que l o s d i a s de V a l e n z u e l a e s t a n contados, porque l o s
gobernantes a cuyo amparo v i v e y medra se tambalean ya?"
( 1 1 , 9 0 )
The other c h a r a c t e r s w i t h whom Pereda sympathises are
the Balduque f a m i l y , and i t i s Don S e r a f i n who w i l l assume
a h e r o i c a l l y d e f i a n t r o l e and who i s a major f a c t o r i n the
development of the h i s t o r i c a l background.
The heroism of
Don S e r a f i n i s very s i m i l a r t o t h a t of " e l gran e a p i t a n " and
Don Benigno Cordero i n Galdos' E p i s o d i o s n a c i o n a l e s .
It
i s t h i s element of h i s c h a r a c t e r which enables Pereda t o
use him t o advance the h i s t o r i c a l s e t t i n g , f o r he awakens
Pedro one day w i t h the c r y "jMueran l o s p i l l o s ! " and i n t r o duces him t o the l i b e r a l paper E l C l a r i n de l a P a t r i a .
W i t h i n a few chapters f o l l o w i n g t h i s , Pereda i n t r o d u c e s
many ideas t h a t were important, as f o r example the C o n s t i t u t i o n
of 1
8
3
? (II, 9
5
, 9
8
) and the M i l i c i a N a c i o n a l ( I I , 9
5
- 33 many
important
137,
138,
as
well
a s men
As
de
Armero,
mentioned,
l a Patria,
mentioned
taken
the
connected
paper
b y name
once
Pedro,
was
linked
with
becomes
e v i d e n t when
work.
based
symbol
Pedro's
are
paper
i n -
must
which
be
press of
and h i s d e s t i n y i s
The p a r a l l e l
first
13D-
to E l Clarin
of the l i b e r a l
i s a symbol,
Spain's.
(II,
There
This
this
( I I , 119);
on E l M u r c i e l a g o , 5
( I I , 111).
as noted,
closely
Buceta
i n t r o d u c e s Pedro
will
( I I , 95);
Hons ( I I , 1 0 9 ) ,
( I I , 1 1 7 ) , 19 J u l y
Pedro
136,
only with
Infante, Brigadier
( I I , 118), B r i g a d i e r
as a s e m i - h i s t o r i c a l
time.^
were
98,
155)> O l o z a g a
that
Don S e r a f i n
this
( I I , 95»
116,
Concha,
f o r which
that
as E s p a r t e r o
( I I , 109,
( I I , 1 0 9 ) , 30 J u n e
dications
is
and events
( I I , 117), B l a s e r
Zaragoza
such
155). O'Donnell
revolution,
Lara
figures,
between
article
t h e two
i s published!
N i C e s a r mas r e s u e l t o y d e c i d i d o a l o t r o l a d o
del
R u b i c o n , que yo u f a n o , cuando l e i , conmovido,
e n l a s e c c i o n de ' V a r i e d a d e s ' de E l C l a r i n de l a
P a t r i a , e l p r i m e r p a r t o de m i i n g e n i o que h a b i a
m e r e c i d o l o s h o n o r e s de l a i m p r e n t a .
Aquel
A
similar
political
at
the
e l Ministerio,
had happened
following
( I I , 100).
on t h e o c c a s i o n o f t h e
which
Pereda
first
had g o t h i s j o b
Clarin.
as such
Pereda
thing
upheaval,
Pedro
and
mismo d i a c a y o
represents the l i b e r a l
aspirations
he i s a t v a r i a n c e w i t h
supports
Pedro
improves
trols
history
only t r a d i t i o n a l
the " o f f i c i a l "
ideals.
during the r e v o l u t i o n ,
and assumes
then
tracks
with
the neo-nolacos.'
a position
h i s downfall, which
of the people,
view
The d e s t i n y
until
finally
of importance.
i s involved,
that
of
he
con-
Pereda
as i s Spain's,
The c o n c l u s i o n s t o be d r a w n
from
this
- 4
-
3
symbolism are complex,
for i t i s possible
that Pereda
Pedro's view of l i f e ,
t h e G a l d o s i a n l i b e r a l v i e w , as
lesser
o f many e v i l s ,
a n d , s i n c e he knew t h a t t h e
a l way
of l i f e
was
o f P e d r o , o f Don
doomed, he p r e f e r r e d t h e s i m p l e
S e r a f i n and
Montalvez) t o the extremes
o f Don
saw
the
traditionsincerity
S a n t i a g o NuKez ( L a
of e i t h e r V a l e n z u e l a or the
radical
Redondo.
A l t h o u g h P e r e d a has b e e n b r a n d e d
a traditionalist, his
a t t a c k s w e r e on t h e c o r r u p t i o n o f t h e a r i s t o c r a c y .
the c h r o n i c l e r
prophet.
o f 1848,
o f c h a n g i n g t i m e s , and a l m o s t a n
He was
not a s u p p o r t e r of the M a r x i s t
b u t he was
o f Bismarck's Germany.
b e t w e e n two
extremes
t h a t P e d r o was
t h e n t o succumb t o t h e r i f e
still
of the c a p i t a l t h i r t y
interest
a peculiar
doctrines
I t was
because
he s t o o d
allowed to succeed
and
i n t r i g u e d by t h e p o l i t i c a l m a c h i n a t i o n s
y e a r s a f t e r t h e y had f i n i s h e d .
five
l o v e / h a t e r e l a t i o n s h i p , w h i c h was
1852 w i t h g r e a t h o p e s ,
As i s
n o v e l s about M a d r i d ,
i n t h e c a p i t a l n e v e r waned.
his great friendship with Gald6s.
illusioned.
historical
corruption.
e v i d e n t f r o m t h e f a c t t h a t he w r o t e
Pereda's
was
j u s t as f a r f r o m t h e a d o r a t i o n o f t h e
aristocracy
P e r e d a was
He
He
had f o r i t
increased
by
P e r e d a went t o M a d r i d i n
and r e t u r n e d two y e a r s l a t e r ,
dis-
H i s n o v e l s on t h e m e t r o p o l i s r e v e a l h i s c o n t i n u i n g
interest
in it,
and t h i s
interest
i n the l i t e r a r y
i n Madrid at the p e r i o d
i s especially
seen from h i s g r e a t
s c e n e w h i c h was
of the
novel.
essentially
based
- 35 The
far
h i s t o r i c a l background i s f i l l e d
out f a r more and
b e t t e r by h i s l i t e r a r y commentary than by h i s treatment
of the p o l i t i c a l themes.
T h i s i s , however,
understandable,
s i n c e i t i s r e l a t i v e l y easy to c r e a t e f i c t i o n a l
but not f i c t i o n a l w r i t e r s .
politicians
I t w i l l be found, because of t h i s ,
t h a t the i n f o r m a t i o n on a c t u a l w r i t e r s i s more d e t a i l e d and
i n t e r e s t i n g than t h a t on the p o l i t i c a l f i g u r e s , who
analysed
the
are
at g r e a t e r l e n g t h i n the s e c t i o n of P o l i t i c s
and
Press.
The
reader
f i r s t aspect
of l i t e r a t u r e which he i n t r o d u c e s
to i s the t h e a t r e .
the
I t must be borne i n mind t h a t
Q
Pereda, l i k e many other n i n e t e e n t h - c e n t u r y
to
be a p l a y w r i g h t ;
n o v e l i s t s , wanted
0
h i s f i r s t p u b l i s h e d work was
of f i v e p l a y s , which were not w e l l r e c e i v e d .
f a i l u r e , he maintained
assured
Despite
h i s love of the t h e a t r e , and
of the s u p e r i o r i t y of both the t h e a t r e and
the n o v e l , although
teenth
a collection
h i s t o r y proved otherwise
his
was
poetry
i n the
over
nine-
century.
Pereda's i n t e r e s t i n t h i s genre was
l i t e r a r y content,
but took i n a l l aspects
not l i m i t e d to i t s
of the l i v e
He g i v e s the reader
some i n f o r m a t i o n on the best-known
a c t o r s of the day:
J u l i a n Romea, Joaquin A r j o n a ,
Fernandez, Teodora Lamadrid, Calvo,
Guzman" and
" l a Palma."
theatre.
Mariano
los Osorios,"el viejo
He a l s o g i v e s the reader
information
on where the v a r i o u s a c t o r s worked: e l p r i n c i p e P i o ; t e a t r o
de Variedades (Lamadrid, A r j o n a ) ; l o s B a s i l i o s
( l a Palma
and Guzman); e l d e l P r i n c i p e (Arjona, Lamadrid, Calvo,
and
- 36 l o s O s o r i o s ) ; l a Cruz, Variedades e Institute- ( I I , 5 5 $ 9 , 105) •
However,interesting
t h i s i n f o r m a t i o n may be, i t g i v e s
little
or no i n d i c a t i o n of the r e a l s t a t e of the t h e a t r e a t the time.
There are a l s o a few comments
on the s o c i a l aspects of
the t h e a t r e , but t h i s was such a commonplace i n the n i n e t e e n t h
century
as t o need no e l a b o r a t i o n :
Observe que c a s i todas l a s damas de copete y l a
mayor parte de l o s c a b a l l e r o s d i s t i n g u i d o s v e i a n con
l a misma i n d i f e r e n c i a que l a f a m i l i a V a l e n z u e l a l o
que o c u r r i a en e l e s c e n a r i o , y que cuanto mas n u t r i d o
e r a e l aplauso que arrancaba a l s e n c i l l o t e p u b l i c o
un a r r e b a t o apasionado de Teodora Lamadrid, mas se
acentuaba e l desden en l a s gentes p r i n c i p a l e s . Andandq e l tiempo, me p e r s u a d i de que l a moda impone
a sus e s c l a v o s e x i g e n c i a s verdaderamente i n c o n c e b i b l e s .
(II, 5 8 ) .
9
Pedro has a completely
although
d i f f e r e n t concept of the t h e a t r e ,
he had never been i n s i d e one b e f o r e , and pronounces
w i t h g r e a t c o n v i c t i o n t h a t " e l t e a t r o es e s c u e l a de moral y
buenas costumbres." ( I I , 55)
There may be an i r o n i c a l
to t h i s phrase, f o r Pedro i s q u o t i n g
it
turn
a f a v o r i t e newspaper;
i s more probable t h a t t h i s forms p a r t of Pereda's
literary
credo and t h a t he was s a t i r i s i n g what had become of the
t h e a t r e , an i n s t i t u t i o n which should
be f o r the e d i f i c a t i o n
of the p u b l i c .
Pedro's g e n e r a l a t t i t u d e t o the contemporary drama i s
summed up when he compares i t to the t h e a t r e of the Golden Age:
No estaba t a n boyante e l t e a t r o espafiol, como en
aquel s i g l o de c o l o s a l e s i n g e n i o s , en l a s humildes
calendas a que me r e f i e r o ; mas no por e l l o me merecian
menos respeto y admiracion l o s escasos poetas que
s o s t e n i a n l a p a t r i a escena con sus c r e a c i o n ^ . ; Cuan
exiguo e r a e l num..ero de e s t o s , y que escaso e l
p o s i t i v o v a l o r d e ^ i a mayor parte de l a s obras1
- 37 He then a m p l i f i e s t h i s w i t h a t r u i s m t h a t could be a p p l i e d
to a l l the types
of contemporary
literature:
Lo que mas abundaban eran l a s t r a d u c c i o n e s y a r r e g l o s
del frances, ( I I , 6 3 ) .
1
0
Pedro goes on t o give a long d e s c r i p t i o n of the
d r a m a t i s t s who were w r i t i n g a t the time, and who made the
t h e a t r e more f l o u r i s h i n g than the n o v e l , "ya que no por l a
c a n t i d a d , por l a c a l i d a d de l o s poetas."
( I I , 105)
It is
r a t h e r i r o n i c a l t h a t the m a j o r i t y of the p l a y w r i g h t s he ment i o n s are remembered today mainly
because there were no b e t t e r
a t the time, and none are considered
His l i s t
of g r e a t l i t e r a r y
value.
i s almost complete, but he does not mention " o t r a s
producciones
mas e f i m e r a s , n i mencionar otros poetas de menor
c u a n t i n . " ( I I , lC-5)" "^
1
The i n f o r m a t i o n t h a t Pedro g i v e s the
reader about these authors
can be obtained
i s noteworthy, but such d e t a i l s
from a h i s t o r y of l i t e r a t u r e — a l t h o u g h h i s
own contemporary r e a c t i o n to the drama i s s t i m u l a t i n g . The
most rewarding
of a l l h i s i n f o r m a t i o n concerns the l e s s e r
t h e a t r i c a l genres.
H i s c r i t i c a l account of the "Andalusiojn"
t h e a t r e and the Z a r z u e l a i s of immense value f o r a h i s t o r y
of the t h e a t r e of the p e r i o d .
Aun se representaba...algo d e l genero andaluz,
puesto de moda anos antes por e l a c t o r Dardalla...Yo
alcance a v e r t o d a v i a E l corazon de un bandido £drama
romantico muy afamadq] en e l I n s t i t u t o , y e l T10
Canayitas en e l d e l Circo»..popularisima zarzuela...de
Franquelo y Sanz Perez...como c a s i todo l o que se
representaba y se habia representaUo d e l mismo abominable
genero.
E l t e a t r o de moda e r a e l C i r c o , de l a p l a z a d e l
Rey, donde S a l a s y C a l t a n a z o r habian encontrado una
mina de oro con l a z a r z u e l a . . . y se e s t r e n a r o n . . .
- 38 E l Marques de Caravaca de Ventura de l a Vega y
B a r b i e r i ; E l grumete de G a r c i a G u t i e r r e z y A r r i e t a ;
E l v a l l e de Andorra de Olona y Gaztambide y E l domind
a z u l de Camproddn y A r r i e t a ( I I , 105)
He
f o l l o w s up t h i s account of the popular
s h o r t mention of the foremost c r i t i c s
theatre with
of the d a y , *
2
a n
a
d
0
f
the w r i t e r s of t h e o r e t i c a l t r e a t i s e s on the t h e a t r e , whose
ideas had
most i n f l u e n c e a t the
Pereda's l e a s t concern was
time.*3
with
l y r i c poetry,
f o r which
he f e l t n e i t h e r the a f f e c t i o n he d i d f o r the t h e a t r e ,
the a b i l i t y he Rdd
the
f o r the n o v e l .
only c r i t i c i s m of l y r i c poetry,
by t h i s i m p a r t i a l c r i t i c ,
I t i s Matica who
and
nor
makes
s i n c e i t i s spoken
i t i s safe to assume t h a t h i s view
i s Pereda's:
De l i r i c o s tampoco andabamos sobrados, pues l o s
buenos, o estaban ausentes de Espafta o dados a l a
p o l i t i c a , o t e n i a n enfundado e l latid; y de l o s malos
no q u i e r o h a b l a r , aunque mucho me hablo de e l l o s
M a t i c a para ponermelps por ejemplo de l o abominable
y vitando. (II, 66)^
The
novel.
t h i r d l i t e r a r y genre t h a t Pedro reviews i s the
T h i s was
there are few
probably
novels
the most u s e f u l of a l l ,
of the p e r i o d which c o n t a i n
of the contemporary a t t i t u d e to the genre. 15
more v a l u a b l e , as i t was
n o v e l was
i n the throes
s e t l e s s than f i v e years
and
since
discussions
I t i s even
w r i t t e n about a time when the
of a r e v i v a l .
Pedro Sanchez i s
a f t e r Fernan C a b a l l e r o ' s La
gaviota,
so c h r o n i c l e s another p e r i o d of change i n Spain and
change t h a t was
revolution."
c l o s e l y i d e n t i f i e d with
The
novels
Spanish
a
i t s "industrial
of the e a r l y p a r t of the
century
- 39 had been Romantic i m i t a t i o n s of S c o t t , but they were t o
g i v e way to the r e a l i s m t h a t began w i t h Fernan Caballero." "^
1
The most i n f l u e n t i a l n o v e l s d u r i n g the l a t t e r p a r t of
the f i r s t
h a l f of the n i n e t e e n t h century were those of such
French w r i t e r s as S o u l i e , Sue, Kock, Dumas, and Hugo.
The
only other n o v e l i s t s who seem t o have had much vogue a t the
p e r i o d were S c o t t and Richardson, and Goethe.
Pereda
mentions only Richardson of these, but he mentions the French
n o v e l i s t s many times.
I t wa.s S c o t t who had s t a r t e d the
f a s h i o n f o r the h i s t o r i c a l and the f a n t a s t i c , but i t was the
French who exacerbated
produced
the f a u l t s of t h e i r mentor, and who
the m a j o r i t y of the " t h r i l l e r s " of the day.
was a bad judge
Pedro
of novels i n h i s youth and he g i v e s h i s only
c r i t e r i o n f o r the n o v e l a t the time:
»Ah l o s argumentos!...Las s o r p r e s a s , l o desconocido...,
l o inesperado, l a s a n a g n o r i s i s , que dino e l pedante:
j s o b r e todo, l a s a n a g n o r i s i s ! ( I I , 6 5 ) .
T h i s i s very t y p i c a l of the " t h r i l l e r " t o t h i s day, and a l though the use of t r a g i c a d m i r a t i o and a n a g o r i s i s may be perf e c t l y a c c e p t a b l e on the stage, i t l a c k s v e r i s i m i l i t u d e i n
the n o v e l .
Pereda was one t o s a t i r i s e very s e v e r e l y the t h i n g s of
which he d i d not approve.
H i s a t t a c k on French pseudo-
academic w r i t i n g s i n E l Cervantismo
i s probably the most
v i o l e n t , and i s one of the f u n n i e s t pre-Borgesian
parodies
of the o v e r - s e r i o u s , s t u f f y and w o r t h l e s s world of academia.
His f i n a l s u g g e s t i o n i s t h a t soon the c r i t i c s w i l l
decide
E l Q u i j o t e must be a t r a n s l a t i o n from the French, f o r no
- 4-0
-
of the time could w r i t e I ( I , 1311-1319).
Spaniard
In
same s e r i e ^ s , Esbozos y rasgunos, he s a t i r i s e s the
novels of the day.
gives
our
Once again,
times, f o r i t has
His r e c i p e seems v a l i d f o r
been s a i d t h a t the two
f o r a b e s t - s e l l e r today ane
popular
i n Las D e l i a s t e o r i a s , he
the i n g r e d i e n t s f o r a n o v e l .
own
the
sex and
ingredients
violences
S i f u e r a una n o v e l a p a t i b u l a r i a , i n q e n d i a r i a , f o r a j i d a
p a r r i c i d a , o a d u l t e r i n a . . . £ No p o d r i a usted [ I n t r o d u c i r ]
en e l s i q u i e r a un par de f r a i l e s c i n i c o s , una ramera
v i r t u o s a , a n bandido f i l a n t r o p i c o , un banquero ex
p r e s i d i a r i o , una marquesa a d t i l t e r a . . . , c u a l q u i e r cosa
a s i ? Porque con un t i t u l o ad hoc, v e r b i g r a c i a : E l
craneo d e l monje, La caverna d e l crimen, Cien generac i o n e s de a d u l t e r a s , E l puflal y e l hisopo, l e dariamos
a l u z con £xito seguroT (T» 12177*
When one
looks at t h i s a t t a c k , however, one wonders what
Pereda's r e a c t i o n to h i s own
s a t i r e would be,
after writing
La Montalvez which does d e a l w i t h a c r i m i n a l banker and
adulterous
marchioness.
Even the t i t l e ,
de a d u l t e r a s , has
some relevance
i t a n c e of s i n and
g u i l t , which forms one
an
C i e n generaciones
to the problem of the
aspect
inher-
of h i s
own
novel.
Pedro does mention the most important French n o v e l s ,
he makes no f u r t h e r c r i t i c a l
above, except to say t h a t "no
judgment, a f t e r the
e r a yo
i n s a c i a b l e s i n p i z c a de p a l a d a r . "
tends to give the reader the
he
l i s t s were not very good.
repeating
Pereda's own
one
o t r a cosa que
( I I , 59)
impression
quoted
un
gloton
This statement
that a l l the
His testimony, f o r he
novels
i s merely
experience i n Madrid, i s v a l u a b l e
once a g a i n as an eye-witness r e p o r t of the f i c t i o n t h a t
being
but
devoured i n v a s t q u a n t i t i e s at the
time;
was
- 4-1 -
En l a n o v e l a imperaban l a s t r a d u c c i o n e s d e l
f r a n e e s ; y eran l o s autores p r e f e r i d o s V i c t o r Hugo,
Dumas, Jorge Sand, Sue, Paul de Kock y S o u l i e ( I I , 103)
Todo P a u l Kock andaba por a l i i ; l o mas crudo de
P i g a u l t - L e b r u n ; l o s e l e c t o de Dumas y S o u l i e ; E l
.judio e r r a n t e , a l a sazdn a b j e t o de l o s mas t e r r i b l e s
anatemas de l a censura e c l e s i a s t i c a , y Nuestra
Senora de P a r i s , p r o h i b i d o tambie'n por e l O r d i n a r i o ,
( I I , 51).
He a l s o reads Los t r e s mosqueteros and Paul de Kock's Z i z i n a .
His l i s t
i s v i r t u a l l y complete,
f o r he i n c l u d e s a l l the b e s t -
known authors, and i t i s noteworthy t h a t the pronouncements
of
the I n q u i s i t i o n seem t o have r e l a t i v e l y l i t t l e
import-
ance f o r Pedro.
Perhaps the g r e a t e s t evidence
of the p o p u l a r i t y of these
n o v e l s i s t h a t the best of them continued t o be read i n the
twentieth century.
On the l a s t o c c a s i o n t h a t he l i s t s the
popular French n o v e l s , three t i t l e s ,
a t l e a s t , have s u r v i v e d
the passage of y e a r s .
The Three Musketeers and The Count of
Monte C r i s t o are s t i l l
extremely
popular
(as i s Notre Dame de
P a r i s ) and the aging p r o s t i t u t e i n Camilo Jose Cela's La
Colmena was a v i d l y r e a d i n g Los m i s t e r i o s de P a r i s .
a.
T h i s was
&a.ct.:.. t h a t Pereda'was to be unaware o f ; but what he does
emphasize, y e t a g a i n , i s t h a t the " t h r i l l e r s " t h a t were popular
and t h a t d e l i g h t e d him.
T i t u l a b a s e l a n o v e l a La enferma d e l coraz6n, y a pique
me puso su l e c t u r a de padecer yo l a misma enfermedad
que l a h e r o i n a . De E l .judio e r r a n t e , Los m i s t e r i o s de
P a r i s , Los t r e s mosqueteros, con todas sus consecuencias;
E l hi.jo d e l d i a b l o , E l conde de M o n t e - c r i s t o y o t r a s
que por entonces imperaban en e l gusto p u b l i c o ,
no n e c e s i t o d e c i r hasta que extremo me emborrachaban.
(II,
65-6)17
- 4-2 A f t e r d e a l i n g a t some l e n g t h w i t h the French, Pedro
turns t o the Spanish n o v e l which " t e n i a pocos
cultivadores,
y no abundaban l o s l e c t o r e s que preguntaban por e l l a . "
( I I , 103)
Of a l l the n o v e l i s t s , only one i s now worth d e a l i n g w i t h i n
detail.
This i s , of course, Fernan C a b a l l e r o .
Pedro g i v e s
the r e a d e r a f a i r l y comprehensive view of the n o v e l which i s
extremely v a l u a b l e s i n c e most of the n o v e l s have l o n g s i n c e
d i s a p p e a r e d , and t h i s i s one of the v e r y few contemporary
accounts which g i v e a d e t a i l e d c r i t i c a l summary of the p o s i t i o n of the n o v e l i n the e a r l y 1859s.
I t must be remembered
t h a t the only other w r i t e r of r e a l m e r i t who had begun publ i s h i n g s e r i o u s l y was Trueba, about whom Pedro makes some
s u r p r i s i n g remarks;
.
• ..- .
.
• Alarc"6n*s f i r s t major c o n t r i b u t i o n , E l
-1
Q
f i n a l de Norma,appeared i n 1855.
I t i s s u f f i c i e n t t o mention the h i s t o r i c a l f a c t s
that
"Fernan C a b a l l e r o acababa de p u b l i c a r Clemencia, despues de
haber a d q u i r i d o fama con La g a v i o t a en 184-9..." ( I I , 103),
f o r Pereda's treatment of contemporary n o v e l i s t s w i l l be d i s cussed i n g r e a t e r d e t a i l i n the s e c t i o n on L i t e r a t u r e .
What
i s a t i s s u e here i s merely the n o v e l s p u b l i s h e d i n the e a r l y
fifties.
In Pereda's e a r l i e s t w r i t i n g s one can f i n d other r e f e r ences to the l i t e r a t u r e
the Santander newspaper,
of the time.
In an open l e t t e r t o
La a b e j a montanesa,
which Pereda
sent from P a r i s , he g i v e s h i s o p i n i o n on the French a t t i t u d e
to S p a i n , and on the s t a t e of a f f a i r s i n S p a i n i t s e l f .
The
- 43 letter
i s dated January
12,
I865, and there had been no
s i g n i f i c a n t change i n the Spanish n o v e l s i n c e 185^,
dubious
w i t h the
e x c e p t i o n of A l a r c o n ' s f i r s t romantic n o v e l ( E l f i n a l
de Norma) and Pereda's own
Escenas montanesas.
On the
a t t i t u d e to S p a i n he says " e l embustero Dumas...se nos
French
viene
ensenando...que para juzgar a un p a i s l o que menos f a l t a hace
es c o n o c e r l o a fondo."
( I , 93)
T h i s was
perhaps an under-
standable r e a c t i o n from such a c a s t i z o Spaniard as
PeredaJ
who
must have found the modern t o u r i s t ' s i d e a of S p a i n , which
was
j u s t b e g i n n i n g , somewhat u n p a l a t a b l e .
His l e t t e r
a l s o d i s c u s s e s , among other t h i n g s , Spanish
p a i n t i n g and the French t h e a t r e , but i t i s h i s assessment of
the f a u l t s of the contemporary Spanish n o v e l t h a t i s most
i n t r i g u i n g s i n c e he had produced, the year b e f o r e , the book
which was
new
f i n a l l y to mark the break between the o l d and
the
types of n o v e l i n S p a i n :
i Cuanto me a f l i g e v e r que s o l o como una r a r e z a se
encuentran l o s autoa?es modernos espanoles en estas
l i b r e r i a s , ana de l a s t e n t a c i o n e s mas
irresistibles
de P a r i s !
Desgraciadamente para n o s o t r o s , hay que
c o n v e n i r en que no t i e n e l a c u l p a de e l l a e l desden
de l o s f r a n c e s e s . ( I , 100)
The q u o t a t i o n a l s o serves to s t r e s s a p o i n t about Pereda
seemingly
has been ignored and which formed an important p a r t
of h i s p e r s o n a l i t y .
as P a r i s .
which
T h i s was
h i s d e l i g h t i n such a p l a c e
The bookstores were one
temptations;
of i t s most
irresistible
he does not say i t s most i r r e s i s t i b l e
nor i t only temptation.
h a t e r , but i t was
Pereda may
an ambivalent
have remained a
love/hate
temptation,
city
relationship.
_ 44
Pereda's g r e a t e s t
love
-
i n l i f e was l i t e r a t u r e , a n d a l -
t h o u g h i t may have i t s i n s p i r a t i o n
where i t f l o u r i s h e s
i s the c i t y ,
i n the country,
especially
the place
the metropolis.
I t may be a n unpalafoWefact f o r many p e o p l e , b u t t h e g r e a t
centers
o f l i t e r a t u r e have b e e n A t h e n s , Rome, L o n d o n ,
Madrid..., the capitals
recognized
interest
of t h e i r respective empires.
had t o r e m a i n i n t h e l i t e r a t u r e o f t h e C o r t e .
i n M a d r i d i n 1 8 5 2 - 4 a n d was a b l e
the place
attracted
as w e l l
and
Pereda
t h i s f a c t , a n d , t r y a s he w o u l d t o f i g h t i t , h i s
much t h e same r e a s o n s he remembered t h e d e t a i l s
and
Paris,
so w e l l .
to certain
as b e i n g
For
of h i s stay
t o reconstruct the period
P e r e d a ' s p r o b l e m was t h a t he was
aspects
o f M a d r i d , o f w h i c h he a p p r o v e d ,
t o r n between the simultaneous
attraction
r e p u l s i o n o f t h e c a p i t a l and o f t h e i n d i v i d u a l s
i n h a b i t e d and c h a r a c t e r i z e d i t .
who
- 45
-
FOOTNOTES
Chapter 1
1.
As, f o r example, Galdos, who questioned Mesonero Romanos
about l i f e i n the e a r l y years of the century, i n
order to g a i n background m a t e r i a l f o r h i s e a r l i e s t
Episodios nacionales*
2.
Montesinos, p.
3.
Pereda, Pedro Sanchez ed. J.M. C o s s i o ( C l a s i c o s
C a s t e l l a n o s : Madrid, 1969.)
4.
The
5.
See,
6.
See S e c t i o n on P o l i t i c s and the P r e s s .
7.
The
polacos was the name g i v e n to the c o r r u p t government
of Bravo M u r i l l o , which was removed from power by
the R e v o l u t i o n of 1854.
The neo-polacos were those
polacos who reappeared i n p o s i t i o n s of power a f t e r
the r e v o l u t i o n .
8.
The
only n o v e l i s t who s u c c e s s f u l l y turned p l a y w r i g h t
was Galdos.
Many, i n c l u d i n g A l a r c o n , A l a s and
Dickens, f a i l e d .
9.
Compare Frances Burney, E v e l i n a , l e t t e r 20 "Do you come
to the p l a y without knowing what i t i s ? " £ M r .
Lovell_J "0 yes, S i r , yes, very f r e q u e n t l y : I have
no time to read p l a y - b i l l s j one merely comes to
meet one's f r i e n d s , and show t h a t one's alive.":
T h i s i s perhaps the best known example of t h i s
attitude.
140.
ending seems to i n d i c a t e the immense debt t h a t B a r o j a
owed to Pereda. Pedro Sanchez i s the model f o r
Cesar o nada.
f o r example, Raymond C a r r , Spain 1808-1939 (Oxford
U n i v e r s i t y P r e s s : Oxford, 1966), p. 245, who
mentions t h i s paper.
10.
See
J.F. Montesinos, I n t r o d u c c i o n a una h i s t o r i a de l a
novela en Espana en e l s i g l o XIX, ( C a s t a l i a :
Madrid, 1966), w i t h r e f e r e n c e to the n o v e l of t h i s
period.
11.
The
f o l l o w i n g are the d r a m a t i s t s Pedro mentions, i n c l u d i n g h i s c r i t i c i s m of both p l a y s and p l a y w r i g h t s :
1.
" E l mismiscno" Manuel Breton de l o s Herreros (I796-I873)
author of Mar c e l a and the peem La desvergiienza
( I I , 79, 105)
- 4-6 2.
J u a n E u g e n i o H a r t z e n b u s c h ( 1 8 0 6 - 1 8 8 0 ) who w r o t e
" c o m e d i a s t a n d e l i c a d a s como Un s i y u n n o "
( I I , 105).
,
3.
A n t o n i o G a r c i a G u t i e r r e z ( 1 8 1 3 - 1 8 8 4 ) "no
o l v i d a b a d e l t o d o a l a musa que i n s p i r o E l
t r o v a d o r " , a l t h o u g h he l a t e r s t i g m a t i s e s h i m
f o r w r i t i n g a z a r z u e l a , w h i c h he d e s c r i b e s a s
an "abominable g6nero," c a l l e d E l grumete (music
by A r r i e t a ) ( I I , 1 0 5 ) .
4.
M a n u e l Tamayo y B a u s J 1 8 2 9 - 1 8 9 8 ) who " t r e p a b a
a l a mas a l t a j e r a r q u i a d e l i m p e r i o d r a m a t i c o
con su t r a g e d i a V i r g i n i a " ( I I , 105)*
5.
" E l p e q u e n i t o " V e n t u r a de l a V e g a (I807-I865)
who had a g r e a t s u c c e s s w i t h E l hombre de mundo
( I I , 5 9 ) , a l t h o u g h h e , t o o , had t a k e n t o w r i t i n g
z a r z u e l a s , s u c h as E l marques de C a r a v a c a ( m u s i c
by B a r b i e r i ) , ( I I , 77, 1 0 5 ) . ,
6.
" E l i n g e n i o s o bohemio, haragan i m p e n i t e n t e , "
F l o r e n t i n o Sanz (1822-1881) a u t h o r o f t h e s u c c e s s f u l Don F r a n c i s c o de Quevedo ( I I , 1 0 5 ) .
7.
" E l d o n c e l , " A d e l a r d o L 6 p e z de A y a l a ( 1 8 2 8 - 1 8 7 9 )
" t o d o u n i n g e n i o de l a C o r t e d e l b u e n R e t i r o ,
c o n s e r v a d o de m i l a g r o d e s d e e l s i g l o d i e c i s i e t e p a r a
. r. h o n r a y g l o r i a d e l muy p r o s a i c o e n que u s t e d
y yo CMatica y P e d r o ] v i v i m o s . " He had b e e n
s u c c e s s f u l w i t h Un hombre de e s t a d o and L o s dos
Guzmanes, b u t h i s Rio.ja had n o t b e e n r e c e i v e d
t o o w e l l , ( I I , 78, 1 0 5 ) .
8.
Tomas R o d r i g u e z R u b ! (1817-1890) had p r o d u c e d De
p o t e n c i a a p o t e n c i a , as w e l l as L a t r e n z a de s u s
c a b e l l o s , B o r r a s c a s de c o r a z o n , " p e r o s o b r e t o d o
E l a r t e de h a c e r f o r t u n a , u n a de l a s mias l i n d a s
y mejor c o n t a d a s comedias d e l t e a t r o moderno,"
( I I , 77, 10i>).
9.
L u i s de E g u i l a z ( 1 8 3 0 - 1 8 7 4 ) was a newcomer, and
h i s comedy V e r d a d e s amargas had b e e n " r u i d o s a m e n t e
a p l a u d i d a " and he had g r e a t s u c c e s s w i t h b o t h
A l a r c o n and E l c a b a l l e r o d e l m i l a g r o , ( I I , 1 0 5 ) .
10.
N a r c i s o S e r r a (I83O-I877) " e m u l a b a l o s d o n a i r e s
de B r e t o n " i n h i s L a b o d a de Q u e v e d o, ( I I , 1 0 5 ) .
11.
J u a n de A r i z a ( 1 8 1 6 - 1 8 7 6 ) who w r o t e " c o m e d i a s
muy a g r a d a b l e s " ( I I , 1 0 5 ) .
12.
He f i n a l l y m e n t i o n s two p l a y s w h i c h w e r e
" t r a d u c c i o n e s . . . i m p o r t a n t e s , " S u l l i v a n ( I I , 105)
and A d r i a n a ( I I , 56, 1 0 5 )
o
12.
W r i t i n g i n La Espana were " e l e n t o n c e s y a s a b i o y r e s p e t a d o " A u r e l i a n o F e r n a n d e z - G u e r r a (1816-1894) whose p e n name was P i p i and E u g e n i o Ochoa (I8I5-I872); and i n
E l H e r a l d o Manuel^Cafiete (1822-1891), (II, 105-6).
B o t h Ochoa and C a n e t e w e r e p a r t l y r e s p o n s i b l e f o r t h e
r e v i v a l o f i n t e r e s t i n t h e G o l d e n Age d r a m a , w h i c h
P e d r o a l s o r e l a t e s ( s e e s e c t i o n on L i t e r a t u r e ) .
- 47 13»
Pedro says he knows of the f o l l o w i n g w o r k s J N i c o l a s
B o i l e a u ' s (I636-I7II) A r t e p o e t i c a which he d e s c r i b e s
as " r e f l e j o de o t r o de H o r a c i o " which was known as
the E p i s t o l a a l o s Pisones and which was i n s p i r e d ,
i n t u r n , by A r i s t o t l e ' s P o e t i c s .
He a l s o knew t h a t
some of Moli&re's works were a d a p t a t i o n s of others
of Planus, he c a l l e d a l l s w i n d l e r s T a r t u f f e and
knew a l i t t l e of C o r n e i l l e ' s Horace.
14.
Pedro's own review of l y r i c p o e t r y i s s i m i l a r l y v e r y
concise.
Of the good poets he says:
E l duque de R i v a s , Z o r r i l l a , V i l l e g a s y o t r o s
poetas de nota, andaban f u e r a de l a p a t r i a , o
c a l l a d i t o s en su pueblo o a l a sombra de un
d e s t i n o _the Duke of Rivas was appointed premier
i n 18 54] .
And of the bad ones he says:
La A v e l l a n e d a , l a Coronado y G a r c i a de Quevedo
p u b l i c a n _sic_f t a l c u a l l u c u b r a c i o n romantica
de tarde en t a r d e . E l s u r t i d o de p o e s i a s de
l o s pocos y malos p e r i d d i c o s l i t e r a r i o s que
e x i s t i a n c o r r i a de cuenta de l o s Larranaga, V i l a
y G o y r i , R i b o t y o t r o s de quienes no me acuerdo
o no q u i e r o acordarme, ( I I , 104-5)•
15.
T h i s was u n l i k e e a r l i e r Spanish n o v e l s , Don Qui.jote, f o r
example, or such n i n e t e e n t h century E n g l i s h n o v e l s
as Jane Austen's Northanger Abbey.
16.
The A g u i l a r p u b l i s h i n g house have produced an e x c e l l e n t
c o l l e c t i o n of these e a r l y n i n e t e e n t h - c e n t u r y h i s t o r i c a l romances: A n t o l o g i a de l a n o v e l a h i s t o V i c a
espanola (1830-1844) ed. F e l i c i d a d Buendia ( A g u i l a r :
Madrid, 1 9 6 3 ) which c o n t a i n s n o v e l s by Lopez S o l e r ,
Cosca Bayo, Espronceda, L a r r a , E s c o s u r a * , V i l l a l t a ,
Cortada y S a l a , Martinez de l a Rosa*, Estebanez
Calderon, G i l y C a r r a s c o . Other such n o v e l i s t s are
Trueba y C o s i o , Ayguals de I z c o , Navarro V i l l o s l a d a ,
A v e c i l l a , Padtor D i a z , Fernandez y Gonzalez...
I t would be i n t r i g u i n g to compare the d i f f e r e n t
r o l e s t h a t r e a l i s m and f a n t a s y played i n the development of the E n g l i s h and the Spanish n o v e l s d u r i n g
the n i n e t e e n t h c e n t u r y .
* 0 f these two M a t i c a s a y s :
" E l a n c i a n o " F r a n c i s c o Martinez de l a Rosa
( 1 7 8 7 - 1 8 6 2 ) , "no q u i e r o ofender l a i l u s t r a c i o n de
usted ponderandole sus muchos, grandes y ya g l o r i o s o s
talentos."
And "11 m a l i c i o s o y r i s u e n o " P a t r i c i o de l a
E s c o s u r a ( 1 8 0 7 - 1 8 7 8 ) " e l hombre que b r i l l a l o mismo
c u l t i v a n d o l a p o l i t i c a que e l t e a t r o , que l a
h i s t o r i a , que l a n o v e l a , " ( I I , 7 7 ) .
- 48 17.
F o r d e t a i l s of t r a n s l a t i o n s of n o v e l s i n t o Spanish see
t h e l i s t o f them i n M o n t e s i n o s * , I n t r o d u c c i o n , p p . 154—257*
18.
The n o v e l i s t s P e d r o m e n t i o n s a r e a s f o l l o w s , h i s c r i t i c a l
comments on n o v e l s a n d n o v e l i s t s have b e e n r e t a i n e d :
1.
F r a n c i s c o N a v ^ a r r o V i l l o s l a d a (1818-1895) a u t h o r
of Dona B l a n c a de flaflarra " u n a n o v e l a e x c e l e n t i s i m a
a l modo de l a s de W a l t e r S c o t t " ( I I , 1 0 3 ) .
2.
Manuel Fernandez y G o n z a l e z (1821-1888) " a l g u n a
£de s u s n o v e l a s j e r a b a s t a n t e mas l e i d a y
c e l e b r a d a , " ( I I , 103).
3. C a r o l i n a de C o r o n a d o (1823-1911) who w r o t e
J a r i l l a and L a S i g e a ( I I , 1 0 4 ) .
4. G e r t r u d i s Gbmez de A v e l l a n e d a ( 1 8 1 4 - 1 8 7 3 ) a u t h o r e s s
" E l — n o recuerdo q u e — d e Monfaucon." Both o f
the l a t t e r a u t h o r e s s e s a r e d i s a p p r o v e d o f by
Pedro f o r t h e i r Romanticism. ( I I , 1 0 4 ) .
5. A n t o n i o F l o r e s ( I 8 I 8 - I 8 6 5 ) who h a d p u b l i s h e d a
n o v e l w h i c h has been r e g a r d e d as a model f o r
La Montalvez, c a l l e d F e , esperanza y c a r i d a d , *
" a b u n d a n t e s e n c u a d r o s c u r i o s o s y no m a l p i n t a d o s ,
p e r o a t e s t a d o s de l u g a r e s comunes de n o v e l o n
p o r e n t r e g a s . V a l e mucho mas que e s t o s u g a l e r x a
de c u a d r o s , A y e r , h o y y manana" ( I I , 1 0 4 ) .
6. A n t o n i o T r u e b a (I8I9-I889) " e l m e j o r y mas
f e c u n d o c u e n t i s t a de c u a n t o s s e p a s e a n e n E s p a n a ,
y e l a u t o r mds t r a d u c i d o a e x t r a n a s l e n g u a s . "
This l a t t e r f a c t i s c e r t a i n l y amazing.
He was
a u t h o r o f E l l i b r o de l o s c a n t a r e s . T r u e b a i s
b e s t remembered f o r h i s i l l - j u d g e d a n d d i s a s t r o u s
prologue t o the f i r s t e d i t i o n o f Pereda's
Escenas montanesas. ( I I , 1 0 4 ) .
7. W e n c e s l a o A y g u a l s de I z c o ( 1 8 0 1 - 1 8 7 3 ) " s e h a b i a
p r o p u e s t o s e r e l E u g e n i o Sue de a c a , y no q u i e r o
d e c i r como l o l o g r a b a . " ( I I , 1 0 4 ) .
8. A n t o n i o de H u r t a d o (I825-I878) h a d b e e n a w a r d e d
a P r i z e by t h e R e a l Academia f o r h i s Cosas d e l
mundo.* ( I I , 104~7^
9. P a t r i c i o E s c o s u r a ( 1 8 0 7 - 1 8 7 8 ) a u t h o r o f E l
p a t r i a r c a d e lv a l l e ( I I , 104). Matica's judgment o f t h i s man h a s a l r e a d y b e e n q u o t e d .
10.
J u a n de A r i z a (I8I6-I876) p u b l i s h e d Un v i a j e a l
i n f i e r n o , " s a t i r a d e l M a d r i d de e n t o n c e s , e n
que h a b f a muchos a n a g r a m a s d e m a s i a d o t r a s p a r e n t e s " *
(II, 104).
11.
D i e g o Luque de B e a s ( 1 8 2 8 - 1 8 9 0 ) who was s t i l l y o u n g
and h a d w r i t t e n L a dama d e l C o n d e - d u q u e , * " b i e n
p e r g e n a d a y c o n mucho s a b o r de g p o c a . " ( I I , 1 0 4 ) .
I t w i l l be n o t e d t h a t many o f t h e s e n o v e l i s t s have
a l r e a d y been mentioned e i t h e r as p o e t s o r as dramat i s t s , w h i c h r e v e a l s s o m e t h i n g a b o u t t h e way t h e
n o v e l w a s s t i l l regarded i n Spain.
*These a r e a l l p o s s i b l e models f o r P e r e d a ' s L a M o n t a l v e z .
- 49 PEREDA'S L I T E R A R Y OPINIONS AND
IN THE MADRID
TECHNIQUE
NOVELS
T h r o u g h o u t t h e M a d r i d n o v e l s , t h e r e a r e many r e f e r e n c e s
to
w r i t e r s who w e r e n o t c o n t e m p o r a n e o u s w i t h t h e a c t i o n o f
Pedro
Sanchez.
This section w i l l
view o f Pereda's
will
criticism
t o h i m and which
T h e s e mnn o f l e t t e r s
contemporary
The
of other writers.
a r e suggested
authors
i n turn to the reader.
t o whom P e r e d a r e f e r s a r e "both
seconfl p a r t o f t h e s e c t i o n w i l l
stylistic
literary
ideas into
the n a r r a t i v e
these
I t
earlier
writers.
Pereda's
d e v i c e s and w i l l
practice.
deal with certain of
a n a l y s e how h e p u t h i s
I tw i l l ,
especially, discuss
t e c h n i q u e s t h a t h e e m p l o y e d i n t h e two l o n g
Madrid n o v e l s , Pedro
are
and mention
t o g i v e an o v e r - a l l
p„lso d i s c u s s h i s t r e a t m e n t o f t h e m e s w h i c h
suggested
and
attempt
Sanchez and L a M o n t a l v e z , b o t h o f which
of considerable structural complexity.
First
clear-cut
There
i t i s n e c e s s a r y t o see w h e t h e r P e r e d a makes a n y
statements on tiie n a t u r e o f a r t and l i t e r a t u r e .
a r e o c c a s i o n s i n t h e M a d r i d n o v e l s when h e m a k e s
f a r - r e a c h i n g p r o n o u n c e m e n t s o n t h e n a t u r e o f p o e t r y . The
first
o c c u r s i n Suum c u i q u e , a n d t h i s s e n t e n c e m u s t be k e p t
i n m i n d when d e c i d i n g o n t h e i m p o r t a n c e
writing:
" d e j a r l a . l a po-esia. de s e r l o
of reality
i n .his
s i l o s poetas
c a n t a r a n l a . v e r d a d una. s o l a v e z en s u v i d a . "
( I , 277)
Here
- 50 i s one of the c l e a r e s t statements
of h i s a r t i s t i c
although he valued the t r u t h , he s t i l l
thought
beliefs:
that a r t
should g i v e i t an aura of enchantment.
This c o n f l i c t
i s seen even b e t t e r i n Pedro Sanchez when
he i s c r e a t i n g the c h a r a c t e r s of Pedro h i m s e l f and of C l a r a .
C l a r a , the c l e a r s i g h t e d one, r e p r e s e n t s those who d e s i r e the
t r u t h a t the expense of a l l e l s e .
Her immense a b i l i t y t o see
the e s s e n t i a l s of t h i n g s and t o a c t a c c o r d i n g t o an unemotional
and
c o l d l y c a l c u l a t i n g l o g i c i s t o be her s t a p l e c h a r a c t e r i s t i c :
Me encanta l a verdad, y jamas l a h a l l o en l o s c o p l e r o s ,
en su a f a n de v e s t i r l a de a r l e q u i n y m e d i r l a por
s i l a b a s . Ya no se hacen versos mas que en Espana...
y en T u r q u i a . ( I I , 28)
Pedro's r e a c t i o n i s immediate.
He r e f l e c t s ,
I believe,
Pereda's own view of the s i t u a t i o n , and h i s b e l i e f i n a
p o e t i c form of the t r u t h becomes e v i d e n t .
