The treatment of social problemsin the works of Jose Echegaray

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Authors Kalil, Mary, 1904-

Publisher The University of Arizona.

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The Treatment of Social Problems in the Works

of

Josl Behegaray

by .

Hary Kalil .

Submitted is partial fulfillment of the requirements for the dereee of

Master of Arts

in the College of Letters, Arts, and Sciences, of theUniversity of Arizonay--X , , ":^h1935! \ ' ■ v' . ."S. - ■’ y;I'Sai % - , -

Approved*Major Adviser Date

r pEX-OrAA'z

LlBKTiCi

Table of Contents

3S'^ ' 2 -

^ 9 7 ? /

Chapter PageI. Introduction. 3

II. Life and Works of Jose Schegaray y JSizaguirre: 4A. Brief sketch of his life. 4B. General characteristics of his works. 10

III. Social Problems! 14A. Honor. 14L. Gossip. 27C. Duty, 38D. Ideals. 423. Politics. 44F. Religion 47G. Abnormal psychology. 52

IV. Method of Treatment: 63A. Theatrical craftsmanship. 63B. Dramatic technique. 67

V. Conclusion. 73VI. Botes. 75

VII. Bibliography. 86

9H?51

s

I. Introduction.

Jose.Echegaray y Eizaguirre, one of the most prominent of the political, scientific, and literary figures in Spain’s late nineteenth century activity, wrote some seventy two drama# during the course of his life. Being a man with each varied activities and interests it is natural that his know­ledge of the social problems of hi# day should be well found­ed and of interest.

It is the object of this study to show just what types - of social problem# are treated by Echegaray and to note his method of treating them. Since he touched upon practically every phase of social life those phase# which are the most outstanding and with which he dealt most thoroughly are the ones selected for study, to order to give a background which will permit a better comprehension of hie social interests, a brief sketch of the author’s life and ah analysis of the general characteristics of hie works are included in this study, ' ' — " • •

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IX. Life and Worke of Jo se Echegaray y Sizaguiz^.

A. Brief sketch of his life. The remarkable career of Joae Echegaray has attracted the attention of students in three departments of human activity: science, politics, and letters; This fact is the more interesting to the student of letters in that Echegaray’s pronounced natural aptitude was for science and mathematics.

A brief survey ef his life shows that he waa born in Madrid in March, 1852. Although the name Echegaray is Basque both of his parents were Spaniards. His years of childhood were passed in Murcia where his father was professor at the Institute and where he obtained his bachelor's degree after showing a marked preference for scientific and mathematical studies. "Aun recuerdo”, he once said, "el placer Intense queN experiments al cbmprender per primera vez como y por quo se dabauncomun denominadora dos o mas quebradoe... Se inundo mi alma de resplanderes y en mi loco entusiasmo arranque yeso de las paredes y fui llenando puertas y ventanae con ejemplos de aurne y rest os de quebrados.''1

Having Becured his ba^heler's degree he was taken by hie father to Madrid ehere he matriculated in the school of Ihge- nieros de Caminos. While attending the university he went often to the theatre, was present at the great triumphs of Tamayo y Baus and saw the presentation of Ayala's first work. His attachment to -the theatre grew intense and before he had

5

finished his course he saw the entire repertory of Romea, Valero, Calvo, 25atilde Diez, and Teodora Lamadride

^ring. his five yef&rs at the. engineering school he made some lifelong friends, most of whom were deeply attached to literature. Of these Brookman, as we shall see, exercised the greatest influence over Echegaray* s later life.

When nineteen, politics began to interest him. He was ogten a spectator at the public sessions of the Cortes. His biographers AntSn del Olmet and Garcia Carraffa, in describ­ing the first time he attended one of these sessions, says ”I*e emociono tanto la aesion, que se le cayo la chietera al heroiciclo, produciendoseun gran alboroto, y sufriendo Don Jose el sust® consiguiente#e2. At the age of twenty years he finished his course at the engineering school and won the degree of "Ingeniero de Carainos'!. The year before his graduation he had married Ana Perfecta Estrada, daughter of a distinguished family of Oviedo, and with whom he enjoyed a mosthappy married life.

In the meantime his literary interests grew. He read many poets, among them Zorilla, Esproncdda and Hartzenbuach, and was slowly acquiring the idea of writing.; Echegaray was appointed successively to posts in various provinces, first as second engineer to Granada, then to Al- mcria vtoere he disliked his only task of keeping the sheet highway from Almerla to Gador in good condition, and then, in 1854, to MadsHd where he was appointed professor in.his

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Alma Mater, the Sscuela de Ingenieroe de Camlnoa, to teach theoretical and applied mathematics. While building up his reputation in science he found time to study political econ­omy, devour every form of literature, and attend the theatre often. His former classmate Erookman was also made a part of the engineering school’s faculty arid it was this friend who first suggested to Echegaray the writing of a play.

