Heath's Modern Language Series: Mariucha. Benito Pérez Galdós

and so its popularity at home is a sign that Galdós was able to educate his public to some extent.

      In condensing the dialoged novel to a drama, Galdós made a number of alterations in character and action, and all, in our opinion, for the better. Nevertheless, Manuel Bueno says: "Prefiero, sin embargo, la novela. Me llena más."

      13. Bárbara, tragicomedia en cuatro actos. Madrid, Teatro Español, March 28, 1905. Coolly received.

      The overshadowing figure of this drama is Horacio, governor of Syracuse in 1815, who "entertains the idle moments of his tyranny modeling out of human wickedness the ideal statue of justice." He forces the countess Barbara, who stabbed her brutal husband, to marry the latter's brother, instead of a chivalrous and mystical Spaniard whom she loves, and who is blamed for the murder. How does such an outcome represent ideal justice? It seems to teach that unhappiness, caused by oppression, must not provoke any effort for freedom on the part of the victims. Revolt must be punished and expiated. Letter is placed above spirit, and the theme is repeated often: "There is no change, no reform possible in the world. All things must return to their first state." How to reconcile such doctrine with the body of Galdós' work?

      These considerations nonplussed contemporary audiences and critics, and caused Martinenche to regard the play as an "ironique divertissement," intended to demonstrate that "Galdós' art was supple and objective enough to set forth an idea apparently at variance with the general inspiration of his theater." Such an explanation would be in harmony with Galdós' favorite custom of balancing one argument against another, but perhaps Bárbara may be interpreted in the light of Los condenados, where also penance for both lovers was insisted upon. In the ideal justice, it makes no difference whether the crime committed is against oppression or against liberty. In the latter case, punishment assumes the form of a liberal revolt; in the former, it appears reactionary. This is why Galdós, holding the balance even, with the impartiality which is the root of his character, seems in Bárbara to advocate a static philosophy, whereas in most of his work he is the liberal whom Spain, a backward nation, needed.

      In any case, Bárbara is a fascinating, enigmatic play, too elevated ever to be popular, but one which, on account of its closely studied characters, delicate motivation and suggestive ideas ought always to be a favorite among the thoughtful. No other play arouses greater respect for Galdós as an original creator.

      14. Amor y ciencia, comedia en cuatro actos. Madrid, Teatro de la Comedia, Nov. 7, 1905. Coldly received.

      The redemption of an erring woman is a frequent dramatic theme, from the Romantic era to the present. Malvaloca, of the brothers Quintero, presents it, as does Palacio Valdés' novel Tristán, with a plot and spirit not unlike that of Amor y ciencia. Here, love and science are forces which together heal and redeem the soul of Paulina, the repentant wife of a famous physician. Once more, as in Realidad, and as in Tristán, we are shown a husband who pardons. But here the treatment of the theme lacks vitality, and the abstract idea is not beautified by the veil of poetry which gives charm to Los condenados, Alma y vida, and Sor Simona.

      16. Pedro Minio, comedia en dos actos. Madrid, Teatro Lara, Dec. 15, 1908. A fair success.

      Galdós' only real comedy is distinctly a minor play, with a languid second act. The scene is laid in a wonderfully perfect Old Folks' Home. The hero is an inmate, once a jolly liver and spendthrift, who still enjoys every moment, while as a foil to him is placed a wealthy money-grubber, who at forty is ridden with a dozen plagues. There is much quiet humor, and some obvious symbolism,—perhaps also some not so obvious. That reformed profligates wish to restrict the pleasures of others, while the blameless allow them harmless freedom; that the money-seeker meets with torment, while the generous spender lives happily; that "peace, fraternity and innocent love of life are all God has given humanity, to make its passage through the world less painful"; these are the plain morals. It is thus united in spirit with Galdós' latest work. But the form in which this lesson is conveyed is not calculated to encourage a life of productive toil.