The q u o t a t i o n a l s o
r e v e a l s Pereda's b e l i e f t h a t t r u t h and nature
by a r t and l i t e r a t u r e .
c o u l d be improved
I t s i m i l a r l y shows h i s o p i n i o n con-
c e r n i n g the nature
of women, who ought t o be more
and
w i t h the "naked t r u t h " than C l a r a :
l e s s concerned
"soulful"
C o n f i e s o que me gusto poco e s t a s i n c e r i d a d en boca de
una mujer t a n joven; porque e n t e n d i a yo, por i n s t i n t o
n a t u r a l , que para e l e v a c i o n d e l alma, singularmente
l a de l a mujer, hay mentiras n e c e s a r i a s y h a s t a
i n d i s p e n s a b l e s , como son l a s d e l a r t e en cuanto
t i e n d e n a embellecer l a N a t u r a l e z a y dar mayor expansion
y nobleza a l o s humanos s e n t i m i e n t o s . ( I I , 28)
Pereda was not g i v e n t o t h e o r e t i c a l s p e c u l a t i o n s on the
nature
of a r t and i s probably unique among
nineteenth-century
n o v e l i s t s , Spanish p a r t i c u l a r l y , i n t h a t the only
w r i t i n g s on l i t e r a t u r e
critical
or a r t he l e f t are those which p a r t of
-
an a r t i s t i c
creation.
51
-
Where he does pass judgment on
ture i t i s o f t e n f o r an a r t i s t i c
b u c o l i c humor i n Suum cuique,
litera-
purpose, such as the
anti-
or i t comprises p a r t of a
c h a r a c t e r c r e a t i o n , such as Pedro's c r i t i c i s m of Fernan
Caballero.
are
There are c e r t a i n main areas of c r i t i c i s m which
of c o n s i d e r a b l e
significance:
Caballero, Alarcon's
t h e a t r e and
The
and
Cervantes.
p a s t o r a l was
t h i s i s the
subject.
s o c i a l novels,
the p a s t o r a l , Fernan
the Spanish Golden
Each of these w i l l be d e a l t w i t h
e v i d e n t most s t r a n g e l y i n Suum
here.
cuique^
only p r i n c i p a l s e c t i o n which d e a l s w i t h
this
There are mentions of t h i s theme i n both Pedro
Sanchez and
La Montalvez.
The
two
quotations
are a
little
p u z z l i n g , s i n c e they r e v e a l the dichotomy i n Pereda's
adherence to the b u c o l i c i d e a l .
In Pedro Sanchez he
Todo era a l i i p a t r i a r c a l y amoroso como una
de G a r c i l a s o . ( I I , 69)
The
Age
own
says:
egloga
terms he uses to d e s c r i b e N i c a Montalvez^s v a c a t i o n
cottage
are l e s s m e l i f l u o u s , f o r i t was
no como l a choza r u s t i c a y g r o s e r a de l o s i d i l i o s ,
no t a n t o . ( I I , 5 1 5 )
Pereda's novels
finition
themselves f a l l w i t h i n a broad
of the p a s t o r a l theme and
t h e r e f o r e any
of t h i s genre would have to i n c l u d e the m a j o r i t y
novels.
Since
t h i s s e c t i o n i s destined
de-
discussion
of h i s
to d e a l w i t h
his
l i t e r a r y r e f e r e n c e s , i t must be l i m i t e d to other p a s t o r a l
writers.
- 52 The other n o v e l i s t whose works f a l l
i n t o the broad
d e f i n i t i o n of p a s t o r a l i s Fernan C a b a l l e r o .
In a s h o r t
s t o r y e n t i t l e d E l t i r a n o de l a a l d e a (Esbozos y rasgunos)
Pereda i n c l u d e s a q u o t a t i o n from Fernan C a b a l l e r o ' s Simon
Verde t o condemn " l o s mas
t i r a n o s y l o s mas
Pereda was
malos, l o s mas
v e n a l e s , l o s mas
opresores de l o s hombres." ( I I , 1263)
referring to the c o r r u p t s e c r e t a r i e s of the
Ayuntamientos
i n the v i l l a g e s .
T h i s s t o r y tends to d i s -
prove the t r a d i t i o n a l i d e a t h a t Pereda was
ponent
simply an ex-
of the e v i l s of the c i t y and the v i r t u e of the c o u n t r y .
What he does show i s t h a t there i s l e s s o p p o r t u n i t y f o r e v i l
in
the country, but t h a t e v i l ,
i f a n y t h i n g , can be f a r worse
in
the country than i n the c i t y .
This exemplifies
concern w i t h s a t i r i s i n g the v i c e t h a t he saw
i n Madrid,
r a t h e r than w i t h s a t i r i s i n g Madrid merely because
i t was
He i s n o r m a l l y v e r y concerned w i t h the l i t t l e
daily l i f e
the
Pereda's
f i g u r e s of
and i n the same s t o r y he f e e l s unable to cope w i t h
great passions:
"Las grandes pasiones...que
constituyen
l a v i d a en l o s grandes c e n t r o s de p o b l a c i a n aturden a l hombre
p a c i f i c o y s e d e n t a r i o . " ( I , 1261-2)
But although he was
repeat the same i d e a i n Pedro Sanchez, he was
these v e r y p a s s i o n s i n the n o v e l .
2
to
to p o r t r a y
As ever on t h i s theme,
Pereda's a t t i t u d e v a r i e s from moment to moment, which makes
any d e f i n i t i v e a n a l y s i s of h i s b u c o l i c theme i m p o s s i b l e .
Pedro Sanchez, a f t e r having become l i t e r a r y e d i t o r of
C l a r i n , passes judgment on Fernan C a b a l l e r o ' s Clemencia.
- 53 Although these
c r i t i c i s m s are intended
as p a r t of the char-
a c t e r c r e a t i o n of Pedro, they are w r i t t e n from Pedro's p o i n t
of view as an o l d man and so must be taken as b e i n g Pereda's
own o p i n i o n of the n o v e l s .
f o l l o w i n g way:
H i s c r i t i c i s m i s b u i l t up i n the
F i r s t he a t t a c k s the p r e v a i l i n g t a s t e of
the time which "por r e s a b i o s romanticos"
preferred " e l
amor empalagoso e i n v e r o s i m i l de a q u e l l a s e n s i b l e y
l a c r i m o s a h e r o i n a , a l r i d i c u l o y extravagante
l a s inaguantables
The
ingles, y
escenas a que este punto da l u g a r . " ( I I , 1 0 3 )
reasons he a t t a c k s these
clear, for, after a l l ,
aspects
of the n o v e l are very
t h i s was e x a c t l y the type
of l i t e r a -
ture t h a t Pereda was r e a c t i n g a g a i n s t when he wrote h i s
Escenas montanesas.
He goes on t o say t h a t what w i l l
Fernan C a b a l l e r o * s novels
l a s t i n g fame was "precisamente
de e s t a r l l e n a s de v u l g a r i d a d e s . . . "
says,
" l a miga de C su]
give
( I I , 103) which was, he
i n g e n i o . " ( I I , 1 0 3 ) Pedro then g i v e s
examples of what he c o n s i d e r s t o be the e x c e l l e n t q u a l i t i e s
of the n o v e l , and which the p u b l i c had despised as v u l g a r and
i n e l e g a n t " l o s sabrosos pasajes
y cuadros l l e n o s de c o l o r
y de verdad, en l o s cuales entran, como f i g u r a s de primer
termino, don M a r t i n , don Galo Pando, l a Marquesa, l a Coronela
y l a t i a Latrana."
i n these
( I I , 103-4)
There i s a g r e a t d e a l of tnuth
statements f o r the D i c k e n s i a n Coronela
and the
G a l d o s i a n Galo Pando are c e r t a i n l y two of the most remarkable c r e a t i o n s of the p e r i o d .
When Pedro r e v e a l s the content
of the review he had w r i t -
t e n f o r the C l a r i n , i t becomes a b r i l l i a n t example of Pereda's
- 9, _
use
of d u a l - r e a l i t y , which i s s t r o n g l y i r o n i c .
In Pedro, the type
man
he despises and
Pedro's own
He
of o v e r - c o n f i d e n t , s e l f - o p i n i o n a t e d young
then cuts himii down to s i z e ,
through
r e v a l u a t i o n of h i s e a r l i e r o p i n i o n s .
Fernan because she was
reaccionarias."
creates,
"un p e r t i n a z propagandista
( I I , 107)
counts (note the i r o n i c a l
He a t t a c k s the novels
He
attacks
de
ideas
on s e v e r a l
j u x t a p o s i t i o n of the f i r s t
two)
s i n c e Fernan d i d not give them " i n t e r e s l a b e r i n t i c o , n i
unidad,
n i f o n d o " — a s they were " r e p l e t o s de
andaluzas."
( I I , 107(
charranadas
Pedro's l a s t a t t a c k on them i s sup-
remely i r o n i c a l , f o r he has become a c h i c o de l a prensa
which were the bane of Nubes de e s t i o , f o r Fernan "era de
l o s de a f u e r a . . . , porque es de saberse...que no se
tener t a l e n t o en Espana mas
reader's
que
podia
en Madrid." ( I I , 107)
r e a c t i o n to these comments i s l e f t f a i r l y
, The
open, u n t i l
Pedro h i m s e l f b r i n g s e v e r y t h i n g down to e a r t h w i t h a s u c c i n c t
c l o s i n g remarks
"Por f a r t u n a , nadie me
T h i s c r i t i q u e of the novels
h i z o caso."
of Fernan C a b a l l e r o r e v e a l s
an a t t i t u d e of Pereda's which has not been f u l l y
He
( I I , 107)
explored.
s a t i r i s e s the Madrid p r e s s , because i t w i l l not accept
novels
by r e g i o n a l w r i t e r s such as Fernan C a b a l l e r o and Pereda himself.
His a n t i - M a d r i d ideas are not constant, but what he
i s doing,
i n my
o p i n i o n , i s exaggerating
the r e g i o n a l n o v e l
i n order to make the Madrid press take n o t i c e of i t .
The
more they p r o t e s t e d t h e i r open-mindedness, the more r e g i o n a l
he became; a f t e r a l l ,
such r e g i o n a l novels as S o t i l e z a have
a u n i v e r s a l drama but a r e g i o n a l s e t t i n g .
How
he would have
- 55 developed without the s t i m u l u s of E m i l i a Pardo Bazan, and
Menendez y Pelayo, w i l l never be knowiv, but i t i s f a i r t o
say t h a t her comments i n La c u e s t i o n p a l p i t a n t e produced
not
j u s t Pedro Sanchez and La Montalvez but, by r e a c t i o n , Penas
arriba*
The
other contemporary
at c e r t a i n moments was
n o v e l i s t whom Pereda had i n mind
Alarcon.
I t seems c l e a r t h a t the pro-
blems of m o r a l i t y and honor preoccupied the n i n e t e e n t h
c e n t u r y as much as they had the seventeenth.
Montalvez
I t i s i n La
which seems t o be a reworking of the themes of
E l escandalo, t h a t we
f i n d the m a j o r i t y of the evidence t h a t
Pereda had A l a r c o n i n mind.
There does not e x i s t , u n f o r t u n a -
t e l y , any documentary evidence t h a t he was
t h i n k i n g of
A l a r c o n , as there does to show t h a t De t a l p a l o , t a l a s t i l l a
was
a r e p l y to Galdos' G l o r i a , f o r example.
T h i s makes i t
d i f f i c u l t t o prove t h a t h i s use of the word escandalo was
conscious reminder, but i f not i t would mean t h a t
v o c a b u l a r y was
Perhaps
a
Pereda*s
l i m i t e d i n the c o n c l u d i n g chapters of the n o v e l .
t h i s i s most apparent when Angel d e s c r i b e s h i s
n o v e l to N i c a and Luz, f o r i n the same paragraph t h a t he
s t a t e s very c o n c i s e l y the p o i n t a t i s s u e i n La
i t s e l f he t a l k s of h i s heroine (who
Montalvez
i s very l i k e N i c a ) ,
and
mentions t h a t " e l p u b l i c o l l e v a b a una cuenta minuciosa de
todas esas p r o d i g a l i d a d e s amorosas, aunque l a p r o d i g a pensaba
que nadie se l a s v e i a n . " ( I I , 527)
forward the ideas of the n o v e l .
The next sentence
Then the next two
puts
sentences
s t a t e t h a t "Tuvo tambien una h i j a . . . g u a p a y p a r e c i a muy
buena.
- 56 Por de pronto, se habia educado de muy d i s t i n t a manera de
l a madres
The
l e j o s de e l l a y d e l r u i d o de l o s e s c a n d a l o s . " ( 1 1 , 5 2 7 )
r e p e t i t i o n of the words, p r o d i g a l i d a d and p r o d i g a
a t such a s h o r t i n t e r v a l make them stand out, and when he
l a t e r i n t e r p o l a t e s the word escandalos i n a phrase
that i s
a l s o made t o stand out "because i t i s s p l i t from the main
sentence
by a c o l o n , and although c o n s i s t i n g of nine words,
has no v e r b .
T h i s s i g n i f i e s t h a t Pereda
c i n c t l y the theme of h i s own n o v e l — a n d
s e t s down very sucof A l a r c o n ' s — a n d
fra-
ming t h i s c l e a r - c u t e x p o s i t i o n he emphasizes two words
gram^Ltically, both of which are t i t l e s
of novels by A l a r c o n .
In the f i n a l twenty pages of the n o v e l , he repeats
and
over
over a g a i n the i d e a t h a t N i c a has been the cause of
escandalo s
i Cuanto p e r d i a con aquel s i l e n c i o mio, que e r a l a
d e c l a r a c i o n de l o s escandalos de su madrel ( I I , 5 5 1 ) .
I Y todo aquel estrago e r a obra mia; de mis maldades,
de mis escandalos! ( I I , 5 5 2 ) .
Mi sonada f e l i c i d a d , que s o l o c o n s i s t i a en que jamas
t u r b a r a l a de Luz e l r u i d o de l o s escandalos de su
madre. ( I I , 5 5 6 ) .
_Que t e s t i m o n i o s desean para c r e e r que s i e s c a n d a l i c e
como mujer deshonesta, puedo e d i f i c a r como a r r e p e n t i d a ?
(II, 556).
Jesus no p i d i 6 t a n t a p e n i t e n c i a a l a c o r t e s a n a
a r r e p e n t i d a , y h a b i a e s c a n d a l i z a d o mas que yo. ( I I , 5 5 7 ) .
De todas l a s mujeres malas e r a l a peor l a madre d e s j u i c i a d a y deshonesta, porque sus escandalos danaban
tambien a sus h i j o s . ( I I , 5 6 2 ) .
All
of these q u o t a t i o n s are s t r e s s e d both by t h e i r
and
t h e i r ^••^.oji'Ui.W.'. I r i n the p r o s e .
the word i s i n the very l a s t sentence
content
The l a s t time he uses
of the n o v e l , i n the
- 57 s t a t e d purpose of the book.
cannot
accept t h a t Pereda
The
emphasis i s immense and
I
d i d t h i s u n c o n s c i o u s l y , s i n c e every
time he uses the word i t stands out from the
text:
No c r e e r i a nunca bastante b a r r i d a de gusanos l a conc i e n c i a s i n entregar l o s escandalos de mi v i d a a l a
abominacion de todas l a s mujeres honradas. ( I I , 567)
The
f a c t t h a t Pereda was
Alarc'on's novels
cori^ious of the denouement of
( E l escandalo, and La p r o d i g a to a l e s s e r
extent) w i l l be of s i g n i f i c a n c e to g a i n a f u l l e r
of h i s ideas on s o c i e t y .
understanding
T h i s i n f l u e n c e must be borne i n
mind i n t h a t s e c t i o n (Spanish s o c i e t y i n the Madrid
novels)
which d e a l s w i t h the s o c i a l i n t e r p r e t a t i o n of the novels
about m e t r o p o l i t a n m o r a l i t y .
Among h i s r e f e r e n c e s to " c l a s s i c a l " Spanish
literature
are some h i s t o r i c a l l y r e v e a l i n g ones t o the t h e a t r e .
f o l l o w i n g passage from Pedro Sanchez i s very
f o r i t g i v e s an eye-witness
account
The
interesting,
of the esteem i n which
the s i x t e e n t h - and seventeenth-century
t h e a t r e was
beginning
to be h e l d i n the 1850s.
V i v a r i a s comedias d e l t e a t r o a n t i g u o , y l e i muchas
mas, y hasta hube a l a s manos...los i n a p r e c i a b l e s
Origenes de Bohl de Faber, en una hermosa e d i c i o n de
Hamburgoj con l o c u a l , l o s nombres de Naharro, Lope
de Rueda, Juan d e l E n c i n a , e t c . , me f u e r o n tan q u e r i d o s
como l o s de Lope de Vega, T i r s o , Moreto, Rojas y
C a l d e r o n . ( I I , 63)
I t i s r e a s s u r i n g to know t h a t the e a r l i e r d r a m a t i s t s were becoming known, but Pereda's o m i i s i o n of Ruiz de A l a r c o n i s
p u z z l i n g s i n c e the m a j o r i t y of e a r l y
nineteenth-century
c r i t i c s placed him w i t h Lope, T i r s o , Moreto, Rojas and
as being one
Calderon
of the s i x major p l a y w r i g h t s of the S i g l o de
Pro.
-
His statements
the s o - c a l l e d
-
on the Golden Age
the h i s t o r i c a l review
t h a t he makes use
58
drama r e a l l y belong
to
of l i t e r a t u r e a t the time, were i t not
of a t l e a s t one Golden Age
" C a l d e r o n i a n " honor-drama.
he makes C a r l o s , the a p p a r e n t l y cuckolded
t h e m e — t h a t of
In La mujer d e l Cesar
husband, u t t e r
these words:
En c u e s t i o n e s de honra p r o p i a no delego mis poderes
en nadie; que yo soy l a l e y , e l juez y e l e j e c u t o r ,
y que no abrigue usted l a mas remota esperanza de que
este compromiso pueda terminarse como tantos o t r o s
lances mai llamados de honor. ( I , 5 7 5 )
Pereda was
very concerned
w i t h honor.
Gutierre,
w i t h the contemporary
preoccupation
He t u r n s C a r l o s i n t o a n i n e t e e n t h - c e n t u r y Don*
( E l medico de su honra), i n s e a r c h of the
t i o n of h i s honor, who
restora-
a r r o g a t e s to h i m s e l f a l l the p r e r o -
g a t i v e s of God.3
As w i t h the g r e a t m a j o r i t y of Spanish w r i t e r s , Pereda
i s much concerned
ences b e i n g to Don
w i t h Cervantes,
the m a j o r i t y of h i s r e f e r -
Q u i j o t e : he does, however, r e f e r to G a l a t e a
i n the a n t i - b u c o l i c sequence i n Suum cuique
( I , 2 7 9 ) . The
young Pedro Sanchez, when d i s c u s s i n g h i s own
first
e f f o r t s , r e v e a l s an a t t r a c t i o n to both Q u i j o t e and
f o r he says
",'Poco me
d i e r o n que
amores de Grisostomo y M a r c e l a ! "
hacer y que
(II, 11)
literary
the p a s t o r a l ,
escribir los
He had a l r e a d y by
t h i s p o i n t s t r e s s e d h i s knowledge of t h i s book while
bing his early reading:
cobre
"Con
l e e r a menudo...el Q u i j o t e . . .
senalada a f i c i o n a l a amena l i t e r a t u r a . "
f u r t h e r remarks "es d e c i r , que
descri-
me
( I I , 8)
He
he l i m i t a d o a s e g u i r mi
l l a n o y no meterme en contrapunto'que se s u e l e n quebrar
s o t i l e s * , como d i r i a e l buen maese Pedro." ( I I , 2 6 )
de
canto
- 59 These
merely
but
there
the
Peredian
rayed
as
r e v e a l Pereda's
i s no t r a n s c e n d e n t a l
hero
explicitly
a man w h o s e
as a modern
head
take
original
description
and
the Press
ful
countenance,"
direct
were
behind
be compared
and i n order
them,
although
Don S i l v e s t r e
i s port-
He
i s characterized
a n d who
i s also
would
reminiscent
I n t h e s e c t i o n on
to the "knight
to appreciate
be b o r n e
novel
i tnot f o rh i s pleito.
o f the Qul.jote.
must
of Cervantes'
by p o l i t i c s
of Silvestre
he w i l l
comparison
Quijote.
i s turned
on t h e w o r l d
paragraph
meaning
i s often Quixotic.
probably
opening
knowledge
The
of the
Politics
of the dole-
this
the following
i n mind:
No t a r d o e n s u c e d e r l e a S e t u r a s c o n l o s a r t i c u l o s d e
f o n d o a l g o p a r e c i d o a l o que a Don Q u i j o t e l e s u c e d i o
c o n l o s l i b r o s de c a b a l l e r i a s . . . S u D u l c i n e a e r a l a
P a t r i a ; sus encantadores,
l o s enemigos p o l i t i c o s d e l
peri6dico. F a l t a b a l e a s u c a r a c t e r l a e s e n c i a romancesca
q u e h a b i a e n e l d e Q u i j a n o , e l B u e n o ; d e o t r o modo, l e
h u b i e r a c o s t a d o muy p o c o h a c e r d e s u p e l u d o
cuartago
u n R o c i n a n t e y , o l v i d a d o de s u p l e i t o , s a l i r e n b u s c a
de a v e n t u r a s h a s t a r o m p e r s e e l a l m a c o n l o s v e r d u g o s
de l a p e r s e g u i d a P a t r i a ( I , 265).
This
have
i s t h e most
Quixotic
similar
"takes
when
mas
tone
the
he
traits.
to Silvestre
metropolis,
definite
but h i s other
Ramd'n i n L a mu.jer d e l C e s a r
i n build
b u t h i s "madness"
on" the world
comparison,
and t r i e s
heroes
i s very
and i n h i s r e a c t i o n t o the
takes
another
t o improve
form,
f o r Ramon
its, as,^for
example,
"cogi6 a l v i z c o n d e . . . y . . . l e sacudi6 l a s d o s b e f e t a d a s
sonoras
que h a o i d o
i s exaggerated
attitude
like
o f Ramon
e l presente
siglo."
the parodied
i s precisely
( I I , 5&3)
chivalric
what
The
novels, but
i s termed
"quixotic."
- 60 Pedro Sanchez i s the amalgamation of these two men.
l i k e them, i s l a r g e and powerful,
He,
h i s head i s turned by
V a l e n z u e l a , and he i s " b l i n d e d " by p o l i t i c s and h i s own
a p o c r y p h a l view of the w o r l d .
v e s t r e , he attempts
L i k e Ram6*n, and u n l i k e
t o take on the w o r l d .
This
Sil-
comparison
i s made f i r s t by Pedro h i m s e l f ,
"encauzose,
n a c i o n de mi i n s u l a . "
Whether c o n s c i o u s l y or not
( I I , 167)
pues l a gober-
he i d e n t i f e s h i m s e l f w i t h Sancho a t the stage of Don Q u i j o t e
when Sancho's q u i x o t i f i c a t i o n i s almost complete.^
comparison
The
i s r e i n f o r c e d s h o r t l y a f t e r , when Pedro and C l a r a
have a tremendous row which i s the b r e a k i n g p o i n t i n t h e i r
marriage; i n the heated exchange, she accuses him of having
" r i d i c u l o s pujos de c a b a l l e r o andante."
T h i s comparison
( I I , 175)
can i n f l u e n c e any i n t e r p r e t a t i o n of the
n o v e l s , s i n c e Pereda prepares one f o r the e v e n t u a l d i s i l l u s i o n ment of Pedro and h i s complete
in
himself.
l o s s of f a i t h i n h i s i d e a l s and
In a l l the novels i t adds an e x t r a l e v e l t o the
meaning and an e x t r a dimension t o the heroes.
Although h i s
use of t h i s double r e a l i t y i s not completely o r i g i n a l , he i s
one
of the f i r s t
to look back t o Cervantes i n order to add a
symbolic overtone t o h i s f i c t i o n .
T h i s i s an a t t i t u d e he
shared w i t h o t h e r s , e s p e c i a l l y Gald&s and the G e n e r a t i o n of
1898.
# * # *
There are aspects of Pereda's n a r r a t i v e technique t h a t
are
to
obvious t o every reader; there are others t h a t never seem
have been d i s c u s s e d a t a l l .
T h i s i s e s p e c i a l l y true of
1
- 61 one mannerism of e x p r e s s i o n , and s i n c e no c r i t i c
upon i t some of the more obvious
low.
has commented
examples of i t are g i v e n be-
He has a t r i c k of not s a y i n g e x a c t l y what he means, and
then c o r r e c t i n g h i m s e l f .
T h i s i s very n o t i c e a b l e a l l through
h i s w r i t i n g , but the examples g i v e n here are from the Madrid
n o v e l s , and a few of the l a t e r c o l l e c t i o n s and n o v e l s ;
Pedro Sanchez ( I I )
. . . e l juez...amigo p a r t i c u l a r d e l regente de l a A u d i e n c i a d e l t e r r i t o r i o , muy e m p a r e n t a d o — e l juez, no
el territorio—con...(11).
La Montalvez ( I I )
...no se cuenta por anos, s i n o por s i g l o s , como para
l o s monumentos de l o s Faraones.
Hacia a q u e l l a s f e c h a s — n o l a s de l o s F a r a o n e s —
fue c u a n d o . . . ( 4 9 7 ) •
Esbozos y rasgufios (I)
La m i a — e s d e c i r , mi f a m i l i a , no mi
cometa...(1237)•
D i j o n o s , no e l C i c l o p e , s i n o don Bernabe, que l i b r o s
necesitaba...(1282).
Nubes de e s t i o ( I I )
...don Roque intimo con l a f a m i l i a d e l p r 6 c e r y v i o
que su h i j o ( e l d e l p r o c e r ) entraba en su casa (en l a
de don Roque) como Pedro en su casa. ( 8 4 3 ) .
. . . l e d i j e , no a l a l a n g o s t a , s i n o a l a c o c i n e r a . . . ( 9 7 2 ) .
A l primer vuelo ( I I )
Su h i j o , es d e c i r , e l d e l r e l o j e r o . . . ( 9 9 9 ) •
T h i s mannerism i s used by Pereda f o r humorous e f f e c t , as
aspect
of h i s w r i t i n g which ought not to be l o s t s i g h t of as
he i s not the o v e r - s e r i o u s , u n s m i l i n g c h a r a c t e r t h a t he i s
o f t e n made out to be.
In c o n t r a s t , he was a man who made a
joke out of most t h i n g s .
F l o r e n c e W i l l i a m s , i n a t h e s i s on
Pereda's humor, has done some v a l u a b l e documentation and
shown how humor was one of the mainstays of h i s w r i t i n g from
beginning
to end.5
- 62 He u s e d
humor e v e n a t t e n s e moments; i n L a mu.jer d e l
C e s a r , Ramon i s v i s i t e d
b y t h e two s e c o n d s
face
he pushed
seek
"Lo que es n a t u r a l que se l e o c u r r a d e s p u e s
de
anoche."
by s a y i n g
dentista
the night
o f t h e man whose
( I , 566)
"Pero
b e f o r e , and t h e y d e c l a r e
Ramon " p r i c k s
dos
( I , 566)
Similarly,
at this
literature
d r a m a t i c moment
may have b e e n d i r e c t — h i s
was good--:or
creation
of a family
English novelist's
Pedro
goes
attention.
style.
The f a m i l y
"formando l o s
Needles
knowledge o f E n g l i s h
i n Pedro
Sanchez
friends
t o engage h e r s i s t e r ' s
and l i k e
t h e f o r m e r has a
The f a t h e r ' s name i s Don
t o s a y , he i s f a t b u t i s a l s o
( I I 69)
and L u z , t h e l a t t e r
"muy
c o r t o de
H i s w i f e i s Dona
A r c a n g e l e s , b u t she i s " p a r a a n g e l . . . d e m a s i a d o
romana."
has a n o v i a ,
owes much t o s u c h D i c k e n s i a n f a m i l i e s
l o s Trucos.
are T r i n i s
Galdos.
owes much t o t h e
One o f P e d r o ' s
de b r a z o s y de c u e l l o . "
daughters
( I , ?03)
he owed t o
through h i s f r i e n d
or the Micawbers,
strange name—de
vista,
a l l their
Their
indirect
along with h i s friend
as t h e J e l l y b y s
Magin.
i s to faint
a s p e c t o f h i s humor was a d e b t t h a t
Dickens, which
and
that
en e l s u e l o u n s o l o m o n t o n — y no p e q u e n o . "
Another
His
discover
a t the climax
and dreams have come c r a s h i n g t o t h e g r o u n d .
cuerpos
bubble"
como l o mas n a t u r a l e n e s e c a s o s e r i a u n
y yo no l o s o y . . . "
reaction
they
d e l suceso
the melodramatic
o f L o s hombres de p r o , Simon and J u a n a
plans
that
maciza."
i s "un t i p o
The
de v e s t a l
( I I , 71)
Further
evidence of t h i s
t y p e o f humor i s t h e i n t r o -
duction very s h o r t l y before of a character
called
Agamen6n,
- 63 which
i s the nickname he had been dubbed f o r always
a sentence
The
starting
"Kagame... jousted e l obsequio de"])..." ( I I . 68)
humor may have o f t e n become c a r i c a t u r e , but i t was a l -
ways p r e s e n t i n h i s works.
Any i n t e r p r e t a t i o n of h i s n o v e l s
ought t o be made w i t h the p r o b a b i l i t y t h a t h i s tongue may have
been i n h i s cheek, which w i l l s e r i o u s l y i n f l u e n c e any approach
which accepts Pereda as b e i n g l e s s t h a t human, as as i f
e v e r y t h i n g he wrote was dour and u n s m i l i n g .
Pereda's n a r r a t i v e technique can be c r i t i c i s e d
waywardness.
for its
He i s an omniscient n a r r a t o r i n the m a j o r i t y of
the n o v e l s , but he does pretend t h a t the c h a r a c t e r s are r e a l
people and so he i n v i t e s the reader t o come w i t h him and
then e x p l a i n s how he knows the f a c t s .
t h i s are i n La Montalvez.
The b e s t examples of
A t the b e g i n n i n g of the second
p a r t of the n o v e l he d e s c r i b e s a c o n v e r s a t i o n between Manolo
C a s a - V i e j a and h i s f r i e n d B a l l e s t e r o s , which g i v e s a l l the
relevant details
of
the n o v e l .
of what has happened between the two p a r t s
A f t e r they have f i n i s h e d he says:
Todos l o s informes dados por Manolo C a s a - V i e j a a su
amigo Paco B a l l e s t e r o s sobre l o o c u r r i d o a l o s persona j e s de nuestro r e l a t o , desde que l o s despedimos en e l
u l t i m o c a p i t u l o de l a primera parte de 4 1 , e r a l a pura
verdad. En l o s Apuntes a u t o g r a f o s , que me s i r v e n de
g u i a constan tambidn, aunque en o t r a forma menos
i n t e r e s a n t e , por d e s c o l o r i d a y d i f u s a . ( I I , 4-81)
S h o r t l y a f t e r i n v i t i n g the reader i n t o N i c a Montalvez^s
house he says:
A s i estaban l a s cosas, con un p a s i t o mas que luego
conoceremos, a l i n v i t a r yo en l o s comienzos d e l c a p i t u l o precedente a l l e c t o r amable y p i o a que me acompanara a l nuevo d o m i c i l i o de l a marquesa de Montalvez.
Reproduzcole l a invitaci<5n, y puesto que no l a d e s a i r a ,
vamos adentro con todas l a s c o r t e s i a s y comedimientos
d e l caso. ( I I , 488)
- 64 Later while
of
c o n f e s s i n g t h a t he does n o t know t h e d e t a i l s
h e r abandoned
life
i n Madrid,
he
says:
Q u i e n p u d i e r a s a c a r n o s de l a duda erajsu d o n c e l l a ; p e r o
n i l a c o n o z c o , n i e x i s t e , que yo s e p a , l a h i s t o r i a de
su v i d a y m i l a g r o s . ( I I , 507)
This
realist
nique
approach i s t y p i c a l
w h i c h P e r e d a abandoned
only
P e d r o S a n c h e z and Penas a r r i b a
and
i n t h r e e major
novels.
have f i r s t - p e r s o n male n a r r a t o r s ,
c e r t a i n p a r t s o f L a M o n t a l v e z have a f i r s t - p e r s o n
narrator.
This, although
a virtuoso technical
House, w h i c h s h a r e s
focus
technique.
used
on o c c a s i o n s
continuous
rity
produced
person
partly
Montero
the
with Pereda's n o v e l
the novels
Great
Expectations
or La Montalvez.
i t in
the m u l t i p l e and t h e y a r e
or David
Copper-
Sherman E o f f ? has
o f t h e two w r i t e r s b e c a u s e
of a
simila-
b e t w e e n them, b u t i t i s c u r i o u s t h a t
two s e m i - a u t o b i o g r a p h i c a l
n a r r a t o r s , and a n o t h e r
sections
had u s e d
t o add d e p t h t o t h e s t o r y , b u t n e i t h e r i s a
narrative like
of attitude
Dickens
E s t h e r and N i c a keep d i a r i e s
f i e l d , Pedro Sanchez
compared
female
n o t u n p r e c e d e n t e d , was s o m e t h i n g o f
performance.
Bleak
n o v e l s w i t h male
n o v e l which contains
f r o m t h e j o u r n a l o f a woman.
first-person
Q
gives part
The r e a s o n s
s t r u c t u r e a r e t h e same i n b o t h
of the o r i g i n a l
draft
both
firstlarge
for this
cases.
of the beginning of
n o v e l , w h i c h was w r i t t e n b y " N i c a h e r s e l f , " b u t w h i c h
P e r e d a was u n a b l e
says
of
of the n a r r a t i v e t e c h -
to continue.
"though Dickens
Esther...he
Similarly,
Geoffrey
Tillotson
does manage t o c o n v e y t h e s i m p l i c i t y
cannot keep i t u p . " 9
- 65 Pereda's
technique has many precedents, i n c l u d i n g
Cervantes, who
p l a c e d Cide Hamete B e n e n g e l i between h i m s e l f
and the r e a d e r .
A n o v e l i s t achieves three t h i n g s w i t h t h i s .
He i s able to pretend b e t t e r t h a t the s t o r y a c t u a l l y happened;
i t a l l o w s him to p l a c e the r e s p o n s i b i l i t y f o r the events i n
the n o v e l on somebody e l s e , whether i t be the n a r r a t o r
(Pedro,
Marcelo, Nica) or the c h a r a c t e r s themselves; and i t puts the
n a r r a t i o n more d i s t a n t from author and reader and enables both
to be more o b j e c t i v e .
The Madrid n o v e l s b e g i n a t a very low t e c h n i c a l
level.
Suum cuique i s n o t h i n g more than a p a i r of c o n t r a s t e d scenes
which are extended, but b a s i c a l l y s t i l l
tumbres.
only cuadros de cos-
Pereda does show c o n s i d e r a b l e v i r t u o s i t y at t h i s
l e v e l , f o r h i s development of the L a t i n - s c h o o l l e i t m o t i v i s
impeccable,but,
mentally
d e s p i t e t h i s , the n o v e l remains
funda-
static.
La mujer d e l Cesar has j u s t one s e t t i n g , but t h i s
enables
a s l i g h t l y more complex p l o t to be interwoven i n t o the
cuadro.
The d e t a i l s of the t r i c k played on I s a b e l by the V i s c o u n t
are admirably worked out, as i s the denouement.
Pereda
had
progressed from showing s e v e r a l of the inconveniences of
Madrid, then comparing
them w i t h those of the country;
now
the b o o r i s h n e s s of Ramdn i s used f o r more than humorous
e f f e c t , and h i s p e r s o n a l i t y motivates the a c t i o n of the c l i m a x .
In Suum cuique, Pereda r e l a t e d anecdotes about the r e c e p t i o n of
S i l v e s t r e i n the c a p i t a l , i n La mujer d e l Cesar, the inconveni e n c e s expedite the p l o t .
- 66 D e s p i t e the r a t h e r grotesque c a r i c a t u r e s of Los hombres
de pro the n o v e l i s much b e t t e r balanced and Pereda i s moving
towards
a more p s y c h o l o g i c a l drama.
and S i l v e s t r e was
The appearance
of Ramon
found r i d i c u l o u s and amusing i n Madrid,
but a l t h o u g h Simon C. de l o s Penascales lacked n e i t h e r the
money nor the p o s i t i o n to put on a good appearance,
he
still
The
found r i d i c u l o u s because
of h i s p e r s o n a l i t y .
was
n o v e l c o n t a i n s severe c r i t i c i s m of Madrid, i t i s t r u e , but
i t provides l i t t l e
evidence t o show t h a t Pereda had a patho-
l o g i c a l phobia of Madrid.
Indeed
i t i s Simon who
i s censured
most s t r o n g l y i n t h i s n o v e l , as don Roque w i l l be i n Nubes
de e s t i o , and nobody could make t h a t n o v e l p r o o f of Pereda's
hatred of Santander.
the
The madrilenos may
montanesas have an excess of f a u l t s .
not be a n g e l s , but
Don Roque and Simon
both f i n d self-knowledge a t the end of t h e i r
respective
novels and withdraw from the s o c i e t i e s i n which they have made
f o o l s of themselves.
Los hombres de pro shows a g r e a t advance i n Pereda's
technique f o r there are three main s e t s of scenes
villa,
(aldea,
and Corte) and the greed and the s o c i a l and
political
ambitions of the three c h a r a c t e r s d r i v e them from v i l l a g e to
town t o Madrid.
the
The sequence
of chapters which are s e t i n
p r o v i n c i a l town i s c a r e f u l l y developed.
The second chapter
d e s c r i b e s Simon's apparent success i n l o c a l p o l i t i c s , but h i s
success i s based
on h i s r i d i c u l o u s behaviour which amuses the
others a t the p o l i t i c a l meeting.
Chapter I I I d e a l s w i t h h i s
w i f e ' s s o c i a l f a i l u r e , and the next chapter r e l a t e s
their
- 67 daughter's
town.
lack
Because
greater
their
of success w i t h the other c h i l d r e n
o f Simon's
political
a p p a r e n t s u c c e s s he wants more and
acclaim.
complete l a c k
of the
J u a n a and J u l i e t a ,
of success,
because of
t h r u s t upwards i n s o c i e t y
h o p i n g t o be a c c e p t e d .
I n t h e t r a u m a t i c moments when
financial
social
realize
and J u l i e t a ' s
that
t h e i r g l o r y was
Another t e c h n i c a l
introduction
the
form o f a p o l i t i c a l
tion
his
eampaign,
session.
he i n t r o d u c e d
house, w i l l
f o r the f i r s t
arriba,
he w i l l
his fic-
B o t h Don R e c a r e d o , and
different
and t h e house w i l l
become
be i n C o t e r u c o .
become Don C e l s o and t h e house
Don R e c a r e d o w i l l
will
himself reappear
l a t t e r novel."'"" "
1
Another i n t e r e s t i n g
Cuarterola,
a man who
the
time i n t o
reappear i n l a t e r novels under
be t h e C a s o n a a t T a b l a n c a .
similar
of the
I n Don G o n z a l o G o n z a l e z de l a G o n z a l e r a he w i l l
Penas
this
incidents
One o f t h e c h a r a c t e r s he met on
Don Roman P e r e z de l a L l o s i a
in
and some
i n t h i s n o v e l , as Don R e c a r e d o .
names.
In
ephemeral.
of a u t o b i o g r a p h i c a l sequences, which take
ensuing p o l i t i c a l
campaign
r u i n become known, a l l t h r e e
i n n o v a t i o n i n L o s hombres de p r o i s
the
the
Simon's
attempted
i s that
o f Don Jeromo
o r a s he i s b e t t e r known, Don Zambombo.
This i s
owns a c o u n t r y t a v e r n and whose b a c k g r o u n d i s v e r y
t o Don S i m o n ' s ,
sort
figure
and i t does
o f man t h a t Simon
t o improve
f u r t h e r example
possibility
seem t h a t Don Zambombo i s
m i g h t have become i f he had n o t
his social
position.
He p r o v i d e s
o f Pereda's use o f double r e a l i t y ,
o f i t , w h i c h adds more l e v e l s
a
or the
o f meaning
t o the
- 68 story.
He
e n a b l e s the r e a d e r t o see
makes o f h i s own
life
b u t he
also
t a v e r n - k e e p e r c a n become b e s t i a l
a l s o a note
of s a t i r e
in
Don
t h i s way
about
the d i s a s t e r
shows t h e way
and
that
Simon
i n which
animal-like.
There i s
people w i t h e t e r n a l p l e i t o s
Zambombo becomes a r e i n c a r n a t i o n
a
of
and
Don
Silvestre.
Pereda's
ting
use
of double
reality
aspects of h i s t e c h n i q u e .
apparent, each
of a c t u a l
of h i s heroes
or l i t e r a r y
become a new
version
i s one
As w i l l
Don
of Q u i j o t e .
by a n o t h e r
Silvestre
life
The
i s exploited
concept
that
la
ciencia:
and
one
Azorin
his
hero
Sender
Garces; Pedro
Maria Pereda
f r o m Don
The
Sancho
later
are a l l c l o s e l y
ambition
i s the
even
level
Pedro
the n o v e l
of
at l e a s t
Unamuno,
this
one
especially
E l arbol
Perhaps
the
de
closest
i n Crdnica del alba, f o r
"other r e a l i t y "
o f Ramtfn J o s e
Sanchez i s the o t h e r r e a l i t y
( i s Pedro
the s i m i l a r i t y
use
more
i n L a v o l u n t a d , A n t o n i o A z o r f n and
however, i s Ram6n S e n d e r
Pepe G a r c e s
has
p e r f e c c i o n and
C o n f e s i o n e s de u n pequerio f i l o s o f o .
parallel,
man
by many S p a n i a r d s :
i n E l o t r o ; B a r o j a i n Camino de
and
In La Montalvez,
w r i t t e n by A n g e l p r o v i d e s t h e most i n t e r e s t i n g
dual r e a l i t y .
interes-
become more and
is paralleled
existence.
o f t h e most
a n e a r anagram?) S a n c h e z .
g r e a t e r i s the f a c t
that both
of Jose
What makes
descend
Abarcas.
developments
i n t h e n o v e l Los
c o n n e c t e d w i t h t h e theme.
hombres de
I t i s the
o f Simon t h a t makes him become h o p e l e s s l y
with Arturo; i t i s p o l i t i c a l
ambition that
forces
pro
social
involved
him
to
- 69 d e l i v e r a hopeless
e v e r y t h i n g and
speech i n the Congreso, which i s about
about n o t h i n g , and which makes him
the
laughing-
stock of Madrid.
The
great step forward
made by t h i s n o v e l i s the
devel-
opment of c h a r a c t e r s which produces the events t h a t form the
novel.
His technique
cuique, which was
and
how
advanced c o n s i d e r a b l y from Suum
merely the p o r t r a y a l of two
stock
characters
they r e a c t e d to the events which happened to them; the
c h a r a c t e r s i n no way
same way,
he may
had
caused these
Ramon i s an observer
happenings.
In much the
of Madrid customs, and
although
c o n t r o l them, none of the occurences s p r i n g d i r e c t l y
from h i s c h a r a c t e r .
La mu.jer d e l Cesar was
a great improvement on Suum
i n t h i s aspect, d e s p i t e the s t a t i c c h a r a c t e r of Ramon.
are scenes which simply
at l i f e
The
s a t i r e i n these
been
scenes i s , s u r p r i s i n g l y ,
d i r e c t e d as much a g a i n s t the countrymen as a g a i n s t the
customs.
and
city
Events are shaped by the c h a r a c t e r s of C a r l o s
I s a b e l , so t h a t La mu.jer d e l Cesar p r o v i d e s a halfway
p o i n t between the s t a t i c c h a r a c t e r s and
and
There
p o r t r a y the amazement of the montanes
i n Madrid, j u s t as S i l v e s t r e ' s amazement had
revealed.
cuique
scenes of Suum
cuique
the scenes produced by the c h a r a c t e r of the hero i n
Los hombres de p r o .
The
married
p a i r , C a r l o s and
the a c t i o n by t h e i r c o n t r a s t i n g p e r s o n a l i t i e s .
s o c i e t y and
i t and
i n her.
being
I s a b e l , shape
She
loves
o s t e n t a t i o u s w i t h i n t h a t s o c i e t y , he
leaves her to do as she
l i k e s , and
has
complete
I t i s t h i s l a c k of r e s p o n s i b i l i t y by both
high
abhors
faith
partners
-
which produces
70
-
the dramatic c o n f l i c t .
C e r t a i n of the e p i -
sodes, such as the dance, the d u e l and the happy denouement,
i n v o l v e a l l three p r o t a g o n i s t s , hut the p l o t does not i n volve the hero, Ramon, d i r e c t l y ,
only i n d i r e c t l y as C a r l o s *
brother.
Pereda's
as he t r i e d
technique improved
out new
ideas.
over the f o l l o w i n g y e a r s ,
He managed to combine such f a c e t s
as the t h e s i s e x p o s i t i o n of De t a l p a l o , t a l a s t i l l a and the
landscape p a i n t i n g of E l sabor de l a t i e r r u c a i n three novels
of
great t e c h n i c a l s k i l l .
and La
These were Pedro Sanchez,
Sotileza
Montalvez.
Pereda used the f i r s t - p e r s o n n a r r a t i v e w i t h
efficacy.
E s c r i t o s de
remarkable
He had ventured o c c a s i o n a l l y i n t o t h i s form i n h i s
juventud and Tipos trashumantes.
The
article,
from the former, c a l l e d Correspondencia p u b l i c a i s a l e t t e r
from "Pepe" Pereda to the Abe.ja montanesa, which,
naturally,
is
i n the f i r s t person.
Correspondencia p r i v a d a i s s i m i l a r l y
In
the f i r s t person, but the p r o t a g o n i s t i s female, and
a r t i c l e p r o v i d e s evidence t h a t she was
N i c a Montalvez.
of
Un
1
the
the prototype f o r
.joven d i s t i n g u i d o from the second
series
a r t i c l e s i s the only other example of f i r s t person technique
p r i o r t o Pedro
Sanchez.
The technique has been t r i e d many times, and i t s v i r t u e s
and shortcomings are w e l l known.
Defoe i s probably the
i e s t n o v e l i s t to develop t h i s form; by 1 7 2 2 when he
earl-
finished
M o l l F l a n d e r s he had achieved the p e r f e c t i o n of the autob i o g r a p h i c a l n o v e l ; which r e l a t e s events w i t h i n c r e d i b l e
clarity,
- 71 while
allowing
the
reader
acter.
I t i s with
Captain
S i n g l e t o n and
though the
object
The
reader
the
enabling
the
effectively
reader
by
developed
ception
this
nacionales,
To
create
the
Lyndon.