"Pep#", he asked, "4y si eecrihieramee un drama entre los doe?"3 .

After further diecuaelen it was agreed that each man should write alone, Erookman writing his play in verse and Echegaray in prose. Eehemarw, entitled his work La corte- saaa and based it on a plot made popular by Dumas, fils, with his Dame aux Cameliaa - the rehabilitation of woman.He failed to have it accepted and his disappointment was such that he tore the work to pieces. Thu# terminated his firet literary production.

Considering himself an utter failure as a writer, Eche- garay’s interest turned to political economy and he became well known as an ardent advocate of free trade. He became a member of the Ateneo where the first.speech that he gave on the subject of astronomy was enthusiastically received.

When, some years later, Don Jose’s brother Higuel suc­cessfully wrote and produced a one act drama entitled Cara o Cruz, there awakened in him a new desire to write for the theatre and this new interest resulted in his writing a

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three act play which he sever published or even named, Im 1857 he wrote La. hi.la natural, a one act piece in veree, which he sent anonymously to a well known actress Teodora Lamadrid. Although the play appeared ten years later with the title gara tal culpa tal nena. she did not find it adap­ted to her needs; and before JSchegaray recovered from the disappointment of a second literary failure, he was sent by his school to the Alps in order to study the perforation of the famous tunnel of Mont Genie and the new perforating machi­nery, whieh: wa6,ait that time, a novelty. Upon his return to Spain he wrote a Memoria of his first visit to the Alps; and two years later, in 1862, he made two new dramatic at­tempts, a one act comedy in verse, entitled Tin sol aue nact Z Sfi sol flue muere, and a one act drama, which he labeled Morir nor no deapertar. Again he was doomed to disappoint­ment and had to shelve these dramatic efforts with his pre­vious works.

In 1868 Echegaray was sent by the director of his school on a new commission to Paris and upon his return to Spain he found that the revolution was about to break out. 'Echegaray was a revolutionist but a revolutionist in theory only. His surprise was great when Laureano Eiguerela, Ministrode Ha­cienda, wrote him a letter to the effect that he had nominat­ed him to Ruiz Zorrllla, the Ministro de fomento, for ap­pointment as Director de Obras Publicas.

He was elected representative to the Cortes which met

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in 1869 and which had three major problems to settle. First, the form of government* eheeld it be a monarchy or a repub­lic- second, individual rights; and third, the religious question. It was in relation to,this third problem that Echegaray gave hie famous speech in favor of religious free­dom. '• ■ '

The Cortes decided to name General Prim liinistro de Guerra and the Duque de la Torre Regent of the Kingdom until a king should be selected. In the cabinet formed during this period Echegaray was made Min 1stro de Fomento and this posi­tion he kept until the accession of King Amadeo de Saboya in 1871. His interest and energy were never failing and the projects and reforms which he prepared were numerous. Among them were the reforms of the special engineering schools, a basic project for public works, and another aimed at the solution of the mining problem, an industry then in a poor stage of development.

When King Amadeo, in the summer of 1872, recalled Zo- rrilla and asked him to form a new cabinet, Echegaray resum­ed his former position as Hinistro de Fomento and retained it until the republic was proclaimed in February 1873. He then resigned his position and prudently,retired to Paris.It was here"that, partly through fear of being reduced to his own resources, he resolved.to do his best to turn to ad­vantage his dramatic knowledge and aptitude and wrote his first successful play El libro talonario. He turned it over

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to the actress Matilde Diez telling her it was the work of a friend of his, Jorge Hayaseca. While she was considering its merits the Spanish republic fell and a new government was formed under the Duque de la Torre. Eehegaray was appointed Ministro de Hacienda and returned to Madrid.

Of this drama he said:"Fenaaba alguna vez en ella pero sin

realizar ninguna gestion nueva. Un d£a ae present6 a ml Carreras y Gonzalez, que era literate y economista, y buen amigo mlo y me dij® que venia del teatro Apolo, y que le habia dicho Matilde Dies que habia leldo ana obra recoaendada por Eehegaray, que le habia gustado mucho y que iba a presentarla en breve p l a z o . "4

His dramatic success was assured from that time on. El libro talonarlo was followed by seventy two works of which four have four acts each; three, an epilogue and three acts; three, three acts and a prologue; forty three,three acts; one, two acts; ten, one act; and three monologues. He trans­lated very sue cespfully three plays of the Catalan Angel Gul- mera. Of his own works thirty four are written in verse and thirty six in press.