      16. Zaragoza," "drama lírico en cuatro actos; música del maestro D. Arturo Lapuerta. Saragossa, Teatro Principal, June 4, 1908.

      This opera, only the libretto of which has ever been published, was given four nights during the centennial celebration of the siege of Saragossa, and was never performed elsewhere. The book is a mere scenario of the well-known Episodio nacional, and contains practically no spoken lines. It cannot be judged without the music. The chorus of citizens is the protagonist.

      17. Casandra, drama en cuatro actos. Madrid, Teatro Español, Feb. 28, 1910. Adapted from the "novela en cinco jornadas" of the same name, 1905. The occasion of hot political demonstrations.

Casandra is frankly anti-clerical, but with an Olympian irony, not bitterness. The central figure is an aged, childless widow, whose enormous wealth is eagerly awaited by a host of distant relatives. She changes her mind, and starts to give away her property to the Church, with natural disappointment to the heirs. Casandra, not an heir, but the mistress of an illegitimate son of Doña Juana's husband, is a woman without money-interest, but Doña Juana's desire to deprive her of her children and lover stirs her to stab the aged bigot. The novel is admirably genial, full of convincing characters and pregnant thoughts; the play much changed, and inferior to it. It teaches that Dogmatism is sterile and only Love is fertile. Only Love is powerful enough to drive away the specter that oppresses Spain. Unconscious well-doing alone aids humanity, not ostentatious aristocratic charity. It is doubtful if the elaborate allegory suggested by R. D. Perés (see above, p. xxii, note 1 [Footnote #8]) was intended by Galdós.

      18. Celia en los infiernos, comedia en cuatro actos. Madrid, Teatro Español, Dec. 9, 1913. Successful.

      The story of a beautiful, good-hearted marchioness who, being an orphan, comes at the age of twenty-three into the free management of her enormous property. She soon becomes disgusted with society life, and, accompanied by an elderly confidant, disguises herself as a peasant girl, and visits the infernal regions of the slums, partly to learn how the other half lives, and partly to learn the fate of some former servants. After interviewing don Pedro Infinito, a half-demented astrologer and employment agent, who furnishes the best scene and the most interesting character in the play, they inspect a rag-picking factory. Celia buys it and promises to establish profit-sharing and old-age pensions, if all the workers will live decently. The project is hailed with delight, and the benefactress returns to her heaven. The rag factory is a symbol of Nature: "Nothing dies, nothing is lost; what we abandon as useless is reborn and again has a part in our existence." Only silk rags, the refuse of elegant things, are of no further use.

      The plot of Celia en los infiernos is romantically commonplace. In dramatic interest each act is weaker than the one before. The slums shown here would never appal an unaccustomed visitor. Moreover, Galdós abets in Celia the vice of ill-considered charity which he condemned in Mariucha. Decidedly, the author's heart got the better of his intelligence in this play.

      19. Alceste, tragicomedia en tres actos. Madrid, Teatro de la Princesa, April 21, 1914. Succès d'estime.

      The sacrifice of Queen Alceste, who dies in place of her husband, Admetus, was used for a drama by Euripides, and from his have been drawn many later plays, as well as a famous opera by Gluck. In his Preface Galdós details the changes which he introduced into the story, so many that his plot and characters may almost be considered original. Galdós has abandoned the surpassing lyric quality of the Greek, so far removed from his own genius, and set the theme down into a key of everyday humanity, at times half humorous. The figure of the queen has lost at his hands its poignant tenderness, but Admetus has gained in dignity, and the dramatic movement is much heightened. The realistic visualization of Pherés and Erectea, Admetus' selfish parents, the excision of the buffoonery in the rôle of Hercules, who restores the queen to life, are excellent adaptations to modern taste. Galdós' Alceste, mingling comedy and pathos with singular charm, power, and discretion, must henceforth take its place among superior modern interpretations of the story, beside Alfieri's severely