The
h i s own
Spanish
the
Pedro
prevailing
such a d e l i g h t f u l l y
naive
stupidity
as
person reportage.
abilities
The
h o n e s t y were t o o
to create
reader
can
y e t P e d r o , who
worth:
The
see
not
ex-
Episodios
ideas
about
prejudice, naivete,
t o be
ambition
t o make i t e v e n more d i f f i c u l t
P e r e d a was
thus able
a character
clearly
the
t o use
t h r o u g h the
characters
knows how
Valenzuela
with
and
for
his
good-
accepted
down-
third-
dramatic
words he
utters.
o f C l a r a and
will
have
heroism,
intermingled
i s d e s c r i b i n g them, i s b l i n d
reader
His
idealised
same t i m e t h e y were so
short-sightedness,
by
c h a r a c t e r would
and
right
most
Sanchez.
ness, greatness
his
the
while
possible
Second S e r i e s of
P e r e d a changed a l l the
a t the
of a l l o w i n g
developed
i n a third-person narration.
but
character
opinion,
been i m p o s s i b l e
easily,
character.
n o v e l i s t s had
so h i g h l y , w i t h
the
personalities
trait
t r u t h , was
i n h i s enigmatic
until
his w r i t i n g with
give
in reality
watches M o l l ' s
This
Crusoe,
that, a l -
o f a complex
new
char-
E d g e w o r t h i n C a s t l e R a c k r e n t and
technique
of Galdos
and
realizes
events,
S i n g l e t o n , and
t o see
Maria
Thackeray i n Barry
and
c r e a t i o n of the
things
hero's true
reads Robinson
development
undergoing repentance.
to r e l a t e
one
Moll Flanders
i s the
o f R o b i n C r u s o e , Bob
narrator
o f the
concern i s with
novel
follows
apparently
judge
amazement t h a t
apparent
of the
to
to t h e i r
act, yet
Carmen,
true
Pedro
- 72 does n o t .
The
s o u n d a r e Don
o n l y c h a r a c t e r s o f whom h i s judgment
Serafin,
Technically,
it
marks t h e
Pereda
Quica
and
Matica.
P e d r o S a n c h e z i s consummate; w i t h
of s i g n i f i c a n c e
assumes a d u a l i t y , w h i c h does n o t
straightforward,
the
Literary
enigmatic
these
two
criticism
but
society.
as
i n the
d e t r a c t from
n o v e l s , Pereda
has
last
form.
i t s basically
Sotileza,
hidden
p u b l i s h e d La
one
Montalvez.
many o f i t s m e r i t s b e n e a t h
concerning
L a M o n t a l v e z does n o t
its criticism
succeed
of
completely,
o f t h e most complex S p a n i s h
century,
although
a
n o t n e a r l y as
novels
difficult
t w e n t i e t h - c e n t u r y n o v e l s were t o become.
La Montalvez
divided
i s the
into parts.
Nica Montalvez,
the
The
only n o v e l of Pereda's which i s
first
second
deals with
with
first
how
h e r whole u p b r i n g i n g d e s t i n e d h e r
charts
the
c h a r t s the moral d o w n f a l l
physical downfall
b r i n g i n g was
failure.
the
Pereda
upbringing.
exact
was
o p p o s i t e , but
T h i s was
one
childhood
daughter,
of a young g i r l ;
to f a i l u r e .
of another
concerned
the
t h a t of her
The
and
frequently reality
of s t r a i g h t f o r w a r d , l i n e a r n a r r a t i o n .
i t is technically
written
technique.
c h a r a c t e r o f i t s eponymous h e r o i n e , i s
smoke s c r e e n o f t r i v i a l i t i e s
Madrid
and
first-person narrative
a s i m i l a r masterpiece
After
Sotileza
h i g h p o i n t of Pereda's l i n e a r n a r r a t i v e
adds l a y e r s
despite
seems
i t still
a l l his life
i t shows
second
her
up-
d e s t i n e d her
with
education
o f h i s m a j o r themes and
s u r p r i s i n g l y modern i n h i s i d e a s .
Luz.
The
young g i r l ;
of
he*is
to
- 73 The n o v e l has t h i s d u a l r e a l i t y of N i c a and Luz, y e t i t
i s the c h a r a c t e r of Angel which p r o v i d e s the most profound
dualities:
Comparison i s made, through Angel, of the love of
mother and daughter;
the parents of Angel and Luz are
t r a s t e d ; and Angel's
novel provides a l i t e r a r y d u a l i t y that
i s unprecedented
among Spanish novels and
con-
foreshadows
C o n f u s i o ' s H i s t o r i a l o g i c o n a t u r a l deEspana, which, i n t u r n ,
i s the proof of A r i s t o t l e ' s dictum t h a t " a r t " i s more r e a l
than " h i s t o r y . "
Angel i s present as the i d e a l man,
the
husband; Luz i s the p e r f e c t woman, the p e r f e c t w i f e .
c h a r a c t e r i s a t i o n of both i s supremely romantic
i s p o s s i b l y parodying the romanticism
and
of A l a r c o n .
ideal
The
Pereda
I t i s even
p o s s i b l e t h a t the m u l t i p l i c i t y of the p o t e n t i a l endings
to
the n o v e l are a parody of A l a r c 6 n * s E l nino de l a b o l a , i n which
the author p r o v i d e d a C h r i s t i a n and a Romantic denouement
which he hoped would s a t i s f y a l l h i s r e a d e r s .
t h a t there can be only one
i n a way
s e r i o u s when p o r t r a y i n g him.
was
determines
s o l u t i o n , which i s the most s a t i s -
f y i n g since i t i s a e s t h e t i c a l l y
i s b u i l t up by Pereda
Pereda
"necessary."
Angel's
t h a t suggests he was
character
not too
Once a g a i n i t seems t h a t
Pereda
u s i n g a l i t e r a r y convention f o r semi-humorous ends.
There i s an abundance of d u a l c h a r a c t e r s i n the n o v e l .
N i c a and Luz are the good and bad aspects of the same r e a l i t y ;
the one
i s destroyed d i r e c t l y by her mother, the other i n -
directly.
Angel and Pepe Guzman are two
Pepe's judgment and
but both men
s i d e s of the same c o i n .
t a s t e are h i g h l y p r a i s e d , as are
d e s t r o y t h e i r l o v e d ones.
Angel's,
N i c a and Dona Ramona
- 74 are
t h e two i n t e n s e l y m a t e r n a l
prejudice,
The
t h e o t h e r by p r i d e and p a s s i o n .
most u n u s u a l
the n o v e l
i s provided
w r i t t e n by A n g e l .
m a n i f e s t a t i o n of the dual r e a l i t y i n
by t h e n o v e l - w i t h i n - t h e - n o v e l
I t parodies
adds d e p t h t o t h e c o n c e p t i o n
resolve
he
t h e n o v e l c o n t a i n i n g i t and
of La Montalvez.
d e s p i t e apparent
moral s t r i c t u r e s .
cannot
The f a c t
his f i l i a l
that
novel, which m i r r o r s
i s one o f t h e most o r i g i n a l p a r t s o f L a M o n t a l v e z s
mirroiss t h e a c t i o n , b u t d i s t o r t s
f a r more c l o s e l y
the
Angel
c h o o s e h i s l o v e f o r Luz r a t h e r t h a n
Pereda b u i l d s i n t o h i s novel another
it,
being
how t o end h i s n o v e l , b u t P e r e d a i s n e v e r i n d o u b t ;
makes A n g e l
duties
m o t h e r s ; one i s b l i n d e d by
facts,
i t .
It
I t makes t h e r e a d e r
look
a t what he i s r e a d i n g , makes h i m r e c o n s i d e r
makes him more k e e n l y
aware o f t h e p r o b l e m s
being
examined;
P e r e d a was i n many ways l i k e E l i z a b e t h G a s k e l l , and
Walter
A l l e n ' s comment
on t h e l a t t e r
holds
good f o r P e r e d a :
I t was, i n a s e n s e , a v i r t u e i n _her_J t h a t she d i d
n o t know h e r p l a c e as a n o v e l i s t , and v e r y i m p e r f e c t
as Mary B a r t o n and N o r t h and S o u t h a r e , i t i s on
these that her r e p u t a t i o n mainly r e s t s . * 3
I n t h e same way, P e r e d a , h a v i n g
achieved
S o t i l e z a , was t o move
o u t s i d e the sphere
completely
to attempt
i n command
have b e e n f u l l y
The
two
types
noted
other
equipped
intriguing
new p e r f e c t i o n i n
i n w h i c h he was
s o m e t h i n g t h a t he may n o t
to tackle.
facet
of t h i s novel
of n a r r a t i o n , or p o s s i b l y three.
i s the use o f
I t has b e e n
how P e r e d a u s e s t h e A p u n t e s t o r e v e a l h i s h e r o i n e ' s
thoughts
- 75 and
how s h e , much d i f f e r e n t
judge c h a r a c t e r w e i l -
t o Pedro Sanchez,
i s able to
I t has a l s o been n o t e d t h a t
Pereda
u s e s a n o m n i s c i e n t t h i r d - p e r s o n t e c h n i q u e , and i s f o n d o f
u s i n g the conversations
the f i r s t
forms
c h a p t e r of the second p a r t ,
a third
narrative
much more r i c h l y
reader
It
of h i s characters
style.
orchestrated
also
The t h r e e
narration,
p r o v i d e s an e x c e l l e n t
intriguing
despite
desires
Wildfell
her a b i l i t y
example
own w o r d s .
t o judge
Hall,
of character
t o s e t a good
Rather
like
The T e n a n t o f
of moral
depravity
i s n o t t h e most s u c c e s s f u l
of Pereda's
i n i t s experiment-
i n c o n s t r u c t i o n and o f d e t a i l , b u t
a s e n v i s a g e d by C l a r i n ,
i s that
T h e r e a r e many o c c a s i o n s when s c e n e s c o u l d
a n a l y s e d more d e e p l y .
There
of Nica's s c h o o l
in Paris—it
the t h r e e g i r l s ,
Nica,
embryonically
never f u l l y
herself.
f r o m w i t h i n as w e l l as o b s e r v e d f r o m w i t h o u t .
There a r e f a u l t s
the main problem,
judge
because,
example f o r L u z , b u t h e r
n o v e l s , b u t i t i s b y f a r t h e most r a d i c a l
is
building
i s a n e n i g m a t i c and
she c a n n o t
i t i s a gripping vision
La Montalvez
short.
provide a
and e n a b l e t h e
Nica
others,
overcome h e r m o r a l i t y .
i s displayed
ation.
styles
which
p e r s o n a l i t y whose d o w n f a l l i s b r o u g h t a b o u t
knows she ought
which
f o r example,
t o s e e t h e e v e n t s f r o m more t h a n one p e r s p e c t i v e .
through a protagonist's
She
to portray events,
i s no r e a l
fascinating
exploited.
have
been
a c c o u n t , f o r example,
i s mentioned,
Leticia,
i t i s too
never
described;
and S a g r a r i o , p r e s e n t a n
situation,
but the promise
given
- 76 I t was
the genius of Pereda which made him s t r i v e " h a c i a
a f u e r a " d e s p i t e having proved
leave the Montana.
i n Pedro Sanchez t h a t he c o u l d
In La Montalvez
he r e v e a l e d t h a t he
had
the t a l e n t to w r i t e novels of o r i g i n a l i t y and of European
s i g n i f i c a n c e hut having twice demonstrated
was
h i s genius, i t
only to be brought back, tied-hand-and-foot, to h i s huerto
"como d i j o de p e r l a s , E m i l i a Pardo B a z a n . " ^
v e r y hard t o break away but he was
Pereda
tried
not to succeed, d e s p i t e
the evidence of h i s d a z z l i n g t a l e n t .
He d i d not and does
not succeed, but "Pereda no f r a c a s a ; l o f r a c a s a n ; l o hacen
f r a c a s a r Menendez y Pelayo, E s c a l a n t e , Q u i n t a n i l l a ,
Las
Catacumpas, l a bandera b l a n c a y r o j a de l a m a t r i c u l a de
Santander,
ique se yo?
p r o f e t a en su p a t r i a .
Lo f r a c a s a s e r - - h o r r i b i l e
Todo e l l o unido a sus
dictu—
circunstancias
economicas y, s i n duda, a rasgos de c a r a c t e r h i c i e r o n —
s i g l o XIX
espanol, segun l a formula de O r t e g a — u n
de q u i e n debio s e r un gran senor."-'--5
aldeano
- 77 FOOTNOTES
Chapter
2
1.
See t h e I n t r o d u c t i o n .
2.
Pedro
3.
The v o g u e f o r t h i s t y p e o f h e r o i s m o s t c l e a r l y s e e n
i n t h e m a g n i f i c e n t t r a g i c o m i c don V i c t o r i n
L e o p o l d o A l a s ' L a R e g e n t a and i n P e r e z de A y a l a ' s
T i g r e J u a n / E l c u r a n d e r o de s u h o n r a .
4.
A b a l a n z o s e £ D o n S e r a f i n J a m i 'fJPedrqJ y me a b r a z o p o r
e l p e c h o , p o r no a l c a n z a r s u s b r a z o s mas a r r i b a ( I I , 49)
5.
See S a l v a d o r de M a d a r i a g a , Don Q u i j o t e ( O x f o r d U n i v e r s i t y
P r e s s : L o n d o n , 19^-8) p p . 137-146, f o r a d i s c u s s i o n
of t h i s p r o c e s s .
6.
F l o r e n c e I r e n e W i l l i a m s , Humor i n t h e w o r k s o f P e r e d a ,
d e c l a r e s t h a t , a l t h o u g h from a d i s t a n c e i t i s the
h i g h m o u n t a i n s and g r e a t p e o p l e who a r e a t t r a c t i v e ,
when one g e t s c l o s e one f i n d s t h e y a r e " t r i s t e
por escabrosa y a r i d a . "
I n c o n t r a s t what r e a l l y
a t t r a c t s one a t c l o s e q u a r t e r s i s t h e "mas
i n s i g n i f i c a n t e de £stos y o t r o s m i l d e t a l l e s . " ( I I , 20)
Cincinnati,
1961.
7.
S.H. E o f f , The M o d e r n S p a n i s h N o v e l , New Y o r k , 1 9 6 1 .
8.
9*
M o n t e r o , p p . 123-125.
C h a r l e s D i c k e n s , B l e a k H o u s e , a f t e r w o r d by G e o f f r e y
T i l l o t s o n (New A m e r i c a n L i b r a r y : C h i c a g o ,
1964)
p. 889.
10.
See S e c t i o n on E d u c a t i o n .
11.
The h o u s e was a c t u a l l y i n T u d a n c a a n d t h e o r i g i n a l o f
Don R e c a r e d o / R o m a n / C e l s o was a n a n c e s t o r o f J o s e
M a r i a de C o s s i o .
12.
See S e c t i o n on E d u c a t i o n .
13.
W a l t e r A l l e n , The E n g l i s h N o v e l
p. I83.
14.
M. Menendez y P e l a y o , P r o l o g o t o L o s hombres de p r o ,
1917, p . LXXV.
15.
Montesinos,
Pereda,
p.
295.
(Penguin: London,
1965)
- 78 -
POLITICS AND
THE
PRESS IN PEREDA'S MADRID NOVELS
In S p a i n i n the n i n e t e e n t h century the p o l i t i c a l n o v e l
was
of much more importance
England.
The
than i t was,
f o r instance, i n
only t r u l y p o l i t i c a l E n g l i s h novels of the
p e r i o d are those of Benjamin D i s r a e l i , and h i s successor
H.G.
Wells.
Other n o v e l i s t s only d e a l t w i t h p o l i t i c s as a
s o c i a l f o r c e , as i n The P a r l i a m e n t a r y Novels
of Anthony
T r o l l o p e , which are not e s s e n t i a l l y p o l i t i c a l but are
cerned w i t h the s o c i a l s i d e of p o l i t i c s ,
con-
j u s t as h i s
B a r s e t s h i r e Novels had d e a l t w i t h the s o c i a l aspects of
religion.
Nearly a l l the major Spanish n o v e l i s t s , on the
other hand, wrote books w i t h a p o l i t i c a l s e t t i n g s
A l a r c o n , Pereda,
concerned
Valera,
G a l d 6 s , P a l a c i o Valdes and Coloma are very
w i t h p o l i t i c s ; Leopoldo A l a s i s one
of the few
does not d i s s e c t the p o l i t i c a l scene; both he and
who
Emilia
Pardo Bazan are more i n c l i n e d to approach the p o l i t i c s
of
r e l i g i o n and the Church.
T h i s phenomenon was
probably occasioned by three
c i e s t h a t were s t r o n g i n S p a i n :
Spaniards tended
novels t h a t had a r e c e n t h i s t o r i c a l background
h i s t o r i c a l n o v e l s , w i t h the important
were s e t i n p r e c e d i n g c e n t u r i e s . )
by the involvement
Pereda
tenden-
to w r i t e
(English
e x c e p t i o n of D i s r a e l i ' s ,
T h i s may
have been caused
of Spanish n o v e l i s t s i n p o l i t i c s ;
and A l a r c o n were d e p u t i e s , V a l e r a was
Galdos,
a diplomat
( E n g l i s h n o v e l i s t s , w i t h the e x c e p t i o n of D i s r a e l i , were not
- 79 involved
i n public
much d o m i n a t e d
life.)
by c i v i l
(English p o l i t i c s
Spanish p o l i t i c s
strife
were s t i l l
and m o n a r c h i c a l
were much more c o n c e r n e d
very-
troubles
with s o c i a l
prob-
lems.*)
A l a r c o n shows some a s p e c t s o f d a y - t o - d a y
La prodiga, just
as E s t e b a n e z
o Unas e l e c c i o n e s ( E s c e n a s
t o be a b s o r b e d
contains
he was
i n Valera's Juanita
system.
concerned
politics.
Both
were t o f o l l o w
Ibanez
did
Pereda
Pereda
he a d h e r e d
dence
had.
this
said
later.
(Riverita/Maximina)
as were B l a s c o
Pereda,
himself that
parties
rather
than
the a u t h o r i t y
he was
closely
the e v i -
not such a r a b i d
tradi-
I n what a p p a r e n t l y i s a n
de T a n n e n b e r g q u o t e s ,
i n French,
t o him w i t h r e g a r d t o p o l i t i c s .
politics:
ironically,
wars and a l l h i s
p a r t y , and i t seems from
worth quoting a t length since
Pereda's
them,
t o be V a l l e - I n c l a n and Unamuno
as i s o f t e n b e l i e v e d .
what P e r e d a
of the A n d a l -
T h i s b r i n g s i n t o q u e s t i o n how
interview, Boris
were
This novel
tack, probably without
t o the C a r l i s t
of Pereda
tionalist
unique
as G a l d o s ,
n o v e l s d e a l w i t h the l i b e r a l
were t o p u r s u e
of these
had p r e c e d e d
Valdes
to p o r t r a y the C a r l i s t
I t was
Opando,
aspect of p o l i t i c s — M a d r i d
and P a l a c i o
t h e same l i n e s
w i t h h i s own p a r t y .
that
Although Galdos
with a different
not attempt
l a larga.
of the workings
and P i o B a r o j a a few y e a r s
political
who
C a l d e r d n had i n Don
a n d a l u z a s ) , and b o t h
the b e s t d e s c r i p t i o n
u s i a n Cacique
politics in
It is
i t i s most i l l u m i n a t i n g
of
- 80 Par o p p o s i t i o n aux attaques contre l a f o i , . . . e s t
devenue de mode parmi nous une s o r t e de mysticisme
e x a l t e , une e * a g e r a t i o n r e l i g i e u s e , q u i f a i t , a mon
a v i s , l e plus grand t o r t a l a r e l i g i o n .
Lors de l a
premiere guerre c a r l i s t e , en I835, i l y a v a i t un
p a r t i qu'on nommait l e s a p o s t o l i c o s , des e x a l t e s q u i
a u r a i e n t presque voulu l e r e t a b l i s s e m e n t de L * I n q u i s t i o n .
Aujord'hui on l e s a p p e l l e l e s i n t e g r e s , l e s purs,
par r a p p o r t aux plus moderns, l e s mestizos.
Tenez,
moi, je s u i s bon c a t h o l i q u e , mais je ne c r o i s pas
q u ' i l s o i t n e c e s s a i r e de se f a i r e une r e l i g i o n de
s a c r i s t a i n . . . P a s p l u s qu'en p o l i t i q u e je ne voudrais
l e r e t o u r pur e t simple de P h i l i p p e I I . . . P h i l i p p e I I
lui-m§me, s ' i l r e v e n a i t , t r a n s i g e r a i t avec l e
s i e c l e . . . I I ne s u p p r i m e r a i t pas l e s chemins de f e r
et l e t e l e g r a p h e , b i e n sur...Ce q u ' i l a b o l i r a i t , par
exemple, c ' e s t l a l i b e r t e de l a p r e s s e , l e parlementerisme...
V o i l a ce q u i nous tue...0hl
ne defendez pas l e
l i b e r a l i s m e ; l e l i b e r a l i s m e e s t l e c o n t r a i r e meme
du c a r a c t e r e espagnol. E t p u i s , tenez, ne parIons
p l u s de p o l i t i q u e . . . L a p o l i t i q u e , je n'en f a i s p l u s ;
l e peu que j'en a i vu m'a degoute, e'coeure... Je s u i s
passionne pour l e s i d e e s , mais j ' a i perdu l a f o i dans
l e s hommes fmy s t r e s s ! . . . S u i s - j e c a r l i s t e aujourd'hui?
Je ne p u i s d i r e ; je s u i s c a t h o l i q u e , voila. t o u t . . .
J ' a i vu l e p a r t i c a r l i s t e a l'oeuvre:
i l y a eu,
l o r s de l a guerre, une s o r t e de gouvernement, avec
des m i n i s t r e s . . .eh b i e n !
C'est f&cheux a. d i r e , mais
c ' e t a i t l e s memes r i v a l i t e s , l e s me*mes ambitions
mesquines, l e s memes d i v i s i o n s i n t e r i e u r e s que chez
nos a d v e r s a i r e s . . . V o i l a l a v e r i t e b i e n t r i s t e . . . L e s
hommes se ressemblent t o u j o u r s _my s t r e s s } Je s u i s
tres
pessimiste..
This i s n o t the u s u a l i d e a of Pereda, as e x e m p l i f i e d
by Gerald
Brenan:
"Pereda...was one of those h i d a l g o s whom
e l Greco had p a i n t e d ,
and h i s opinions matched h i s l o o k s ,
f o r he hated l a r g e towns, f o r e i g n customs, and e v e r y t h i n g
modern. i[my s t r e s s ]
In p o l i t i c s he was a C a r l i s t . "3
Brenan's c y n i c a l v e r s i o n does not t a l l y w i t h Pereda's own
remarks, but then Brenan's account of Pereda seems based
on Peftas a r r i b a , and f o l l o w i n g the t r a d i t i o n of Hannah
Lynch,^ he bases h i s arguments on s e l e c t e d n o v e l s .
She
- 81 extolled
the greatness
o f Pereda's r e g i o n a l i s m but never
m e n t i o n s t h a t he w r o t e P e d r o S a n c h e z and L a M o n t a l v e z b e cause
t h e y were n o t e a s i l y
There
politics,
Attacks
the
the
and P e r e d a ' s
on p o l i t i c s
with
own s t a t e m e n t s
a r e found
i n a l l the Madrid
there
i s a definite
and d i s a s t e r s
the
first
field
the f i r s t
in
and i n t h e c o r r u p t i o n
Perhaps the
i s t h a t o f t h e marques de
i n L a espuma, who i s e v i d e n t l y
Nunez
created this
after
connected
i n three
of finance i s that
( L a M o n t a l v e z ) who i s p r o b a b l y
e q u i v a l e n t t o Don F r a n c i s c o Torquemada;
d i d not write
year
to p o l i t i c s ,
are exemplified i n the f i n a n c i a l
The o t h e r a s p e c t
b y Don S a n t i a g o
Peredian
GaldtSs
there-
e s t a b l i s h e d between
(La Montalvez),
creation i n this
on S a l a m a n c a .
offered
he
this;
t h e p r o v i n c e which Pedro Sanchez g o v e r n s .
based
with
o f Simon i n L o s hombres de p r o ,
Requena by P a l a c i o V a l d e s
the
to realize
connection
and t h e s e
t h e marques de M o n t a l v e z
greatest
novels
One has o n l y t o remember t h e f i g u r e s o f
and p o l i t i c s
aspirations
of
idea.
Each novel w i l l
i n t u r n as f a r as i t r e l a t e s
S a l a m a n c a and o f B r a v o M u r i l l o
finance
out t h i s
and a l s o t o h i g h f i n a n c e , w h i c h i s c l o s e l y
politics.
novels
her t h e o r i e s .
bear
o f L a mu.jer d e l C 6 s a r .
be d e a l t w i t h
press
into
i s o f t e n a g r e a t p r o x i m i t y b e t w e e n t h e p r e s s and
exception
fore
absorbed
although
c h a r a c t e r i n 1884 ( L a de B r i n g a s ) ,
o f t h e Torquemada s e r i e s
until
L a M o n t a l v e z was p u b l i s h e d .
Pereda's f i r s t
story to deal with p o l i t i c s
where i t i s s e e n a t i t s most s i m p l e
made b e t w e e n t h e v i e w t h a t S i l v e s t r e
level.
gains
i s Suum
cuique,
The c o n t r a s t i s
of p o l i t i c s
from
-
82
-
the p r e s s , and the r e a l i t y of the s t a t e of both which he soon
d i s c o v e r s once he i s i n Madrid.
how
Don
I t has a l r e a d y been seen
S i l v e s t r e had had h i s head turned by the a r t i c u l o s
fondo of the paper t h a t he r e a d .
aim of t h i s paper,
the Montana.
Madrid,
There i s a f u r t h e r
critic-
f o r i t makes S i l v e s t r e d i s s a t i s f i e d
with
The net r e s u l t i s t h a t S i l v e s t r e wants to see
and, a f t e r d i s c o v e r i n g t h a t Fulano de T a l i s h i s o l d
s c h o o l f r i e n d , he has an excuse to go to Madrid.
"Hizo l a
p i r & e t a porque h a l l a b a un amigo de c a m p a n u l a s que,
sirvien-
dole en e l p l e i t o , l e proporcionaba motivo para i r a
(I,
de
Madrid."
267)
His a t t i t u d e to p o l i t i c s w h i l s t i n h i s v i l l a g e
i s ampl-
ified:
En su a f i c i o n e r a c i e g o y t e s t a r u d o , y estaba t a n enc a r r i l a d o en l a senda d e l p e r i o d i c o , que hubiera c r e i d o
i n s u l t a r a l a razon dudando una s o l a vez de sus
declamaciones...y...al h a b l a r de p o l i t i c a con sus
amigos, r e s o l v i a todas l a s c u e s t i o n e s c i t a n d o l a s
p a l a b r a s d e l d i a r i o , y con e l apoyo de e s t e , r e f i i a
con cuantos l e c o n t r a d i j e s e n . ( I , 2 6 5 )
I t i s e v i d e n t t h a t these two
s e c t i o n s of l i f e are s e t up i n
the mind of S i l v e s t r e as being complementary and
infallible.
His b r a i n i s turned by these a r t i c u l o s de fondo, and,
i n g to Pereda,
politics
he becomes a Don
Q u i j o t e who
accord-
thus a t t a c k s the
of the period, and the press which a s s i s t s the c o r -
r u p t i o n of p o l i t i c s and g l o r i f i e s the i d e a l s s e t f o r t h by the
politicians.
S i l v e s t r e a r r i v e s i n Madrid w i t h a l l the hopes of f i n d i n g
a U t o p i a , but he f i n d s the exact o p p o s i t e .
His
inconveniences
i n Madrid are e n d l e s s , but even i n the realm of p o l i t i c s
he
- 83 discovers
of
that
nothing
i s what i t seems.
h i s f a v o r i t e p a p e r and
echoes Pereda's
own
He
meets t h e
his disillusionment
when he
arrived
editor
probably
i n Madrid:
_Es d e c i r que a q u e l p e r i d d i c o que yo l e i a en un l u g a r
conftanta f e esta" e s c r i t o p o r e s t e hombre, y a q u e l l o s
a r t i c u l o s en que t a n t o se c l a m a b a p o r e l o r d e n , p o r
l a m o r a l i d a d , p o r e l b i e n de l o s p u e b l o s * e r a n d i c t a d o s
p o r un a n a r q u i s t a c i n i c o y d e s m o r a l i z a d o ? I Conque
e s a s p a l a b r a s de humanidad, f i l a n t r o p i a , compafierismo,
r e l i g i o n , h o g a r , d e r e c h o s , l e j o s de s e r una v e r d a d en
s e m e j a n t e s p e r i o d i c o s , s o n una b u r l a s a c r i l e g a , un
i n s u l t o a D i o s y a l o s hombres, una e x p l o t a c i 6 n i n n o b l e
de l a p u b l i c a b u e n a f e ? ( I ,
271)
Shortly
a f t e r w a r d s , now
d o u b t i n g the
press,
he
investigates
politics:
S i e n d o l a p o l i t i c a s u c a b a l l o de b a t a l l a . . . f u e s e a l
C u n g r e s o , donde e s p e r a b a o i r a q u e l l o s d i s c u r s o s
que,
i m p r e s o s _fhy s t r e s s } ' l e a d m i r a b a n , y a q U e l l o s hombres
que, p r o n u n c i a n d o l o s , l e p a r e c i a n s e m i d i o s e s o c r i a t u r a s de d i s t i n t a n a t u r a l e z a , f o r m a y c o l o r que e l r e s t o
de l a Humanidad. ( I ,
272)
The
of
close
the
link
word
Silvestre*s
political
cirujano
es
los
between the
i m p r e s o s , and
bewilderment
papers
de
su
d e c i r , que
lugar
since
e s c r i b i a de
t o be
the
s i mismo y de
He
yet
still
su
placement
reader
el
del
partido,
r e n e g a b a n de
parliament
believed
he- knew t h a t
for
that a l l
l o mismo que
S i l v e s t r e approached
were demi-gods and
the
S i l v e s t r e discovered
s i propios
attitude.
by
prepared
e r a n unos s a n t o s , a l p a s o que
a somewhat a m b i v a l e n t
were n o t
i s emphasised
P e r e d a had
" D e c i a n de
demas." ( I , 272)
politicians
two
the
todos
with
that
the
papers
trusted:
Mas; joh d e s e n g a n o ! , en e l p a l a c i o de l a s l e y e s h a l l d de
t o d o menos d i s c u r s o s .
Presencio...disputas
acaloradas,
y e n c o n t r o en l o s d i p u t a d o s unos hombres de t a l l a comun,
que t e n i a n e l mismo p r u r i t o que l o s p e r i o d i c o s :
la
i n m o d e s t i a de d e c i r c a d a uno de s i p r o p i o , coram p o p u l o ,
- 84 l o que todos l o s demas l e s negaban: que eran l o mejorc i t o de l a casa, y de l o poco que en v i r t u d e s c i v i c a s
y hasta domesticas se encontraba por e l mundo. ( I , 2 7 2 )
Poor S i l v e s t r e i s so b a f f l e d t h a t he asks i f there might not
be
"dos Congresos de Diputados
en Madrid..."
( I , 2 7 2 ) , but of
course there i s n o t . I t leaves him w i t h a d i f f i c u l t
to s o l v e :
problem
Whence do a l l the b e a u t i f u l speeches come?
At
l a s t he d i s c o v e r s the c o n s p i r a c y of the press and the p o l i t i c i a n s :
Cuando supo algo de l o que pasaba en l a Redaccion d e l
D i a r i o de S e s i o n e s , " C a s c a r a s " — d i j o — " p u e s con un buen
r e d a c t o r tambien h a b r i a oradores en e l concejo de mi
pueblo." ( I , 2 7 2 )
As can be seen from what Pereda
s a i d t o B o r i s de Tannenberg,
h i s own p a r l i a m e n t a r y experiences r e i n f o r c e d those of S i l v e s t r e ,
which he d e s c r i b e d i n 1 8 6 4 long before he was deputy, but
a f t e r h i s Madrid
experience
of 1 8 5 2 - 4 .
Even so, t h i s
section
must r e p r e s e n t the young Pereda's own r e a c t i o n t o , and
d i s i l l u s i o n m e n t w i t h , p o l i t i c s and the press when he a r r i v e d
i n Madrid.in 1852.
From the account
of R i c a r d o G u l l o n i t seems
t h a t Pereda was o p t i m i s t i c when he a r r i v e d i n the m e t r o p o l i s .
But a f t e r two years the atmosphere of the c a p i t a l — p o l i t i c a l ,
l i t e r a r y and s o c i a l — s o a p p a l l e d him t h a t he l e f t w i t h a l l
his i l l u s i o n s
shattered.$
I t i s i n Suum cuique t h a t these ideas are s t a t e d i n the
most s t r a i g h t f o r w a r d manner and because of t h i s
extended
q u o t a t i o n s have been g i v e n which r e v e a l Pereda's views on
the r e l a t i o n s h i p of p o l i t i c s and the p r e s s .
Because the s i t -
a t i o n s c l a r i f y an a t t i t u d e t h a t e x i s t s throughout
a l l five
- 85 n o v e l s about the p o l i t i c s of the c a p i t a l , these w i l l
be
used as a p o i n t of r e f e r e n c e f o r the other f o u r n o v e l s .
In La mu.jer d e l C£sar, Pereda d e s c r i b e s the columns of
Lucas G 6 m e z , the " g o s s i p - c o l u m n i s t " :
Para aquel hombre todo se subordinaba a l a s l e y e s d e l
buen tono:
h a s t a l a muerte, pues a l gemir sobre l a
f r e s c a tumba de una dama noble, no recordaba sus
v i r t u d e s , n i l a s f i n g i a s i q u i e r a , s i n o que i n v e n t a r i a b a
sus roper6s> sus joyas, sus carrue-jas, sus admiradores
y un t a l e n t o para b r i l l a r en aquel mundo que p e r d i a
en e l l a e l mejor de sus a t r a c t i v o s , e l mas esplendente
de sus a s t r o s . ( I , 5^1)
Pereda was
t r y i n g to emphasize t h a t the press was
wrong-headed r e g a r d i n g s o c i a l and moral matters
j u s t as
as i t was
in
p o l i t i c a l a f f a i r s , and a l s o t h a t i t s l i t e r a r y ideas were much
the same.
His a t t i t u d e was
c o n s i s t e n t l y t h a t the press
t o r t e d e v e r y t h i n g , lauded what was
paid l i t t l e
One
hollow and worthless
disand
or no a t t e n t i o n to t h i n g s of v a l u e .
f i n d s these ideas i n Los hombres de pro, where they
have become much more p e r s o n a l and harrowing.
ron, a c o l o n e l who
Simon's pat-
becomes a g e n e r a l , i s a m o t i f which runs
through the f i r s t p a r t of the s t o r y , keeping the reader aware
of the p o l i t i c a l scene without
i n v o l v i n g him i n i t d i r e c t l y .
As the s t o r y develops Simon attends an h i l a r i o u s meeting i n
the Casas C o n s i s t o r i a l e s .
T h i s i s not e s s e n t i a l l y
political
nor i s i t s e t i n Madrid, but i t i s a good example of the
r i d i c u l o u s speeches and the i n s u l t i n g behaviour t h a t S i l v e s t r e
found
i n parliament.
I t must make any a l e r t reader t h i n k back
to S i l v e s t r e * s comment, j u s t quoted,
t h a t w i t h a good e d i t o r
there would a l s o be o r a t o r s i n h i s own
village council.
This
- 86 overtone i s s u b t l y introduced
and
i s not
s t r e s s e d , but i t
exists.
The
Madrid.
n o v e l develops and
the Penascales f a m i l y move to
I t i s here t h a t Simon's p o l i t i c a l ambitions
are
stressed:
Su e n t r e t e n i m i e n t o f a v o r i t o e r a e l Congreso, y . . . r a r a
e r a l a s e s i o n que e l no p r e s e n c i a r a desde l a t r i b u n a
p u b l i c a . No se habra o l v i d a d o que Simdn e r a muy dado
a l a p o l i t i c a y a l a elocuencia.
Por eso buscaba a l i i
una buena e s c u e l a en que n u t r i r sus i n c l i n a c i o n e s . . •
( I , 648)
Simon's ambition, f o s t e r e d by h i s regard
now
general,
but
there
makes him
Sim6n was
f o l l o w p o l i t i c s , much as S i l v e s t r e
i s an e s s e n t i a l d i f f e r e n c e :
disabused when he saw
for his colonel,
what parliament
S i l v e s t r e had
was
really
had,
been
like;
taken i n by i t .
Some c r i t i c s , Montesinos amongst them, have viewed Pereda
as being u n f a i r because he makes h i s heroes l i b e r a l s and
then
c a r i c a t u r e s them.
be-
In t h i s n o v e l ,
longs to a r i g h t - w i n g
on the c o n t r a r y , Simon
party:
Ya no es hombre que ama l a s s i t u a c i o n e s eminentemente
l i b e r a l e s , porque en e l l a s cada uno puede h a b l a r de
cuanto l e acomode, aunque no l o entienda; a l c o n t r a r i o ,
es apasionado defensor de l o s Gobiernos de orden, que
s i n negar a l tiempo l a s l i b e r t a d e s que l e corresponden,
sostengan a cada uno en su e s f e r a , y no alimente, en
c i e r t a s clase.s, i n s e n s a t a s ambiciones. ( I , 651)
Pereda i s , of course, being very
which Simon d e s p i s e s ,
can a l s o be
last,
i s e x a c t l y what c h a r a c t e r i s e s him.
It
held t h a t the n o v e l as a whole i s not merely a
s a t i r e on p o l i t i c s
i n g e n e r a l but
politics specifically.
one
i r o n i c a l , since t h i s
on t r a d i t i o n a l i s t
(Carlist)
This i r o n y becomes most apparent when
l e a r n s t h a t Simon's p r o t e c t o r , the upholder of law
and
- 87 order, had j u s t been e x i l e d to the P h i l i p i n e s f o r h i s p a r t i n
an a b o r t i v e pronunciamiento.
The i r o n y i s t h a t Simon looks
to the g e n e r a l as a demi-god, and y e t t h i s very g e n e r a l has
j u s t r e v o l t e d a g a i n s t the e s t a b l i s h e d government. ( I , 64-9)
In chapter V I I I the s a t i r e
on the t r a d i t i o n a l i s t s i s
taken t o extremes, f o r the p a r t y which p i c k s Sim6n as i t s
candidate
i s p o r t r a y e d as a very a n t i - l i b e r a l p a r t y and there
is a hint—because
of Pereda's own C a r l i s t
background—that
he intends i t as a c a r i c a t u r e of the C a r l i s t s .
i s f a r from a f f e c t i o n a t e .
His p o r t r a y a l
I f Galdds or Leopoldo A l a s had
p o r t r a y e d the t r a d i t i o n a l i s t s l i k e t h i s they would have been
h a r s h l y c r i t i c i s e d because "temieron
por sus casas, por
sus campos, por sus f a b r i c a s , por sus t e s o r o s , es d e c i r , su
D i o s , su p a t r i a , su alma." ( I , 6 5 3 )
Chapters
IX and X are a d e s c r i p t i o n of contemporary
Spanish p o l i t i c s and the power of the caciques i n l a Montana.
The
p o l i t i c a l c o r r u p t i o n i s s t r e s s e d on many o c c a s i o n s :
E l s u j e t o ese vende v i n o y tabaco, r a z 6 n por l a que no
hay v e c i n o que no l e deba a l g o , como no l e hay d e l
Mayorazgo que no l e deba a este por razon de arrendamiento
o de prdstamo..., o de o t r a cosa peor.
A s i se e j e r c e n
en l o s pueblos l a s grandes i n f l u e n c i a s , y con este
c r i t e r i o se hacen siempre l a s e l e c c i o n e s . ( I , 6 5 9 )
Pereda's c r i t i c i s m of the system i s very harsh and y e t i t
i s sometimes very s u b t l e :
one
Simo'n i s seeking the support of
of the c a c i q u e s , Don Zambombo, and t o convince
him he
says " l o s hombres de mi p o s i c i o n nos lanzamos e s t a vez a l a
l u c h a , r e s u e l t o s a que sea una verdad
e l sistema r e p r e s e n t a t i v e . "
( I , 6 6 1 ) He i s a s s e r t i n g h i s b e l i e f i n the i d e a l of
- 88 r e p r e s e n t a t i v e government and
who
has
seeking the support
j u s t been d e s c r i b e d as one
of someone
of the best examples of
the c o r r u p t i o n of t h a t system through
the power of money.
Pereda makes many more a t t a c k s on a system which
not t y p i c a l l y Spanish,
d i s h o n e s t as w e l l . "
was
f o r contemporary E n g l i s h p o l i t i c s were
Pereda does r e g r e t the whole
parliamentary
system; but s i n c e he must accept i t , he looks f o r p o l i t i c a l
honesty w i t h i n the system.
between Pereda and
T h i s marks the e s s e n t i a l d i f f e r e n c e
the l i b e r a l s :
They o f t e n had
a blind
f a i t h i n the e f f i c a c y of u n i v e r s a l s u f f r a g e , of democracy.
Pereda c o u l d not b e l i e v e i n p o l i t i c a l honesty, upon which
democracy must be founded, and
thus he c o u l d not
support
democracy.
These ideas about the e l e c t o r a l process
f a r t h e r by ideas he puts
debates.
witnessed,
forward
about the
i t s e l f are
parliamentary
He p a i n t s a t y p i c a l scene, l i k e the one
and makes one
taken
of the d e p u t i e s sum
i t up
Silvestre
like
this:
— JEstupidos! JJEI publico") i v e i n t e veces nos han v i s t o
hacer l o mismo, y t o d a v i a no se convencen de que todo
e l l o es una f a r s a ! • • . E l p a i s va a l abismo...Esto es una
farsa.•.atreVa&e usted £a d e c i r l q j , a q u i que no nos
oye l a patMa.».'/Todo esto d e l Parlamentoj Es una c a l a rnidad.
Aqui no hay mas que ambiciones p e r s o n a l e s , con
l a s que es imposible todo g o b i e r n o .
--^De manera que s i e s t o , que es notoriamente malo,
se suprimiese...?
— J J a m a s ! . o j Y o soy muy l i b e r a l !
— O h en cuanto a eso, tambie'n y o ! — r e p l i c a b a £SimonJ,
contoneandose, y h a s t a mirando con c a r a de l d s t i m a
a l primer t r a d i c i o n a l i s t a que...pasara...
— J V i v i r s i n Parlamento es v i v i r f u e r a d e l s i g l o , caer
en l a abyeccidn!
— j Y en l a i z n o r a n r i a ! £sicj ( I , 680)
8
- 89 This
p a s a a g e shows P e r e d a ' s d i s g u s t
immorality
of p o l i t i c s .
The
to
a liberal—for
mention i n t h i s
name i s s i g n i f i c a n t
c l a s s people
as
since
a satiric
either liberal
portrait
Pereda's
edged.
He
satire
of a
to paint
his
him,
dispassionate
with
the
could
liberal
see
that
especially
ire
that
the
the
first
view
i n the
i s not
democratic
become
system
the
and
is
liberal,
f o r e m o s t an
world.
double-
of
t h a t Brenan
artist
He
who
disagreed
to u n i v e r s a l suffrage
traditionalists,
and
the
i t was
maintained
violently
parties,
His
of p o l i t i c a l
quite
tries
because
worthless.
nuances
above a r e
representative
autocratic parties.
hands o f b o t h p o l i t i c a l
have b e e n s u g g e s t e d
a
by
tending
or t r a d i t i o n a l i s t
s e c t i o n has
o f the
i s f a r from s i m p l e ,
traditionalist
t h a t P e r e d a was
rabid Carlist
and
devotion
is a
of
of t r a d i t i o n a l i s t s
r e v e a l i n g i t s m i s u s e by
was
and
traditionalist.
in this
Pereda, f a r from being
he
t h a t Simon, who
i s a t t a c k i n g the
g o v e r n m e n t by
passage
i t reveals
m a k i n g c l e a r , once a g a i n ,
is
dishonesty
I t a l s o shows Simon's change
i d e a l s when t a l k i n g w i t h
deputy.
a t the
complex and
he
and
sat-
criticism
delicately
suggested.
The
final
s p e e c h and
the
pretensions.
political
s e c t i o n of the
disastrous
This
follows
beginning
i n the
s p e e c h e s t h a t have b e e n p r e s e n t e d
Suum c u i q u e .
conspiracy
I t a l s o makes t h e
of the
incompetence.
press
There
and
line
end
reader
deal
involves
of h i s
o f humorous
earlier
which'makes t h e
i s a great
novel
i n the
Simon's
oratorical
political
novel
and
aware once more o f
best
of
in
the
political
of i r o n y i n the
contrast
-
between the way
political
90
-
a speech i s r e p o r t e d by papers of opposing
opinions:
J s i m 6 n ) dejo sobre l a mesa Cde l a Redaccion d e l D i a r i q ]
todo e l d i s c u r s o t a l como se l o habia c o r r e g i d o A r t u r o
cuando atSn e r a su amigo...Al otro d i a . . . l e y o su d i s c u r s o
en e l e x t r a c t o de l a s e s i o n y se admiro a l v e r que
bonito estaba. ( I , 6 9 8 )
In another paper A r t u r o , who
had w r i t t e n the speech, c a l l s
Una verdadera monstruosidad en l a forma y en e l
fondo. ( I , 6 8 0 )
These are the ideas about the p o l i t i c a l system t h a t Pereda
s e t s f o r t h and which he i s to r e i n f o r c e i n Pedro
Sanchez.
The c o n c l u d i n g l i n e s of Los hombres de pro makes c l e a r many
of Pereda's b e l i e f s c o n c e r n i n g Madrid and
politics.
E l mal no e s t a en que, por c a s u a l i d a d , s a i g a de un
mal tabernero un buen m i n i s t r o , o un gran a l c a l d e , o
un p e r f e c t o modelo de hombre de l a s o c i e d a d ; l a
d e s g r a c i a de Espana, l a d e l mundo a c t u a l , c o n s i s t e
en que q u i e r a n s e r m i n i s t r o s todos l o s taberneros y
en que haya dado en llamarse verdadera c u l t u r a a l a
de una sociedad en que dan e l tono l o s c a l d i s t a s como
yo. ( I , 7 0 5 )
Here the r e a d e r has c l e a r l y expounded the f a u l t s of Simd'n
and Pedro Sanchez, and other P e r e d i a n c h a r a c t e r s .
He i s
s t r e s s i n g what n o v e l i s t s of a l l p o l i t i c a l creeds were to
stress i n Spain:
the r i g h t
The importance of b e i n g the r i g h t man f o r
job, and of not l e t t i n g ambition make one
upwards to where one becomes o u t - o f - t o u c h and
strive
inefficient.
There i s an amusing anecdote i n Los hombres de pro which
must r e f l e c t Pereda's own experiences as a deputy.
R e c i b i a por docenas y cada d i a l a s c a r t a s de sus
amigos y e l e c t o r e s , y en todos e l l o s l e pedian a l g o . . . ,
desde un d e s t i n o h a s t a un sombrero; desde una
-
91 -
r e c o m e n d a c i d n p a r a e l o t r o mundo h a s t a l a c o l o c a c i d n
de u n a n o d r i z e . ( 1 ) .
Porque a un di_)putado se l e
c o n s i d e r a e n s u d i s t r i t o c a p a z de l o s i m p o s i b l e s , y ,
p o r . e n d e , s e l e c r e e y s e l e h a c e e l m e j o r y mas
b a r a t o a g e n t e de n e g o c i o s de M a d r i d .
( I , 680)
What
does
personal
which
the
make
experience
simply
way
attacks
He
ideas
ist
good
reader
a n d he
on t h e l i b e r a l s
many
from
who
i s taken
do much
to
a t the period
from
illustrate
of Pereda's
dies
figure
Valenzuelas.