From the time of his first dramatic success he kept aloof from politics and devoted himself exclusively to the exact sciences and the drama. In recognition of hie great

V10

ability and success his own country honored him by making him, in 1882, a member of the Royal Spanish Academy of the Language, and the Swedish Academy in 1904 awarded him one half the Hobel Prize for Literature. On the 18th of March 1905, representatives of all literary, scientific, and ar­tistic centers gathered in the Senate presided over by the King to present the prize to Bchegaray and to confer upon him membership in the order of/To.ieln de Ore. Although his interest in politics and other activities never waned, the theatre claimed most of his attention until his death in September, 1916, in his eighty fourth year.

v ■- 4 ■ • • •• - -• . ' # v •' •• . ■ * .• L

B. General characteristics of his works. The theatre . of Echegaray, despite a certain tendency to naturalism in several of his plays, is strictly romantic* It is perhaps here that we find the secret of his prodigious success. The great critic Clarin likens the enthusiasm of the Spanish for heroic drama to their passion for bullfighting and if ever a drama were heroic Bchegaray*s is. His theatre is dramatic through the predominance of imagination over Judgment, the vehemence of passions, the symbolical character of the per­sonages, and the violent dramatic conflicts. Furthermore, one must not overlook the exaltation that animates him and is communicated with telling effect to the spectator. One critic, Salcedo Ruiz, describes his drama as causing a deep impression upon one in direct contact with it; when the

11

Intelligent speetater finds himself alone and ponders about what hae caused him such great emotion, he suddenly realizes that none of it has been the truth, that it has lacked the reflection of ordinary, everyday life.5

Another critic, Bomera-Kavarro, says that the earlier drama of Eehegaray, that is, until 1885, offers various notes of romanticism: the use of verse, the selection of subject matter generally foreign to life, the slight attention to character study, the feverish exaltation of feeling, the use of fatality as a dramatic resort, and the extremely theatri­cal effects. He is, however, removed fro® the romantic ele­ment in that he replaces legendary arguments with the con­flicts of modern society.6

Eehegaray was, as it were, a thundering, flashing, hur­ricane, which changed discreet emotions into violent passions. For some twenty years he ruled the stage with an iron hand.His stage effects, romantic and at times melodramatic, were so skilful and impressive as to conceal their fundamental unreality. His Interest was in problems and effects rather than in persons, or, at most, in persons as subjects for ex­periment. The chief merit of his plays lies in their lofty idealism, their conviction of the inevitable connection of sin and retribution, their felicity in the Invention of situ­ations, and the grandeur of both hie prose and verse.

Eehegaray has been compared to Shakespearebuthe never has had, no# will he have, the lasting and catholic appeal

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of the great English writer. Hie drama did not cross fron­tiers hecauee the national element in it is unusually strong.He was the most popular Spanish dramatist of hie day and em­ployed frequently the Ideals of honor that were the dominant theme in the plays of Calderon. To express these ideals he employs a vigor of verse, a keenness of characterization, and a fertility of action that have contributed much to his popu­larity. Although his drama is "clasicamente espahol, espahol por los cuatro costados: lenguaje, caracteres, intriga, desen- l a c e , he wrote several plays whose appeal is really world wide and less specifically Spanish. These are El gran galeoto, 0 locura o santidad, and possibly, Kariana and El loco Dies.

Cesar Barja feels that the reason his plays cannot be presented on a foreign stage and do not live longer in hie own country is that they are spiritually false and sentimen­tally irrational.8

We have here, we feel, a statement of Echegaray1e great­est weakness, namely, unreality and exaggeration. While these qualities, at the beginning, can be and are overlooked in a superbly staged drama, even on the stage they cannot long maintain their appeal, and still less in the quiet of the study.

Echegaray*s earlier plays are generally in verse andtragico-romantic, the later plays more often in prose and ,' - .more Intellectual and psychological in manner, being influ­enced particularly by Ibsen’s works. His problem plays are

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hie masterpieces and are generally more highly approved thanhis romantic dramas. Only in Spain do some of hie romantic

,.V • .

dramas enjoy ae great a popularity. The change made in hie truly great play El gran galeoto when it wae prepared for the American stage led erne critic to remarks "The only way to pre­pare a great drama for the American stage is to leave it al@ner'9 -v '

Bchegaray certainly excelled in the study of all problems of life and especially of those of the conscience, with its illimitable scope for reflection and conflict.

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III. Social Problems.

A. Honor. There ie no theme more apparent in the werke of Echegaray than that of honor. It would he difficult to find one of hie plays in which it is not, at least, a miner theme, and it would be impossible to find any of his noble characters who fail to guard jealously and extol zealously this great moral quality upon which all other virtues must rest. That it is more important than life he states emphati­cally in La deseoullibrada when Roberto says to Teresina as he describes to her Kaurlcio, hie rival for her affections*

Roberto* Es bueno porque no puede eer otra coca. Como son buenos los seres debilee. .APero quererla a Vd. como Roberto? JKo y noil !l no es capaz de hacer una loeura per Vd. JYo si! Hauricio haria por Vd. un aacrificio...quiza en un arranque ro­mantics llegase a dar’la vida por Vd.