Although
the Valenzuela
does
of the polacos,
he i s o f t e n g i v e n
credit
Don S e r a f i n
of h i s heroism
of h i s actions.
and Pereda
although
Matica
i n very
he l e t s t h e
i s the
of the status
unsavory
family,
colors,
a n d he d i s c o v e r s
him a g a i n s t
a n d he d e l e g a t e s
that
of an
his responsibility
other
It
q u o who
especially
he
marries
his quixotic
the unscrupulousness
He B e e o m e s t h e g o v e r n o r
ideal-
never
and he, t o o , i s a l i b e r a l .
the supporters
for.
that the
i s the
i s i n f l u e n c e d by the Balduques,
not help
and P i l i t a .
a t Pedro's a s s o c i a t i o n
c a u t i o u s l y a n d one f i n d s
he p o r t r a y s ,
Pedro
Sanchez;
He w a s m u c h f a i r e r i n
forhis beliefs,
and p a i n t e d
i n Pedro
the opportunism
are liberals.
the g l o r y
the
province
does
family.
than
figures
characters
condemned
Clara
which
are levelled
by t h e V a l e n z u e l a
are
idealism
this
i t has a note ( 1 ) ,
i n two ways
opposes
the t r a d i t i o n a l i s t s ,
into
that
that
regarded
politics
see the f u t i l i t y
positive
is
were
on t h e l i b e r a l s
liberal,
detracts
"Historico,"
attacks
approaches
only
i s the fact
deputies
the press,
represented
his
recognize
adventure.
Pereda
with
says
that
political
His
the reader
of
Andalusian
to a secretary;
-
92
-
f i n a l l y he d i s c o v e r s the c h i e f of p o l i c e , " t i e n e puestos
a c o n t r i b u c i o n a todos l o s c r i m i n a l e s y a todos l o s v i c i o s o s
de l a c i u d a d . " ( I I , 173)
Pedro i s astounded when he
realizes
what i s happening, f o r the newspapers " d e c l a r a b a n que
n i aun durante l a s mas
inmorales administraciones, habia
habido en a q u e l l a c a p i t a l un d e s g o b i e r n o mas
f a l t a mas
jamas,
completo,
una
a b s o l u t a de p o l i c i a y p u b l i c a mor.alldad." ( I I , 173)
T h i s i s one f u r t h e r c o r r u p t i o n of the p o l i t i c a l system i n
S p a i n , and i t i s m e r e l y a c o n t i n u a t i o n of what V a l e n z u e l a had
been d o i n g f o r y e a r s i n M a d r i d :
E l senor de V a l e n z u e l a es un c a b a l l e r o que, s i e l
Codigo c i v i l r i g i e r a en Espana por i g u a l p a r a todos
l o s e s p a n o l e s , e s t a r i a hace anos a r r a s t r a s d o t r e i n t a
l i b r a s de cadena en un p r e s i d i o , con o t r o s muchos
p e r s o n a j e s que tambie'n g a s t a n coche a expensas d e l
E s t a d o . ( I I , 87)
The l a s t M a d r i d n o v e l c o n t a i n s the b u l k of h i s t r e a t m e n t of
finance.
T h i s c e n t e r s on the Marquis of M o n t a l v e z , who
like
Don Sim6n i s d e c e i v e d ; Don M a u r i c i o Ibanez, the f i g u r e of
the g r e a t f i n a n c i e r ; Simon, the M a r q u i s * s t e w a r d , who
him; and Don S a n t i a g o Nunez, the money-lender.
swindles
They may
not
be a l l d i r e c t l y p o l i t i c a l , but they have some p o l i t i c a l
overtones.
I n La M o n t a l v e z , P a r t I , Chapter X I , r e v e l a t i o n s are made
about the Montalvez f o r t u n e , w h i c h i s t o t t e r i n g , and the
c h a r a c t e r of Simon i s i n t r o d u c e d , I t
i s made c l e a r t h a t
a l t h o u g h Simon i s p i l f e a r i n g from the m a r q u i s , the marquis i s
b e i n g d e f r a u d e d by Don
Mauricio:
Los grandes desembolsos que l e han c o s t a d o . . . l o s n e g o c i o s
emprendidos en compania de don M a u r i c i o Ibaflfez... ( I I , 4-33).
- 93 He
i s another Peredian c r e a t i o n who
unscrupulous
politicians
Don
can be taken i n by
Simon was
an
taken i n by the
m i n i s t e r : Pedro by V a l e n z u e l a ; the marquis by Don
Mauricio.
Although Pedro had no money to l o s e , a l l three are deceived
because of t h e i r v a n i t y , and two
politicians.
politics,
T h i s i s another
l o s e t h e i r f o r t u n e s to
of Pereda's s t r i c t u r e s
t h a t there are too many o p p o r t u n i s t s who
" f l e e c e " the unwary w h o . f a l l i n t o t h e i r c l u t c h e s .
and Don
of
will
Valenzuela
M a u r i c i o Ibanez are m a n i f e s t a t i o n s of the same f i g u r e ,
which i s one
c r e a t e d one
of the stock n i n e t e e n t h - c e n t u r y f i g u r e s .
of the g r e a t e s t i n the f i g u r e of Merdle
Little Dorritt
("vrhose w i f e "piques h e r s e l f on being
significantly.)
Ibanez p l a y s a minor but important
Dickens
in
society"
role i n
the n o v e l , b e i n g Nica's husband, but he does not appear i n
the second
p a r t , except i n r e t r o s p e c t s
Fue a parar adonde van todos l o s p i c a r o s gordos que
juyen de l a j u s t i c i a de su p a t r i a :
a l o s Estados
Unidos. ( I I , 4-80)'
Most of h i s c r i t i c i s m of p o l i t i c s
a n c i a l a f f a i r s ; t h i s reaches
In t h i s l a t t e r n o v e l one
i s c l o s e l y r e l a t e d to
fin-
i t s c u l m i n a t i o n i n La
Montalvez.
f i n d s t h a t the marques de
Montalvez,
the f a t h e r of the eponymous h e r o i n e , i s very much a r e i n c a r n a t i
of Don
Simon C. de l a s P e n a s c a l e s .
I f the reader looks back
to t h i s f i g u r e he w i l l f i n d t h a t "no e r a . . . t a n t i r o l e s
negocios
como en p o l i t i c a . "
( I , 692)
en
Despite h i s knowledge
of f i n a n c e , however, he i s tempted by the m i n i s t e r w i t h the
b a i t of a t i t l e .
The
succeeding episode r e l a t e s h i s u l t i m a t e
d o w n f a l l because h i s ambition i s even more powerful than h i s
_ 94
mercantile a b i l i t i e s .
-
His p o l i t i c a l
and
oratorical aspira-
t i o n s were doomed, so were h i s s o c i a l a s p i r a t i o n s ; both
are
d i r e c t l y caused by h i s f i n a n c i a l f a i l u r e s i n c e the m i n i s t e r
r e v e a l s A r t u r o ' s s o c i a l p o s i t i o n which a c c e l e r a t e s h i s o r a t o r i c a l
f a i l u r e and
The
causes J u l i e t a ' s elopement w i t h A r t u r o .
second c h a r a c t e r i s Simon, the marquis* steward.
i s a r e i n c a r n a t i o n of Don
Sotero
and
A c i s c l o of V a l e r a ' s DonaLuz.
i s reminiscent
of Don
Whether the l a t t e r , which was
Pereda w i t h a model f o r De
uncertain.
t a l palo, t a l a s t i l l a
w r i t t e n i n 1879,
provided
t a l p a l o , t a l a s t i l l a i n 1880,
Simon i s the other t r a d i t i o n a l f i n a n c i a l
the p e t t y s w i n d l e r , who
his
of De
master—his
He
is
swindler—
makes h i m s e l f r i c h a t the expense of
behaviour
i s d e s c r i b e d by Manolo C a s a - V i e j a :
E s t a b a su caudal fdel marquesD mermado en l o mas
jugoso y medio en q u i e b r a e l r e s t o . . . e n manos de un
a d m i n i s t r a d o r que se pasaba de l i s t o y de aprovechado.
( I I , ^79)
None of these f i g u r e s are e x c e p t i o n a l , but they
another
f a c e t of s o c i e t y which i s c o r r u p t .
In t h i s
they are l i n k e d to a l l other rogues t h a t abound.
was
represent
aspect
Pereda
w r i t i n g a contemporary h i s t o r y of s o c i e t y and w i t h i n
each category
one
f i n d s t h a t people
are much the same.
a l l s e c t i o n s of s o c i e t y he f i n d s t h a t people
i d e a l o g i c a l l y or f i n a n c i a l l y .
The
are c o r r u p t ,
There are e x c e p t i o n s , but
f i n d s t h a t the m a j o r i t y of people
(tontos).
are e i t h e r rogues or
f o o l s o f t e n g a i n self-knowledge,
money, p r e s t i g e , r e p u t a t i o n and
Among
integrity.
he
"fools"
but l o s e
- 95 Pedro Sanchez i s f o o l i s h and " b l i n d , "
When he l e a r n s
of h i s d e c e p t i o n by C l a r a , both e m o t i o n a l l y
and f i n a n c i a l l y ,
he says s
Solo dominado por una preocupacion semejante podia
yo e s t a r t a n ciego...que no v i e r a l o que t e n i a delante
de l o s o j o s . ( I I , 172)
D i l e l a s g r a c i a s , prometiendole que no l e p e s a r i a de
haberme arrancado l a venda de l o s o j o s . ( I I , 173)
His s e c r e t a r y t e l l s him t h a t he was t o blame because he (Pedro)
had
placed
before
" c i e g a c o n f i a n z a " ( I I , 174-) i n the s e c r e t a r y .
Once
he h i m s e l f had g i v e n i n d i c a t i o n of h i s own b l i n d n e s s ,
when he t a l k s of " l a ceguedad de mi p a s i o n — "
h i s wedding day.
( I I , 158) on
When Pedro d i s c o v e r s the a d u l t e r y of C l a r a
w i t h B a r r i e n t o s , the s c a l e s f i n a l l y f a l l from h i s eyes;
s i g n i f i c a n t l y , he says, he " a r r o j a b a
jcuanto h a l l e ] a
c i e g a s sobre e l l a d r o n , " ( I I , I85) thus s t r e s s i n g t h a t he
was,
and had been, b l i n d t o i t a l l .
Simon C e r r o j o de l a s Penascales
He,
l i k e Pedro, f i n d s self-knowledge,
"estupido"
Arturo.
( I , 696) and "ignorante
i s similarly
but he i s branded as
ridiculo"
In c o n t r a s t , the marquis never gains
but i s c a l l e d
"un padre t o n t o "
These are probably
by V a l e n z u e l a
foolish.
( I , 699) by
self-knowledge
( I I , 4-78) by Manolo
the three men who are deceived
Casa-Vieja.
most r e a f l i l y
and C l a r a , by the m i n i s t e r and by Don M a u r i c i o
Ibanez and Simon.
In Pedro Sanchez, Pereda's d i s a p p r o v a l of the l i t e r a r y
press
i n Madrid i s evidenced
by the ideas which are s e t out
as the p o l i c y of E l C l a r i n de l a p a t r i a .
These a t t i t u d e s
- 96 are expressed i n a s a t i r i c a l form and Pereda manages to convey a wider i m p r e s s i o n of the e d i t o r i a l , judgments of the
Madrid press than simply i t s views of l i t e r a t u r e :
Comience u s t e d por d i v i d i r l a s obras que examine en
dos grandes grupos:
l a s de n u e s t r o s r amigos y l a s de
l o s o t r o s . Entiendo por obras de nuestros amigos l a s
comedias, l a s n o v e l a s , l o s f o l l e t o s , cuanto p u b l i q u e n
l o s hombres de n u e s t r a s ideas o de n u e s t r a amistad
i n t i m a . . . : y entiendo por obras de l o s otros l a s que
p u b l i q u e n l o s enimigos de l a L i b e r t a d . • • • ( I I , 102)
The"ideas are then a m p l i f i e d and Pedro i s t o l d how
to p r a i s e
the works of the former, m i n i m i z i n g f a u l t s and e x a g g e r a t i n g
what i s good, but i t i s the method of a t t a c k on the "enemies
of L i b e r t y " t h a t Pereda i s s a t i r i s i n g most h a r s h l y , f o r Pedro
and h i s c o l l e a g u e s are p r e c i s e l y those c h i c o s de l a prensa
a g a i n s t whom Juan Fernandez was
" P a l i q u e " of Nubes de
In Pedro Sanchez
to be so b i t t e r i n the
estio.
the reader can a l s o f i n d v a r i o u s mis-
c e l l a n e o u s statements g e n e r a l i s i n g about the p r e s s .
Pereda
p r e s e n t s the c h i e f e d i t o r of E l C l a r i n , whose name i s
Redondo, and he goes on to d e s c r i b e h i s p e r s o n a l appearances
Aunque se p r e c i a b a de esmerado en e l ornamento y
a t a v i o de su persona, a t r a s a b a mucho, pero mucho en
e l r e l o j de l a moda imperante. Achaque e r a este muy
comun en l o s hombres de sus mismas i d e a s . jY s i
a t r a s a r a n s 6 l o en e l v e s t i r y a f e i t a r s e ! . . . p e r o no es
de e x t r a n a r ; ocupados en p r e d i c a r e l progreso, se
o l v i d a b a n de p r a c t i c a r l o . ( I I , 96)
As w i t h many of h i s d i a t r i b e s , i t can lead to a g e n e r a l i s a t i o n
about
j o u r n a l i s t s , but a l s o one on the c h a r a c t e r of l i b e r a l s
of Redondo's t y p e .
S h o r t l y a f t e r d e s c r i b i n g the e d i t o r - i n - c h i e f
he d e s c r i b e s e d i t o r i a l p o l i c i e s r e g a r d i n g newsj having enumer a t e d the s t a f f of the paper, he r e c a p i t u l a t e s w i t h the
- 97 f o l l o w i n g words:
E s t o s hombres, mas o t r o i n o f e n s i v o r e d a c t o r de ti:j.era,
a cuyo cargo estaban l a s n o t i c i a s de p r o v i n c i a s y
d e l e x t r a n j e r o . ( I I , 97)
He captures the u t t e r d i s d a i n t h a t Madrid
had f o r what was
o u t s i d e i t s own immediate h o r i z o n s , and, by j u x t a p o s i n g the
p r o v i n c e s and the r e s t of the world, Pereda
d r i v e s home h i s
Q
s a t i r i c a l invective.
events
Although he does not mention any of the
of the o u t s i d e world, he would have been aware of
them, and he does t h i s merely
incompetence of the Madrid
t o emphasize the i n a n i t y and
press.
One must t h e r e f o r e ask
whether Pereda's view of these aspects of l i f e
negative.
I t i s most d e f i n i t e l y not:
people w i t h i n Madrid
i s completely
Pereda p o r t r a y s many
s o c i e t y as being humanly good.
They may
be n a i v e , or may have other f a u l t s , but any w r i t e r who can
balance h i s negative c h a r a c t e r s w i t h very p o s i t i v e
ones
cannot
be regarded as t o t a l l y p r e j u d i c e d .
His p o s i t i v e , good c h a r a c t e r s are Don S e r a f i n Balduque,
Carmen and Quica, and M a t i c a i n Pedro Sanchez.
forms p a r t of the p o l i t i c a l scene
the counter-balance
The
Don S e r a f i n
as an empleado; Carmen i s
t o C l a r a ; M a t i c a r e p r e s e n t s the p r e s s .
f i n a n c i a l rogues are counter-balanced
Nunez and h i s w i f e Dona Ramona Pacheco.
by Don Santiago
O b j e c t i o n s may be
r a i s e d , s i n c e these l a t t e r were not from Madrid, but n e i t h e r
were the V a l e n z u e l a f a m i l y nor the Montalvez f a m i l y nor
were Pedro and Don Simon.
Pereda was t o look f o r , and f i n d , the g r e a t e s t source
of good i n Don Santiago and h i s w i f e i n La Montalvez.
Any
- 98 society
t h a t can produce
Santiago
lender,
such
i s a money-lender, hut,
he
only charged
representative
s i x per
of the p o s i t i v e
within society;
his timidity
harmony w i t h h i s a t t i t u d e
bourgeois
of the
of the
society
l o o k f o r the
find
which counter-balance
S e r a f i n and
the
positive
the
bad
the
very f u t i l i t y
the
e x i s t e n c e of such
c o m i n g as
and
the
cynical,
Ibanezes.
may
the
the
be
idealist
may
guide;
seen
one
t h e r e w o u l d be
may
failure
because
as Don
forces
Mauricio.
represent
counter-balance
f o r the
suffer
save
and
idealis-
martyrdom,
t h e hope t h a t
mankind f r o m
c o r r u p t as
the
He
i f a l l men
hope f o r m a n k i n d .
be-
Valenzuelas
good t a s t e
the p r e s s .
as b e i n g r e p r e s e n t a t i v e s o f v i r t u e s ,
to
counter-
of the
They
M a t i c a r e p r e s e n t s the
to
he was
o t h e r f i g u r e s who
and
o p p o r t u n i s t and
i s P e d r o ' s m e n t o r and
indeed,
i s the
of h i s a c t i o n s provide
an
mainstay
patient productivity
S e r a f i n stands
naive
in
is a
other s e m i - p o l i t i c a l
but
then
the
Santiago
and
Matica
was,
money-
industry
r a t e are
is a
Don
i s the
i n s o c i e t y and
and
ment p o s s i b l e w i t h i n s o c i e t y
he
such
i n Madrid.
Don
He
Santiago
the g r e a t rogues such
of l i f e
yet
as
Pereda
values
M a t i c a are
he
Don
also represents
characters.
of p o l i t i c s ;
interest
and
lives.
i m p r e s s i o n g i v e n by
journalistic
ation
values
he
traditional
interest.
low
I n many ways Don
t o Simon, b u t
Don
and
lasting
hope.
f o r c e o f f i n a n c e and
l a c k of ambition
Santiago.
balance
cent
to s o c i e t y .
i n w h i c h he
simple,
i s not without
u n l i k e the
highest calibre
them i n t h e
o f Don
a man
has
were
and
judg-
his
faults,
like
They c a n
be
w h i c h a r e doomed
o f t o o much n a i v e t e o r t o o much
to
sophistications
-
99
-
Only the b l i n d f o o l s succeed, but they only f i n d
Sanchez and
ration—Pedro
inllife,
frust-
N i c a Montalvez have m a t e r i a l
success
but they are doomed to p h y s i c a l and moral f r u s t -
r a t i o n , the l a t t e r i n Madrid, Pedro i n the Montana.
When one
looks back a t Pereda's ideas on p o l i t i c s
and
the press there are c e r t a i n g e n e r a l c o n c l u s i o n s t h a t can
made r e g a r d i n g the two
i n s t i t u t i o n s s e p a r a t e l y and
of a complex s o c i a l f a b r i c which was
noticeably.
Through the years he stayed
thoughts on p o l i t i c s .
anything,
;/;:': beginning
be
as p a r t
to f r a y
true to h i s
original
What i s unusual i s to note t h a t , i f
he becomes more l i b e r a l i n l a t e r y e a r s ; t h i s i s
most s u r p r i s i n g s i n c e , as a r u l e , men
become l e s s and
less
so.
What does not change i s h i s l a c k of b e l i e f i n the e f f e c t i v e n e s s
of democracy because of h i s s e l f - c o n f e s s e d pessimism and
cause of h i s own
complete l a c k of f a i t h i n man
a b i l i t y to progress
be-
and man's
morally.
His t i r a d e s a g a i n s t the press are most a s t r i n g e n t s i n c e
it
i s o f t e n the press which forms p u b l i c o p i n i o n .
He
a g a i n s t i t on three main i s s u e s — l i t e r a t u r e , p o l i t i c s
society—the
three major aspects
of Madrid l i f e
Fundamentally, h i s c r i t i c i s m can be summarised i n one
T h i s was
word—
country.
of Madrid can be r e a d i l y understood when i t i s r e a l -
i z e d what he found Madrid stood f o r , and
m a j o r i t y of
Spain.
what Pereda s a t i r i s e d a l l h i s l i f e , whether
i n Madrid or i n Santander, i n the c i t y or i n the
His d i s l i k e
and
t h a t he
v i s u a l i s e s as c o r r u p t i n g the a t t i t u d e s and morals of
hypocrisy.
inveighs
madrilenos.
how
he found
the
- 100 He was n o t b e i n g o r i g i n a l
the p o l i t i c i a n s
of dishonesty.
a scurvy p o l i t i c i a n ,
His d i a t r i b e
course
Why
against high society
t h e p r e s s has a l w a y s
t o take?
appealed
the
former.
i s a feeling
and
this
fully
i s reinforced
i s that
d o s t not."-*-
o f much
0
that
censure.
Madrid
t o the l a t t e r while
by G a l d o s '
like
f o r the s o c i e t y of
s c a t h i n g about
Pereda
than
i t repulsed
was
own p i c t u r e
t o E l s a b o r de l a t i e r r u c a ,
realized
eyesj/And
i s no more u n u s u a l , and o f
m o r a l i t y so b i t t e r
He was no l e s s
There
glass
been t h e t a r g e t
G a l d 6 s , but Madrid
prologue
"Get thee
seem/To s e e t h i n g s t h o u
t h e n was P e r e d a ' s
Madrid
o r extreme when he a c c u s e d
intransigent,
o f him i n h i s
b u t what i s p e r h a p s n o t
P e r e d a was t o t a l l y
honest
and s i n c e r e ,
but not i n t o l e r a n t
H i s views
were n o t s h a r e d b y many p e o p l e .
But although
he w o u l d n o t change then, n o r a l l o w h i m s e l f t o be swayed by
things
allow
he d i d n o t a p p r o v e
d i d n o t mean he w o u l d n o t
h i s opponents t o a i r t h e i r v i e w s .
sincerity
durable,
and
of, this
t h a t made t h e f r i e n d s h i p
It i s this
of Pereda
tolerant
and G a l d o s s o
t h a t made h i s f r i e n d s h i p w i t h L e o p o l d o
Alas
firm,
w h i c h made h i s f r i e n d s h i p w i t h A l a r c o n i m p o s s i b l e and w i t h
Palaeio V a l d e s d i f f i c u l t .
never
made a n y r e a l
extrana.
scene
critical
remarks t h a t
comment on P e r e d a
the l a t t e r
b u t "No n o s
P a l a c i o no pudo a c e p t a r a n a d i e a s u l a d o , e n v i d i o s o
y e g o c e n t r i c o como
One
Montesinos
can thus
and r e a l i z e
ment w i t h M a d r i d
era..." ^
1
look t o Pereda's
that
invective
much was c a u s e d
on t h e l i t e r a r y
b y h i s own
and e s p e c i a l l y b y h i s f e e l i n g
disillusion-
that
writers
- 101 were n o t s i n c e r e .
and
spontaneous
All
he
He was
also
i n the d r a m a t i c , p o e t i c
f o u n d , however, was
and
had
P e r e d a had
since
novelistic
fields.
appearances,
romantic gushings, or the
a vested interest
t h i s was
developed considerably
Bell,
genuine
suspense
anagnorisis.
Naturally,
costumorismo,
and
a preoccupation with
w h e t h e r t h e y were i n s i n c e r e
of p i l o t s
l o o k i n g f o r something
h i s own
i n promoting
speciality,
from the s e r i e s
but h i s novels
of sketches
that
f o r example, c l a i m e d t h e y w e r e :
A f u r t h e r weakness was t h e s l i g h t n e s s o f h i s p l o t s .
H i s books were r e a l l y a l w a y s a s e r i e s o f c u a d r o s de
c o s t u m b r e s more o r l e s s c l o s e l y s t r u n g t o g e t h e r . 3
Despite
that
a c c u s i n g Pereda
Galdo's was
of such a f a u l t ,
"the g r e a t e s t
teenth Century a f t e r
B e l l was
Spanish n o v e l i s t
Pereda."-^
able
of the
t o say
Nine-
- 102 FOOTNOTES
Chapter
lo
This
2*
Boris
3
i s c l e a r l y shown by §iome o f t h e most memorable
dates of the c e n t u r y :
i n S p a i n t h e s e were i n v a s i o n
(1808, 1823), r e v o l u t i o n s (1848, I854, 1868), c i v i l
wars (1833-40, i 8 6 0 , l 8 7 0 - 3 ) j i n E n g l a n d t h e y were
the
C o r n Law (1815), T r a d e s U n i o n s (1824 o n w a r d s ) ,
F i r s t r a i l w a y (1825), t h e R e f o r m B i l l s ( I 8 3 2 , I 8 6 7 ) ,
F a c t o r y a c t s ( l 8 3 3 ) a n d P o s t a g e (1840).
de
Tannenberg,'Ecrivains c a s t i l l a n s
contemporains:
J.M. de P e r e d a ! Revue H i s p a n i q u e t . V ( l 8 9 8 ) pp. 330-364.
3.
G.
Brenan,
The
literature
of the S p a n i s h people
(Penguins
London, 1963), p . 365.
4.
Hannah L y n c h , ' P e r e d a ,
the S p a n i s h N o v e l i s t '
The
Contemporary
R e v i e w, 1895, pp. 218-232.
5.
R.
6.
See,
7*
G u l l 6 n , V i d a de P e r e d a
( M a d r i d , 1944)
f o r example, D i s r a e l i ' s C o n i n g s b y .
In t h i s there i s
much t a l k o f " r o t t e n b o r o u g h s " and Mr. T a p e r and
Mr. T a d p o l e have d i f f e r i n g i d e a s o f how t o w i n
elections:
The one w o r s h i p s " R e g i s t r a t i o n " ( j u g g l i n g
the
number o f t h e e l e c t o r s ) t h e o t h e r a "Good C r y "
(a m e a n i n g l e s s c a t e h - p h r a s e t h a t w i l l w i n v o t e s
through emotion).
T h i s comment on t h e U.S.A. b e i n g P e r e d a ' s g r e a t p r e j u d i c e :
" l o s E s t a d o s U n i d o s , d e p 6 s i t o immenso de t o d o s l o s
g r a n d e s l a d r o n e s d e l mundo." ( I P r o s s o n t r i u n f o s , p . 6 l 6 )
8.
H i s i r o n y i s r e i n f o r c e d by what was h a p p e n i n g i n t h e
world:
1848, P u b l i c a t i o n o f t h e Communist M a n i f e s t o
and r e s u l t a n t r e v o l u t i o n s t h r o u g h o u t E u r p p e ; t h e
a b d i c a t i o n o f L o u i s P h i l l i p e and t h e f a l l o f M e t t e r n i c h ;
the
C a l i f o r n i a G o l d Rush; 1849, t h e f a l l o f V e n i c e
and t h e s i e g e o f Rome; I85O, t h e r i s e o f C a v o u r ;
I85I, t h e f i r s t s u b m a r i n e c a b l e ; t h e A u s t r a l i a n
G o l d Rush; I852, t h e s t a r t o f N a p o l e o n I l l ' s r e i g n ;
1853-4, t h e b e g i n n i n g s o f t h e C r i m e a n War and t h e
t r o u b l e s i n B r i t i s h South A f r i c a .
9.
" l o v u l g a r , l o g r o t e s c o , l o carnalmente
taba" ( I I , 44).
10 o
W i l l i a m Shakespear,
King- -Lear, A c t
brutal
IV, Sc
VI.
le
solici-
-
11.
As
12.
M o n t e s i n o s , P e r e d a , p.
13.
Bell,
p.
41.
14.
Bell,
p.
60.
103
-
B e l l s a y s ; "He was n o t i n t o l e r a n t , he c o u l d see
two
s i d e s o f a q u e s t i o n , h i s t o l e r a n t r e m a r k s about t h e
r e l i g i o n of the E n g l i s h c o n t r a s t s w i t h the r a b i d
i n t o l e r a n c e of George Borrow i n S p a i n . "
B e l l , p. 4 0 .
The
287.
s t r e s s i s mine.
-
104 -
SOCIETY IN PEREDA'S MADRID NOVELS
Pereda's novels d e a l w i t h s o c i e t y as a whole, but the
Madrid novels have a much more s p e c i a l i s e d concern w i t h
h i g h s o c i e t y , or e l mundo, as i t i s o f t e n c a l l e d .
the m e t r o p o l i t a n n o v e l s , Pereda
Within
has a l r e a d y been seen t o
have shown a g r e a t i n t e r e s t i n c e r t a i n aspects of s o c i e t y a t
l a r g e , and he h i m s e l f emphasizes the r e l a t i o n s h i p between the
v a r i o u s s t r a t a of l i f e
i n the c a p i t a l ; he compares, f o r
instances
Un l i t e r a t o de nota, un personaje p o l i t i c o J y J una
mujer de h i s t o r i a . ( I I , Pedro Sanchez, p. 66)
Las eminencias de l a p o l i t i c a , l o s Cresos de l a Banca...
l a s lumbreras de l a l i t e r a t u r a . . . PyJ l a f l o r y nata
d e l mundo e l e g a n t e . ( I I , La Montalvez, p. 413)
Todo Madrid, l o mas c o g o l l u d o de l a a r i s t o c r a c i a , de l a
Banca, de l a p o l i t f c a , de l a s a r t e s y de l a s l e t r a s .
( I I , La: Montalvez, p. 4l4)
Pereda,
h i m s e l f , thus d i s t i n g u i s h e s between the v a r i o u s
c a t e g o r i e s of s o c i e t y , but h i s c r i t i c i s m
i s very s i m i l a r s
of a l l these p a r t s
He can see t h a t they s u f f e r from the same
d i s h o n e s t y , h y p o c r i s y and hollowness.
To f u r t h e r demonstrate
t h i s , i t i s necessary t o d i s c u s s f o u r aspects of s o c i a l
behaviour w i t h i n the c a p i t a l .
a c e r t a i n b e a r i n g on the second
These are f a s h i o n , which has
t o p i c , which i s l o v e , which
w i l l d e a l w i t h the whole spectrum
male and female;
of r e l a t i o n s h i p s between
e d u c a t i o n , which does have some bearing on
the formal educating of young men, but which w i l l be p r i m a r i l y
concerned
w i t h the u p b r i n g i n g of young g i r l s ,
and t h e i r
- 105 a t t i t u d e s t o the q u e s t i o n
of l o v e ; and f i n a l l y
religion,
which i s a l s o connected t o the problem of education, but
w i t h regard t o the d i v i n e not the s o c i a l .
Fashion
In La mu.jer d e l Cdsar, Pereda l i n k s the d e f e c t s of the
s o c i e t y of the Corte
t o i t s d e s i r e f o r clothem's and f a s h i o n s ,
jewels anft f i n e r y .
Nada mas n a t u r a l que fuesen l a s grandes v i d r i e r a s y
l o s c a p r i c h o s de l a s a r t e s s u n t u a r i a s e l e s p e c i a l
ornamento de l a c a p i t a l de Espana, centro d e l l u j o ,
de l a g a l a n t e r i a y de l o s grandes v i c i o s de toda l a
n a c i d n . ( I , 533)
T h i s statement on the f i r s t page of the n o v e l i s t o prepare
the reader
f o r Pereda's c o n t i n u a l d i a t r i b e s a g a i n s t the e v i l s
of o s t e n t a t i o n .
C a r l o s i s not i n f l u e n c e d yery much by the great world,
but e x i s t s a l o n g s i d e
i t ; I s a b e l , h i s w i f e , was brought up i n
h i g h s o c i e t y and Pereda says simply,
l a ostentacidn."
( I , 539)
" l a v e t a de I s a b e l e r a
T h i s i s an e s s e n t i a l p a r t of her
c h a r a c t e r and she i s i n many ways a p r e c u r s o r
Perhaps i t i s i l l u s t r a t i v e
of N i c a Montalvez.
of Pereda's growing pessimism t h a t
N i c a can f i n d no hero to save her, as Ramdn saves I s a b e l ;
indeed,
Angel,
the i r o n y i s i n c r e a s e d , f o r the almost p e r f e c t man,
destroys
Luz as e f f e c t i v e l y as Pepe Guzman had destroyed
her mother.
Other major c h a r a c t e r s are the Marqueses d e l A z u l e j o
and
Frasco PeVez.
1
Although a l l three are c h a r a c t e r i s e d by t h e i r
c o n t i n u a l a b s o r p t i o n i n the mutations of f a s h i o n , i t i s the
l a t t e r who i s the most " o r i g i n a l " i n t h i s
sphere.
-
1 0 6
T h i s i s one of the f i r s t
of
-
appearances
i n Spanish
fiction
the fop, the dandy, and he c o n s t a n t l y r e f e r r e d t o as a
t i t e r e , perhaps
best rendered i n t o E n g l i s h as "dummy," s i n c e
he i s n o t h i n g more than a t a i l o r ' s dummy.
He manages t o g e t
the a t t e n t i o n of the p u b l i c by h i s unusual name, F r a s c o , which
i s short f o r Francisco.
originalidades"
He keeps t h i s a t t e n t i o n by h i s " m i l
( I , 5^7) which Pereda recounts a t l e n g t h .
These a r e t y p i f i e d by sending h i s dress s h i r t s t o be washed
i n A n d a l u s i a and i r o n e d i n P a r i s :
"En f i n todo se contaba
de e l , menos que hubiese dado jamas unos calzones v i e j o s a
un pobre."
the e v i l s
( I , 5^7)
T h i s i s Pereda's
harshest censure of
of f a s h i o n .
Perez i s shown on many occasions t o be merely a dummy,
"el
consabido, t i t e r e a l a moda," ( I , 5^3)
a
shown t o be empty:
n
d
h i s a c t i o n s are
"Eran...sus gastos r e p r o d u c t i v o s , s i no
en d i n e r o , en fama, que e r a l o que e l buscaba."
( I , 5^7)
These ideas of hollowness are taken t o extremes a l i t t l e
later.
of
F r a s c o P e r e z j i s , i n Pereda's
eyes, the most d e s p i c a b l e
c r e a t u r e s f o r he has no substance, he i s a "hollow man."
An aspect of men's dress which Pereda s a t i r i s e s i s the
use
of the b a t a .
I n the f i r s t
used f o r e f f e c t , on the f i r s t
f o u r Madrid novels t h i s i s
appearance
of the f a s h i o n a b l e
madrileno, or, i n Los hombres de pro, the f i r s t
of
Simon a f t e r he has moved up i n s o c i e t y .
La Montalvez
i s probably because
appearance
I t s absence
from
i t w i l l not have the same
e f f e c t ; the n o v e l i s s e t i n the c a p i t a l from the b e g i n n i n g and
has no o u t s i d e r t o be d a z z l e d :
- 10? Tampoco d e t a l l a r e l o s e f e c t o s que en j s i l v e s t r e j
aron l a bata persa...(I, Suum cuique, p. 2 6 8 )
caus-
E n t o n c e s . . . a p a r e c i d ^ C a r l o s ] , envuelto en perezosa
b a t a . ( I , La mu.jer d e l Cesar, p. 534-)
Hay...un hombre...de c i n c u e n t a anos de edad CSimon!?...
c o n . . . l u j o s a b a t a . ( I , Los hombres de pro, p. 64-7)
Se p r e s e n t o . . . e l senordn de Madrid fyalenzuelajl de
bata c h i n e s c a . ( I I , Pedro Sanchez, p. 2 2 )
In every
i n s t a n c e the l u x u r i o u s
persa) or m o r a l l y d e t r i m e n t a l
(lu,j.osa), e x o t i c
(perezosa)
(chinesca,
q u a l i t i e s o f the
robe are i n d i c a t e d .
S o c i e t y i s i t s e l f seen as being hollow
and m o r a l l y
empty i n La mu.jer d e l Cesar, s i n c e i n two s p e c i f i c
instances
dress and appearance are shown as being sought a f t e r i n
preference
t o t h i n g s of more substance, whether p h y s i c a l
(food) or m o E a l
(virtue):
Las d e l j u b i l a d o
que, puestas por
patatas y v e s t i r
i n d i a n a , optaron
A page l a t e r
f u n c i o n a r i o X., de quienes se contaba
su padre en l a a l t e r n a t i v a de comer
con l u j o o comer de firme y v e s t i r
s i n v a c i l a r por l o primero. ( I , 5 6 0 )
( I , 561) the g o s s i p columnist
Lucas Gomez i s
d e s c r i b e d , and so i s an o b i t u a r y f o r a woman i n which he
mentioned her jewels, c l o t h e s e t c . , but never once her v i r t u e s
(See S e c t i o n on the Press.)
The
hollowness of Perez i s most c l e a r l y seen i n h i s
a t t a c k on I s a b e l ' s honor, which depends on a s l e i g h t - o f - h a n d
w i t h a s e t of jewels.
The whole i n c i d e n t i s r e d o l e n t of
f a l s e n e s s , s i n c e i t i s a l l dependent on jewels--and
has
clarified
h i s p o s i t i o n on these
e a r l i e r , — a n d a l s o on
the l a c k of p e r c e p t i o n of I s a b e l and the d e c e p t i o n
The
reasons she accepts
Pereda
of Perez.
the jewels are i r o n i c a l , f o r she cannot
- 108 see
t h a t while
she
i s g r a t i f y i n g her owns
No digo
hubieran
como l a
vanidad
she i s h u m i l i a t i n g someone e l s e ' s v a n i t y
yo dos m i l duros, d i e z anos de mi v i d a me
p a r e c i d o hoy poco para comprar una o c a s i o n
que se me p r e s e n t a de h u m i l l a r l a t o n i a
de esa mujer. ( I , 55°)
Women's c l o t h e s are censured by Pereda, not simply
because they f o l l o w f a s h i o n s , but f o r the s t y l e
themselves.
Examples of h i s a t t a c k s on the excessive d e c o l l e t a g e of the
l a d i e s of high s o c i e t y can be found i n both La mujer d e l Cesar
and
La Montalvez s
Los a l t o s d e l cuerpo d e l v e s t i d o i b a n sumamente b a j o s ,
y . . . l o s bajos de l a s mangas subian hasta muy c e r c a
d e l s i t i o que debian ocupar l o s a l t o s d e l cuerpo, merced
a l o c u a l I s a b e l l l e v a b a a l a i r e l i b r e mayor c a n t i d a d
de carnes que l a que a u t o r i z a b a una moral severa y
l o s usos o r d i n a r i o s de l a s o c i e d a d . ( I , 5 5 ^ )
E l v e s t i d o , s i n mangas y c a s i s i n cuerpo, dejabame l a s
carnes, de c i n t u r a a r r i b a , medio a l a intemperie...;
quejabame yo de que e r a mucho l o d e s c u b i e r t o ; replicabame
que, por l o mismo, y por s e r bueno, habia que l u c i r l o . . . .
V e s t i d a de pecadora...me c u b r i e l seno con e l abanico
( I I , 406-7).
Pereda s t r e s s e s i n both cases
t h a t these
dresses
are not
a u t h o r i z e d by the day-to-day customs of s o c i e t y i n g e n e r a l ,
and
t h a t both compromised the modesty, and the m o r a l i t y , of
t h e i r wearers.
Love
Pereda was a t pains t o p o i n t out the hollowness of f a s h i o n
and
i t s d e t r i m e n t a l e f f e c t on m o r a l i t y and modesty i n high
society.
This s e c t i o n w i l l continue
the c r i t i c i s m s he
l e v e l l e d a t the f i n e r y of the g r e a t world
and w i l l show how
t h i s concern w i t h appearance was of s i m i l a r consequence i n
- 109 society*?
a t t i t u d e t o love
and i t s c o n c o m i t a n t s s e x , m a r r i a g e ,
h o n o r and m o r a l i t y .
Of
this
the f i v e
subject
novels,
since
On one o c c a s i o n ,
of the n o v e l ,
The
i s no l o v e
however, s e x p l a y s
Silvestre*s
has l e a s t
interest
t o s a y about
i n the s t o r y .
a p a r t , and a t t h e c l o s e
reasons f o r marrying are s e t o u t .
moment when s e x i s . i n t r o d u c e d
of d i f f i c u l t i e s
by
there
Suum c u i q u e
that S i l v e s t r e
i s t o culminate
the s e r i e s
meets i n M a d r i d ; he i s s c o r n e d
some p r o s t i t u t e s t h a t he had b e e n w a t c h i n g .
This i s
probably
the only
of l i f e ,
and i t i s , p e r h a p s , s u r p r i s i n g t h a t he a c c e p t s
although
doubtless
no
opinion
o c c a s i o n when P e r e d a s p e c i f i e s
disapproving
on ".the
of t h e i r
this
morality,
portion
them;
he v o i c e s
oldest profession":
Observo* q u e . . . d i s c u r r i a n p o r u n a y o t r a a c e r a , p a s a b a n ,
v o l v l a n a p a s a r , y s i e m p r e l a s m i s m a s . . » m u j e r e s de
i n c i s i v a y e l o c u e n t e m i r a d a , b e l d a d e s de e s b e l t o t a l l e ,
y d e s e n v u e l t a m a r c h a . . . Mas J a y ! . . . a q u e l l a s m u j e r e s ,
cuyas miradas devoraban a l o s t r a n s e u n t e s , c o n cuyos
moviaientos, con cuya v o z . . . i n t e n t a b a n s e d u c i r l o s ,
s o l o para
It
don S i l v e s t r e
eran
a r i s c a s y desaboridas
may perhaps, be i n d i c a t i v e
of Pereda's
a b o u t women t h a t he d i d n o t p o r t r a y
after
h i s marriage
the
presence
The
mention
Silvestre
in
I869,
of love
marries
i n Suum c u i q u e
f o r various
necesidad
he
de p e r p e t u a r
determines
was d e c i d e d
them i n d e t a i l
of the Escenas
su casta"
until
evidence
of
Montanesas.
i s r a t h e r p r o s a i c , and
reasons,
c a s e he " s e sinti<5 t a n a b u r r i d o " ,
273-4-).
own u n c e r t a i n t y
f o r one f i n d s l i t t l e
o f women i n t h e whole
(I,
a f t e r winning h i s court-
and " h a b l a b a . o .de l a
( I ,298-9).
Because
of this
t o m a r r y , and many p e o p l e b e l i e v e d h i s c h o i c e
by " l o s ojazos
n e g r o s de u n a moza de ocho
arrobas,"
- 110 but the romantic
"heredera
e f f e c t i s lessened by the f a c t t h a t she
de un decente
patrimonio."
(I, 299)
When Pereda began w r i t i n g La mu.jer d e l Ceaar and
hombres de pro he had been married
f o r two
because of t h i s , h i s i n t e r e s t i n love and
much g r e a t e r .
of
Los
y e a r s , and, p o s s i b l y
i t s adjuncts
was
La mu.jer d e l Ce'sar i s based upon the attempt
F r a s c o P l r e z to seduce I s a b e l , which he r e c o g n i s e s as
extremely
difficult:
i m p o s i b l e , muy
"Pareci<5le su c o n q u i s t a , ya que
dificil."
( I , 5^7)
The
occurs when Pereda c o n s i d e r s Perez's
e x i s t a n , con t a l que
consumados." ( I , 553)
emptiness,
being
no
most v i r u l e n t
satire
s t r a t e g y , f o r he
"no
busca l o s t r i u n f o s s i n o por e l escandalo,
que
was
y l e importa
e l p u b l i c o l o s acepte
poco
como hechos
Once a g a i n he i s r e i n f o r c i n g
the
not only of Perez, but of s o c i e t y , i n which s e x u a l
m o r a l i t y i s based on appearance; even i n a d u l t e r o u s
affairs,
there i s no l o v e , merely a d e s i r e to " s c o r e , " so t h a t the
woman i s n o t h i n g more than another number on a
list.
T h i s n o v e l i s probably the most narrow-minded of a l l of
Pereda's output, and
His l a t e r works may
c e r t a i n l y of a l l the m e t r o p o l i t a n n o v e l s .
have been i n f l u e n c e d by other n o v e l i s t s *
views on the s i t u a t i o n .
The
s t r i c t n e s s of the m o r a l i t y i s
c l e a r when, j u s t p r i o r to the dance which w i l l b r i n g the
to
a climax, "Ramon...miraba como se r e t o r c i a n l a s c i n t a s
fuego entre l o s t i z o n e s , que
s c r u t i n y and
de
se i b a n consumiendo a su
c o n t a c t o , como l a humana v i d a entre l a s malas p a s i o n e s . "
The marriage
novel
of C a r l o s and
I s a b e l i s put under c l o s e
the f a u l t s of both are m a g n i f i e d .
I t can be
( I , 553)
- Ill seen as f a i l i n g through " l a c k of communication" and i t i s
only a t the end, t h a t they decide t h a t the " r e l i g i o n of the
home" may he f a r b e t t e r than one l i v i n g too much i n the
p u b l i c eye, the other too secluded
from
life:
E l hogar domestico; sus m i l d e t a l l e s . . . a l c a l o r de
l o s c u a l e s . . . s e forman y v i v e n l a s dos grandes f i g u r a s
de l a Humanidad: La esposa y l a madre. ( I , 578)
The
importance of Love i n La mu.jer d e l Cesar i s apparent
s i n c e the whole p l o t i s based upon i t ;
i n Los hombres de pro
there i s l e s s i n s i s t e n c e on the t o p i c , but i t i s s t i l l
i n t e g r a l t o the n o v e l .
As w i t h Suum cuique
there i s one
mention of sex and a subsidiary love s t o r y i n the n o v e l ;
l a t t e r , concerning
this
J u l i e t a and A r t u r o , i s the c o n v e n t i o n a l
elopement of two l o v e r s , and needs no f u r t h e r a n a l y s i s .
The
c h a r a c t e r of Don Recaredo i s c l e a r l y the prototype
f o r Don C e l s o , but there are v a r i a t i o n s .
Don C e l s o , i n keep-
i n g w i t h Pereda's purpose i n Penas a r r i b a , i s m o r a l l y almost
perfect.
Don Recaredo, i n c o n t r a s t , has c e r t a i n p e c a d i l l o e s
which i n c l u d e a fondness f o r wine and " c i e r t o s mocetones d e l
pueblo,
que, a mas de p a r e c e r s e l e en f i g u r a como un huevo
a o t r o , r e c i b i a n de e l f r e c u e n t i s i m o s agasajos
y l e llamaban padrino, s i n haberlos
y deferencias,
sacado de p i l a . "
( I , 668)
Pereda's view i n 1871 was somewhat d i f f e r e n t from h i s
moral dictum
the previous year:
"fBuen caso h a c i a don Recaredo
de esas d e b i l i d a d e s de l a N a t u r a l e z a i " ( I , 668) As w i t h
comments on p r o s t i t u t i o n i n Suum cuique, Pereda seems t o
have accepted
behaviour
c e r t a i n e s s e n t i a l l y s e x u a l aspects
of human
but t o have been i n t r a n s i g e n t about the g e n e r a l l a c k
or m o r a l i t y . i n s o c i e t y .
- 112 His ideas underwent some changes
and De t a l p a l o , t a l a s t i l l a ,
i n E l buey s u e l t o . . .
the former d e a l i n g w i t h the
s e x u a l e d u c a t i o n of Gedeon, the l a t t e r w i t h the i n c o m p a t i b i l i t y
of r e l i g i o u s extremes w i t h i n marriage.
H i s other n o v e l s ,
Pros son t r i u n f o s and Don Gonzalo Gonzalez de l a G o n z a l e r a
r e i n f o r c e the Ideas t h a t he had expressed i n h i s e a r l y Madrid
novels.
Dne p o i n t t h a t must be c l a r i f i e d
i s Pereda's a t t a c k s on
the m e r c a n t i l e and middle c l a s s e s i n the l a t t e r n o v e l s .
He
has p r a i s e d these c l a s s e s on many o c c a s i o n s , but what he
regards as t h e i r worst f a u l t i s t h a t they ape the morals of
the a r i s t o c r a c y .
H i s a t t a c k s on the upper c l a s s e s are v i t r i o l i c
at times, but he r e t a i n s h i s most b i t i n g s c o r n f o r those who
have not the moral f i b r e t o eschew the v i c e of the a r i s t o c r a c y .
More e x p l i c i t l y , he i s extremely s c a t h i n g about those who
are immoral and v i c i o u s through t h e i r u p b r i n g i n g , but he adds
to t h i s harsh s a t i r e
of those who copy t h i s behaviour of the
a r i s t o c r a c y merely t o be l i k e them.
In Pedro Sanchez much i s made of the theme of honor, but
the love i n t e r e s t does not form as l a r g e a p a r t of the theme
as i t w i l l
i n La Montalvez.
From the v e r y b e g i n n i n g the semi-
a r i s t o c r a t i c p o s i t i o n of Pedro i s made e x p l i c i t s
"[Los ffarcaas^
eran l a b r i e g o s b i e n acomodados, a l paso que l o s Sanchez
senores menesterosos."
eramos
( I I , 1 2 ) T h i s marks Pedro from the
s t a r t as being proud, f o r he belonged t o the f a m i l y of Sancho
Abarca.
H i s p r i d e i s t o p l a y a d e c i s i v e r o l e i n the n o v e l ,
but i t a l s o means t h a t when Pedro married C l a r a he was not
- 113 r e a l l y marrying above h i m s e l f ;
was
on the c o n t r a r y ,
Valenzuela
of a common f a m i l y :
Su padre e r a s e c r e t a r i o d e l Ayuntamiento en un
p u e b l e c i l l o cercano a Ciudad R e a l . ( I I , 87)
This provides
for
another l e v e l of symbolic d u a l i t y i n t h i s
the l i v e s of Pedro and V a l e n z u e l a
novel,
are thus made v i r t u a l l y
p a r a l l e l i n t h e i r development; h i s wife was the daughter of
the
"deshravador Pedro J i j o s "
( I I , 87-8), the very name
r e v e a l i n g her l a c k of " f a m i l y . "
The
love aspect
i s p r i m a r i l y based on the c o n t r a s t
bet-
ween the p e r s o n a l i t i e s of C l a r a and Carmen, who "era l a mas
acabada a n t i t e s i s de C l a r a . " ( I I , 37)
The c l i m a t i c p o i n t i n
t h i s c o n t r a s t i s reached when Pedro f i r s t r e a l i z e s t h a t he
has
been deceived
by V a l e n z u e l a ,
que
a s i jugaba, no ya con mi i n c r e d u l i d a d , s i n o con l a de
mi padre." ( I I , 83)
Valenzuela
and t h a t " e l f a r s a n t e manchego
As he goes out i n t o the s t r e e t , Manolo
r i d e s past and h e e d l e s s l y runs down a young woman;
Pedro d i s c o v e r s
t h a t i t i s Carmen.
The a l l e g o r y of t h i s
i n c i d e n t i s emphasized when, w a l k i n g Carmen back home, she
f i n d s Pedro's condescension and boldness unseeming and r e p r e hensible;
i t i s as i f the i n f l u e n c e exerted
on Pedro by high
s o c i e t y had made him trample on Carmen's innocence as Manolo
had
trampled on her body.
The
presentation
of the c h a r a c t e r s
extended throughout the n o v e l .
of the two g i r l s i s
C l a r a and her:mother, P i l i t a ,
are motivated by v a n i t y and o s t e n t a t i o n .
They are d i f f e r e n t
from I s a b e l , who had t h i s v i c e , but which formed only one p a r t
of her c h a r a c t e r ;
C l a r a and P i l i t a and Manolo were d r i v e n
- 114 s o l e l y by a love of o s t e n t a t i o n and by opportunism.
Pilita
was r a t h e r s t u p i d , but C l a r a was l i k e her name, c l e a r - s i g h t e d ,
a q u a l i t y t h a t t y p i f i e d her, j u s t as Carmen was the i n c a r n a t i o n
of l o v e , of f e e l i n g and of d o m e s t i c i t y .
The
occasions when love becomes a r e a l problem are not
found u n t i l near the end of the n o v e l .
B a r r i e n t o s has always
f o l l o w e d C l a r a and Pedro around, and the l a t t e r r e a l i z e s
the t r i a l s
of governing
me a m o . i . "
(II,
181)
the province
that
after
"Clara...nunca
He r e a l i z e s t h a t h i s marriage had been
a mistake, but he i s s t i l l
incapable
of s e e i n g
everything;
e v e n t u a l l y he d i s c o v e r s the a d u l t e r y of h i s wife w i t h B a r r i e n t o s .
He turns t o Matica
f o r c o n s o l a t i o n , but f a t e puts B a r r i e n t o s
i n h i s path again; they d u e l , and Pedro i s vanquished:
Yo me v o l v i a casa acompanado de mis amigos, t a n a f r e n t ado como habia s a l i d o de e l l a , mas con l a verguenza de
haber s i d o apaleado por e l mismo que me a f r e n t o . JY
estos lances l o s han d i s c u r r i d o l o s hombres c u l t o s
para l a v a r manchas de honor! jMentecatos! ( I I , 186)
This i s one of the few occasions when a d u e l takes place i n
Pereda's n o v e l s , and he i s p r e d i c t a b l y opposed t o t h i s method
of remedying a f f a i r s
of honor.
Pedro r e a l i z e s f i n a l l y t h a t he should
("la amaba y me amaba"
[II,
have married
Carmen
18?J ) and so turns t o h e r . The
only noteworthy p a r t of t h i s i s t h a t Pedro turns from a g i r l
who may have been born a madrilena,
citly,
i t i s never s t a t e d
expli-
t o one who d e f i n i t e l y was from Madrid, "donde e l l a
habia n a c i d o "
(II,
37) ' T h i s i s another i n s t a n c e of Pereda not
c a r r y i n g h i s a t t a c k s on the c a p i t a l t o extremes.
Pedro
has
together
the t e m e r i t y to suggest t h a t they should
live
- 115 because they are i n love
( I I , 18?).
Her r e f u s a l e s t a b l i s h e s
Pereda's t r a d i t i o n a l a t t i t u d e which w i l l be overturned
by
G a l d o s — b u t even he can support the i d e a of e x t r a - m a r i t a l
liaisons
only a f t e r the t u r n of the century.^
In the f i n a l chapter Pereda c h r o n i c l e s the a n t i c i p a t e d
death of C l a r a and the happiness of Pedro's second marriage,
to Carmen, w i t h the b i r t h of one c h i l d and the e x p e c t a t i o n
of a second.
The second p a r t of the chapter i s one of the
most h a r d - h i t t i n g w r i t t e n a t t h a t p e r i o d , f o r i t e s t a b l i s h e s
a b l i s s f u l marriage and the prospect
then d e s t r o y s
of a happy ending and
i t ; the chapter n a r r a t e s
the deaths of Pedro's
f a t h e r , Carmen (and her unborn c h i l d ) , and Pedro's son, Quica
and
Matica.
T h i s ending would not have found f a v o r i n
England, but i t must be remembered how many major Spanish
novels
of the p e r i o d end t r a g i c a l l y o 3
Pereda's c l e a r e s t p r o g n o s t i c a t i o n s
found i n La Montalvez.
This novel,
on love are to be
the l a s t of h i s three
b e s t , was t o a t t a c k Madrid S o c i e t y without the o v e r - s i m p l i f i e d
theme of La mujer d e l Cesar which had e l e v a t e d Ram6n
morally
to the p o s i t i o n of a demi-god because he was a montanes.
In
La Montalvez, on the other hand, the a c t i o n takes place i n
Madrid and the Montana never i n t r u d e s n e i t h e r as i t s e l f , nor
;
p e r s o n i f i e d , i n a morally
perfect
character.
S e v e r a l marriages and l o v e - r e l a t i o n s h i p s are d e a l t w i t h
i n the n o v e l ,
the f i r s t being
t h a t of the Marques de Montalvez
w i t h the daughter of a " r i c o e x c o n t r a s i s t a de c a r r e t e r a s y
suministros."
( I I , 391)
The marriage i s very much a marriage
-
of
convenience;
1 1 6 -
he wants money, she wants t h e
marquis
i s comparable
k e e p up
t h e f a m i l y name; u n f o r t u n a t e l y t h e p a i r
only a daughter,
He
t o Don
Silvestre,
title.-
t h e n a s i c k l y ' s o n who
i s not regarded
as
important
The
f o r he m a r r i e s
dies
to
produce
i n his teens.
enough f o r P e r e d a
to give
him
a name•
There
the
i s a complete
lack
e d u c a t i o n of the c h i l d r e n
this
i s more appropriate
or f i l i a l
Pereda
the wrath
is
this
q u e r i a de
dichotomy
first
and
regards
concludes
v e r a s a s u abuelo.."
she
has
the
is reiterated
time
and
w i t h l o v e shows how
t h e .high s o c i e t y
paternal,
of the
which
"de
todo
lo cual
( I I , 410)
latter
It
of v i s i o n
and
of
Carmen;
again, f o r there i s a
b e t w e e n N i c a as a woman and
meeting
of
i t as h y p o c r i s y .
clarity
r e p r e s e n t s a s y n t h e s i s of the
duality
than
she weeps f o r him
o f h e r f a t h e r who
also very evident that
C l a r a and
but
love.
comments on h e r s o r r o w
se deduce que
consequently
of e d u c a t i o n than
sexual love rather
When N i c a ' s g r a n d f a t h e r d i e s
arouses
l o v e and
i s v e r y much a t f a u l t ,
to a d i s c u s s i o n
love, which i s e s s e n t i a l l y
maternal
of f a m i l y
as a m o t h e r .
lightly
i t was
Nica's
regarded
in
time:
E l tema amoroso...que y a c o n s i d e r a b a . . . u n a r u t i n a
o b l i g a d a en l o s u s o s de l a b u e n a s o c i e d a d . ( I I , 4 l 6 )
Pereda
again reveals
l o v e was
hollow.
literature,
was
real
fury,
Like
l o v e was
i n Society,
signifying
that,
beneath.^the
politics,
like
words and
nothing.
acts,
the p r e s s , l i k e
words w h i c h e x p r e s s e d
a l l was
the
an empty s h e l l
no
feeling;
full
some
nothing
o f sound
and
- 117 S o c i e t y ' s a t t i t u d e to love and marriage
three times i n the n o v e l — b y
Nica's mother.
Each time
i s expressed
L e t i c i a , by S a g r a r i o and
i t i s expressed
by
to N i c a who
cannot,
nor wants t o , b e l i e v e i t s
D i c e n que l a s mujeres de n u e s t r a a l c u r n i a deben casarse
a c i e r t a edad con hombres de determinadas c o n d i c i o n e s . <>.;
se acuerda entre ambas f a m i l i a s que Gonzalo y yo nos
casemos...; no se admiten c o n s u l t a s , n i p r o t e s t a s , n i
r e p a r o s , porque...lo p r i n c i p a l es que se haga e l m a t r i m i n i a , l o demas no importa t r e s cominos...y a este
p a p e l nos vamos acomodando poco a poco e l g a l a n y l a
dama de e s t a comedia de l a buena s o c i e d a d . . . ( I I , 4-22)
Muy i l i c i t o no debe de s e r cua^io tanto se u s a . . . e l
v i v i r con e l marido y e l gozar con e l amante. ( I I , 4-23)
S i q u i e r e s conservar e l amor que s i e n t a s por un hombre,
con todo l o que de este amor se sigue y se desprende,
no te cases con e l . ( I I , 4-23)
N i c a i s i n love w i t h Pepe Guzman, but S a g r a r i o i s a d v i s i n g
her on her conduct;
but not Guzman.
que
que,
she b e l i e v e s t h a t N i c a ought to m a r r y —
This t e o r i a deals w i t h "amor de mas
no es amor para d o n c e l l a s . " ( I I , 4-25)
"--<f*De manera
para complemento de l a t e o r i a , es tambien de
a l g o de matrimonio?
—Indispensable."
i s f i n a l l y brought down to d e t a i l s s
( I I , 4-25)
"No
sustancia,
necesidad
The
advice
te cases con Pepe
Guzman, aunque, por milagro de D i o s , l o pretenda
e l ; pero
s i don M a u r i c i o e l Solemne, pide t u mano, a c e p t a l e . " ( I I , 4-26)
T h i s i s the o c c a s i o n when h i g h s o c i e t y ' s views on
are s e t out most c l e a r l y .
The
c y n i c i s m of the advice i s
brought out even more s t r o n g l y when Don
glimpsed
marriage
M a u r i c i o Ibanez i s
t r a v e l l i n g through Europe w i t h a t l e a s t two
women, both of whom "a su lado habitaba en e l h o t e l ,
d e c i r tabique en medio." ( I I , 4-36)
The
p r o f l i g a c y of
different
es
Don
- 118 M a u r i c i o w i l l be important
of h i s marriage to N i c a .
c y n i c i s m occurs when two
husband seconds one
l a t e r i n e s t a b l i s h i n g the c o n d i t i o n s
Another aspect
of high s o c i e t y ' s
of L e t i c i a ' s l o v e r s d u e l , and
of them. ( I I ,
her
^38)
L e t i c i a repeats S a g r a r i o ' s a d y i c e , immediately
t e l l i n g N i c a of Ibanez<?s a f f a i r s , and
after
i t i s she who
p i c k s up
the c a r n a l advantages of marriage to the banker, which
S a g r a r i o had
suggested:
Te conviene para marido e l hombre que te he propuesto,
por l o mismo que es r a r o y t i e n e v i c i o s y mala fama;
o l o que es i^.ual, todo l o que n e c e s i t a una mujer de
mundo para l o g r a r de casada, con c i e r t o s derechos, l o
que no es l i c i t o de s o l t e r a . ( I I , 4 6 0 )
The
t h i r d time t h a t the theory i s expounded i s by her mother,
a f t e r Don
M a u r i c i o has proposed marriage;
f o r seconding
friends.
her mother's
the marriage d i f f e r from those
of her
reason
two
They advised the marriage f o r s e x u a l ends, Nica's
mother because " d i n e r o , d i n e r o a todo t r a n c e , y mundo
esplendoroso
en que
l u c i r l o C e r a ) . . . e l objeto, e l f i n , l a
a s p i r a c i o n u n i c a , y hasta l a r e l i g i o n de mi madre. " ( I I , 4 6 0 )
Nica's r e v u l s i o n at her mother's d e s i r e s b r i n g s out
aspects
certain
i n her c h a r a c t e r , f o r they were " t e o r i a s repugnantes
a mi n a t u r a l e z a de mujer de honradas i n c l i n a c i o n e s y
sentimientos
mis
de enamorada." ( I I , 4 6 0 )
When N i c a f i n a l l y accepts the banker, i t i s to become
the most extreme s e x u a l s i t u a t i o n i n Pereda's w r i t i n g s , and
indeed
one
literature.
of the s t r a n g e s t arrangements i n contemporary
N i c a e s t a b l i s h e s a manage a t r o i s , and
of Ibanez-Js bad
r e p u t a t i o n she
i s able to convince
because
him to
live
- 119
-
a p a r t from h e r — w i t h i n the same h o u s e — w h i l e
new-found freedom.
she enjoys her
She t e l l s the reader t h a t "no e r a un
l a d r d n de caudales e l homhre que se e s c o n d i a por l a noche
en e l c u a r t o contiguo a l de mi d o n c e l l a y se escapaba a l
amanecer." ( I I , 4 7 2 )
Her immoral conduct i s emphasized
by
the b i r t h of a d a u g h t e r — t h e image of Pepe Guzman—eight
months a f t e r the wedding.
Although Pereda i n no way
approves
of her behaviour, he does see i t as b e i n g both t y p i c a l a£i and
produced by, h i g h s o c i e t y .
mental c r i t i c i s m
T h i s i s p o s s i b l y h i s most funda-
of e l mundo, t h a t i t tended to p e r v e r t
those who
by i n c l i n a t i o n would not have been immoral
vicious.
Pereda can be seen as a l i t t l e
or
intolerant, for
he has Manolo C a s a - V i e j a says
Quien d e b i a dar l a nota duice y armdnica en este desc o n c i e r t o de pasiones es l a mujer; y b i e n sabes t u
que a g a l l a s t i e n e l a n u e s t r a . Por eso ya no hay
f a m i l i a s i n o entre l a s gentes oscuras y de poco mas
o menos. ( I I , 4 7 7 )
He seems to be throwing most of the blame on to the female
h a l f of s o c i e t y , whereas the d i s o r d e r i n s o c i e t y i s caused by
both sexes.
There i s no r e a l j u s t i f i c a t i o n f o r the p a r t i a l
p r e j u d i c e shown by Pereda u n l e s s one turns t o h i s ideas on
e d u c a t i o n , wherein he advocates a b e t t e r u p b r i n g i n g f o r
women, which may
improve
society's
attitudes.
I t i s i n t o t h i s framework t h a t the c h a r a c t e r s of N i c a ,
Luz and Angel are developed.
The love of the l a t t e r i s
h i g h l y p o e t i c , and can be seen as c u r s i .
The sequence
was
p r a i s e d by C l a r i n , and both the episode and C l a r i n have been
accused of c u r s i l e r l a by Montesinos.^
- 120 The
r e l a t i o n s h i p of Luz and Angel
i s b u i l t up by Pereda
from a r a t h e r sketchy dream of Luz, which g r a d u a l l y becomes
more c l e a r l y m a n i f e s t e d .
and
As time goes on, he adds d e t a i l s ,
f i n a l l y he g i v e s the f u l l range of images:
La azotea,
e l mancebo, e l p a r a i s o , a r c a n g e l guardador, e l t e r r a d o , e l
sendero,
l a c a s i t a , e l piano.
Thus Luz dreams of her e a r t h l y
p a r a d i s e , i n which appears the unknown guardian a n g e l . ( I I , 515
W i t h i n a few pages of showing Luz's i n n e r dream, an unknown
youth a r r i v e s a t a dance who
imaginaciones,
J J A que
was
" e l o t r o , e l mancebo de
l a f i g u r a de su cuadro... ^De
iba a l i i ? . . . "
( I I , 521)
love sensed
donde venia?
I t then turns out t h a t Angel
had e x a c t l y the same v i s i o n s as Luz.
sequence which supports
I t i s a very i m a g i n a t i v e
the i d e a of a p e r f e c t , heaven-born
by both p a r t n e r s , almost
as i f both were able to
communicate e x t r a - s e n s o r i l y . I t i s the most romantic
any
of Pereda's n o v e l s , and
filled
by two
and who
All
l o v e r s who
become a l l - e n g r o s s e d i n each other
start.
of Pereda's other heroes and heroines who
love never do so v i o l e n t l y and p a s s i o n a t e l y .
his
p a r t of
i s the only s e c t i o n i n h i s novels
are i n v o l v e d w i t h love from the very
next most passionate
sus
fall in
Perhaps the
of Pereda's heroes i s Pedro Sanchez, but
p a s s i o n f o r C l a r a begins as d i s l i k e : Marcelo
i n Fenas
a r r i b a marries L i t u c a only when he d i s c o v e r s the doctor does
not love her: none of S o t i l e z a ' s l o v e r s have t h e i r love
r e c i p r o c a t e d , e s p e c i a l l y Andres.
Al
Even i n the romantic
primer v u e l o , the love of the two
very s l o w l y .
young people
idyll,
develops
Only t h i s once i n Pereda's r e p e r t o i r e does there
-on.
occur the phenomen^of "love a t f i r s t
sight."
-
1 2 1 -
Luz and Angel are the only two l o v e r s whose p a s s i o n f o r
each other towers over a l l e l s e ; i n no other book i s there a
f e e l i n g i n the reader t h a t he i s w i t n e s s i n g two people whose
mutual f e e l i n g s are to dominate a l l e l s e .
Indeed, these are
Pereda's only " p a i r of s t a r - c r o s s e d l o v e r s , " and t h i s
i s true of other aspects
analogy
of the n o v e l , s i n c e the marriage i s
opposed by the antagonism of the f a m i l i e s .
The
to l o v e .
n o v e l poses many problems i n the dichotomous a t t i t u d e
There i s love as accepted
h e a r t l e s s , immoral, and c y n i c a l .
by e l mundo which i s
There i s love as p e r s o n i f i e d
by Luz and Angel, which i s pure, a n g e l i c and p a r a d i s i a c a l .
How must the reader regard these
conflicting attitudes?
Pereda condemns the one m o r a l l y , s o c i e t y condemns the other.
I t can be claimed
t h a t Pereda v i s i t s the s i n s of the mother
upon the c h i l d , s i n c e Luz i s the only one who s u f f e r s
i n the n o v e l .
i s punished;
One
ards
I t can be claimed
physically
t h a t she, l i v i n g i n n o c e n t l y ,
N i c a , l i v i n g i n g u i l t and s i n , i s not punished.
wonders whether Luz,
i f brought up i n l i n e w i t h the stand-
of s o c i e t y , would have succumbed.
The
remes.
c o n f l i c t as envisaged
One i s too w o r l d l y , the other i s too o t h e r - w o r l d l y .
Pereda's world
ideals.
by Pereda i s t h a t of two e x t -
i s one of a c a r e f u l l y measured b a l a n c i n g of
He t r i e s t o weigh r e a l i s m w i t h i d e a l i s m .
H i s ideas
were r e j e c t e d by the i d e a l i s t Trueba and by the r e a l i s t
Pardo Bazan; h i s ideas were too t r a d i t i o n a l f o r the l i b e r a l s
and
too l i b e r a l f o r the t r a d i t i o n a l i s t s .
Nowhere i s t h i s
c o n f l i c t r e f l e c t e d more c l e a r l y than i n La Montalvez.
Perhaps
- 122 most c r i t i c s
why
Luz
not
allow
allow
fall
She
must he
her
punished
t o be
of the
as
an
both
till
state
finds
i n Spanish
aristocracy
had
theme a r e
s o c i e t y he
i s to fragment
maintaining
never together.
As
the
suggested
t h a t G a l d o s was
f a l s e n e s s and
marriage
traditional
as
and
women
marriage
of the
Pereda a t t a c k s
just
unstable
i t s abuse by
hypocrisy
i n Spain.
sex,
before, i t
to a t t a c k
whereas P e r e d a a t t a c k e d
h a r s h l y as
about s e x u a l
f o r much c r i t i c i s m
society.
society—
existing
the
the
o n l y be
and
are
innocent
attitude
he
since i t i s a basic
What he
a d o p t e d f o r i t s own
The
l o v e , but
i s a t t a c k i n g i s the
c e n t u r i e s - o l d theme o f h o n o r , w h i c h
acceptably,
must n o t
Calderonian.
to love
i s somewhat r e t i c e n t
of the
person
discussed further
grandmother.
development
this
be
because
o f women.
o f L u z ' s v i e w o f Love
i t a source
malaise
T h i s theme w i l l
B o t h men
the
never
herself:
describes.
of her
Pereda
i n Luz
of her mother, but
Pereda i s s t i l l
much l a t e r
do
f o r L u z ' s down-
i n the
o f l o v e and
cynicism
faults
they
loveless,
despised
Romanticism
react herself;
reasons
see
What t h e y
r e p l a c e d by
institution,
men
of the
cannot
f a m i l y , which are
seek a l l t h r e e but
not
The
of N i c a .
f o r i n N i c a , but
education
marriage.
sins
a c t and
Society's attitude
relationships
was
should
within herself.
Madrid
values
n o v e l because they
f o r the
looked
because
i t i n v o l v e s the
and
this
autonomy o f a c t i o n .
d i e s not
love
like
i s t h a t Luz
are not
of f a u l t s
as
do n o t
ends.
but
a d o p t e d by
the
Some a s p e c t s
supported
by
later
Pereda:
of
A
seem i t — w h i c h i s v e r y
society,
on t h e
other
- 123 hand, was t h a t one l o s t one's honor o n l y when o t h e r
found
people
o u t . The next s t e p i n t h e development i s t h a t one can
do a n y t h i n g , p r o v i d i n g one appears good.^
apparent
inocentadas
Pereda i n h i s
about s o c i e t y was n o t a t t a c k i n g a s e t
of s t a n d a r d s , b u t t h e v e r y f a b r i c t h a t t h e s o c i e t y was based
on.
As he s a i d i n h i s i n t e r v i e w w i t h B o r i s de Tannenberg,
he had l o s t h i s f a i t h i n man.
Because Pereda was a t t a c k i n g
such b a s i c i s s u e s , he seems t o have r e a l i z e d t h a t he was d i g g i n g the ground from under h i s v e r y f e e t .
He c o u l d see t h a t
new i d e a s would e v e n t u a l l y d e s t r o y even h i s own i d y l l i c
s o c i e t y and t h a t the o l d i d e a s c o u l d n o t s t a n d f o r l o n g .
He
r e a l i z e d t h a t an a t t a c k on man's n a t u r e would n a t u r a l l y
t h r e a t e n everyone, even t h e montaneses; he e s p e c i a l l y r e c o g n i z e d
t h a t t h e acceptance
o f p r o g r e s s by Marcelo
d e s t r o y T a b l a n c a as i t had been.
(Penas a r r i b a ) would
These i d e a s , though n o t
e x p l i c i t i n t h e n o v e l s o f the C o r t e , a r e i m p l i e d by them, and
can e a s i l y be t a k e n t o t h e i r l o g i c a l c o n c l u s i o n s .
Education
Pereda d e a l s w i t h two a s p e c t s o f e d u c a t i o n i n some d e t a i l .
He i s concerned
w i t h t h e u p b r i n g i n g and e d u c a t i o n o f t h e young
of b o t h s e x e s .
This i s o f t e n f o r m a l , i n school or u n i v e r s i t y ,
w i t h r e g a r d t o young men, o r more i n f o r m a l when the s u b j e c t
i s t h e u p b r i n g i n g o f young l a d i e s .
I t would be most u s e f u l t o c o n s i d e r f i r s t the elements
of f o r m a l e d u c a t i o n t h a t a r e p r e s e n t i n t h e n o v e l s .
evidence
The f i r s t
o f t h i s i s i n Suum c u i q u e , i n w h i c h Pereda d e s c r i b e s
S i l v e s t r e ' s years i n a p r o v i n c i a l L a t i n - s c h o o l . I f a
- 124 comparison be made between the d e s c r i p t i o n of the domine of
t h i s n o v e l and Don Bernabe i n Mas r e m i n i s c e n c i a s (Esbozos y
ras£unos),
i t would seem probable t h a t the anecdotes
about
the s c h o o l i n Suum cuique are from Pereda's own e x p e r i e n c e .
The
s c h o o l was attended both by S i l v e s t r e and Don Fulano
de Tal,and i s , t h e r e f o r e , the p o i n t of c o n t a c t between them.
I t was s i t u a t e d i n a p r o v i n c i a l v i l l a ,
and a t t h i s l e v e l i t
not only l i n k s but d i v i d e s them, s i n c e Fulano progressed t o
Madrid,
and S i l v e s t r e r e t i r e d t o h i s v i l l a g e .
The L a t i n of
the L a t i n - s c h o o l i s t h e r e f o r e used s e v e r a l times t o s t r e s s
t h e i r f r i e n d s h i p and y e t t o emphasize t h e i r d i f f e r i n g
natures.
The usage of L a t i n i s as f o l l o w s , the l i n k between them not
b e i n g s t r e s s e d on every
occasions
Don S i l v e s t r e Seturas t e n i a cuarenta anos de edad, p l u s
minusve. ( I , 26l)
£ Concerning
( I , 261)
the c o u r t case] e l abogado t r a b a j a a s u b i o . . . .
"^'Eres t u 0 no es u s t e d ? " --"Mi querido S i l v e s t r e s
Ego sum'.' ( I , 271)
E l primer consejo que l e d i o e l personaje fue e l
siguiente..."Dum Roma f u e r i s . . . l o que s i g u e . " ( I , 271)
Los d i p u t a d o s , . . t e n i a n l a inmodestia de d e c i r cada uno
de s i p r o p i o , coram populo, l o que todos l o s demas l e s
negaban. ( I , 272)
Apenas pronuncio
e l cura e l I t e misa e s t . . . . ( I , 282)
Barbarus h i e ego sum, q u i a nom i n t e l l i g o r u l l i . . . C a d a
uno n e c e s i t a para v i v i r e l elemento que l e ha formados
e l hombre c u l t o , l a c i v i l i z a c i o n ; e l s a l v a j e , l a
N a t u r a l e z a . Suum cuique, S i l v e s t r e , como d e c i a nuestro
domine cuando daba un v a l e a algun d i s c i p u l o a p l i c a d o ,
mientras desencuadernaba l a s c o s t i l l a s a z u r r i a z g o s a
otros v e i n t e holgazanes. (I.,. 298)
-
125
-
Each use o f a L a t i n t a g reminds the r e a d e r
o f t h e common
e d u c a t i o n a l b a c k g r o u n d and e m p h a s i z e s t h e l a t e r
o f t h e two
development
heroes.
T h e r e i s no m e n t i o n o f f o r m a l e d u c a t i o n i n e i t h e r
m u j e r d e l C e s a r o r L o s hombres de p r o .
major r o l e
sources
10),
(II,
reads
and
I n c o n t r a s t i t has
i n the e a r l y p a r t of Pedro Sanchez.
o f knowledge
taught
are the l i t t l e
La
Pedro's
L a t i n and " l e t r a s
a
two
humanas"
h i m by t h e p a r i s h p r i e s t , and t h e b o o k s
he
rereads:
Con l e e r a menudo C l a r i s a H a r l o w e , E l hombre f e l i z y
E l Q u i j o t e . . . c o b r e s e f i a l a d a a f i c i d n a l a amena l i t e r a t u r a .
( I I , 8)
L a n o v e l a e r a mi t e n t a c i o n . . . . ( I ,
4-3)
P a r a m i , a f i c i o n a d o h a s t a l a paslon a l a s f i c c i o n e s
n o v e l e s c a s . . . ( I I , 59)
The
importance of both
Because
i s apparent i n the
development:
P e d r o i s r e a s o n a b l y w e l l e d u c a t e d , he a t t r a c t s
a t t e n t i o n of V a l e n z u e l a ; because
the
of h i s e a r l y reading of
n o v e l s , he becomes a somewhat q u i x o t i c c h a r a c t e r .
It i s ,
i n f a c t , h i s i m a g i n a t i o n , . s t i r r e d by t h e b o o k s , w h i c h makes
him a c c e p t V a l e n z u e l a ' s
offer,
for, like Silvestre
(and
Don
Q u i j o t e ) , h i s head i s t u r n e d by r e a d i n g .
The
o t h e r o c c a s i o n when m e n t i o n i s made o f f o r m a l
e d u c a t i o n i s when P e d r o f i r s t
w i t h s e v e n o t h e r y o u n g men,
arrives
i n Madrid.
m o s t l y montaneses,
apparently
P e r e d a does u s e t h e e f f e c t o f t h e i r
c l o t h e s and a c t i o n s , h o w e v e r ,
boards
and a l l
s t u d e n t s ; h i s d e s c r i p t i o n o f them i s a m u s i n g b u t
n o t h i n g more.
He
strange
t o draw a s e r i o u s c o n c l u s i o n
- 126 about
student l i f e
a t the periods
Pues han de saber estos hombres precoces que a q u e l l o s
muchachos r e c a l c i t r a n t e s no eran menos l i s t o s , n i mas
t o n t o s , n i mas i n g e n i o s o s que e l l o s ; pero l e s daba por
l a s susodichas inocentadas porque no e r a costumbre
entonces entre l o s e s t u d i a n t e s fundar p e r i 6 d i c o s
b a t a l l a d o r e s mi a s a l t a r l a s catedras d e l Ateneo y de
las Academias para d i f u n d i r l a l u z de l a c i e n c i a por
todos l o s amifitos de l a p a t r i a . ( I I , 43)
T h i s was
the s t a t e of the u n i v e r s i t i e s i n the 1850s.
words sound p r o p h e t i c , y e t he was
in
1884.
In
Pereda's
complaining of student u n r e s t
7
La Montalvez
there i s perhaps
the most d e c i s i v e
ments about f o r m a l e d u c a t i o n and the c a r e e r s that men
follow.
state-
can
Angel i s i n many ways the P e r e d i a n a l t e r ego,
and
although Pedro i s s i m i l a r t o Pereda because of h i s experiences
i n Madrid, Angel i s s i m i l a r because of h i s a t t i t u d e s .
reviews the p o s s i b i l i t i e s
medicine
Angel
open to him and decides a g a i n s t
because he c o u l d not stomach the thought
and the h o r r o r s i t e n t a i l e d .
of the blood
He r e j e c t s philosophy and i t s
alambicados
y abstrusos conceptos because of i t s u s e l e s s n e s s
in
life.
everyday
He
i s most s c a t h i n g about mathematics, a
t o p i c which Pereda scorned i n h i s own
life.
Finally
Angel
d e c i d e s , by e l i m i n a t i o n , to become a lawyer, s i n c e t h i s
"la
c a r r e r a en que
caben todos, l o s grandes
los
l i s t o s y l o s t o n t o s , y l o s que
y l o s pequenos,
se buscan e l t i t u l o como
p u e r t a para s a l i r a todos l o s campos de l a s humanas
que
was
ambiciones,
no eran pocos a l a f e c h a . " ( I I , 525)
As w i t h the very t e l l i n g comments on Angel's
attempts, Pereda
poetic
i s s a t i r i s i n g so many of those men
who
studied
-
law
p a i n t nor w r i t e
critic
poet, but
poetry,
of o t h e r s .
"Y
He
fails
he r e a l i z e d he c o u l d
as
neither
so he became an i m p a r t i a l judge
esto era ser poeta y a r t i s t a . "
d e c i r de
hombres de prot
l a s gentes, de que
c o n v e r t i r s e un
"Las
and
(II, 526)
l a s t comment t h a t Pereda makes r i n g s very l i k e the
c l u s i o n to Los
The
-
because they knew not what e l s e to do.
both p a i n t e r and
The
127
con-
pruebas abundaban, a l
en Espana bastaba querer para
zapatero en l i t e r a t o d i s t i n g u i d o . " ( I I , 5 2 7 )
moral i s t h e r e f o r e
even more c l e a r l y "zapatero a tu
zapato."8
What i s more c e n t r a l to Pereda's main t h e s i s i s the
bringing
of young people, g i r l s
in particular.
The
up-
first
time i t i s d e a l t w i t h i s i n the d e s c r i p t i o n of I s a b e l , i n
La mujer d e l Cesar, who
was
the
child
of a widower, and
"educada en e l gran mundo c a s i desde n i n a , "
the
r e s u l t t h a t she
l i f e was
society.
lived
knew l i t t l e
i n accordance w i t h the
Pereda makes no
p o i n t , yet the n o v e l
inherent
but
goodness.
t h i s i s put
i s based on the
She
similarities
but
criteria
of
concept of
i s l e d a s t r a y by her
Any
her
fashionable
on
this
Isabel's
l a c k of
education,
comparison between La
l a t t e r a society i s depicted
f o r a woman to be
of c h a r a c t e r ,
v i r t u o u s , N i c a and
consequently
La Montalvez, must be merely t e n t a t i v e ,
however, s i n c e i n the
i s impossible
(I, 5 3 9 ) with
other comment e x p r e s s l y
r i g h t by Ramon.
mujer d e l Cesar and
it
e l s e and
was
despite
I s a b e l are poles
appears untrue; N i c a
faithful.
t h e i r own
apart:
i s u n f a i t h f u l but
i n which
D e s p i t e some
d e s i r e to
be
Isabel i s f a i t h f u l
puts up a facade.—
- 128 f l i m s y though i t i s — o f
fidelity.
Both novels a t t a c k the
appearances t h a t s o c i e t y puts on, but one i s o p t i m i s t i c —
the f i g u r e of Ramon b r i n g i n g h o p e — i n
the other there i s no
hope.
There i s only one r e a l pronouncement on e d u c a t i o n i n
Los hombres de pro, "Yo
tengo para mi que
e l mejor c o l e g i o
para una n i n a es una buena madre" ( I , 63I) Pereda's most c l e a r cut statement
and vanidosa
of t h i s i d e a , but Juana i s d e s c r i b e d as t o n t a
( I , 690-l)_ which i s i n l i n e w i t h a l l the
bad
mothers i n Pereda's f i c t i o n . J u l i e t a i s sent to a l l the best
s c h o o l s , but she never r e c e i v e s the most important
a mother's example.
As Pereda i s to say i n La Montalvez, " l a
educacidn menos p e l i g r o s a y mas
a q u e l l a en que mas
education—
esmerada de una n i n a sera,
se deje s e n t i r l a i n t e r v e n c i o n amorosa
de su madre, s i , por d i c h a , t i e n e madre, y madre buena."
(11,398)
The reader i s shown J u l i e t a at v a r i o u s stages i n her
development.
She
i s another model f o r N i c a Montalvez s i n c e
she i s c h a r a c t e r i z e d by her a b s o r p t i o n of her p a r e n t s ' v a n i t y
and ambition, w i t h the a d d i t i o n of her own
intelligence.
i s a l s o s i m i l a r to C l a r a , f o r she i s epitomised by
lucidity.
absorbed
She
her
J u l i e t a , l i k e N i c a and C l a r a , r e v e a l s the e v i l s of
v a n i t y p l u s those of i n t e l l i g e n c e which i s used
f u r t h e r the d e s i r e s of v a n i t y .
t r a t e d hy the presence
her which causes
to
Her nature i s , however, f r u s -
of A r t u r o , who
inspires a passion i n
her e v e n t u a l l y to be deceived by
him.
In Pedro Sanchez the reader sees the d u a l i t y of the
natures of J u l i e t a and N i c a d i v i d e d between C l a r a and Carmen.
-
-
129
C l a r a i s t h e p e r s o n i f i c a t i o n o f C o r n e l i a n l u c i d i t y and
extremity to which
i n t e l l i g e n c e and
by p a s s i o n s
J u l i e t a c o u l d move.
h e r v a n i t y , and
T h e r e i s no
never
evidence
B a r r i e n t o s i s i n s p i r e d by
She
love.
i s d r i v e n "by h e r
seems t o be d i s t u r b e d
t h a t her a d u l t e r y w i t h
Carmen i s t h e o p p o s i t e
the p r o o f t h a t a widower can r e p l a c e a m o t h e r — w i t h
Don
S e r a f i n seems--with Quica's
e x a m p l e f o r Carmen.
Pereda's Madrid
She
i s the
extreme,
help;
h e l p — t o have p r o v i d e d
seems t o be
t h e one
n o v e l s , o f t h e g i r l who
an
example, i n
has b e e n
correctly
educated.
The
one
whole f i r s t
s e c t i o n of La M o n t a l v e z
method o f e d u c a t i n g c h i l d r e n .
definite
i d e a s on t h e f a u l t s
i s concerned
with
N i c a ' s g r a n d f a t h e r has
very
he s e e s
i n her e d u c a t i o n
and
" a p o s t r o f a b a a l a h i j a p o r su f r i a l d a d y p r e d i c a b a a
yerno
The
por su i n j u s t i f i c a b l e
( I I , 393)
p a r e n t s l a v i s h t h e i r a f f e c t i o n on h e r b r o t h e r , who
s p o i l e d , and
his
attempt
(II,
407).
Nica's
individual.
N i c a ' s one
t o r u i n h e r d r e s s and
her f i r s t
What i s s t r e s s e d t i m e and
se h a b i a n d e p o s i t a d o
en e l . "
( I I , 396)
of her parents
anecdote
night i n society
e l de
d e s p i t e h e r own
Vie
ja:
She
desires.
that
las semillas
Pereda f r e q u e n t l y
i n n e g l e c t i n g h e r , and
l a t e r d e v e l o p m e n t u n d e r t h e i n f l u e n c e o f L e t i c i a and
a l s o made much o f :
concerns
a g a i n i s the f a c t
" c o r a z d n no p o d i a d a r o t r o f r u t o que
mentions the f a u l t s
is
is
t h i s a c t s on h i s m a l e v o l e n t n a t u r e t o p r o d u c e
an e x t r e m e l y v i c i o u s
que
indiferencia."
su
her
Sagrario
i s f o r m e d by h e r p a r e n t s and
I n the words of Manolo Casa-
society,
- 130 Fue de l o mas honrado de l a c l a s e . . .naci<5 para buena
y aun creo que l o h a b r i a s i d o , a no caer entre un padre
tonto y una madre s i n educacion y s i n entranas y una
c a t e r v a de p i l l o s y b r i b o n e s . ( I I , 4 7 8 )
The
second p a r t of the n o v e l deals w i t h the e d u c a t i o n
of Luz, and Pereda i s normally taken as s u p p o r t i n g the i d e a
t h a t " s i n un m i l a g r o de D i o s , de madre mala no puede nacer
h i j a buena, porque...hay quien cree que l o s v i c i o s se heredan
como e s c r o f u l a s y l a t i s i s . "
( I I , 527)
But La Montalvez
goes
on t o prove the exact opposite of t h i s ; Luz i s the prime
example of a good daughter being born of a wicked mother.
Pereda's t h e s i s i s contained p a r t l y i n a q u a l i f y i n g
statement
t h a t Pereda i n t e r p o l a t e s " s i n contar l o que i n f l u y e en l a s
i n c l i n a c i o n e s de l a s Chijas*} e l mal ejemplo de l a s {jnadresj."
( I I , 527)
What Pereda i s indeed concerned
w i t h i s the d i c h o -
tomy between N i c a as woman and mother, and he i s f u l l y
convinced
t h a t the only way a mother can educate her daughter
i s by example.
and
still
world,
Yet N i c a wanted t o enjoy h e r s e l f
lasciviously
keep Luz pure, away from the c o r r u p t i o n of the
l i k e a t r e a s u r e hidden from the world
("Recogio su
t e s o r o d e l e s c o n d i t e . " £ll> 5®5])
I t i s t h i s f a u l t i n N i c a which i s a l s o t o be h i g h l i g h t e d
by Pereda:
She d e s i r e s t o keep Luz f r e e from the world and
s i n , and the i r o n y of the n o v e l i s t h a t "somos d e l mismo
p a r e c e r e l e s p e c t r o y yo tocante a l a educacion de l o s h i j o s . "
( I I , 506)
The woman who b e l i e v e s i n the i n h e r i t a n c e of s i n
(Dona Ramona), and the woman who does not ( N i c a ) , both b e l i e v e
i n attempting
t o keep t h e i r c h i l d r e n pure.9
reader t h a t t h i s view i s u n f e a s i b l e .
Pereda shows the
- 131 There i s a c o n f l i c t w i t h i n N i c a but the outcome i s i n no
doubts
"La madre e s c r u p u l o s a t r i u n f o s i n l u c h a de l a mujer
liviana."
( I I , 512)
Luz, Pereda
it
But from the f i r s t
moment t h a t he
i s not i n agreement w i t h her e d u c a t i o n .
"Vida de i n v e r n a d e r o "
( I I , 513)
a
n
d
presents
He
calls
goes on to says
Y es l a verdad en c a s i todo e l r i g o r de l a f r a s e : . . . l a
marquesa £dio_...a a q u e l l a e x c e p c i o n a l n a t u r a l e z a e l
u n i c o medio en que p o d i a desenvolverse s i n deformarse.
No a todas l a s p l a n t a s conviene e l c u l t i v o a l a i r e
l i b r e y a l c i e l o a b i e r t o . En l o humano e r a Luz una de
esas p l a n t a s . No es de e x t r a n a r que a l s a l i r i e su
e s t u f a s i n t i e r a l a impresidn de o t r o ambiente mas f r i o
y que e s t a impresi6n no l e f u e r a agradable. ( I I , 513)
Pereda
s e t s out the problem a t the beginning of h i s
p r e s e n t a t i o n of Luz, and
is
dying.
He
he w i l l repeat the same words as
c r i t i c i s e d Nica's parents f o r making her
as she d i d because of t h e i r method "of b r i n g i n g her up.
she has repeated the procedure
is
the same.
de bronce."
d i f f e r e n t l y , but the
Luz i s a r a t h e r weak g i r l ;
( I I , 395)
she
develop
Now
effect
N i c a " t e n i a una s a l u d
T h i s d i s t i n c t i o n i s important:
La pobre Luz se d e s t r u i a a l primer choque de su i n o c e n c i a
con l a s maldades d e l mundo, en s i f u i o no f u i d i s c r e t a
a l c u l t i v a r a l a sombra una p l a n t a d e s t i n a d a a v i v i r a l
a i r e l i b r e , para v e n i r a parar a que no estaba l o malo
en esconder mds o menos a una h i j a para que v i e r a o no
v i e r a c i e r t a s cosas, s i n o en que una madre tenga f a l i a s
que no pueden s e r confesadas a. voces." ( I I , 5^5)
This i s what N i c a h e r s e l f i s t h i n k i n g , and the c o n c l u s i o n
t h a t Pereda wants the reader t o reach i s t h a t both of these
f a u l t s destroyed Luz, f o r both concern her e d u c a t i o n .
If
N i c a had not been ashamed of h e r s e l f she need not have
hidden
Luz away and
c o u l d t h e r e f o r e have educated
her
herself.
- 132 Religion
Perhaps the most s u r p r i s i n g t h i n g about Pereda's
Madrid
novels i s the r e l a t i v e unimportance of r e l i g i o n i n them.
In
most of the other novels which d e a l w i t h m e t r o p o l i t a n s o c i e t y
the s o l u t i o n i s provided by a p r i e s t .
There i s no p o i n t where
a p r i e s t p l a y s a s i g n i f i c a n t r o l e i n Pereda's Madrid
novels.*
0
T h i s i s probably the c h a r a c t e r i s t i c t h a t d i s t i n g u i s h e s Pereda
from a l l n i n e t e a n t h - c e n t u r y Spanish n u v e l i s t s but V a l e r a .
Every other n o v e l i s t d e a l t w i t h r e l i g i o n on more than one
o c c a s i o n , but Pereda's only r e l i g i o u s n o v e l , De t a l p a l o , t a l
a s t i l l a , was an answer to Galdos' G l o r i a , and i t does not
r e a l l y d e a l w i t h r e l i g i o u s q u e s t i o n s as such but merely s t a t e s
two s i d e s of an argument.
dramatic
r a t h e r than
And i t s denouement i s human and
theological.
There are v a r i o u s occasions when the Church i s i n t r o d u c e d
i n t o the n o v e l s , o f t e n w i t h a s a t i r i c ,
purpose.
or c h a r a c t e r - b u i l d i n g ,
In Los hombres de pro i t i s a p r i e s t who advises
Simon and Juana not t o leave t h e i r v i l l a g e
( I , 631) and the
p a s t o r a l i d y l l i s r e i t e r a t e d when the same santo varon comments t h a t although Simon may be r i c h "^Le dan mas
_Es
mas f e l i z que aqui?
importancia?
Este es e l problema." ( I , 646) Yet
although he i s the spokesman f o r Pereda's a n t i - M a d r i d i d e a s ,
he i s only a commentator, he never
imposes a s o l u t i o n nor
even a f f e c t s the a c t i o n .
There are s a t i r i c a l
when Pereda
elements a l s o i n Los hombres de pro
says of the t r a d i t i o n a l i s t t h a t "temieron por sus
casas, por sus campos, por sus f a b r i c a s , por sus t e s o r o s , es
- 133 d e c i r , su D i o s , su p a t r i a , su alma." ( I , 6 5 3 ) T h i s i s verys i m i l a r t o Nica's r e a l i z a t i o n t h a t "Dinero...y
esplendoroso
mundo
en que l u c i r l o . • . E s t e v e n i a a s e r . . . h a s t a l a
r e l i g i o n de mi madre." ( I I , 4 6 0 ) Once a g a i n Pereda
i s revealing
the h y p o c r i s y of s o c i e t y i n both n o v e l s , and t h i s i s made even
more apparent when, i n La Montalvez,
t h i s very same mother
becomes a luminary i n " l a s Madres Ejemplares." a r e l i g i o u s
charity.
The s a t i r e i s double
i n t h a t the Marchioness
has no
r e l i g i o n but money and i s f a r from being an exemplary mother,
as the n o v e l i s a t pains t o i l l u s t r a t e .
Nica, herself, i s a
l e a d i n g f i g u r e i n the "Doncellas Humildes y Temerosas de D i o s , "
( I I , 4 l 4 ) and here the s a t i r e i s apparent
name:
i n each word of the
N i c a i s f a r from humble, her awe of God i s never an
e s s e n t i a l c h a r a c t e r i s t i c , and a t the end of the f i r s t
the n o v e l she eschews her v i r g i n i t y .
thus almost parody the monastic
obedience
p a r t of
Mother and daughter
vows of poverty, c h a s t i t y and
(or h u m i l i t y . )
There i s one r e l i g i o u s sequence i n Pedro Sanchez which
i s used
t o e s t a b l i s h how impressionable Pedro i s .
when he goes i n t o an e c s t a t i c trance while v i s i t i n g
with h i s father ( I I , 16-17):
s e n t i r impresiones
experience.
This i s
Santander
"En toda mi v i d a he v u e l t o a
como a q u e l l a s " i s h i s v e r d i c t on the
The episode i s a l s o i r o n i c a l i n t h a t he l a t e r
becomes a l i b e r a l and as such h i s views would be a n t i - C h u r c h .
An
i n t e r e s t i n g q u o t a t i o n from the same n o v e l i s the speech of
the dying i d e a l i s t Don S e r a f i n , who t a l k s of "este mundo s i n
justicia."
( I I , 1 3 5 ) T h i s i s a l s o used f o r c h a r a c t e r b u i l d i n g
-
since
this
the
dying
world
He
the
Serafin
Don
has
statement
that
holds
rejects
clergy;
134
heen
-
persecuted
must
not
be
true
for
a l l of
taken
a l l opportunities
they
appear
a l l his
generally
as
a
general
to
introduce
to
perform
absolution,
the
beneficial influences
rites.
human t e r m s ,
own
peace
this
seems
to
Pereda's
the
could
reject
characters
must
the
presence
and
Pereda
cannot
and
with
trait
Their
of
does
see
a
world.
justify
act
a
not
triumph
over
heresy
not
a
magic
of
Pereda's
life
to
come, b u t ,
life
well
for
him
forward
but
from
Don
him
and
ritual
ministering
are
his
of
reduced
must
make
to
their
modernity
and
"naturalist," for
i n purely
i s not
a
i s an
wand
Pereda
which
and
he
with
Celso,
the
believes
the
since
external:
man
He
things
does
in
not
religion,
personally,
external
expectations
with
terms
putting
over
His
occurence
religion
transforms
triumph
human
normal
religion
magic
which w i l l
like
of
religion
their
heroines
t a l astilla,
dies
view
of
knowledge
phenomena.
a
better
of
a
lived.
Pereda
not
that
atheism.
heroes
the
reveals
lives
his
such,
religious intervention.
Manrique
internal force
None
does
their
t a l palo,
influence
and
thus
or
believe
or
and
labelling
J e s u i t waving
i n De
an
out
Padre
Even
i t is
He
supernatural
right.
but
heroes
as
Pereda.
functions—confession,
last
life:
maintains
the
s u p e r i o r i t y of
the
only
i t s only
power
is
panacea
which
has
inside
out.
flaunt
and
as
a
the
i t as
answer.
inside
Catholicism,
It
man;
e f f e c t from
is
he
an
internal
never
the
but
puts
outside
i t
in,
he
force
- 135
-
From t h i s summary of Pereda's p r e s e n t a t i o n
s o c i e t y of the p e r i o d ,
seen.
Love and
sham.
Because of the
of Madrid
c e r t a i n common f a c t o r s can be c l e a r l y
marriage and
sex
and
a t t i t u d e of the
e d u c a t i o n of the p u n g — e s p e c i a l l y
honor are seen to be
adults
i n society,
of g i r l s — i s
shown to
a
the
be
f a u l t y , f o r the p r i n c i p a l mode of e d u c a t i o n he advocates i s
that
of example.
ignores God,
Above and
beyond a l l i s God,
or only pays him
l i p service.
his Catholic f a i t h , believes with Valera
hasta l a sepultura,"
s i m i l a r ; and,
despite
h i s f a i t h , he cannot b e l i e v e
iness.
belongs to a much more r e a l i s t i c
since
There i s no
and
nature and
solution.
to w o r l d l y
and
happ-
terrestial
s o c i e t y as being i n a v i c i o u s
hope, he p r o p h e s i e s , f o r s o c i e t y u n l e s s
of t h i s u n t i l s o c i e t y improves.
nature of man.
with
latter novelists.
e d u c a t i o n of the young improves, and
h i s own
despite
Pereda's view of the world i s p e s s i m i s t i c ,
he envisages man
circle.
the
i s a short-cut
of w r i t i n g than e i t h e r of the
Ultimately
Pereda,
f o r t h e i r human p h i l o s o p h y i s very
A l a r c o n t h a t God
school
society
i n "g_.nio y f i g u r a ,
Coloma and
He
but
by
Man
there i s no hope
i s condemned both
s o c i e t y ; s o c i e t y i s condemned by
I t i s an impasse from which he
can
see
by
the
no
-
1
3
6
-
FOOTNOTES
Chapter
4
1 .
The
2.
See,
3 »
P e r h a p s one o f t h e few e x c e p t i o n s i n E n g l i s h l i t e r a t u r e
i s C h a r l o t t e Bronte's V i l l e t t e .
I n S p a n i s h one need
o n l y remember G a l d 6 s * F o r t u n a t a y J a c i n t a , A n g e l G u e r r a ,
M i a u , Doffa P e r f e c t a . . . : E m i l i a P a r d o Bazan's E l
c i s n e de V i l a m o r t a , Los p a z o s de U l l o a , L a p i e d r a
a n g u l a r . . . ; L e o p o l d o A l a s * L a R e g e n t a and Su u n i c o
hi,jo and V a l e r a * s Las i l u s i o n e s d e l d o c t o r F a u s t i n o ,
Morsamor, G e n i o y f i g u r a . . . .
4
5 .
6
m a r c h i o n e s s , e s p e c i a l l y , i s t o he more i m p o r t a n t t h a n
she a p p e a r s , as she i s t h e p r o t o t y p e f o r S a g r a r i o i n
La Montalvez.
P e r e d a d e s c r i b e s b o t h as h a v i n g a
g r e a t weakness:
" l a curiosidad llevada a l a
exageracidn." ( I , 5 ^ 1 )
f o r example, t h e r e l a t i o n s h i p o f T e r e s a
and S a n t i a g u i t o I b e r o i n t h e f o u r t h and
of the E p i s o d i o s n a c i o n a l e s .
. Montesinos,
T h i s had
and
Pereda,
p.
1
been p a r t of the
E l escandalo.
. Montesinos,
p. 4
9
9
7
,
thesis
1
9
8
Villaescusa
f i f t h series
n
.
of A l a r c o n ' s
La
prddiga
*
7 .
P e r h a p s t h i s i s n o t s u r p r i s i n g as M a i - L a r a c o m p l a i n s o f
t h e i n c r e a s e o f t h e use o f d r u g s a t
Salamanca—in
the s i x t e e n t h c e n t u r y .
8.
See,
9 .
P e r e z de A y a l a a l s o d e v e l o p s t h e them i n L u n a de
l u n a de h i e l / L o s t r a b a . j o s de Urbano y S i m o n a .
f o r example, P e r e z de A y a l a ' s B e l a r m i n o
f o r a t r e a t m e n t o f t h i s theme.
1 0 . T h i s i s i n c o n t r a s t t o the n o v e l s
especially.
y
Apolonio
o f A l a r c o n and
miel,
Coloma,
-
THE
1
THEMES AND
3
-
CHARACTERS OF
PEDRO SANCHEZ AND
The
7
LA MONTALVEZ
f o u r p r e v i o u s s e c t i o n s have been intended to out-
l i n e Pereda's view of the s o c i e t y of Madrid
1850
to 1888.
d u r i n g the p e r i o d
Every p a r t of t h i s s o c i e t y t h a t he d e a l s w i t h ,
he c r i t i c i z e s f o r c e r t a i n b a s i c f a u l t s :
P o l i t i c s and the p r e s s ,
the f i n a n c i a l world, high s o c i e t y and i t s a t t i t u d e to f a s h i o n ,
l o v e , e d u c a t i o n and r e l i g i o n , and c e r t a i n aspects of
lit-
e r a t u r e are accused by being i n s u b s t a n t i a l and hollow.
All
of these a t t a c k s are present i n the three e a r l y , s h o r t novels
(Suum cuique, La mu.jer d e l Cesar, and Los hombres de
which c o n t a i n soma redeeming q u a l i t i e s , but which are
more than t h e s i s n o v e l s .
T h e i r importance
pro)
little
i n t h i s study of
Pereda's m e t r o p o l i t a n novels i s to show t h a t h i s ideas r e mained constant from 1864
u n t i l 1888,
i f not l a t e r .
two mature works (Pedro Sanchez and La Montalvez),
The
while
remaining e s s e n t i a l l y t h e s i s n o v e l s , have a much g r e a t e r and
more u n i v e r s a l scope.
T h i s s e c t i o n i s an attempt
o v e r f a l l view of the two books and
to g a i n an
to i n t r o d u c e the themes
which are common to both and t o S o t i l e z a .
T h i s n o v e l must
be taken i n t o c o n s i d e r a t i o n here, f o r i t i s the only
w r i t t e n between the two novels about the c a p i t a l .
of i t s date, and
one
Because
i t s e x c e l l e n c e , i t cannot be ignored i n
t r y i n g to achieve a v i s i o n of Pereda's p h i l o s o p h y .
The
e s s e n t i a l d i f f e r e n c e between the
characterization
i n Pedro Sanchez and La Montalvez i s t h a t i n the former
Pereda
-
is
1 3 8 -
most concerned w i t h c r e a t i n g the p e r s o n a l i t y of Pedro
h i m s e l f ; a l l the other c h a r a c t e r s are i n t r o d u c e d
f o r the
r e a c t i o n they cause i n the hero r a t h e r than as people.
This
does not mean t h a t Pereda does not create l i f e l i k e secondary
personages, hut they are a l l b a s i c a l l y sketches
f u l l y rounded c h a r a c t e r s i n the way
Montalvez these
and
are
t h a t Pedro i s .
not
In La
two-dimensional c h a r a c t e r s a l s o e x i s t ,
hut
there are a number of f u l l y rounded p e r s o n a l i t i e s . There i s
never any
doubt t h a t N i c a i s the heroine, but the reader
feels
t h a t others i n the n o v e l e x i s t d e s p i t e her, whereas some
c h a r a c t e r s i n Pedro Sanchez e x i s t only because of Pedro himself.
This d i f f e r e n c e i s one
technique:
t h a t s p r i n g s from the
the problems of character-drawing
differing
i n an
"atuo-
b i o g r a p h i c a l " n o v e l have haunted most n o v e l i s t s , who
s o l v e d them w i t h v a r y i n g
The
have
success.
theme of Pedro Sanchez i s s i m i l a r to t h a t
expressed
i n Los
hombres de pro, which i s e s s e n t i a l l y t h a t everybody
should
s t a y i n the p o s i t i o n to which he i s most s u i t e d i n
life.
Perhaps the most famous v e r s i o n of t h i s theme i s t h a t
expressed
by Cervantes i n Don
the episode
Qui.jote.
of Sancho's governing
I t can be found i n
the " i s l a n d " of B a r a t a r i a ;
i t w i l l be remembered t h a t Pedro h i m s e l f makes a r e f e r e n c e
t h i s i n c i d e n t when l e a v i n g f o r the province
he was
to govern.*
This theme u n d e r l i e s the whole s t r u c t u r e of the
but
i s not a l l t h a t the n o v e l has
novel,
to say to the r e a d e r .
n o v e l has many comments to make on contemporary l i f e ,
e v e r y t h i n g i s subordinated
to
The
but
to the c h a r a c t e r of Pedro; i f the
- 139 n o v e l has
a l a s t i n g v a l u e , i t i s because of Pereda's c r e a t i o n
of an immensely human hero.
i n t h i s study
Although the p r e v i o u s
have been designed
to show t h a t h i s ideas were
more t o l e r a n t and modern than he
it
i s his f i c t i o n a l a b i l i t y ,
sections
i s u s u a l l y given c r e d i t f o r ,
the c h a r a c t e r s he c r e a t e s , which
make the moral t h e s i s i r r e l e v a n t when d i s c u s s i n g h i s
Pedro i s born i n the Montana i n t o a poor but
f a m i l y - - t h e Sanchezes--who l i v e
well-to-do,
but
lower-class f a m i l y — t h e
constant
source
Garcias.
of Pedro's f a i l u r e
i n h e r i t s h i s p r i d e from h i s f a t h e r , who
h i d a l g o s , which Pereda s a t i r i s e d
The
portrait
c h a r a c t e r study
in l i f e .
of the
He
real
occasions.2
t h a t i s made i n the n o v e l , and
i n the world.
b e i n g a s t o c k - c h a r a c t e r i n Pereda's f i c t i o n ,
He
i t i s one
of a proud, p e t t y nobleman who
of what i s owed to him
never compromised.
trait
pride—it
i s one
on numerous
One
a
of Juan Sanchez i s the f i r s t d e t a i l e d
Pereda's best sketches
over-conscious
proud
i n perpetual r i v a l r y with
of Pedro s t r e s s e d c o n t i n u a l l y by Pereda i s h i s
i s the one
fiction.
i s upheld
once does he d e v i a t e from h i s own
of
is
Despite
h i s humanity i s
by h i s f a m i l y p r i d e and
never
honest b e l i e f s , nor does
he ever downcry anyone e l s e nor attempt to d e t r a c t from what
i s due
another human b e i n g .
Pereda d i s p l a y s superb p s y c h o l o g i c a l i n s i g h t i n h i s
p r e s e n t a t i o n of the Sanchezes, f a t h e r and
sonj Pedro remains
b l i n d to C l a r a ' s w i l e s a t the p e r i o d of t h e i r marriage, but
he i s able to see h i s f a t h e r ' s s h o r t - s i g h t e d n e s s
Valenzuela.
I t i s one
"worldly wise" young man
regarding
of the most p e r c e p t i v e c r e a t i o n s of a
who
i s b l i n d to h i s own
failings.
- 140 -
The c h a r a c t e r of Juan Sanchez i s b u i l t up, piece by p i e c e ,
throughout the n o v e l .
When Pedro's s i s t e r marries a w e l l - t o - d o
j a n d a l o , i t i s not " s i n grandes repugnancias de _su_J padre,
que tasaba e l l u s t r e
His
de su a l c u r n i a en mucho mas." ( I I , 8)
a s p i r a t i o n s f o r Pedro are no h i g h e r than the s e c r e t a r y -
s h i p of t h e i r
village,
and both would have been content were
i t not f o r the a r r i v a l of V a l e n z u e l a .
T h e i r r e c e p t i o n by t h i s
eminent p o l i t i c i a n causes Pedro t o leave the v i l l a g e
under
Valenzuela's auspices.
Although Pedro r e c o g n i z e s h i s f a t h e r ' s p r i d e , he sees him
most c l e a r l y
the
as a warm and very human f a t h e r f o r whom he has
greatest respect.
Juan's love f o r Pedro i s r e v e a l e d
when Pedro i s about to l e a v e ; he g i v e s him "dos ronosas onzas
de oro, que q u i z a eran l a s economias de toda su v i d a , "
( I I , 33)
and as Juan d i s a p p e a r s from Pedro's s i g h t , h i s conscience
p r i c k s him f o r l e a v i n g " e l honrado y amoroso anciano, que
se quedaba s o l o y t r i s t e cuando mas n e c e s i t a b a e l amparo y
c a r i n o de l a f a m i l i a . "
( I I , 33)
Although Juan w i l l only appear once more, the reader i s
c o n s i s t e n t l y aware of h i s presence through h i s l e t t e r s .
His
benevolence and f a i t h i n V a l e n z u e l a are c o n t r a s t e d s h a r p l y w i t h
the
r e a l i t y of l i f e .
father's
judgment
Pedro h i m s e l f comments i r o n i c a l l y on h i s
a t a c l i m a c t i c p o i n t i n the n o v e l , "jOjo
en conocer a l o s hombresI...Santo varon!
ducho
/Modelo de c a b a l l e r o s ,
campechano y noblote e l senor de V a l e n z u e l a ! " ( I I , 83)
The f i n a l appearance of Juan Sanchez i s when Pedro r e t u r n s
to h i s v i l l a g e
as g o v e r n o r - e l e c t , to a tumultuous hero's
- 141 welcome.
The
character
of h i s f a t h e r i s r e a f f i r m e d , as
the a f f e c t i o n between f a t h e r and
Pedro, and
son,
and
debe e s t a r :
bajo mis
of the madrileflos.
He
supports a p u r e l y p a s t o r a l and
but
he
he
i s not
i s not
the
the
dishonesty
t h e s i s i n the
Apart from h i s
only see
the
and
allegorical
him
human c r e a -
through Pedro's eyes.
does not
seem capable
novel.
same remarks hold true f o r a l l the members of
Valenzuela
novel,
i n s u b s t a n t i a l i t y of Madrid
i s r a t h e r two-dimensional and
of coming a l i v e outside
The
anti-Madrid
Juan Sanchez i s a warm and
t i o n , but the reader can
son,
seen as prooT t h a t Pereda
only c o n t r a s t to the
f u n c t i o n i n the n o v e l ,
such he
of h i s
only honest person t h a t Pedro meets,
s o c i e t y t h a t Pereda p r e s e n t s .
As
character
device which shows up the
could be
"—jQuien
162)
zapatos." ( I I ,
i s also a contrapuntal
say
polvo indecente y e s t a donde
Juan Sanchez i s used to s e t o f f the
and
Juan's p r i d e i n
h i s p r i d e i n h i s f a m i l y which makes him
p i e n s a ya en l o s G a r c i a s . . . E r a
are
f a m i l y , w i t h the e x c e p t i o n
the
of C l a r a h e r s e l f .
There
i s an attempt to make her f a t h e r a more human c r e a t i o n than
t h a t of the t r a d i t i o n a l unscrupulous p o l i t i c i a n .
f i r s t meets him
i n h i s v i l l a g e he i s courteous and
to Juan Sanchez, and
" e l buscarle
(II, 31)•
When Pedro
deferent
h i s promise to Pedro i s warm and
un d e s t i n i l l o a Pedro...es para mi cosa
When Pedro t r i e s to see
h i s promise, he
him
i s c o l d , d i s t a n t and
and
get him
antagonistic.
friendly:
facilisima"
to
fulfill
It is
l a t e r i n the n o v e l t h a t C l a r a t r i e s to j u s t i f y the conduct of
her f a t h e r : "mi
padre es e l mejor de
l o s hombres entre
su
- 142 f a m i l i a , en l o s p a s i l l o s d e l t e a t r o , un su pueblo de u s t e d . . . ,
en todas p a r t e s menos en e l s i l l d n de su despacho y dondequiera
e j e r z a de p o l i t i c o entre l o s suyos" ( I I , 125-6) and she
que
goes on t o g i v e Pedro some i d e a about the s c h i z o p h r e n i a which
is
inherent i n a p o l i t i c i a n ' s l i f e .
The c r e a t i o n of V a l e n z u e l a
is
one of the l e a s t s u c c e s s f u l i n the n o v e l .
The reader i s
never shown c o n v i n c i n g l y t h i s dichotomy i n the p o l i t i c i a n .
It
i s a f a i l i n g t h a t Pereda makes him appear stereotyped and
rather l i f e l e s s :
Valenzuela
vent
He i s a c r e a t i o n t h a t l a c k s the humanity
h i s spleen.
i s a straw man a t whom he can
of Juan Sanchez and i s never c o n v i n c i n g even as a two-dimensional
c h a r a c t e r who s e t s up a r e a c t i o n i n Pedro.
There i s a g r e a t d e a l of symmetry i n the n o v e l and Pereda
c r e a t e s three f a t h e r s , each of whom r e p r e s e n t s
attitude to l i f e .
a different
I t would t h e r e f o r e be as w e l l t o c o n s i d e r
the c h a r a c t e r of t h i s t h i r d consuegro, before going i n t o the
c h a r a c t e r of C l a r a i n depth.
T h i s t h i r d f a t h e r i s Don S e r a f i n , and he i s another
powerful
character-creation.
Like Juan Sanchez he i s e p i t o -
mised by h i s s i n c e r i t y and honesty, but a l s o by h i s humanity
and
the love he has f o r h i s daughter.
Pedro's f i r s t
of Don S e r a f i n i s t h a t he i s " i n q u i e t o y muy
and
a little
impresionable"
" p i n t o r e s c o , " but h i s p e r s o n a l i t y comes across and
Pedro c a l l s him " l l a m a t i v o y s i m p a t i c o . "
r a t h e r strange
( I I , 35)
He i s a
c r e a t i o n , who could have walked s t r a i g h t out
of a G a l d 6 s n o v e l .
type
impression
Pereda had the a b i l i t y t o create the same
of f i g u r e as Galdos.loved
to present,
and t h e i r presence
- 143
-
w i l l mark some of the g r e a t achievements of the Madrid
The
novels.
s i m i l a r i t y of c h a r a c t e r s i s limited, to secondary f i g u r e s ,
s i n c e both n o v e l i s t s c r e a t e d p r o t a g o n i s t s who
complex to be
The
"typical."
dominant t r a i t
time t h a t Pedro met
cesante.
were much too
He has
him,
i n Don
was
S e r a f i n ' s c h a r a c t e r , at the
h i s monomania about b e i n g
a s e r i o u s grievance
and
i t i s a very
c r i t i c i s m of the p o l i t i c a l system of the time.
V i l l a a m i l he takes
i t to h e a r t , but the way
l o s s of jobs i s very well-drawn.
a
definite
Like Galdos'
he d e s c r i b e s h i s
Everyone has
a
grievance
which he exaggerates to impress o t h e r s , but with the knowledge
t h a t i t i s an exaggeration
which adds humor to the
tales
Es cosa sabida...y hasta p r o v e r b i a l entre l a s gentes de
o f i c i o : _ hay que hacer un hueco para c o l o c a r a un
intruso r e c i e n llegado?
Pues S e r a f i n Balduque, cesante.
^Ambiciona a l g u i e n e l puesto mio en una c a p i t a l d e t e r minada? A l d i a s i g u i e n t e ya e s t a S e r a f i n Balduque
trasladado a los quintos i n f i e r n o s .
_Se habia de c r i s i s ?
Balduque, a l agua. _Se arma un t i b e r i o p o l i t i c o en
c u a l q u i e r parte d e l mundo? Don S e r a f i n , s i n empleo. ( I I ,
This i s f a r b e t t e r c h a r a c t e r i z a t i o n than t h a t of
Pedro had mentioned t h a t Don
and
S e r a f i n was
witty
Valenzuela;
(chistoso)
he then goes on to demonstrate i t .
While Pedro was
ableV
new
i n Madrid, Don
i n showing Pedro around the c i t y
o s i t o de que
This i s one
S e r a f i n was
"incans-
"en su tenaz prop-
l o c o n o c i e r a yo como l a palma de l a mano." ( I I , 60
of those
s m a l l touches which every great n o v e l i s t
adds to the c h a r a c t e r i z a t i o n of t h e i r c r e a t i o n s to round them
out.
- 144
Don
S e r a f i n i s c o n t r a s t e d to V a l e n z u e l a d i r e c t l y , and
i n d i r e c t l y through
Thus any
-
the opposing
natures
d i s t i n c t i o n t h a t i s expressed
Clara i s reflected i n their fathers.
the two
men
i s developed
of t h e i r
daughters.
between Carmen and
The
conrvtrast between
i n t o antagonism, f o r Don
S e r a f i n enters
Pedro's room a f t e r one
of the governmental c r i s e s
"jMueran l o s p i l l o s ! "
His a t t a c k on the polacos
and
he say "Excuso d e c i r que
Valenzuela."
( I I , 90-91)
e l primogenito
The
two
men
shouting
is extended
e s t a su amigote
represent
opposing
p o l i t i c a l f a c t i o n s ; n a t u r a l l y there i s much made of the
of the p o l i t i c i a n and
the f r i e n d l i n e s s of the
scorn
liberal.
Another aspect worth c o n s i d e r i n g here i s t h a t both
are c o n t r a s t e d w i t h Pedro's f a t h e r , and
the three men
men
stand
f o r d i f f e r i n g p o l i t i c a l outlooks which can be summarised
the honest traditionalist;".'?, Juan Sanchez, the honest,
l i b e r a l , Don
The
S e r a f i n , and
the c o r r u p t o p p o r t u n i s t ,
powerlessness of the f i r s t
two
also
and
as
idealised
Valenzuela.
t h e i r l a c k of p r a c t i c a l
judgment i s c o n t r a s t e d very s h a r p l y w i t h the power assumed by
V a l e n z u e l a , who
does not regard the f e e l i n g s of others
long as he can a t t a i n h i s own
desires.
I t i s because of
Pereda's a t t r a c t i o n to the more human f i g u r e s , l i k e
Sanchez and Don
S e r a f i n , t h a t he
and
repulsed
he c r e a t e d a c a r i c a t u r e .
Don
events
Juan
i s able to t u r n them i n t o
l i v i n g c h a p t e r s , whereas the c y n i c i s m of V a l e n z u e l a
him
as
S e r a f i n always appears i n order to t e l l Pedro of the
t h a t have taken p l a c e on the p o l i t i c a l scene.
the r e v o l u t i o n f i n a l l y s t a r t s i t i s he who
says
When
"jSe armo l a
-
gorda!"
145 -
( I I , 1 1 7 ) and although he i s made i n t o a warm f a m i l y
man, he seems to r e p r e s e n t the Spanish people, f o r h i s f o r t u n e s
appear t o be t i e d up w i t h those of the common p e o p l e .
all,
and
i n a government c r i s i s
After
i t i s the common people who s u f f e r ,
i n the same way Don S e r a f i n has c o n t i n u a l l y been put out
of a j o b .
He, and the Spanish people, achieve t h e i r moment
of g l o r y i n the s t r e e t s , but any hope of an improvement of
their position i s cruelly shattered.
The death of Don S e r a f i n i s one of the most dramatic and
t r a g i c moments i n Pereda's
fiction.
I t i s t r a g i c f o r Don
S a r a f i n does no one any harm and does as much good as he can;
he i s h e l p f u l , f r i e n d l y and l o v e s h i s daughter and b r i n g s her
up w e l l .
H i s death, n e v e r t h e l e s s , seems necessary
and he d i e s on the s t r e e t s ,
artistically,
j u s t as l i b e r t y d i e d t h e r e . I t
i s Don S e r a f i n who says e x u l t a n t l y "no hay mas Gobiernos en
Madrid que l a gente que g r i t a por l a c a l l e . "
( I I , 119) His
f i n a l a c t i s one of d e s p e r a t i o n as he t r i e s t o take on the
government t h a t i s t o t t e r i n g "jA ganar con mis punos l o que
se debe en j u s t i c i a ! . . . 1 A e n v i a r a l Gobierno con una b a l a e l
memorial de mis a g r a v i o s l "
the s t r e e t s because
( I I , 1 3 5 ) Don S e r a f i n goes i n t o
of a p e r s o n a l grudge,
h i s s p l e e n on the a u t h o r i t i e s ,
but a l s o to vent
j u s t as the people had done
when they had sacked the houses of v a r i o u s n o t a b l e s .
He throws h i m s e l f on t o one of the parapets w i t h a g u n —
" j q u e n i s i q u i e r a estaba c a r g a d o i " ( I I , 1 3 5 ) T h i s i s symbolic
of h i s l a c k of f o r e s i g h t ; he i s so sure of h i s i d e a l s t h a t he
i s gunned down q u i t e n e e d l e s s l y .
Perhaps
the f i n e s t
touch
- 146 t h a t Pereda g i v e s t o t h i s p o r t r a i t
of a man, beset by the
h o s t i l i t y of f a t e , i s t o make him r e f l e c t before he d i e s t h a t
he has f o r s a k e n the t h i n g most dear t o him; — h i s
daughter--
" / S o l a en este mundo s i n j u s t i c i a r . .. .Y s o l a , porque yo no
pense bastante
en e l l o . . . a l a r r i e s g a r hoy mi v i d a entre l a s
b a l a s o . . , con e l deseo de ganar a t i r o s lo;.que se me debe en
buena l e y . " ( I I , 135)
Don
and
S e r a f i n i s one of the f i n e s t c r e a t i o n s of the n o v e l ,
he i s intended as a f o i l to the many s e l f i s h and s e l f -
c e n t r e d people
who are found
t h e r e ; he c o n t r a s t s
z u e l a , but a l s o w i t h the egotism
with'Valen-
of Pedro h i m s e l f .
He i s a l s o
e s t a b l i s h e d as a comparison t o Juan Sanchez, and thus
r e p r e s e n t s the i d e a l of two p o l i t i c a l extremes.
Pereda
Don S e r a f i n
a l s o assumes the r o l e of the common people who were f i g h t i n g
for
j u s t i c e i n the s t r e e t s but who only found
There are three other important
a l o n g w i t h a host of minor ones.
death.
c h a r a c t e r s i n the n o v e l ,
I t would be u s e f u l t o p o i n t
to a few of these minor c h a r a c t e r s here, s i n c e they have some
b e a r i n g on those who have j u s t been d i s c u s s e d .
Valenzuela's
w e l l as C l a r a .
f a m i l y c o n s i s t s of h i s w i f e and a son, as
These two are not n e a r l y as complex as the
l a t t e r , nor i s t h e i r s t a t u r e as g r e a t as V a l e n z u e l a ' s .
Both
are seen as fops whose only thoughts are of t h e i r own p r o f i t
and
of o s t e n t a t i o n o
Manolo i s a very shadowy f i g u r e , even
more of a c a r i c a t u r e than the Vizconde
d e l Cesar.
d e l C i e r z o of La mujer
He i s more i n t e r e s t e d i n c l o t h e s than i n anything
e l s e , and i s a craven coward.
He i s one of Pereda's
least
- U n s u c c e s s f u l c r e a t i o n s , and the only time any l i f e
i n t o him
i s i n the l a s t
i s injected
chapter:
a una b o l e r a de c u a r t a f i l a , d e l t e a t r o de l a
Cruz, y se caso con e l l a . . . N o durd s e i s meses e l pobre
c h i c o . Verdad que l o que h i c i e r o n l a s e s c r d f u l a s , a
f a l t a de e l l o s l o h u b i e r a hecho su a p r e c i a b l e suegro,
que t e n i a e l peor de l o s a g u a r d i e n t e s . ( I I , 188)
ROPO
One
c o u l d say t h a t he e n l i v e n s him only i n time to k i l l
him,
but Pereda w i t h t h i s l a s t d e f t touch makes the reader see t h a t
perhaps Manolo's l i f e was
r e a l l y a tragedy a f t e r a l l , and
t h a t the f a u l t l a y i n h i s u p b r i n g i n g .
P i l i t a J i j o s de V a l e n z u e l a has the p r i d e and
of
her son but l a c k s h i s tastej she has a l l the malice of her
husband, though l a c k i n g h i s i n t e l l i g e n c e .
not developed
to
foppishness
Her c h a r a c t e r i s
by Pereda u n t i l the p e r i o d of Pedro's
Carmen, when i t appears
r o l e i n the marriage.
marriage
t h a t she takes on the dominant
I t i s d u r i n g Pedro's i l l - f a t e d
govern-
o r s h i p t h a t P i l i t a shows her r e a l c o l o r s and argues f r e q u e n t l y
w i t h Pedro.
She
i s s l i g h t l y more v i t a l
than Manolo, but only'
j u s t , f o r she i s a negative c r e a t i o n and there are no human
touches
to round
o f f her f i g u r e .
P i l i t a i s an inhuman
c a r i c a t u r e i n whom a l l i s f e i g n e d but her
In
Don
selfishness.
S e r a f i n ' s f a m i l y , on the other hand, there i s
only the servant Quica.
She
p l a y s a very minor r o l e ,
but
somehow gains the reader's sympathy, perhaps because she
has
no p r e t e n s i o n s , "Ya cincuentona, pequenita y f e a . . . i n m o v i l ,
casi rigida"
( I I , 35)
"Es r a r o . . . l o que
l a hace l l o r a r . "
perhaps because she i s a f i g u r e of fun,
l e pasa a e-sta mujer en e l t e a t r o . t o d o
(II, 55)
the counterbalance
Quica i n her d e v o t i o n to Carmen i s
to P i l i t a
(and Manolo) and she i s one
of
- 147 the most sympathetic
c r e a t u r e s t h a t Pereda
created.
It is
Quica who begs Pedro " E s c r i b a l e usted de cuando en cuando...,
que
se queda muy s o l a . "
( I I , I65), i t i s always Quica who
seems t o have a kind word f o r Pedro, and who s t i c k s by Carmen
without
complaint.
An e x q u i s i t e touch t o Pedro's own char-
a c t e r , and h i s h i g h e s t t r i b u t e t o t h i s u g l y but benev o l e n t l i t t l e woman, i s t h a t when he d e s c r i b e s h i s g r e a t
t e s t he says "Todos L*mis planes}
se d e s t r u y e r o n como c a s t i l l o
de naipes a l primer soplo d e l v i e n t o .
Carmen, nuestro
Quica; l o s t r e s d e s a p a r e c i e r o n d e l mundo..." ( I I , 189)
may p l a c e Quica l a s t , but she i s one of the' most
p a r t s of h i s l i f e .
hijo,
He
important
He f e e l s her l o s s almost as deeply as
t h a t of h i s wife and son.
There are one or two other minor c h a r a c t e r s who are w e l l drawn, but these are very s l i g h t , however much they come a l i v e .
Redondo, the e d i t o r - i n - c h i e f of the C l a r i n has a l r e a d y been
d e s c r i b e d , and he stands out from the background, preaching
progress but f o r g e t t i n g t o practise., i t .
The s e c r e t a r y
assigned t o Pedro d u r i n g h i s term as governor
w e l l - e x e c u t e d cameo.
third
i s another
Bujes, the p o l i t i c a l informant, i s the
of these, and h i s c h a r a c t e r serves w e l l t o b r i n g about
Pedro's success i n the r e v o l u t i o n .
Other minor f i g u r e s are i n t r o d u c e d f o r comic r e l i e f s The
f a m i l y of Don Magin de l o s Trucos has a l r e a d y been mentioned
as has Agamendn.
Perhaps the most amusing of a l l these are
Pedro's seven f e l l o w boarders; they cause Pereda
to make a
s e r i o u s comment on u n i v e r s i t y e d u c a t i o n , but they do r e v e a l
-
148
-
t h a t "bohemians" or " h i p p i e s " were very much i n vogue i n
the u n i v e r s i t i e s d u r i n g t h i s p e r i o d .
S h o r t l y a f t e r h i s i n t r o d u c t i o n of these seven strange
young men,
he i s i n t r o d u c e d to one who
" v a l i a mucho
mas."
( I I , 4-5)
This i s a poet c a l l e d Mata, or M a t i c a ; he i s never
g i v e n any
other name, but he i s one
p o r t r a i t s i n the n o v e l .
to o b s c e n i t y — P e d r o
indecentes"
( I I , 44)
Matica has
d e c l a r e s "No
and
"Me
of the most consummate
h i s f a u l t s , he i s prone
he oido jama's cosas
mas
daba miedo...las l i v i a n d a d e s de
su obscena musa" ( I I , 62)--he i s l a z y , "un vagabundo i n c u r a b l e
que
derrochaba su i n g e n i o a borbotones en l a s mesas de l o s
cafes y entre e s t u d i a n t e s desenfadados." ( I I , 4 4 )
Yet he
has
many v i r t u e s ; Pedro d e s c r i b e s h i s moral q u a l i t i e s at.some
l e n g t h ( I I , 62)
but Matica i s best seen i n the n o v e l f o r h i s
good, c l e a r - c u t judgment and by h i s l o y a l t y and f r i e n d s h i p
to Pedro.
When Don
S e r a f i n d i e s , i t i s i n the company of Pedro
and M a t i c a , and
one
f r i e n d s of Pedro and
had not been.
f e e l s t h a t these two
men
are h i s mentors i n a way
Both Don
are the
real
that his father
S e r a f i n and M a t i c a are doomed to
f a i l u r e , but i t i s i n t h e i r v a l i a n t m e d i o c r i t y t h a t Pereda's
genius
i s best r e v e a l e d .
Any
n o v e l i s t can create a bad
c h a r a c t e r e a s i l y ; to c r e a t e two
who
good c h a r a c t e r s l i k e
are never s e n t i m e n t a l i s e d , i s extremely
Matica, who
these
difficult.
must s u r e l y have an h i s t o r i c a l o r i g i n a l , i s
Pedro's mentor i n l i t e r a t u r e - - " L e i muchas comedias...siempre
por mediacion de M a t i c a "
( I I , 63);
in politics--Matica
- 149 e n l i g h t e n s Pedro as to Valenzuela's r e a l c h a r a c t e r ; i n
s o c i e t y — M a t i c a takes him t o h i s f i r s t
s o c i a l event; and i n
the p r e s s — M a t i c a gets him h i s job a t the C l a r i n , which w i l l
mean so much f o r Pedro's s u c c e s s .
M a t i c a i s a l s o Pedro's
c o n s c i e n c e ; i t i s he who "se quedo hecho una e s t a t u a a l
saber con q u i e n me casaba."
( I I , 15?)
There i s a d i f f e r e n c e between the c h a r a c t e r i z a t i o n s of
M a t i c a and S e r a f i n .
who i s developed
change.
heroism
The l a t t e r i s a good example of a f i g u r e
throughout
the n o v e l and who undergoes a
T h i s i s p e r f e c t l y c o n v i n c i n g , but h i s i d e a l i s e d
i s not obvious from the s t a r t .
hand, i s f u l l y developed
Matica, on the other
from the b e g i n n i n g and undergoes no-
t h i n g more than a m p l i f i c a t i o n as Pedro gets t o know him.
Once h i s c h a r a c t e r i s e s t a b l i s h e d n o t h i n g he does can s u r p r i s e
the r e a d e r , or r a t h e r he does n o t h i n g f o r which the reader i s
not prepared.
T h i s comparison does not d e t r a c t from the
accuracy of the p r e s e n t a t i o n of Don S e r a f i n , f o r he i s
e s s e n t i a l l y impetuous and u n p r e d i c t a b l e , and h i s heroism
does
not s u r p r i s e the r e a d e r , but catches him unawares.
There i s something very moving about the f i g u r e of M a t i c a ,
s i n c e the account
of h i s death, f o l l o w i n g t h a t of Carmen and
of Juan Sanchez, s t i l l
has an impact.
Perhaps i t i s because
Carmen's death f o l l o w s a t r a d i t i o n of the f l e e t i n g n e s s of
b l i s s , and Pedro's f a t h e r i s o l d and f o r g o t t e n (Ke was an
anciano
i n the e a r l y pages) but Matica's death i s so unlooked
for—he
does not end h i s days i n g l o r y l i k e Don S e r a f i n , but
s l i p s q u a e t l y away.
I t may be t h a t the reader has f o r g o t t e n
- 150
-
M a t i c a amid Pedro's sorrow, and
wheel of f o r t u n e — P e d r o ' s
own
d e s t r o y i n g e v e r y t h i n g he holds
i t i s the knowledge t h a t the
image ( I I , 1 8 9 ) — i s i r r e v o c a b l y
dear:
Le a f l i g i a bastante un p e r t i n a z catar£o desde e l inv-ierno a n t e r i o r : pero esperaba c u r a r l o con l a s brisas. de
mayo. E s t o me d e c i a en f e b r e r o . Pues en a b r i l , con l a
inesperada n o t i c i a de su muerte, h u n d i 6 Redondo, que
me l a t r a n s m i t i a , e l u l t i m o c l a v o doloroso en mi corazdn.
( I I . 189)
Of the three c h a r a c t e r s l e f t to d i s c u s s — P e d r o
and
two wives--one i s a m a n i f e s t a t i o n of Pereda's b i g g e s t
his
failing.
In the whole range of h i s f i c t i o n he shows a p r e d i l e c t i o n f o r
the v i r t u o u s , stay-at-home h e r o i n e , and he never manages to
c r e a t e a s u c c e s s f u l one.
p e r f e c t ; i f one
The
reason
i s t h a t Carmen i s too
c o n s i d e r s h i s f i c t i o n as a whole, one
t h a t the only heroines
can
see
of s t a t u r e are e i t h e r wicked--such as
l a Montalvez—mischievous—Nieves
of A l primer
vuelo--
r e b e l l i o u s - - I r e n e of Nubes de e s t i o — o r e n i g m a t i c - - S o t i l e z a .
His good h e r o i n e s , such as Luz Montalvez, L i t u c a (Penas a r r i b a )
or Ines (La puchera) do not stand out as l i v i n g people
but
as c a r i c a t u r e s of v i r t u e .
Carmen i s Pereda's v e r s i o n of Soledad
but she
cannot compare.
self-sufficient;
S o l a i s u g l y and
G i l de l a Cuadra,
i s determined
Carmen i s b e a u t i f u l and without
e x i s t s as a symbol, not as a human b e i n g .
and
fault.
She
I f there i s a major
flaw i n the c o n s t r u c t i o n of the n o v e l i t i s t h a t Pereda
c r e a t e d a too^-perfect c o n t r a s t to C l a r a .
Pedro's f i r s t w i f e — C l a r a — i s the o p p o s i t e ; she
P e r e d i a n heroine who
stands
i s the
out along w i t h N i c a Montalvez
and
- 151 S o t i l e z a as being
flawed, and, t h e r e f o r e , human.
Clara i s
worth a d e t a i l e d a n a l y s i s s i n c e she dominates a l a r g e p o r t i o n
of the n o v e l ; her c h a r a c t e r
i s seen t o change and d e v e l o p —
or r a t h e r Pedro's view of i t d o e s — a s time goes on.
The
ing
first
time Pedro sees her,
and not very
continente;
h i s impression
is fleet-
imposing--"Parecidme e s b e l t a y de no v u l g a r
d e s c o l o r i d a en extremo, dura de f a z y mas que
medianamente descarnada." ( I I , 2 3 ) H i s i d e a of her changes,
as f a r as her p h y s i c a l beauty goes:
los
a i r e s han hecho m i l a g r o s ,
"Porque s i alguna vez
fue a q u e l l a en l a enfermiza,
p a l i d a y angulosa C l a r a " ( I I , 32) and t h i s becomes g r e a t e r
as time goes on, and he f a l l s
under her s p e l l :
E s t a b a teifiblemente hermosa. ( I I , 1 2 3 )
Una
hermosa m u j e r . . . . ( I I ,
146)
E r a hermosa, teno.blemente hermosa. ( I I , 1 5 1 )
La afamada, e x c e p c i o n a l
b e l l e z a de l a h e r o i n a . . . . ( I I , 1 5 7 )
La ostentosa
hermosura... «.(II, 169)
y soberbia
These q u o t a t i o n s
r e v e a l Pedro's regard
f o r C l a r a as a
woman, but the a d j e c t i v e s he chooses are not without a c e r t a i n s i g n i f i c a n c e - - t w i c e he says her beauty was t e r r i b l e ,
and
he a l s o c r e d i t s i t w i t h p r i d e and o s t e n t a t i o n .
returns
his
t o h i s v i l l a g e before
When Pedro
t a k i n g up the g o v e r n o r s h i p of
i s l a n d he compares her as he f i r s t met her,
" l a yerta,
s o l i t a r i a , seca y b r a v i a f i g u r a de l a enfermiza h i j a de
Valenzuela"
(II,
w i t h " l a imagen p r o v o c a t i v a
y sensual
de mi mujer."
I63) T h i s i s probably the c l e a r e s t e x p o s i t i o n of Pedro's
g r e a t mistake i n l i f e ; he i s seduced by the p h y s i c a l a t t r a c t i o n
of C l a r a , and n e g l e c t s
her moral f a i l i n g s .
- 152 What makes C l a r a so imposing a f i g u r e i s t h a t she comb i n e s a hard, c o l d , c a l c u l a t i n g , mind w i t h a s e n s u a l e x t e r i o r .
Pedro f i r s t
el
notes t h a t
"Faltaba
a sus ojos l a d u l z u r a ,
que es
mayor encanto de l a b e l l e z a , " ( I I , 2 5 ) but he a l s o comm-
ents t h a t her face
i s "de l o s que se imponen, no de l o s que
a t r a e n y enamoran." ( I I , 2 5 ) Yet she l a t e r a t t r a c t s him and
makes him f a l l
i n love.
Their r e l a t i o n s h i p i s a l i t t l e
p e c i a l l y when he d i s c o v e r s
a t r a i t which r e p u l s e s
strained at f i r s t , es-
her d e s i r e
him a l i t t l e :
f o r the naked t r u t h ,
"para e l e v a c i d n d e l
alma, singularmente l a de l a mujer, hay mentiras
(II,
28)
necesarias,"
Pedro i s p u t t i n g forward a view of the p o s i t i o n of
women t h a t has changed much s i n c e , but the e s s e n t i a l
still
idea
holds true t h a t no r e l a t i o n s h i p can ever l a s t i f based
upon the naked t r u t h , f o r the t r u t h always hurts and d e s t r o y s
any
"better
f e e l i n g s " t h a t may e x i s t .
Pedro's encounters w i t h her i n Madrid only serve t o f u r t h e r
confuse him f o r they f l u c t u a t e between " l a misma sequedad" (11,46)
and
" l a mas a f e c t u o s a de l a a c o g i d a s . " ( I I , 79)
r e p u l s i o n and a t t r a c t i o n only serve t o c a p t i v a t e
This
alternate
him more.
During the r e v o l u t i o n , Pedro decides t h a t he ought t o
save the V a l e n z u e l a f a m i l y ;
a c t i o n and g i v e s
is
i t i s C l a r a who understands h i s
orders t o her mother and b r o t h e r .
His action
i n e x p l i c a b l e t o her, and she demands the reason f o r i t :
D e c i r que habian obedecido a un impulso maquinal y
f i l a n t r o p i c o e r a poco, y no e r a l a verdad; d e c i r que, a
pesar de que V a l e n z u e l a no l a merecia, me habia a r r i e s g a d o
a s a l v a r l e , e r a demasiado; que l o hice acordandome solamente
de C l a r a , aunque no f u e r a verdad, no podia d e c i r l o . ( I I , 1 2 5 )
-
Even by t h i s stage,
153
-
Pedro i s caught i n C l a r a ' s t r a p , and his
love grows very q u i c k l y while
she i s i n confinement.
They
are about to r e v e a l t h e i r f e e l i n g s f o r each other when P i l i t a
i n t e r r u p t s ; they repew the s u b j e c t and are once more i n t e r rupted—this
time by Manolo.
F i n a l l y Pedro b e l i e v e s he has
the answer when he k i s s e s her; .;",' A q u e l l a hermosa e s t a t u a ,
lo
que yo c r e i en un tiempo f r i o y duro marmol,
(II,
abrasabal"
15D
A f t e r the marriage, however, Pedro begins to r e a l i z e
what Cl&ra's c h a r a c t e r
are subordinated
i s really like.
t o her own d e s i r e f o r o s t e n t a t i o n ; her l©ve
based on s e l f i s h n e s s and arrogance.
she
A l l fefelings f o r him
The way she t r e a t s those
does not l i k e i s i n s o l e n t , and i t i s not long before her
c y n i c a l opportunism i s brought home t o Pedro.
She
has never loved him a t a l l ,
He r e a l i z e s
that
" C l a r a , que nunca me amd,"
(II,
181) andhhe t a l k s of " l a f a l s a l e y de £su] corazdn."
(II,
175)
A f t e r h i s r e t u r n t o Madrid and poverty,
he i s f o r c e d t o
d r a i n h i s cup of sorrow t o the dregs when he d i s c o v e r s her
adultery with Barrientos.
his
This i s only the f i n a l touch i n
p o r t r a i t of the most e v i l woman i n the whole of Peredian
fiction.
Clara i s exemplified
dealings with
by her l u c i d i t y , both i n her
others, and i n her knowledge of h e r s e l f .
C l a r a i s an e x q u i s i t e l y conceived
as d e t e s t a b l e
character.
She i s j u s t
as her mother, but Pereda manages t o match her
c a l l o u s n e s s w i t h her voluptuousness.
It i s this
ability
to charm which makes her b e l i e v a b l e , and she remains
life-
l i n e t o the end of her l i f e , when the i n t e g r i t y of Pereda's
- 154- p o r t r a i t , allows her to d i e u n s e n t i m e n t a l l y
"Murio impen-
i t e n t e , f r i a y a l t a n e r a , como una pagana." ( I I ,
188)
Complex as the c h a r a c t e r of C l a r a i s , Pedro i s f a r
more d i f f i c u l t
to approach.
P h y s i c a l l y he i s a true heros
"mozo ya de buen n u t r i d o b i g o t e , muy
f o r n i d o de miembros y,
segun p u b l i c o d e c i r . . . l a mejor estampa de g a l a n que
eaba en muchas leguas
i t may
a l a redonda" (II',' 18)
have been caused by "vanidosa
se
although
pashe
ceguedad" on h i s p a r t - - a
c h a r a c t e r i s t i c t h a t i s to have e f f e c t s on h i s f u t u r e .
he leaves the Montana he says he has
(II,
34-)
He meets and
embraces Don
"una
s a l u d de
e l mas
g a l l a r d o mozo que
The
and
When
bronce."
S e r a f i n , once i n Madrid,
" c a s i por e l cogote, por no poder h a c e r l o mas
encorvarme mucho" ( I I , 4-9)
admits
abajo s i n
l a t e r Matica t e l l s
him
"Eres
ha pisado madrilenos s a l o n e s . "
development of h i s c h a r a c t e r takes
(II,
the whole of
the n o v e l , f o r t h a t i s what the n o v e l i s about.
Pereda i s
to
is blind
give the reader
the f i g u r e of a young man
c e r t a i n f a c e t s of h i s own
of those who
surround
nature,
him.
He
r e f l e c t i o n of the people who
and
i s soon capable
who
to the true
to
natures
i s a l s o c h a r a c t e r i z e d by a .
surround
him.
judge of c h a r a c t e r u n t i l p a s s i o n begins
He
75)
He
i s an e x c e l l e n t
to warp h i s v i s i o n .
of a s s e s s i n g the true worth of
Valenzuela,
but he never manages to see the r e a l i t y of C l a r a ' s p e r s o n a l i t y
u n t i l he has
One
learned the hard
way.
could summarise Pedro's c h a r a c t e r and
contained
the n o v e l .
show t h a t i t
a l l elements t h a t can be found i n the others i n
In the f i r s t sequence Pedro has
the honesty
and
-
gullibility
155
-
of h i s f a t h e r , but he i s soon t i n g e d w i t h the
p o l i t i c a l ambition of V a l e n z u e l a .
L a t e r he i s s u f f u s e d w i t h
the l o y a l t y and f r i e n d s h i p , the i d e a l i s m and
Don
judgment of
S e r a f i n and M a t i c a : h i s conduct w i t h Carmen i s as h e a r t -
l e s s as C l a r a ' s treatment
latter s
1
of him,
coldness r e p u l s e s him,
but i t i s only when the
and he i s a t t r a c t e d by
former's warmth, t h a t he f i n d s a moment of f l e e t i n g
the
happiness.
The n o v e l could be compared most c l o s e l y to Dickens'
Great E x p e c t a t i o n s ( i n i t s o r i g i n a l form) f o r the s t o r y
the theme are very s i m i l a r indeed. Pedro i s a man
good q u a l i t i e s , but he i s brought
and
of e s s e n t i a l l y
low by h i s p r i d e , by h i s
ambition, i n s h o r t by the very 6"eguedad vanidosa t h a t he
h i m s e l f t a l k s of, and which cause him to have as g r e a t
expecta-
tions i n l i f e
just
as P h i l i p P i r r i p ever d i d , and which are
as r u d e l y s h a t t e r e d .
The a f f e c t i o n
(which has been mentioned) which Juan
Sanchez has f o r Pedro i s r e c i p r o c a t e d by the l a t t e r
strongly.
on two
One
j u s t as
m a n i f e s t a t i o n of t h i s i s t h a t Juan takes Pedro
journeys which provide the reader w i t h premonitions
what i s t o come.
On Pedro's f i r s t
journey t o Santander,
undergoes an e c s t a t i c r e l i g i o u s e x p e r i e n c e .
of
he
T h i s i s an
i n d i c a t i o n of Pedro's s e n s i b i l i t y and f a c u l t y of b e i n g
easily
overawed through h i s s e n s e s — h e
and
impressionable.
i s more to l i f e
statement
His second
i s extremely
sensitive
journey makes him aware t h a t 1here
than he has imagined.
and s t r e s s t h a t as;yet he was
He does q u a l i f y h i s
not b i t t e n by " e l
roedor gusano de l a s desmedidas ambiciones,"
( I I , 20)
but
the
- 156 reader
i s prepared
f o r the
arrival
of V a l e n z u e l a
shortly-
after .
Pedro
raphy
the
is a
is closely
provinces
so Pedro
This
"montanes de
linked
aspect
chronicle
t o the
change b e c a u s e
i s c h a n g e d by
pura
the
raza"
( I I , 36)
fate
of the
Montana.
of the
advent
of the
coming of V a l e n z u e l a
o f change i s f u n d a m e n t a l i n t h e
of changing
times,
and
and
his biogJust
as
railroads,
on
the
railroad
n o v e l , which i s a
i s emphasized
by
the
opening
words s
E n t o n c e s no
W i t h the
arrival
under the
and
of
pueblo
of V a l e n z u e l a
i n f l u e n c e of three
social
said
e r a mi
ambition,
t h a t the
Pedro's
faults;
the
positive
the
externalisation
Generosity,
value
just
as
and
are
the
loyalty,
l o que
es
hoy.
C l a r a , Pedro w i l l
passion.
qualities—political
I t could almost
be
external manifestations
Matica
and
good q u a l i t i e s
friendship,
Don
Serafin
of
are
w i t h i n Pedro.
i d e a l i s m and
rigorous
critical
judgment f o r m p a r t o f P e d r o when i t i s r e f l e c t e d
by
other
these
are
evidenced
c h a r a c t e r s and,
by
Carmen and
When i n M a d r i d ,
simplicity
and
on,
he
less
and
as
naive
Valenzuela;
h i s naive
of course,
i s at f i r s t
belief
she
she
r e p r i m a n d s Sim
marked
i n Valenzuela.
and
out by
As
more d i s i l l u s i o n e d ,
much more c y n i c a l .
Carmen a f t e r
affection
love
his father.
becomes more and
and
Pedro rescues
Pedro
(II,
fall
his father i s a manifestation
o f p r i d e ; and
of the
de
of h i s worst
p r i d e and
ValenzuelaC'S
l a mitad
has
This i s brought
b e e n r u n down by
f o r being
his
time
he
goes
becomes
out when
Manolo
a t r e v i d o , and
he
- 157 is
a l s o condescending
contrasts
i n t h e way he a d d r e s s e s h e r , and she
him t o how he was;
—Yo
l e p r e f i e r o a u s t e d t a l y como l e c o n o c i
de l a Montana...y a l g u n o s d i a s d e s p u e s .
viniendo
— ^ T a m b i e n p o r a q u i peco, h i j a mia?
Pues e s t o no es
h a b l a r de l o s p i e s n i de l o s manos de u s t e d .
- - P e r o a l f i n , s o n c h i c o l e o s de m a i g u s t o , t a n i m p r o p i o s
de u s t e d como d e " l a o c a s i d n . ( I I , 85)
The
basis
Madrid
o f Carmen's c r i t i c i s m
has w r o u g h t
a direct
attack
have on men l i k e
without
attack
i s the f a c i l e
i n his character.
on t h e c i t y ,
i s not n e c e s s a r i l y
i t s external
i t s essence.
on t h e h o l l o w n e s s
that
b u t on t h e bad i n f l u e n c e
P e d r o , who a d o p t
comprehending
This
change
This
appearance
i s once a g a i n
of c e r t a i n points
of
i t may
an
metropolitan
society.
The
t e n s i o n between the v a r i o u s
maintained
and t h e s e
times an a m b i v a l e n t
different
are held
character
sets
together
b y P e d r o , who i s a t a l l
p u l l e d d i f f e r e n t ways a t
t i m e s by h i s w i l d l y o p p o s e d
d r i v e n by h i s a m b i t i o n ;
of characters i s
feelings.
a f t e r succeeding
He i s a l s o
as a j o u r n a l i s t
he
says ;
H a b i a o t r o campo en que e s p i g a r n u e v o s y muy s a b r o s o s
t r i u n f o s , y n a d i e e n m e j o r e s c o n d i c i o n e s que yo e n t o n c e s
p a r a c o l o c a r m e e n e l . E s t e campo e r a e l mundo, l a b u e n a
s o c i e d a d . ( I I , 108)
This
statement r e v e a l s
Pereda's s t r a t i f i c a t i o n
it
w o u l d be e a s y t o t a k e
he
c a n be s e e n as w i n n i n g
and,
for
later,
Pedro.
h i s image one s t a g e
politics—this
i n the f i e l d
i s a very
of s o c i e t y , f o r
f u r t h e r and t h u s
of l i t e r a t u r e ,
real
"field
society,
of b a t t l e "
- 158
-
I t i s u s e l e s s to p o i n t to the q u a l i t y of the c h a r a c t e r
sketches as a source
of the greatness
of Pedro
Sanchez*
Well-drawn secondary
c h a r a c t e r s can only save a n o v e l from
b e i n g completely w o r t h l e s s and cannot themselves make i t
g r e a t ; they can, however, add to the value of a good n o v e l .
P e d r o — a n d Pereda--had h i m s e l f c r i t i c i s e d Fernan C a b a l l e r o ' s
Clemencia
while p r a i s i n g very h i g h l y c e r t a i n secondary
a c t e r s i n the n o v e l .
P o s t e r i t y no longer p l a c e s
char-
Clemencia
v e r y h i g h as a n o v e l because of the i n s i p i d n e s s of the
t r a l a c t i o n ; but i t has endorsed
secondary
c h a r a c t e r s who
signed to o b l i v i o n .
cen-
Pereda's p r a i s e of the
have saved
the n o v e l from b e i n g con-
T h i s does not happen w i t h Pedro Sanchez,
i n which the c r e a t i o n of the c h a r a c t e r o o f the hero i s the h i g h est
achievement.
The n o v e l , as w i t h a l l a u t o b i o g r a p h i c a l n o v e l s , depends
on the hero, and
and
should be m i r r o r e d by i t .
j u s t as Dickens
Expectations.
life
the a c t i o n should s p r i n g from h i s c h a r a c t e r
and
had done i n David C o p p e r f i e l d and
The
Great
p i c t u r e of s o c i e t y i s used to s e t o f f the
opinions of Pedro, and
directs history
T h i s i s what Pereda does here,
i n a sense he c r e a t e s
and
itself:
Entonces, de repente, me acorde yo de que e r a Pedro
Sanchez...y a q u e l l a [ r e v o l u c i d n ^ q u e fermentaba en
derredor mio e r a , en gran p a r t e , obra de mi i n g e n i o ,
c h i s p a de mi pluma f u l m i n a n t e . . . C i e n t o s y c i e n t o s , y
creo que m i l e s , de bocas r e p e t i a n entonces mi nombre
...iQue Dios me perdone, en g r a c i a d e l c a r i t a t i v o f i n
que me i n s p i r a b a , l a c u l p a que tuve de que se a n t i c i p a r a
algunas horas aquel d e s a s t r e , que estaba decretado y
habia de cumplirse de todas maneras! ( I I , 1 2 1 - 3 )
- 159
I t can be seen t h a t Pedro not
and
a comentator on,
only becomes i n f l u e n t i a l i n ,
the l i t e r a r y , s o c i a l and
political
worlds, but he
i n f l u e n c e s events that r e a l l y d i d take
T h i s makes him
s i m i l a r to Galdos* p r o t a g o n i s t s
Episodios
his
nacionales
and
place.
i n the
a l s o adds a f u r t h e r dimension to
character.
Pedro Sanchez i s one
there
i s a complete and
character
and
of the most f i n i s h e d novels i n t h a t
absolute
f u s i o n of ideas
the s u b s i d i a r y ones.
He,
i n the main
as n a r r a t o r , i s
i n v o l v e d w i t h every stratum of middle- and
upper-class
and
his destiny
of the
and
at times c o n t r o l s i t . The
i s l i n k e d w i t h the d e s t i n y
as f u l l y rounded ones, but
society,
nation,
secondary c h a r a c t e r s
may
exist
each has another r o l e — t o add
to
the
hero's development.
As a document of l i f e
but d e s p i t e
there
the
i s one
i n Madrid i t i s almost complete;
the care w i t h which c e r t a i n f i g u r e s are
aspect which i s l a c k i n g and which d i s t i n g u i s h e s
" r e g i o n a l " w r i t e r from the
never d e s c r i b e s
the
"metropolitan"
lower c l a s s e s of Madrid.
t h a t e x i s t s between Galdos and
writer:
Pereda
This d i f f e r e n c e
Pereda r e v e a l s the r e a l
s i o n between t h e i r f i c t i o n a l p r o d u c t i o n :
the
described,
Galdos can
divi-
recreate
lower c l a s s e s i n Madrid; Pereda those of the Montana.
Apart from t h i s major d i s t i n c t i o n , they o f t e n d e s c r i b e
other c l a s s e s w i t h the same mixture of a f f e c t i o n and
I t i s i n t h i s way
t h a t Pereda has
from the s t r a i g h t f o r w a r d
developed
characters
Cesar) S i l v e s t r e (Suum cuique) and
the
criticism.
considerably
of Ramon (La mujer d e l
Don
Simon (Los hombres de
pro),
- 160
all
-
of whom were d e l i n e a t e d as being uncomplicated
represent-
a t i v e s of c e r t a i n aspects of human n a t u r e .
Pereda's development from Pedro Sanchez can be t r a c e d
through S o t i l e z a - - w h i c h w i l l be d i s c u s s e d i n some d e t a i l
l a t e r - - a n d La Montalvez.
In t h i s l a t t e r n o v e l he was
attemp-
t i n g something f a r more demanding, and h i s success both i n
the technique and
i n his characterization i s less
complete.
In d e a l i n g w i t h t h i s n o v e l , the reader w i l l d i s c o v e r t h a t
there are three s e t s of c h a r a c t e r s :
those who
The
are only i n p a r t two;
ones who
Those i n p a r t one
and a few who
are i n both.
appear i n p a r t one and then disappear are the
l e a s t memorable.
I t was
as i f they were merely
introduced
because they were needed f o r the e x i g e n c i e s of the
The
only;
first
i s Nica's g r a n d f a t h e r , who
plot.
is a "rico
ex-
c o n t r a t i s t a de c a r r e t e r a s y s u m i n i s t r o s " ( I I , 391), and whose
e s s e n t i a l q u a l i t y i s a c l e a r business mind.
The r e s u l t s of
t h i s are, of course, v a s t wealth, which makes h i s entrance
i n t o s o c i e t y easy f o r him.
by Pereda,
His c h a r a c t e r i s not
developed
but remains dependent on t h i s one t r a i t .
his granddaughter—"estaba
chocho con su n i e t a "
He
loves
(II, 393)—
d&attv-
as her parents do not; on his/\bed, he t a l k s to N i c a i n very
u n f l a t t e r i n g terms:
Pero s i he de d e c i r t e l o que s i e n t o , no f i o de t u cordura
mucho mas que l a de tus padres.
La u n i c a v e n t a j a que
l e s s.acas es que t i e n e s mejor entendimiento que e l l o s .
( I I , 410)
To the end he maintains h i s c l a r i t y of v i s i o n and
judg-
m e n t — a c a p a c i t y t h a t enables him to f o r e c a s t " s i s a l e [ N i c a !
1
-
1 6 1 -
una mujer honrada es un milagro de D i o s . " ( I I , 395) 'He
Is an a b l y drawn c h a r a c t e r s k e t c h , but he has no r e a l
depth
or development of h i s nature t o make him memorable.
Nica's b r o t h e r i s p o s s i b l y l e s s w e l l drawn than the grandf a t h e r , i s c e r t a i n l y f a r l e s s memorable and extremely
thetic.
unsympa-
H i s a r r i v a l i s greeted w i t h g r e a t r e j o i c i n g and h i s
baptism was an event i n Madrid.
H i s u p b r i n g i n g i s the exact
opposite of Nica's — "JPor/que d e t e s t a i s a l a una, tanto como
q u e r e i s a l o t r o ? " ( I I , 395) asks the g r a n d f a t h e r — b u t
the f i r s t
he i s
example of the e r r o r s of e d u c a t i o n t h a t Pereda i s
to s t r e s s so s t r o n g l y i n the n o v e l .
cut statement
He does make one c l e a r -
which shows how close--and how f a r — h e
was t o the n a t u r a l i s t s .
really
T a l k i n g aboutiftiis d i s t i n c t i o n between
the e d u c a t i o n of the two c h i l d r e n , he says:
No puede negarse que e l medio ambiente, t a n t r a i d o y
t a n l l e v a d o ahora por l a gente de mi o f i c i o , i n f l u y e
mucho en l a c o n d i c i d n moral y hasta en e l d e s a r r o l l o
f i s i c o de l o s c a r a c t e r e s y de l a s n a t u r a l e z a s j pero
no menos c i e r t o que l a s hay de t a l f i b r a , que, con
ambiente y s i n ambiente, echan impavidas por l a c a l l e
en medio y por e l l a s i g u e n s i n t o r c e r s e n i e x t r a v i a r s e ,
aunque l e s i a d r e n canes y l e s t i r e n v e s t i g l o s de l a ropa.
( I I , 394-)
Pereda's stand i n t h i s novel i s t h a t people
ure which remains w i t h them throughout
have a c e r t a i n nat-
t h e i r l i v e s ; but c e r -
t a i n aspects can be c o n d i t i o n e d y by s o c i e t y , f o r he c i t e s as
an example of the above p r e c e p t , Nica's l a c k of j e a l o u s y of
her b r o t h e r .
L a t e r i n the n o v e l , however, the f a c t t h a t
s o c i e t y has t w i s t e d c e r t a i n p a r t s of her c h a r a c t e r i s fundamental to the theme.
-
162
-
The b r o t h e r i s shown as having a somewhat d i f f i c u l t
u r e — " l c mas
encanijado, l l o r d n y c a s c a r r a b i a s que
nat-
hubo
venido nunca a l mundo" ( I I , 3 9 4 ) — a n d t h a t h i s e d u c a t i o n
serves only to make him worse.
He d e t e r i o r a t e s m o r a l l y and
p h y s i c a l l y , and at f i f t e e n he d i d not even know h i s l e t t e r s ,
and was
" r a q u i t i c o , sarmentoso y descuajaringadoV
His death was
like his l i f e ,
and
( I I , 399)
i t i s perhaps i n the
des-
c r i p t i o n of h i s l a s t whim t h a t Pereda manages to make him come
alive,
j u s t as he had w i t h Manolo V a l e n z u e l a i n Pedro Sanchez.
The b r o t h e r — w h o s e names the reader never knows d e s p i t e
having "todos l o s nd.mbres de l o s grandes r e y e s , de l o s
mayores santos d e l c i e l o , de todos l o s conquistadores c e l ebres y de l o s mas
(II,
io
g l o r i o s o s poetas y a r t i s t a s de l a t i e r r a "
393-4)—demanded f r e s h c h e r r i e s i n December, and " c r e c -
con e l o b s t a c u l o l a f u e r z a de su empeno" u n t i l f i n a l l y
died
(II, 409).
Pereda
he
i s u s i n g the p a t h e t i c i d e a t h a t he
should d i e over an unobtainable d e s i r e as a whip w i t h which
to
l a s h the p a r e n t s ; fee can see t h a t i t i s only because the
child
i s marred t h a t he has more and yet more f a n t a s t i c
desires.
His mother i s l i k e w i s e a very pale c h a r a c t e r who
has
only one moment of d e c i s i v e a c t i o n ; hers i s when she a d v i s e s
N i c a to marry Don
Mauricio.
t h a t Pereda d e s c r i b e s :
Sfie
She
i s t y p i c a l of the few mothers
can be compared to P i l i t a
Sanchez) and Juana (Los hombres de p r o ) .
She
(Pedro
i s seen to be
without any r e a l feelings-*-Hrer " l o v e " f o r her son i s l a v i s h e d
on him because he i s the h e i r — a n d she i s probably the most
- 16
negative
character
3
-
i n the n o v e l , being
type of the v a i n and
too much of a s t e r e o -
f o o l i s h mother without any
q u a l i t i e s which mark her
out from any
other
special
of Pereda's
bad
mothers.
Her
husband, w h i l e remaining r a t h e r stereotyped,
is
s u f f i c i e n t l y developed to make him much more memorable,
and
i s one
of Pereda's b e t t e r drawn c a r i c a t u r e s .
a r i t y between the marquis and
has
been remarked upon b e f o r e ,
valid.
Both men
Don
Simon C. de
The
l o s Penascales
but the comparison i s very
are seduced by p o l i t i c s , both have v a i n
r a t h e r s t u p i d wives who
encourage them, both are
t h e i r p o l i t i c a l careers
The
whereas Don
both
end
i n a d i s a s t e r that i s linked with a
e s s e n t i a l d i f f e r e n c e between them i s t h a t
marquis* money i s being
and
swindled
by a f i n a n c i a l t r i c k s t e r f o r p o l i t i c a l reasons, and
speech.
simil-
the
embezzled by h i s steward, Simon,
Simon i s extremely a d r o i t i n money matters except
when h i s v a n i t y overpowers h i s greed.
The
way
the marquis t r e a t s h i s c h i l d r e n i s amply
by the f a c t t h a t he was
(II,
391)
and
everything
although he has
The
i n love w i t h " l o s timbres de su
Pereda p a i n t s the t r a d i t i o n a l p i c t u r e of the v a i n and
through h i s p o s i t i o n and
to become a p o l i t i c a l f o r c e .
which makes him
decides
to r e p l e n i s h h i s empty c o f f e r s .
c h a r a c t e r i z a t i o n follows predictable l i n e s ,
ious nobleman who,
linaje"
he does i s governed by t h i s q u a l i t y ,
a modicum of common sense i n t h a t he
to marry a r i c h wife
explained
and
ambit-
h i s money, hopes
I t i s the marquis* l a s t
memorable, f o r the whole of Madrid
act
society—
- 164 or t h a t p a r t which m a t t e r s — g a t h e r s
a t the marquis's
house,
and he has to make a speech which w i l l be the c u l m i n a t i o n of
his ambitions.
At the very l a s t moment, as he prepares to
speak, he c o l l a p s e s j w i t h i n a few hours-.-: he i s dead.
Pereda
has prepared the reader f o r t h i s , and the c o n t r a s t between
the two occasions i s humorously emphasized:
A no haberle r e c i b i d o e l g e n e r a l entre sus brazos,
h u b i e r a dado e l pobre marques con su oronda humanidad
en e l santo s u e l o . ( I I , 4 3 9 )
In h i s f i n a l c o l l a p s e there are no h a l f measures, there i s
no one t o s p o i l h i s l a s t e x i t — o r make i t l e s s
ridiculous:
Exhalando un a l a r i d o s a l v a j e / y i e r o n l e ) desplomarse en
e l s u e l o , sobre e l c u a l reboto su c o l o d i l l o pelado y
r e l u c i e n t e , s i n que nadie h u b i e r a podido r e c i b i r l e entre
sus b r a z o s . . . ( I I , 4 4 7 - 8 )
The poor marquis,
l i k e so many of Pereda's
can move the reader's p i t y only by d y i n g .
a t the most momentous o c c a s i o n of h i s l i f e ,
that " s i ,
minor c h a r a c t e r s ,
H i s death
occurs
and Pereda
says
despues de muerto, se l e h u b i e r a p e r m i t i d o r e c o b r a r
l a v i d a para comtemplar l a despedida que l a h i c i e r o n sus
deudos y amigos, o t r a e x p l o s i o n de su vanidad h u b i e r a v u e l t o
a q u i t a r s e l a de r e p e n t e . " ( I I , 4 4 8 )
One
must regard an author who can c r e a t e and d e s t r o y
such a c h a r a c t e r as b e i n g u n u s u a l .
h i s s a t i r i c a l a t t a c k on the marquis*
i s a mixture
of sadness
Pereda never r e l e n t s i n
f a u l t s , but h i s death
and amusement f o r Pereda,
and ha i s
benevolent enough to allow the marquis a moment of triumph
w i t h h i s sudden death.
The marquis i s another c a r i c a t u r e ; h i s
moment of transcendence
i s t h a t of h i s death and one f e e l s
-
1 6
-
5
t h a t Pereda's g e n e r o s i t y always enables
him
to add
a touch
of
humanity even to h i s most v i c i o u s c r e a t i o n s i f they have to
pay
the f i n a l
penalty*
Three other c h a r a c t e r s appear i n the f i r s t p a r t of the
n o v e l only:
marries
The
first
of these
Sagrario M i r a l t a .
completo perddido
He
i s Gonzalo de Quiroga,
i s d e s c r i b e d as being
de buen tono." ( I I , 419)
He
"un
i s one
of
Pereda's l e a s t sympathetic c h a r a c t e r s , whose marriage
been arranged
Marriage meant
to e i t h e r , and Gonzalo i s almost a complete
except t h a t at one
Don
Mauricio
The
had
simply because both were the e l d e s t c h i l d r e n
of o l d families,-.,and i t s u i t e d f a m i l y p o l i c y .
nothing
who
p o i n t he has
Ibanez. ( I I ,
sufficient
nonentity,
"wit" to c o n t r a d i c t
419)
second, the husband of L e t i c i a E s p i n o s a ,
i s scarce-
l y b e t t e r c h a r a c t e r i z e d , f o r what glimmerings of i n d i v i d u a l i t y
he has
and
are more c a r i c a t u r e than p e r s o n a l i t y .
of the c o l o n e l ( l a t e r general) who
patronised
Simon i n Los hombres de pro--whom he c r i t i c i s e d both f o r
t h e i r l a c k of courage, and
(II,
i s a general,
i s Pereda's most s a t i r i c a l a t t a c k on the m i l i t a r y — h e i s
reminiscent
Don
He
421,
438,
f o r t h e i r o v e r - a t t e n t i o n to p o l i t i c s .
450)
T h i s p o r t r a i t i s more i n t e r e s t i n g than many, s i n c e i t
provides Pereda's view of the m i l i t a r y — o r of g e n e r a l s ,
least—which
at
i s s i m i l a r to the thumbnail sketch of the gen-
e r a l i n Los hombres de pro.
as much hollowness and
l e v e l s of s o c i e t y .
The
They r e v e a l t h a t there was
d e c e i t i n the army as i n the
main c r i t i c i s m i s one
just
other
t h a t i s true of
- 166 Spain
of
at
the
concerning
politically
of
the
rait
of
world
third
of
by
matters,
little
little
he
he
and
the
his
the
generals,
defending
the
country,
undermined
the
instead
became
stability
astute
de
as
He
he
he
his
i s rather
remembered
be
Simon
ambitious
does
himself
to
and
on
the
the
that
stupid
in
affairs.
( i n Los
but
his
say
that
continue
delight
command
and
is caricatured
may
Don
i s unable
well,
be
attack
in financial
and
Quiroga's
Ibanez,
satirical
i t must
marquis
him,
a
Mauricio
Mauricio
is politically
Mauricio
"tiempos
foolish—but
not
fairly
he
was
political
He
is
a
de
pro)
conversation
is
a
i f somebody
his
Spanish
financial
hombres
argument
i n opposing
of
port-
him.
is a
stupid—and
4-18)
Like
little
azutales."
(II,
faulty
(II,
4-18)
extremely
( I I , 4-59)
in all,
the
he
reader's
a l l Pereda's
sympathy,
while
meriting his
i s one
of
uncompromisingly
black,
along
most
and
the
Marchioness
human d i g n i t y
are
parts
r a t h e r p a t h e t i c c h a r a c t e r who
he
the
There
is a
characters
and
both
Don
"meroodeadooores"
All
in
as
although
i s very
Gonzalo
Simon,
gains
that
indeed,
i s Don
but
restricted.
immoral.
of
period.
rich,
contradicts
Don
and,
husband
Pereda,
like
that
with
with
i s intended
the
extremely
Don
themselves
minded
him
harshly
hence
l a t e r — i n
nation.
The
in
period—and
or
human
four
of
of
the
Montalvez.
None
the
of
most
never
scorn.
Perhaps
negative
with
Valenzuela
them
assume
any
warmth.
characters, apart
novel—these
are
from
Nica,
Simon,
the
who
appear
steward,
- 167 Pepe Guzman, N i c a ' s l o v e r ,
Sagrario.
They
and
h e r two
that
appear
have
because
those that
a group
a p a r t — t h e Nunez f a m i l y ,
j u s t been
and
is
most u s e d
and
h i s daughter.
mirror
Luz.
the d i f f e r e n c e s
Simon's b a s i c
the f a u l t s
prominent
and, w h i l e e n a b l i n g
appearance
( I I , 430-4).
solo
alii,
las Cortes"
that
c a n be
appearance
employer.
between the
purpose
he
marquis
i n the n o v e l i s t o
o f t h e more
him t o g a i n more
the Montalvez
i t puts a great
" B i e n s a b i d o se l o t e n i a
que
s i le hallara
( I I , 431)
than her f a t h e r .
his f a l l
flatters
political
The
intent
on
on h i s f o r t -
e l a v i s a d o Simon,
acompanado d e l p r e s i d e n t e
servile
i s i n t e n d e d t o show t h a t
o f Simon and
strain
i s t h e most c o l o r f u l
seen i n S i m o n — h i s
understanding
fortune.
o f t h e s t e w a r d shows t h e m a r q u i s
h a v i n g money, e v e n t h o u g h
de
occasion
s w i n d l e r p a r e x c e l l e n c e , who
presjfcige, s l o w l y p i l f e r s
y verle
on e a c h
figures.
the marquis
une
and
and u n d e r s t a n d i n g o f two
Simon i s t h e p e t t y
first
the n o v e l form
i s a q u i c k s k e t c h made o f h i s c h a r a c t e r ,
to reveal
a
d e a l t w i t h , and
i s the s a m e — a n i n t e r v i e w w i t h h i s
Although there
y
they form
i n the second h a l f o o f
Simon a p p e a r s t w i c e i n t h e n o v e l ,
setting
Leticia
deserve t r e a t m e n t here because
l i n k w i t h the c h a r a c t e r s
the
friends
flattery.
N i c a has
I t marks t h e
from h i s p o s i t i o n
characteristic
H i s second
far better
discomfiture
o f power:
Simon...no se d o b l d en dos m i t a d e s a l a c e r a r s e a su
sen'ora.. .Los t i e m p o s h a b i a n cambiado y l a s c i r c u n s t a n c i a s t a m b i e n : y l o : que h a l a g a b a c i e r t a s d e b i l i d a d e s d e l
p a d r e no l o a c e p t a b a , p o r i n s t i n t i v a s r e s i s t e n c i a s , l a
h i j a . ( I I , 489)
- 168
Although
he i s designed
as a f o i l
to the two
employers,
he does have enough i n d i v i d u a l i t y as a s w i n d l e r who
only
advantage of the c a r e l e s s n e s s of h i s master without
the
of a U r i a h Heep or a Don
Sotero.
The
him
to forward
from a mere instrument
malice
characterization is
b r i e f and adds e x t r a v i t a l i t y to the p l o t .
duced as an instrument
takes
Simon i s i n t r o -
the p l o t , and
to change
to a humanly b e l i e v a b l e c h a r a c t e r
Improves the whole sequence.
L e t i c i a and S a g r a r i o form, w i t h N i c a , Las Tres G r a c i a s .
Each of the g i r l s r e p r e s e n t s a d i f f e r e n t aspect
i n high s o c i e t y .
of
immorality
S a g r a r i o i s d e s c r i b e d on her f i r s t
appear-
ance as:
Una r u b i a i n q u i e t a y b u l l i c i o s a , a v i d a de impresiones,
de a i r e , de l u z - - y de g o l o s i n a s . F i s g o n a impenitente,
no habia c a s t i g o que l a curase de l a p a s i d n de a r r i m a r ,
ora e l ojo, ora e l oido, a todas l a s r e n d i j a s y
cerraduras de l o s aposentos. ( I I , 396-7)
She
i s the a n t i t h e s i s to L e t i c i a , and was
of the three f r i e n d s .
Her
l i c e n t i o u s n e s s , one
caused by her empty-headedness.
s o c i e t y , and
the l e a s t
Her type
original
feels,
i s frequent i n
her exuberance demonstrates the axiom "empty
v e s s e l s make the most sound"
Her
f e e l i n g s are shallow
ephemeral, and Angel's judgment of her i s "Gastaba muy
humor y s o l i a d e c i r l e c u c h u f l e t a s , l o mismo que
(II,
was
and
buen
a l o s demas."
530)
Her
f r i e n d L e t i c i a i s a f a r more complex c h a r a c t e r , i n
whom smoulders f i e r c e p a s s i o n and rank j e a l o u s y .
Her
character
i s i n i t s e l f more s t i m u l a t i n g than t h a t of S a g r a r i o ; Pereda's
p o r t r a y a l of her i s f a r deeper," and
n o v e l i s more necessary
her p a r t i c i p a t i o n i n the
to the argument. '
- 169 On h e r f i r s t
physical
a p p e a r a n c e she i s d e s c r i b e d , and b o t h h e r
and m o r a l q u a l i t i e s
of Sagrario'ss
are the opposite
L e t i c i a . . . e r a u n a morena t r i s t e , o, m e j o r d i c h o , s e r e n a
y a l g o f r i a . . . y s i n d e j a r de s e r a n i m o s a p a r a t o d o ,
f a l t a b a c a s i s i e m p r e en s u s a c t o s y e n s u s d i c h o s e l
c o l o r de l a s i n c e r i d a d , l o c u a l se a t r i b u i a , mds que
a u n v i c i o de s u c a r a c t e r , a que r a r a v e z l a a n i m a b a
e l c a l o r d e l e n t u s i a s m o . ( I I , 396)
This
description
veal
that L e t i c i a
Clara
i s i r o n i c a l , f o r the l a t e r
i s n e i t h e r serene
" l o que yo c r e i
abrasaba."
( I I , 151)
the world,
Leticia
her
I
her cold
n
nor cold,
frio
but that
like
y d u r o miarmol,
and c a l c u l a t i n g
r e v e a l s f a r more m a l i c e
view o f
than S a g r a r i o i n
rumbustiousness.
Leticia
in
en un tiempo
developments r e -
marries
l o v e w i t h Pepe
General
Ponce de Lerma, a l t h o u g h
she i s
Guzmans
Pues c o n e s t e hombre se h a b i a c a s a d o L e t i c i a , d e s p u e s
de c o n v e n c e r s e e n o p i n i o n de s u s a m i g a s - - d e que no h a b i a
en e l h o r n o de s u s e s p e c i a l e s h e c h i z o s f u e g o s b a s t a n t e
p a r a f u n d i r e l h i e l o de Pepe Guzman, que l a d i s t i n g u i o
p o r a l g u n t i e m p o c o n s u s c u l t a s y amenas f r i a l d a d e s
( I I , 421)
It
i s this
friend,
hidden
p a s s i o n which causes
N i c a , t o marry
Ibanez w h i l e
Leticia
not adding
comments a b o u t Guzman t h a t S a g r a r i o had made.
ness
Spa
becomes a l m o s t
after
t o advise her
any o f t h e
Her c o l d -
l e g e n d a r y when she r e m a i n s s t o l i d l y i n
t h e s c a n d a l d a u s e d by t h e d u e l b e t w e e n t h e R u s s i a n
. p r i n c e and t h e u n d e r s e c r e t a r y .
Leticia
i s somewhat e n i g m a t i c ,
under her coldness
in
there
reveals that
i s more p a s s i o n and f e e l i n g
a l l of Sagrario*s b l u s t e r .
life,
but Pereda
and P e r e d a ' s m a s t e r y
than
She has two l o v e r s i n h e r
of the p o r t r a y a l
o f t h i s woman
-
•is superb,
The
first
f o r b o t h men
man
but
never
state
i.t i s a p p a r e n t
primitive
figure
version
of Joaquin
her soul'.is never
It
i s this
This
blooded
attempt
u o u s and
used
e r a un
This
for
haren",
i s Pepe Guzman, who
be-
of
o p e n l y the envy t h a t
Leticia
i n her a c t i o n s .
c a n be v i e w e d
(Abel Sanchez),
She
has
Luz.
of N i c a ,
as
a
o f envy i n t h e
a l t h o u g h t h e agony
of
analysed.
sequence
t o seduce
i n which
Angel
Leticia
many c r i t i c s ,
i s one
i s a protagf o r her
o f t h e most
i n any n o v e l o f P e r e d a * s - - o r
exoticism
to the f u l l ,
Montalvezes.
i s A n g e l , the l o v e r
probably h o r r i f i e d
The
of the
o f Unamuno's p e r s o n i f i c a t i o n
lascivious
oraries.
falls
the second
final
onist.
-
are,the lovers
f o r whom she
comes N i c a ' s l o v e r ,
Pereda
170
of the scene--and
"Leticia
amongst
p a r e c i a una
s u g g e s t i v e imagery
a l s o g i v e s Pereda
volupt-
h i s contemp-
its eroticism—is
sultana",
i t s d e c o r a t i o n s are
cold-
"Aquello
"bronces
desnudos."
an o p p o r t u n i t y
humor:
A l s e n t a r s e quedo f u e r a de l a f i m b r i a de s u b a t a medio
p i e c e ^ c i t o primorosamente
c a l z a d o c o n una b a b u c h a de
r a s o , muy e s c o t a d a . ( I I , 5^4)
The
t r a n s f e r e n c e of i d e a s , which
and
s u g g e s t i v e , i s more a m u s i n g t o d a y t h a n i n 1 8 8 8 , b u t
i d e a remains
the
t h e same.
innuendoes
reception t i l l
A n g e l remains
of L e t i c i a ,
she
makes t h e s l i p p e r
spells
and
blissfully
the purpose
i t out f o r
of the
immoral
the
unaware
exotic
him:
U s t e d no sabe aun que l o s a m o r e s . . . s e m e j o r a n c o n l a
s a l s a de l a e x p e r i e n c i a y q u i e r o d e c i r que p a r a un
p a l a d a r de buen g u s t o s o n mas s a b r o s o s l o s mas
e x p e r i m e n t a d o s . ( I I , 5^7)
of
- 171
-
I t i s at t h i s p o i n t t h a t her whole hody and a t t i t u d e " r e v e l a r o n
una
emocion y un fuego"
( I I , 5^7)
and
t h i s i s the f i r s t moment
i n the whole n o v e l t h a t her emotion takes c o n t r o l , and i s ,
i n f a c t , the t u r n i n g p o i n t i n the n o v e l .
Angel's
and
From the moment of
r e j e c t i o n of her, her malice takes on a major r o l e
i t Is through her i n t e r v e n t i o n t h a t the death of Luz
L e t i c i a i s one
i o n s , and,
of Pereda's most s t r i k i n g female
occurs.
creat-
as w i t h most of h i s successes i n t h i s f i e l d ,
she
i s c o l d , l i k e C l a r a , and enigmatic, l i k e S o t i l e z a and Dona
Ramona.
She
i s proof of the unusual nature
the whole corpus
of Pereda's f i c t i o n ,
of t h i s n o v e l i n
f o r she
i s f a r more
deeply analysed and c h a r a c t e r i z e d than many of h i s h e r o i n e s ,
and y e t she
i s surpassed by two
other female c h a r a c t e r s ' i n
t h i s work--Dona Ramona and N i c a h e r s e l f .
The
comparison
w i t h C l a r a i s the most f r u i t f u l , f o r
they are the two women who
are d e s c r i b e d most u n f l a t t e r i n g l y
i n Pereda's n o v e l s and are the two who,
d e s p i t e t h e i r humanity,'
are the n e a r e s t to b e i n g thoroughly wicked.
Both are
amoral,
f o r they have no moral standards and no consciences to save
them—doubtless
Leticia,
l i k e C l a r a , would have d i e d impenitent.
Pepe Guzman i s more s y m p a t h e t i c a l l y presented
than
L e t i c i a , but he too i s n o t a b l e f o r h i s moral c y n i c i s m .
man
of the world he i s admired by Peredas
Krause,
He had read Kant,
S a i n t Thomas, M a c h i a v e l l i , F r a y L u i s de Granada,
Shakespeare, Mourier, Santa Teresa and Ceryantes.
man
As a
Kk i s a
of p o t e n t i a l but l a c k e d p a t i e n c e or the n e c e s s i t y to
apply h i m s e l f to anything, and had too much money and
too
- 172
much freedom.3
felt
himself
-
Pepe Guzman i s a c h a r a c t e r
drawn, and
the warmth of the d e s c r i p t i o n i n
the f i r s t p a r t i s cooled
i n the second, when Pereda's moral
i n s t i n c t s are more a c u t e .
Even i n the second h a l f , however,
some a f f e c t i o n f o r Pepe i s r e t a i n e d :
of Angel to a c e r t a i n extent,
rubs o f f on the
f o r him;
latter.
and
He becomes the mentor
some of Pepe's good t a s t e
Even Manolo C a s a - V i e j a
a f t e r s a y i n g t h a t Mica had
of h i s most accomplished men
h i s own
has
praise
f a l l e n f o r Pepe, he adds
" o t r a prueba de su buen gusto" ( I I , 478).
he d i d give him
to whom Pereda
Pereda c r e a t e s
of c u l t u r e i n P e p e — a f t e r
all
name, Pepe, which u s u a l l y r e v e a l s
element of sympathy between author and
one
an
character.
I t i s i n the moral sphere that Pepe i s l e s s p e r f e c t ,
and
Nica
i s h o r r i f i e d at h i s c a l l o u s n e s s .
t h a t he helped her
w i f e — a n d Pepe's m i s t r e s s .
( I I , 464)
f o r she
and
found t h a t he was
His r e f u s a l of her h i n t e d
of him
solidity in
being
to p l a y i n the
w i l l be
He
i s too
narrative,
a dynamic f o r c e i n the denouement,
and
Pereda never s t r i v e s to
out more than what he e s t a b l i s h e d e a r l y i n the
other
him,
of La Montalvez, f o r h i s c h a r a c t e r
h i s p e r s o n a l i t y stagnates,
who
pro-
as f a l s e as the r e s t of s o c i e t y .
s l i g h t l y developed f o r the r o l e he has
Only one
his
t h a t made her become Ibanez's
hoped to f i n d some s t a b i l i t y and
instead
insists
i s to cause a s i g n i f i c a n t change i n Nica,
i s the main f a i l i n g
and
always
on her downward path, s i n c e i t was
r e j e c t i o n of her as a wife
posal
She
fill
novel.
f i g u r e spans both p a r t s ; t h i s i s N i c a ,
t r e a t e d at l e n g t h at the end
of t h i s s e c t i o n .
- 173 Of those
The
t h a t are found only i n P a r t Two,
first
i s the two
B a l l e s t e r o s , who
f r i e n d s Manolo C a s a - V i e j a and
The
between the two
second i s formed by Don
Dona Eamona, t h e i r son Angel,
and
Santiago,
h i s beloved,
daughters, but l i t t l e
parts
her
two
i s made of them.
i n the r e a l sense, f o r they are only i n t r o d u c e d
as
l o c u t o r s , whose c o n v e r s a t i o n r e v e a l s p e r t i n e n t
about the main f i g u r e s .
characters
inter-
information
Paco "era l o c o n t r a r i o de Manolo
sin
s e r menos p e r d i d o "
for
Pepe Guzman; h i s judgments are concise and
and
he i s one
( I I , 4-74).
of the three men
Manolo could be
whose judgments are
three i s Angel, who
mistaken
to the p o i n t
by Pereda.
One
of these
the two
men
who
form the counter-balance
novel.
This c o n t r a s t i s s t r e s s e d by Manolo, who
endorsed
i s a l s o one
of
to e v i l i n the
says of
children:
Doy por hecho que esos p e d a c i t o s de mi corazon, de
maneras han de s a l i r unos p e r d i d o s , como tu y yo.
puede dar o t r a cosa e l t e r r e n o . . . ( I I , 4-76)
T h i s forms one
lity
of
Montalvez.
Paco B a l l e s t e r o s and Manolo C a s a - V i e j a are not
his
are
h i s wife
Luz
A b r i e f appearance i s a l s o made by a mother and
groups.
Paco
appear only i n P a r t I I , Chapter I, and
i n t r o d u c e d s o l e l y to bridge the gap
the n o v e l .
there are two
of the main themes of the n o v e l :
t h a t the a r i s t o c r a c y w i l l
the middle c l a s s e s and
ever change.
f i n d s hope i n Don
The
todas
No
impossibi-
Pereda looks to
Santiago
and
his
son,
Angel.
Angel i s the t h i r d r e p r e s e n t a t i v e of good t a s t e i n the
n o v e l , which i s evidenced
by the f o l l o w i n g passages d e s c r i p t i v e
- 174 o f Pepe a n d A n g e l , w h i c h d e m o n s t r a t e
aesthetic
the excellence
of t h e i r
judgment e v e n t h o u g h t h e i r m o r a l s t a n d - p o i n t s may
be s o d i v e r s e :
[ p e p e Guzman] T e n i a e l b u e n g u s t o de no i n v e r t i r u n
ochavo en l i b r o s v i e j o s n i en barguenos a p o l i l l a d o s ;
p r e f e r i a l a s o b r a s c o n t e m p o r a n e a s , s i e r a n b u e n a s , y,
l o que e s mas r a r o , l a s l e i a y s a b o r e a b a .
C o s a mas
r a r a a u n : e n i g u a l d a d de m e r i t o , e s t a b a p o r l a s e s p a n o l e s a n t e s que p o r l a s e x t r a n j e r a s . ( I I , 4 2 0 )
A n g e l , p a r a h o n r a s u y a y t r a n q u i l i d a d de l o s e s p a n o l e s
i n c a u t o s , a p r o v e c h d l a s c a i d a s p a r a e s t i m a r e l v a l o r de
l o que a £l I"e e s t a b a v e d a d o , y e m p l e d l a s f u e r z a s que
o t r o h u b i e r a g a s t a d o e n o d i a r a l o s que e r a n l o que e l
ho p o d i a s e r e n a d m i r a r l o s q u i e t a y s o s e g a d a m e n t e .
( I I , 526)
There
i s a v a s t g u l f between the m o r a l i t y
o f t h e two men,
b u t b o t h a r e o f e x q u i s i t e t a s t e , a n d seem t o f o r m a p l e a f o r
a n i n t e l l i g e n t and e n l i g h t e n e d r e a d i n g p u b l i c :
still
had
P e r e d a was
conscious of the lack of readers i n Spain, which
c o m p l a i n e d o f b i t t e r l y some f i f t y
The
years
earlier.
f r i e n d s h i p b e t w e e n Pepe and A n g e l i s b a s e d
t h e i r mutual esteem w h i c h i n t u r n i s based
sensibilities,
Larra
on t h e i r
upon
aesthetic
b u t t h e r e i s a r e s p e c t f o r A n g e l i n Pepe
founded upon h i s r e c o g n i z i n g A n g e l ' s s u p e r i o r m o r a l
integrity.
T h i s r e s p e c t m a r k s Pepe a s b e i n g among a g r o u p
of characters
t o whom P e r e d a h a s a n a m b i g u o u s r e l a t i o n s h i p :
Pepe, Manolo
C a s a - V i e j a and N i c a a l l
have a r e s p e c t f o r v i r t u e , a l t h o u g h
t h e y may n o t t h e m s e l v e s c o n f o r m - - t h i s i s b a s e d
judgment.
The o t h e r g r o u p c o n s i s t s
on t h e i r
good
of L e t i c i a , S a g r a r i o , the
M a r q u e s e s de M o n t a l v e z , I b a n e z and P o n c e de L e r m a who a r e
i m p e n i t e n t , a n d who have no r e g a r d f o r v i r t u e a t a l l ;
are presented i n uncompromising
terms by P e r e d a .
they
A3l o f t h e s e
- 175
characters
are wicked
of L e t i c i a .
integrity,
just
Angel
Pereda.
t o be
For
This
by
he
had
a plot
the
novel
d o m i n a t i o n , and
as
the
autonomy t o b r e a k f r e e
o f the
t o modify the
and
good n a t u r e
Guzman.
As
but
s u c h he
stages
of the
are
fact
he
Nica
on
short
especially
a
novel
motive
i s able
for his
i n his
t o shake
becomes t h e
Pereda i s able
behaviour,
off
this
guiding
to give
domination.
parents.
light
as
him
Even so,
the
he
is a
i s Pereda's
extreme m o r a l a u s t e r i t y o f h i s mother
of h i s f a t h e r w i t h
i s at best
the
a compromise, and
character.
foreseeable,
good t a s t e o f
since
His
he
a
compromise
sufferings i n
i s the
Pepe
romantic
the
hero
novel.
i s d w a r f e d by
herself.
the
attempt
t h a t he w r i t e s
h i s love
Pereda's d e p i c t i o n of Angel i s not
but
younger
medicine, but
o f h i s f a t h e r , and
n e v e r become a c o m p l e t e
later
to
Montalvez.
fixed
of t h i s
values
attempt
the
of a
after writing five
the
f o r Luz
gives
c h a r a c t e r i z a t i o n of A n g e l i s n o t
i t m i g h t be,
reflection
only
w h i c h he
c e s s a t i o n of h i s
of La
exception
Clara.
i s d o m i n a t e d by
h i s love
The
the
by
d e v e l o p s he
of h i s c o n d u c t .
strong
and
the
a self-portrait
gave up
to that
character
i s apparently
as
can
by
i t to
of p h i l o s o p h y ,
careers,
similar
that regard
given
i s evidenced
his rejection
Angel's
but
P e r e d a has
i s i n many r e s p e c t s
m a t h e m a t i c s as
This
as
of f o o l i s h n e s s , w i t h
a poet--Pereda, too,
plays;
with
her
out
-
novel,
He
the
failure,
p e r s o n a l i t i e s of h i s parents
i s never f u l l y
since
a complete
i n the
able
episode
and
of
1
to a s s e r t his i n f l u e n c e
with
Leticia
he
seems
- 176
-
n a i v e , and i n the f i n a l sequence e v e r y t h i n g i s dominated by
the p e r s o n a l i t y of N i c a i n her ApuntesAngel's
g r e a t love i s f o r Luz, a c h a r a c t e r who
may
be
scorned were i t not f o r the f a c t t h a t both Pepe Guzman and
N i c a love her to d i s t r a c t i o n .
She
f i g u r e l i n k i n g the three persons
thus becomes the
central
of the best t a s t e i n the
n o v e l , and to t h i s must be added the judgment of Manolo
C a s a - V i e j a t h a t Luz i s " l a c r i a t u r a mas
de cuerpo, que
a n g e l i c a l , de alma y
pueda haber sobre l a t i e r r a "
means the r a t i f i c a t i o n of the
( I I , 481), which
fourth.
Despite t h i s , Luz i s the f a i l u r e
of the n o v e l .
s i m i l a r to Carmen, but she does not even have the
v i r t u e s of the heroine of Pedro Sanchez.
r e f e r r e d to as an a n g e l , as a n g e l i c ;
ephemeral beings, merely
quintessence
She
She i s
domestic
i s continually
j u s t as angels are
symbols t h a t man
adopts
f o r the
of v i r t u e , so Luz i s n o t h i n g more than Pereda's
symbol of an a b s t r a c t i o n of v i r t u e .
U n f o r t u n a t e l y , Luz never becomes more than a symbol; the
reader can never f e e l e n t i r e l y caught up i n her tragedy, f o r
her c h a r a c t e r i s not s u f f i c i e n t l y developed.
unfortunate?
I would venture
Or i s i t
the o p i n i o n t h a t Pereda
wants the reader to become too i n v o l v e d i n Luz's
Pereda was
an (Immensely) s k i l f u l a r t i s t ,
never
personality:
and he must have
r e a l i z e d t h a t the tragedy of Luz could e a s i l y d e t r a c t from
t h a t of N i c a .
The n o v e l i s , a f t e r a l l ,
the undisputed
heroine i s V e r o n i c a Montalvez;
concerns
c a l l e d La Montalvez and
i t s conclusion
her; the tragedy i n the n o v e l i s hers, not
Luz's.
- 17? One c a n a r g u e
but
compare
that
i t i s n o t so t r a g i c
the death of Luz, with
i f she does n o t d i e ,
Nica*s
feelings- a f t e r i t :
r - l Q u e a l t o me e l e v o ! . . . j D i l e a A n g e l que l e e s p e r o ! . #.
i T a m b i e n t e e s p e r o a ti!...«LMe o y e s ? . . . E s i m p o s i b l e ,
p o r q u e he l l e g a d o muy a r r i b a . . . - ? Y a d n me e l e v o mas!...,
i mas a l t o t o d a v i a ! . . . i Que regio'n de s o l e s ! . . . i C u a n t a
l u z ! ( I I , 567)
L l a m e . . . c o n l a s a n g u s t i a s de t o d o s l o s e s p a n t o s e n l l a
g a r g a n t a . . . S o l o me p e r t e n e c i a n l a s s a n g r i e n t a s y m o r t a l e s l l a g a s de mi c o r a z d n y l a s t o r t u r a s de mi c o n c i e n c i a . . . L a v i d a que me r e s t a b a no t e n i a o t r o d e s t i n o
que a r r a s t r a r l a c r u z que m e r e c i a . . . ( I I , 5^7)
There
i s no c o m p a r i s o n b e t w e e n t h e two, and one must
to L u z — a n d
the
to Angel—not
independence
as autonomous c h a r a c t e r s ,
of the character
second
of the n o v e l
her nature,
of Nica.
especially,
Pedro Sanchez; a l l the other
better
N i c a becomes, i n t h e
a similar
characters
imagination
and
Matica
characters
The
first
curious
positive
own
of these
t o note
value
One c a n a p p l a u d
Espinosa
two t a k e
h a d , and become i n d i v i d u a l
to s e t against
c o n t r o l of Pereda's
and C l a r a , Don S e r a f i n
and c o m p l e t e l y
i s Don S a n t i a g o
Nunez, who
t h a t Don S e r a f i n had s t o o d
human
being
represents
for--and i t
have names w h i c h r e v e a l
i n any way u n u s u a l
the suggestive
f o r secondary
of the novel
right.
that both
without
part
as f o i l s
i n t h e same way a s L e t i c i a
many o f t h e q u a l i t i e s
is
intended
as Luz i s , b u t t h e s e
i n their
to reveal
her character, her tragedy.
who may have b e e n o r i g i n a l l y
just
figure to
are there
T h e r e a r e two f i g u r e s i n t h e s e c o n d
Mica,
although
o f A n g e l makes him f a r more human, b u t a s
reflections
half
look
names M i r a l t a ,
characters, while
their
or f o r c e d .
C a s a - V i e j a and
d e p l o r i n g the
- 178
top-heavy
Serafin
while
symbolism
and
Santiago
clearly
Don
low.
whole
so
easy-going
of
his
as
f o r he
recognizes
there
their
possessed
and
glove"
He
i s the
financial
security
of
love
a
his
deference—without
s m a l l touches
questioned,
without
yet
understanding
makes
is,
no
is
rare
Don
woman.
he
and
demands
ironically,
ableness
being
which
among
on
his
makes
the
at
he
them,
son,
complete
him
most
there
His
on
by
unusual,
which
self-
in
the
Santiago,
i s , behind
makes
sure
of
his
i n himself
this
man,
virtue
everyone
are
who
is
o t h e r s , * he
reader's
eve^iess o f
reader
them.
pride
all;
time
Mauricio
men
h i s gout,
to
seems
the
hand
which
gives
the
he
a l l the
f o r Don
forwarding
demands
on
amazingly
and
these
key
that
i s admired
or
of
mind,
Pereda
makes
are
but
"iron
right
his
effort
out,
i s completely
servility--his
never
kind;
of
before
that
any
each
portrayal
and
terms
i s aware
He
financial
f o r his wife
stand
unambitious,
the
names
c o n t r a s t t o Don
to
image
loans,
to
The
for.
his
one
success.
i n the
sound
and
side
strike
Luz.
is affectionate
complete
does
the
alive
him
the
amiableness,
comes
lender,
although
not
stand
unreal, yet
i s another
and
enough not
they
of
be
his
many
what
to
idea i s inherent
the
common
i s a money
the
His
names A n g e l
i s self-assured
maintains
velvet
are
portrayal
success.
Ibanez
the
revealing
Santiago
The
of
-
never
is
he
meets
credibility.
c h a r a c t e r and
f o r such
human
It i s quite
wife,
Dona Ramona P a c h e c o ,
conceivable
that
her
type
is a
goodness
strange
i s found
It
like-
men.
Santiago's
and
more
- 179
frequently
difficult
in real
character
major successes
u o u s , and
one
character
be
novel.
she
she
i s a f a r more
i s one
successes—and
Pacheco.
be
created
more t h a n c o i n c i d e n c e ,
certain
i s t h a t Dona R a m o n a — i n h e r
ability
of f a t e ,
the
ambiguities—of
G a l d o s had
i n her
the
Dona Ramona i s a l i t t l e
the
of G u i l l e r m i n a Pacheco i n F o r t u n a t a
not
of
r e l e v a n t t h a t P e r e d a gave h e r
great
time e a r l i e r :
than i s h i s , but
t o b r i n g o f f and
of the
i t may
of Galdos*
T h i s may
life
-
but
name o f
a
short
supreme
y Jacinta.
what i s more
belief
i n the
inexor-
s p h i n x - l i k e s i l e n c e , i n her
of her
to
c a l c e t e r o " ( I I , 49*0--is a r e i n c a r n a t i o n of
"genio
and
i n her
brooding
contemplation
her
husband's b u s i n e s s ,
ambig-
dedication
Madame D e f o r g e .
She
cause
of t h i s
fastness
by
is called
inscrutability
of p u r p o s e .
some c r i t i c s ^
they
have l i k e d
fail
t o be
She
and
her
moved by
i s worthy, not
She
v a r i o u s l y La E s f i n g e
only
as
as
has
because
one
a character,
As
as
a foil
c h i l d r e n , and
of
f o r t i t u d e her
last
two
survives.
There
mothers which N i c a
of the w o r l d
after
the
i s an
immediate
admits
creation
others.5
Whether
f o r both are
t o b r i n g up
and
she
until
the
these
i t s sins.
c r o s s w h i c h i s the
other,
t o , but
never
Dickens.
both attempt
Dona Ramona b e a r s w i t h
c h i l d r e n , one
a great
y Sanchez says,
to Nica,
taint
be-
stead-
however, t h e y
c h i l d r e n f r e e f r o m the
of nine
by
G i l Osorio
of Pereda, but
E l Espectro
of her
b e e n s e e n as
a terrible
her.
i s introduced
mothers of o n l y
and
and
the
loss
tenth
and
sympathy b e t w e e n
the
w h i c h the
covers
Sphynx
- 180 up,
i n her moral
rectitude,
i n t e n s e and
and
of
N i c a i s too
of
h e r s & l f f o r warming t o h e r .
that
hides a reproach
Dona Ramona i s e n i g m a t i c
reveal
another
•that Don
trying
loses
t o do
her
"^No
her
that
hueies
dislike
she
makes
a l a peste?"
have f o r h e r .
and
without
Dios
It
But
i s one
w i t h any
carne
de
y se
love
criaturas."
no
never
gran
los quitaba.
feeling
can
goes on t o
he
suffer
say
hijos,
mucho a l i i
Dios
is
i s human and
m o r t a l ; y sus
dolerle
fibra.
a sus
He
-flings
agony, b u t who
Pereda
b e i n g changed.
e n t r a n a s , y t e n i a que
tribulaciones
two
What P e r e d a
l a daba h i j o s
( I I , 495)
su n a t u r a l e z a e r a de
fibra
but
i n G o d — " E r a m u j e r de
human mind w e l l — n o b o d y
desgarraban
estas
Angel
i n herself,
l o suyo."
torments
sus
inscrutable,
of her nature--the u n q u a l i f i e d
y arraigada f e .
knows t h e
"Pero
and
and
i s t o show a woman r a c k e d by
faith
D i s p o n i a de
such
aspect
Santiago
espiritu
las
feels
505)
(II,
de
one
pedazos
cuando
se
p e d i a cuentos
de
( I I , 495)
o f t h e most p r o p h e t i c p o r t r a i t s
that
Pereda
e v e r p a i n t e d , f o r i n Dona Ramona t h e p s y c h o l o g i c a l d e p t h s
he
plumbs and
later
be
effect
h i s own.
the moral
study
the
this
so w i l l
strictly
on h e r p e r s o n a l i t y
Dona Ramona i s n o t meant t o be
s t a n d p o i n t of the n o v e l a t a l l ,
of the m o r a l i s i n g e f f e c t
Nica w i l l
has
suffer
Pereda
moral
the
w r i t t e n when P e r e d a
of t r a g e d y
I t i s not
a
taken
still
dazed
the d e a t h
surprising
from
as
profound
that
the
of
the
a n t i - M a d r i d p a r t o f Penas a r r i b a
was
will
on a human b e i n g .
same phenomenon a f t e r
himself.
and
but
that
suicide
Luz;
most
was
of h i s
- 181 best-loved
child.°"
Dona Ramona's n e u r o t i c phobia about
Madrid i s s a t i r i s e d by Pereda--he cannot accept
r e j e c t i o n of the m e t r o p o l i s — b u t
tragedy
her complete
he r i g h t l y f o r e s e e s
that
such as she s u f f e r e d w i l l b r i n g about such m o r a l i s t i c
bigotry.
This c o n s i d e r a t i o n must a l s o q u a l i f y any c o n c l u s i o n s on
the theme of the n o v e l .
F a r from being a t h e s i s - n o v e l i n
which the bad are punished, the good rewarded, i t i s a n e a r l y
realistic
study of human emotional tragedy.
In t h i s
life
v i r t u e i s not always rewarded, nor does e v i l get i t s j u s t
d e s e r t s ; the opposite
may o f t e n be t r u e .
Dona Ramona o f t e n appears as a r e i n c a r n a t i o n of the
Old Testament G o d — t h e God of wrath and v e n g e a n c e — b u t her
s e v e r i t y i s m o l l i f i e d by her husband's b e n i g n i t y and by her
own humanity.
"the espectro
I n the second i n t e r v i e w which N i c a has w i t h
and her husband, the i n f l e x i b i l i t y of Dona
Ramona seems c o m p l e t e — " n o pretenda que l a ayude nadie a
enmendar l o s decretos
de D i o s . "
( I I , 5 5 5 ) But the absolute
honesty of N i c a , her p s y c h o l o g i c a l i n t e g r i t y , and her overweaning love f o r Luz and Angel f i n a l l y
overpower Dona Ramona.
I t i s perhaps one of the supreme moments i n Pereda's
when humanity triumphs over m o r a l i t y ;
fiction
N i c a seems t o have
triumphed over the unsurmountable o b s t a c l e t h a t prevented a
happy c o n c l u s i o n ;
A l despedirme, e l marido me estrecho" con e f u s i d n l a
mano entre l a s dos suyas. No me a t r e v i a . t e n d e r s e l a s
en seguida a l a mujer; pero' en cambio 1* que asombro!
me t e n d i d e l l a l a suya. ( I I , 5 5 8 )
- 182
T h i s seemingly simple
a c t marks the f i n a l d e f t touch which
b r i n g s Dona Ramona to l i f e .
unmoved by Nica's reason,
and
She
has
appeared
but even she has
t h a t Nica's
completely
one weak spot,
Pereda has b r i l l i a n t l y r e v e a l e d the way
her s t r e n g t h and
;'.
-
her weakness i s
appeal does not go unheard.
There i s no more profound p s y c h o l o g i c a l study
i n the
whole of Pereda's works; only three f i g u r e s are b e t t e r
lineated.
They are the heroes/heroines
S o t i l e z a and
La Montalvez and
g i v e n g r e a t e r scope and
de-
of Pedro Sanchez,
t h i s i s only because they
are analysed
at g r e a t e r
are
length.
Dona Ramona owes a g r e a t d e a l to S o t i l e z a , but i s a much more
difficult
c h a r a c t e r to r e a l i z e f u l l y s i n c e the reader knows
her motive and
tability.
her d e c i s i o n s d e s p i t e her apparent i n s c r u -
S o t i l e z a i s more i n t r i g u i n g , f o r she s t i l l
a mystery, and
remains
the reader w i l l never know e x a c t l y what her
motives were.
N i c a Montalvez i s , i n some ways, the female v e r s i o n of
Pedro Sanchez.
As w i t h Pedro, Nica's
the whole novels
i s c o r r e l a t e d with
E v e r y t h i n g t h a t happens has
on her, and
her a t t i t u d e has
the n o v e l .
The
i n t h e i r own
life
consequences on the a c t i o n of
secondary c h a r a c t e r s , while
r i g h t , are e s s e n t i a l l y intended
be r e f l e c t e d by, Nica's
some b e a r i n g
c h a r a c t e r and
often e x i s t i n g
to r e f l e c t ,
and
actions.
c
Before
any
contusions
can be drawn on these
c h a r a c t e r of N i c a must be analysed
c r e a t i n g her.
the two
themes, the
to show Pereda's aims i n
His d e p i c t i o n of her c h a r a c t e r i s d i v i d e d i n t o
halves formed by the p a r t s of the novels
In r e a l i t y
- 183 one
could say that her l i f e
part
i s concerned
marriage,
of
through
her daughter.
are
with
i s i n three
Nica's
her b i r t h
part
years,
from
The
first
her parents'
and s c h o o l i n g , up t o t h e c o n c e p t i o n
The i n t e r v e n i n g y e a r s
t a k e n up by h e r m a r r i a g e ,
years
early
sections.
between t h e two p a r t s
t h e b'i.rth o f Luz and t h e f i r s t
o f t h e l a t t e r and o f h e r m o t h e r ' s widowhood.
of the novel t r a c e s the l a t e r
years
The
second
o f Luz and h e r
c o u r t s h i p and d e a t h .
From t h e v e r y b e g i n n i n g ,
made c l e a r :
she
She i s e x c e e d i n g l y
i s intelligent
qualities
in life—those
detested--money,
moral values
with—such
of a f f e c t i o n ,
s e t of values
devoid
even k e e l u n t i l
Pepe Guzman.
is
which
and p r i d e .
t o c h e r i s h the higher
worth.
t h a t c o u l d have b e e n b e t t e r d e a l t
i t g i v e s a good p i c t u r e
affection
These
a s h e r s o j o u r n i n t h e s c h o o l i n P a r i s — b u t on t h e
apparently,
an
empty q u a l i t i e s
taught
that are of l a s t i n g
of her.
and who t r i e s
made b y h e r e a r l y n e g l e c t .
the
she i s h e a l t h y ,
o s t e n t a t i o n , power, a m b i t i o n
she was n e v e r
There a r e i n c i d e n t s
starved
attractive,
of Nica are
a r e m a r r e d by h e r u p b r i n g i n g w h i c h make h e r v a l u e
E v e n as a c h i l d
whole
aspects
and she has t h e d e s i r e t o be g o o d .
t h e wrong q u a l i t i e s
Pereda
certain
vainly
to f i l l
H e r two f r i e n d s
she has f o u n d
her emotions^are
time
only
a t home, and t h e y
o f deep e m o t i o n .
For the f i r s t
She i s a y o u n g
t h e gap
reinforce
are both,
N i c a manages t o s t a y on
involved with
i n her l i f e
those of
she f e e l s h e r
i s r e c i p r o c a t e d ; the d i s i l l u s i o n m e n t
shattering.
girl,
that follows
- 184 The
c l o s i n g chapters
o f P a r t One a r e t h e p a i n f u l s t r u g g l e
b e t w e e n l o v e and v i r t u e w i t h i n a y o u n g g i r l ' s
breast.
For
N i c a , l o v e , s e x and m a r r i a g e a r e c o n c o m i t a n t , b u t when t h e
road
she s e e k s t o f o l l o w i s c l o s e d t o h e r , h e r v i r t u e
way u n d e r t h e p r e s s u r e
o f h e r l o v e and o f s o c i e t y .
gives
This i s
why h e r s t r u g g l e i s s o p a i n f u l *
I t i s not a c l e a r - c u t
d e c i s i o n , since her moral being,
and r e l i g i o n ,
advise
and
education,
one t h i n g , y e t h e r l o v e and s o c i e t y — t h e p r a c t i c e o f
society—advise
During
another.
the years
t h a t i n t e r v e n e b e t w e e n t h e two p a r t s ,
N i c a becomes i n c r e a s i n g l y more c y n i c a l and l e s s m o r a l , y e t
she
still
these,
recognizes
she t r i e s
a higher
s e t of v a l u e s , and, because of
t o educate Luz i n t h e paths o f v i r t u e .
It
was L a R o c h e f o u c a u l d who s a i d " L * h y p o c r i s i e e s t u n hommage
que
l e v i c e rend
a l a vertu",?
somewhat h y p o c r i t i c a l ,
and i f N i c a ' s
i t must be a s s i g n e d
d e s p i t e h e r own p l e a s u r e
she c a n s t i l l
behaviour i s
t o t h i s homage, f o r
recognize
how
man
ought t o - a c t .
The
s e c o n d p a r t d e a l s w i t h two i n t e r - r e l a t e d
problems*
The
r e l a t i o n s h i p b e t w e e n N i c a and L u z and t h a t b e t w e e n L u z
and
Angel.
There a r e a c u r i o u s s e r i e s o f p a r a l l e l
the n o v e l , w h i c h i n c l u d e the behaviour
ideas i n
o f t h e two m o t h e r s ,
N i c a and Dona Ramona, and t h e r e s u l t s t h a t t h i s
produces.
The
contrasted
characters
at a l l times,
ities
the
o f t h e two m o t h e r s a r e c a r e f u l l y
and t h e r e a d e r
i s successful.
s e e s t h a t n e i t h e r o f two e x t r e m -
N i c a i s h y p o c r i t i c a l , a n d i t makes
f l a w i n h e r c h a r a c t e r t h a t she c a n n o t s e e t h e d i c h o t o m y
- 185 between
her
seen
Luz,
of
by
paradise
final
lodazal,
be.
just
is a
the
Pereda
the
to
that
recurrent
basurero
images
which
case
a
of
The
psychological subtlety i s that
loss
of
and
own
Luz;
i s to
world
the
death
much by
and
in
of
ment
her
of
by
Luz.
the
the
psychological
as
who
by
the
own
the
false
ought
Luz,
i t
to
destroyed.
recover
devastated
traumatic
by
experience
her.
opposite
extreme
the
world.
apparently
i t , like
parallel
society.
of what
i s able
abhors
f o r Angel
cenagal,
of
i s completely
her
Her
to withstand i t ,
result;
on
vision
high
vision
is
which
impact
Nica
of
for
of
able
i s the
mother
increasingly
themes
character
difficult
to
loves
Nica's,
are
of
of
man
Her
vice;
crumbles
suggested
Nica
with
not
herself,
separate
the
reflect
and
two
part.
other
characters
as
conflicting
so
a
a
mark
this
These
novel
qualities
character
to
i s destroyed,
second
All
out
indelible
destroyed,
i t becomes
this
repetition
parallel
is also
his world
so
an
in virtue
and
as
d i s i l l u s i o n m e n t but
leave
Running
educated
carnal pleasures
i t is a
used
was
This
her
char&a,
i s the
she
has
( I I , 566)
paradisiacal
Nica,
life.
been inundated.
of
are
i s dealing with
her
death,
i t has
turned
her
of
her
but
from
to
reality
prior
s o c i e t y upon
In
the
"lodazal tristisimo"
hediondo
of
and
discovers
links
What
values
who,
but
sight
car.efully
to
desires
alive.
a
are
person.
Nica
i d e a s , whose
Pereda
a n a l y s i s of
used
i s made u p
of
incompatibility
creates
any
to
i n her
woman he
the
an
make
most
describes,
bring
assorther
complete
and
possibly
- 186 captures
that quality
o f women w h i c h i s i n e x p l i c a b l e
opposite
sex.
grasps
Pereda
w h i c h makes N i c a ' s
b e l i e v e s t h a t she
her
daughter:
trying
c a n be
This i s best
to prepare
perspicacity
female
trait
of
c h a r a c t e r e v e n more d i f f i c u l t
She
is
this
the
i m m o r a l h e r s e l f and
captured
by
the
the
illogicality
of
analysis.
not i n f l u e n c e
scene,
when N i c a
house f o r t h e r e c e p t i o n o f
c o n c e r n i n g Guzman i s n e v e r
to
applied to
Luz—her
herself:
— ( j T e parece bastante?
s o l i a preguntarle e l l a
—Todavia
no...
--Voy s o s p e c h a n d o - - l e d i j o j f J i c a ] — q u e n u n c a t e ha
de p a r e c e r e s t a c a s a b a s t a n t e p u r i f i c a d a .
— £ P o r que?
'-'fPorque e r e s hombre de b u e n o l f a t o ; y m i e n t r a s e s t e s
t u en e l l a , s i e m p r e has de h a l l a r t u f o de p e s t e .
Es
e l u n i c o que anda y a p o r a q u i - - e n c u a n t o t u v i e n e s .
(II,
513)
The
his
themes and
total
closely
the
concept
purpose
of c r e a t i n g
involved with
the
i n h e r i t a n c e of s i n .
part
of the n o v e l are
a c h a r a c t e r , but both
i d e a s rampant
These a r e ,
naturalism, with
and
environment.
What P e r e d a
natural
the
of course,
conflicting
i s unable
i s any
too powerful
v e r y much a
form
to allow t h i s ,
idea that vice
shows t h e g r e a t power o f e x a m p l e .
i s not
presents
concerning
Darwinism
i d e o l o g i e s of i n h e r i t a n c e
to accept
s e q u e n t l y h i s n o v e l combats any
ideas
are
of
or n a t u r a l p r e d e s t i n a t i o n w h i c h f o r c e s man's
H i s C h r i s t i a n i t y was
is
i n society
of the n i n e t e e n t h - c e n t u r y p r e o c c u p a t i o n w i t h
and
but
subsumed i n
as
three
brought
up
simple
cases
as
has
The
superfate.
and
con-
is inherited
treatment
b e e n made o u t : f o r
of
the
Pereda
o f t h e wrong e d u c a t i o n o f c h i l d r e n .
too l a x l y ,
and
without
sufficient
thought
and
Nica
- 18? -
l o v e ; Luz i s educated away from the world, but when she f i n a l l y
sees the r e a l world of N i c a i t demolishes her; Angel i s
brought up l i k e Luz, but although h i s mother's v i r t u e i s
without shadow he i s too a t t r a c t e d by " e v i l , " and i s crushed.
Pereda s e t s t h i s n o v e l i n Madrid, as he had Pedro
and t h i s was f o r a very good reasons
a t t a c k i n g were most r i f e
to the m e t r o p o l i s .
The e v i l s t h a t he was
i n Madrid but they were not unique
The problems t h a t he envisaged were
s o c i a l , t h a t i s they were germane to any group
who t o g e t h e r form a s o c i e t y .
problems,
Sanchez,
of people,
Because of the nature of these
i t i s only n a t u r a l t h a t they should be focussed
i n the c a p i t a l , which was the l a r g e s t s o c i a l c e n t r e .
In h i s acclaimed masterpiece S o t i l e z a , Pereda was d e a l i n g w i t h many problems t h a t were s i m i l a r t o those of the
Corte n o v e l s .
I t i s much c l o s e r to them than to the sermon,
Pen"as a r r i b a .
I t i s true that i t c o n t a i n s much that i s of
beauty, but there i s much i n the n o v e l t h a t i s f a r from
" p i c t u r e s q u e " or " p r e t t y . "
noble, i n her attempts
S i l d a , the h e r o i n e , may be very
t o r e t a i n her v i r t u e , but then so was
N i c a Montalvez, up t o a c e r t a i n p o i n t .
Silda,
or S o t i l e z a ,
has a l l the p o t e n t i a l s of a tragedy i n her l i f e ;
she i s N i c a
i n another s o c i a l c l a s s , i n another s o c i a l c e n t r e .
I f one looks very b r i e f l y a t the c h a r a c t e r of S o t i l e z a ,
one can see much that i s dark and d i s t u r b i n g - - S o t i l e z a lias to
choose
between three s u i t o r s s
Andres,
the s e n o r i t o , whose r e -
j e c t i o n of S o t i l e z a i s h i g h l y m a t e r i a l i s t i c ; h i s change of
heart i s g i l d e d by a h i n t of l o v e , but he remains
a thoroughly
-
unlikeable character.
188
-
C l e t o , the honorable
fisherman,
who
i s the Peredian n e g a t i o n of the i n h e r i t a n c e of v i c e .
S o t i l e z a ' s acceptance
and
i s another
of h i s s u i t i s , a t best, a compromise,
a s s e r t i o n of a f a l s e and r a t h e r hollow
relationship.
Muergo i s the i l l i t e r a t e ,
semi-adopted by S o t i l e z a .
The
b e s t i a l c r e a t u r e , who
was
a t t r a c t i o n of her to t h i s
strange being would i n t r i g u e many modern p s y c h o l o g i s t s
because of i t s i m p l i c i t m a s o c h i s t i c a b e r r a t i o n s .
S o t i l e z a i s a grim t a l e of a s o r d i d town.
room i n i t f o r p i c t u r e s q u e n e s s
passions.
These may
There i s no
as i t i s concerned
w i t h men's
not be the s o - c a l l e d Grand P a s s i o n s ,
but these p e t t y passions o f t e n cause more heartbreak
produce more bloodshed,
which can be barbarous
i o u s , than the passions of C l a s s i c a l Tragedy.
i s a n o v e l about the p e t t i n e s s of man,
second-best
who
and
and
ignomin-
Sotileza
w i l l o f t e n accept
i f he cannot get what he r e a l l y
desires—like
Andres and S o t i l e z a , h e r s e l f , perhaps.
The
•
three n o v e l s , Pedro Sanchez, S o t i l e z a and
stand t o g e t h e r a t the core of Pereck's work.
La Montalvez
Despite
their
s u p e r f i c i a l d i f f e r e n c e s , they have s e v e r a l t h i n g s i n common.
A complex, ambiguous main c h a r a c t e r holds the n o v e l t o g e t h e r .
Around t h i s one
c h a r a c t e r are a s e r i e s of l e s s e r f i g u r e s
are there to r e f l e c t the hero/heroine's
and r e a c t i o n s .
through
moods, p e r s o n a l i t y
There are c e r t a i n thematic
the novels and
who
m o t i f s which run
emphasize the problems of s o c i e t y ,
which Pereda r i g h t l y sees as the f a u l t s of i n d i v i d u a l
men
- 189
-
m u l t i p l i e d by t h e i r c o n t a c t w i t h each other.
s a i d t h a t he had
of these men,
and
l o s t h i s f a i t h i n man:
Pereda has
s o c i e t y i s made up
the whole i s g r e a t e r than the c o n s t i t u e n t
p a r t s ; i t i s t h e r e f o r e not s u r p r i s i n g t h a t Pereda had
f a i t h i n society*
In a l l three n o v e l s , there i s an
lost
affection
shown f o r the c i t y i n which they are s e t , but, d e s p i t e the
g r e a t e r accuracy
of d e t a i l i n S o t i l e z a , the c i t y i s always
the t a r g e t of Pereda's c r i t i c i s m .
Perhaps the l a s t
between the three i s t h a t a l l are absorbing
hold the reader's
purpose, and
i n t e r e s t , and
comparison
s t o r i e s , which
t h i s a f t e r a l l i s the prime
the r e a l measure of the success
of a n o v e l .
- 190 FOOTNOTES
Chapter
5
1.
See
S e c t i o n on L i t e r a t u r e .
The e p i s o d e i s a l s o r e m i n i s c e n t I n t h e c o m p a r i s o n of t h e c h a r a c t e r s o f t h e
two men: n o t e S a n c h o ' s s e l f - c o n f e s s e d f a u l t s w h i c h
made him want t o g o v e r n an i s l a n d :
Llegandose a l r u c i o . . . l e d i j o :
- - V e n i d vos a c a . . . c u a n d o yo me a v e n i a c o n v o s . . .
d i c h o s a s e r a n mis h o r a s , mis d i a s y mis a n o s j
p e r o d e s p u e s que os d e j e y me s u b i s o b r e l a s
t o r r e s de l a a m b i c i d n y l a s o b e r b i a , se me
han e n t r a d o p o r e l alma d e n t r o m i l m i s e r i a s ,
mil trabajos y cuatro m i l desasosiegos...
B i e n se esta. San P e d r o en Roma: q u i e r o d e c i r
que b i e n esta.O c a d a uno u s a n d o e l o f i c i o p a r a
que f u e n a c i d o .
M e j o r me e s t a a mi una hoz
en l a mano que un c e t r o de g o b e r n a d o r .
j E C e r v a n t e s , Don Q u i j o t e ( A u s t r a l : M a d r i d , i 9 6 0 )
p . 613.3
2.
See,
3.
H i s c h a r a c t e r has much i n common w i t h t h a t , o f Eugene
W r a y b u r n i n D i c k e n s * Our M u t u a l F r i e n d .
4.
F o r example, A. R u b i o y L l u c h , " L a M o n t a l v e z " i n C o r r e o
de l a s a l d e a s , B o g o t a , 18 O c t o b e r 1888 and
R. G i l O s o r i o y S&nchez, " L a u l t i m a n o v e l a de P e r e d a "
i n R e v i s t a de E s p a n a , 29 F e b r u a r y
1888.
5.
F o r example, G. P i c 6 n F e b r e s , "En d e f e n s a de
i n N o t a s y o p i n i o n e s , C a r a c a s , 1889»
6.
T h i s c a n be s e e n f r o m t h e D e d i c a t o r i a t o Penas a r r i b a
i n w h i c h P e r e d a u s e s t h e same image o f " l a a g r i a
p e n d i e n t e de mi c a l v a r i o " a b o u t h i m s e l f as he does
a b o u t Dona R a m o n a — a n d N i c a — .
He a l s o q u o t e s
these l i n e s :
Dominus d e d i t , Dominus a b s t u l i t .
S i c u t Domino p l a c u i t , i t a f a c t u m e s t .
H i s own f e e l i n g s on f a t e - - o r G o d - - r e f l e c t t h o s e o f
Dona Ramona ( I I , Peffas a r r i b a , p . 114-7)
7«
Due
f o r example, B l a s o n e s
de
l a Rochefoucauld,
y t a l e g a s from
Maximes,
218.
Tipos y
paisajes,
Pereda"
-
1
9
1
-
CONCLUSION
Pereda wrote
two m a j o r n o v e l s
w h i c h were s e t i n M a d r i d .
They
t h e s i s w h i c h has b e e n a c c e p t e d
declares
and
that
i s best
whole
summarized
to disprove
of l i f e
was
in
schools
and
and
changed
support
it.
against
The
t o the
adaptation
reject
two
this
trend
philosophy
of thought
and r e a c h e d i t s c u l m i n a t i o n
"He
hated large
In p o l i t i c s
the s o - c a l l e d
he was ,
"liberal"
P e r e d a ' s m e n o s p r e c i o de c o r t e ,
prejudiced
towns,
attitude,
regarding i t
a t t a c k , by someone who
and by someone who
was
was
completely
opposed
knew
biased
to Madrid
on
level.
second c r i t i c a l
Menendez y P e l a y o ,
as C o s s i o
corte
There are
first
a b o u t M a d r i d : by someone who
capitals?
a political
The
e v e r y t h i n g modern.
a completely
little
concensus
i s t h e a d o p t i o n and
Those who
Brenan:
This represents
i t criticised
as b e i n g
very
i t forms the core
of c r i t i c i s m :
of G e r a l d
customs,
1
the
fiction.
t o be
t h o s e who
the a t t a c k
a Carlist."
the
since
f u n d a m e n t a l i d e a l by t h e c r i t i c s .
and
basic
be an u n r e w a r d i n g t a s k t o
l e d by E m i l i a P a r d o B a z a n ,
foreign
a l l conform t o the
by most c r i t i c s :
I t would
this,
What does need
opposing
ones
by t h e p h r a s e m e n o s p r e c i o de
gamut o f P e r e d i a n
of t h i s
t h r e e minor
t h e f u n d a m e n t a l theme i n P e r e d a i s " p a s t o r a l "
y a l a b a n z a de a l d e a .
attempt
and
and a m p l i f i e d
and M o n t e r o .
second aspect
a p p r o a c h was
These
by l a t e r
critics
o f t h e theme:
that
adopted
by
commentators
e n d o r s e d and
a l a b a n z a de a l d e a .
such
magnified
It
-
represents
regarded
the
knew the
unconditional
and
by
qualities
the
as
same f a u l t s :
The
is
one
not
i n order
picture
and
without
of the
a f f e c t i o n , and
are
those
His
is
that
He
can
perfection
to
in a
the
the
dichotomy
true
importance
by
making
laud
him
rather
can
but
criticisms,
shows
w i t h many
p o r t r a y a l of
Madrid
f a r from
who,
by
man,
setting.
One
not
mixed
o f a t t i t u d e common among
lack a
f a r from b e i n g
w r i t e r , who,
that
being
attacking
against
c a p i t a l with
Montana does n o t
see
"pastoral"--doctrine
that
a t t r a c t i o n o f what t h e y a r e
intelligent
o f the
i s one
i s inveighing
content: his praise,
o f an
His
his
describes
see
certain qualities,
the
he
p o r t r a y a l o f the
satirical
itself,
o f a r a t i o n a l man,
revealing that
a u t h o r s , who
i n order
quo.
emphasize
the
"pastoral" ideal,
qualifications.
a city.
feelings,
to
status
o f the
to dismiss
second
gave
i t s people;
both schools
of Pereda's ideas
c e r t a i n v i c e s , knows t h a t
against
and
of S p a n i s h f i c t i o n ,
the
by
someone who
to a p e r v e r s i o n
t o keep him
advocation
prejudiced,
portrayal
s u p e r i o r i t y of the
Strangely,
it
provincialism.
true
reservations
the
development
a r e g i o n a l i s t and
basic
a faithful
countryside
a l l tend
merely a r e g i o n a l i s t j
The
his
t o the
of h i s n o v e l s .
narrow-minded
being
supported
opinions
of P e r e d a i n the
him
as
m o n t a n i s t a a t t i t u d e , and
Montana i n t i m a t e l y : by
support
someone who
These
-
traditionalist,
Pereda's novels
someone who
192
while
i t i s man
could
c l o s e l y and
severe
undonditional,
approving
who
examine
find
opposing.
that
mars
of
the
Pereda's—and
there
is
- 193 perfections
pettiness
Nature;
i f anything
of nature
and m u l t i p l i e s
o t h e r q u e s t i o n w h i c h has k e p t
many y e a r s
the imperfections
issue,
of f i c t i o n .
upon the e x a c t n e s s
credit
do n o t have any b e a r i n g on t h e
If literary
of minutiae,
c r i t i c i s m were t o be
then
i t would q u i c k l y
Shakespeare, Goethe, C a l d e r o n ,
who p r o j e c t
orally
contemporary
distant
The
attitudes
consequence
of Pereda's
novels
but are e s s e n t i a l l y
i n their
historical
into
spatially
late
from
i n t h a t they
w o r k s , were w r i t t e n w i t h
humorous
the s t a r t
from
r e v e a l the c o n t i n u i t y
of h i s l i t e r a r y
career
I t would be i m p o s s i b l e t o
cannot
add t o t h e
novels.
These two b o o k s , i n common w i t h ; a l l
the i n t e n t i o n
p u t t i n g them i n s i t u a t i o n s ,
the b e s t
others
o r tempt?,
They a r e s i g n i f i c a n t
i n i t (1888).
o f t h e two m a j o r
A l f o n s o Par.2
dis-
r e a d i n g and o f l i t t l e
a n y t h i n g more f o r them, and t h e y
quality
and many
have c e r t a i n
light
own r i g h t .
viewpoint
outlook
(1864) t o v e r y
Racine
based
situations.
t h r e e minor Madrid
qualities,
busy f o r
T h i s i s a n u n r e w a r d i n g and i r r e l e v a n t
s i n c e such matters
quality
critics
i s t h e a c c u r a c i e s and i n a c c u r a c i e s o f d e t a i l i n
Pereda's f i c t i o n .
and
Opposed t o
i n the i n d i v i d u a l .
The
claim
i t i s the
i s t h e macrocosm o f man, i . e .
s o c i e t y , which magnifies
an
nature
o f man, and h i s d e s i r e s and p a s s i o n s .
the p e r f e c t i o n
found
spoils
of Pereda's
mature
of creating characters,
a s has b e e n s t r e s s e d b y
P e d r o S a n c h e z and L a M o n t a l v e z c o n t a i n some o f
c r e a t i o n s of Pereda,
and o f c o n t e m p o r a r y
fiction,
- 194 i n Pedro and N i c a themselves,
i n Don
His
i n Don
Santiago and Dona Ramona, and
other novels may
memorables
S e r a f i n and
i n C l a r a and
c o n t a i n c h a r a c t e r s who
S o t i l e z a , Don
Matica,
Leticia.
are j u s t as
V a l e n t i n ( E l sabor de l a t i e r r u c a ) ,
P a t r i c i o R i g i i e l t a and Don Gonzalo (Don Gonzalo Gonzalez
G o n z a l e r a ) , the Penarrubias
Berrugo
(La puchera), Don
de l a
(De t a l p a l o , t a l a s t i l l a ) , e l
Celso (Penas a r r i b a ) ; but those i n
the m e t r o p o l i t a n novels are of a type, and f i n d
i n s i t u a t i o n s , which the reader who
themselves
i s not from the Montana
can best a s s o c i a t e h i m s e l f w i t h .
One
of the b e s t - j u s t i f i e d
complaints about the P e r e d i a n
n o v e l i s i t s l a c k of s t r u c t u r e , but, as the S e c t i o n on
L i t e r a t u r e has shown, the Madrid novels are the most c l o s e l y
t e x t u r e d t h a t Pereda wrote because every event i n them i s
a r t i s t i c a l l y necessary to the development of the p e r s o n a l i t y
of
the p r o t a g o n i s t s .
I have attempted
a v a s t spectrum
to show t h a t the Madrid novels c o n t a i n
of contemporary s o c i e t y , and t h a t there i s
both breadth and depth to the scope of h i s thoughts
on the
Corte.
the
He may
a t times be g u i l t y of merely
heeding
popular p r e j u d i c e s t h a t were i n the a i r when he was
writing,
as, f o r i n s t a n c e , i n La mujer d e l Cesar, but h i s views are
g e n e r a l l y those of a balanced and p e r c e p t i v e o b s e r v e r .
Pereda never achieves o b j e c t i v i t y , but he comes c l o s e s t to
it
i n these two
n o v e l s , as can be seen from the many p o s i t i v e
f o r c e s and f i g u r e s he d i s c o v e r s i n Madrid
society.
His
a n t i - M a d r i d p r e j u d i c e i s f a r s t r o n g e r i n Penas a r r i b a
than
- 195 in
either
due
it
o f t h e two C o r t e n o v e l s , and t h i s
t o a sense
may a l s o
have b e e n c a u s e d
La Montalvez
To
of p e r s o n a l tragedy,
by t h e M a d r i d
sum up, I b e l i e v e
approachable
reasons:
o f t h e whole
are closer
n o v e l s about
Madrid
which are s u i t a b l e
The
stories
for
press.
that
these
two n o v e l s a r e t h e most
o f Pereda's
fiction
novels,
t o the m a j o r i t y r o f r e a d e r s .
are v i r t u a l l y
t o be r e a d
are e n t h r a l l i n g
novels
the
read
i s much d e p t h
they
that
f o r entertainment
and t h e c r i t i c i s m
demand r e r e a d i n g , f o r t h e y
enthrall
account
he has m i s s e d
This
the reader to t h i s
of contemporary Madrid
faithful,
they can s t i l l
reveal
which r e f l e c t
Man, h i s v i c e s
something,
a l l great
They a r e a l s o
and ought t o
of the t e x t u r e .
day; and, a l t h o u g h
may n o t have b e e n
truths
about
quality
o t h e r men, w h i c h i s c a l l e d
with
continue to e n t e r t a i n
human
their
completely
Man's n a t u r e .
of these
and h i s v i r t u e s ,
-x # #
pot-boilers,
leave the reader
the complexity
i s t h e e x c e l l e n c e and l i v i n g
ship with
e l e m e n t as i n Penas
i n them; l i k e
P e d r o S a n c h e z and L a M o n t a l v e z
and
and p l e a s u r e .
forms p a r t o f
t h e y a r e mere
of thought
them a g a i n t o s a v o r f u l l y
The two
t h e o n l y ones o f P e r e d a ' s
improve w i t h e v e r y new r e a d i n g .
-^impression t h a t
f o r two main
i s m a s t e r l y ; t h e e v e n t s and
T h i s does n o t mean t h a t
there
suggested;
a t the r e c e p t i o n of
t h e n a r r a t i o n and i s n o t a n e x t r a n e o u s
arriba.
been
as I have a l r e a d y
by p i q u e
The c h a r a c t e r i z a t i o n
situations
may have
novels
and t h a t
society.
relation-
- 196 FOOTNOTES
Conclusion
1.
Brenan,
p.
3^5»
2.
A. P a r , " P e r e d a y C a t a l u n a " I n Homenaje a l n o v e l i s t a don
J o s e M a r i a de P e r e d a , e n e l p r i m e r c e n t e n a r i o de s u
n a c i m i e n t o (Numero e x t r a o r d i n a r i o d e l B o l e t i n de l a
B i b l i o t e c a Menendez y P e l a y o : S a n t a n d e r , 1 9 3 3 ) P«
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