Teresa* IAh! Ila vida! Ale parece a Vd.

Roberto* I La vida si! Ila honra no!10It is apparent, therefore, that honor is of prime impor­

tance. Just what conception of honor does our author have?An entirely romantic coneeption. A conception continued from the drama of Calderon, which idealizes and makes most subjec­tive the meaning of honor. Honor must be maintained-at any

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price, and society must know that it is being maintained.Honor in ene*s own eyes la important but honor in society*# eyes is paramount. The somewhat unreal and unnatural ten* dency in the treatment of thia matter liee in some of the conception;of honor of the character#. The outmtandlng ex* ample of an .exaggerated eoneeption of honor is 0 locum £ eantidad. ' :

Don Lorenzo, saint or madman, as one may choose to con­sider him, has been enjoying a far more luxurious position than is his by right, the real mother (his former nurse) hav­ing agreed with the pretended mother to keep secret the child's identity. Whsn, at the point of death, the old nurse, long lost in obscurity, returns to avow her motherhood and to die in her son's arms, he is dashed at once from his pinnacle of greatness and wisds®. ' x

It is clear that his inherited goods sust go to the law­ful heirs. Lorenzo refuses to return the goods by any secret arrangement or under any pretext which might conceal the real facts. He wants an open and public avowal of the false life he has lived - a life which, somehow, does not strike us as having been at all false, or, at least, dishonorably false. With desperation Lorenz© crises .

”*.•lYo lo he robado todo! I Position social, apellldo, rlquezas! ITodol |Tedoi...Hasta las carieiae de mi madre que no era mi madre!.•• .IH&eta sus btsos porque yo no era su hijol...

IB©? Ilets no ee poaible?...IYo no. soy tanit■, miserable!H - ■ ■... .. , :.r , . .. ;.v • . . .

, A struggle eneiies in Don Lorenzo's mind* Duty obliges him to reveal his false status, and the love of his wife and daughter makes him fearful lee* hie revelatiene cause their ruin, )lonor, however, is supreme,, for Lorens© cries to hie

: ,"IImpoeible parses quetu: - ' ;■ p® puedas mas quo el honor! M12

; Angela, Lorenzo*s wife, is a well drawn figure of ehal». low, conventional womanhood, who sees naught but sound and fury in her husband*s,w@rde* When he expresses his great un» happiness eh© sayst l

•Tu desdichadol La desdiehada es ella (the daughter), no tu, que en la contemplaciSn de tus perfecciones morales, y altae virtudes encontraras de seguro

, gooes inefables y divinesconsuelos."13

Lorenzo*s delirium eomtimees and in order to restrain him from what they consider a foolish act, his friends repre* 8<nt him ae insane, io oyerrretined is the injiUliie which ; has driven him to make known.the real facts, that they sue* ceed. . . . : . ... . . . : . . ,

The defense of a parent•s honor by hie child is the theme

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of several of Echegaray'o plays. El prologo de un drama and its continuation El primer acto de un drama are one act plays forcefully portraying the protection of a mother's honor by her sen. The scene of Hi prologo de un drama is laid in Ss* villa during the reign of Philip II. , Just before departing on his military assignment to Flanders Leonelo, Mariana's son, learns that the pirate Jaime, who had suddenly appeared after a twenty year absence, is not his father for he had mold his wife, liariana, on her wedding night, to the Marques de Terre- negra. Endeavoring to restrain Jaime from taking a chest ef valuables left in Mariana's care causes a duel la which Lee- nele kills Jaime. The crowd in front of his home stamps the young man as a patricide and althe®gh Mariana wishes to ex­plain that Leenele has not killed his father, her sen re­strains her from doing so, saying:

"Ho mas,que tu honor es lo primero."14

El primer acto de un drama shews leenele back from Flan­ders fleeing constantly from the horrible accusation of having killed hie father. He finds his mother sheltered in Barcelona by a Don livaro and the latter's daughter, Beatriz. She tries, before her death* to reveal that Leonele did not kill his fa­ther and leaves a letter with Beatriz revealing the secret. Leonelo, however, guessing the letter's contents takes it away from Beatriz and casts it into the fire, sayings

18

■. . :• ' ■ : ‘ "Janas ' . ; - ' -lo sabre Is. ?

- : ■ : I Qfcdarer frio .de la madre de mi Yida, deseaosa al fin en la tierra!ITu la paz.*..IYo sterna guerra!ITb henrada!..IYo parricidal

Very similar to this Idea is the ®ae shown in Algunas voces aoui. Here again, we have a mother who, in order to insure the happiness of her son, Rafael, prepares to reveal the fact that it was not his father who had, years earlier, killed the father of Rafael’s sweetheart, Ampare. Rafael re­fuses to read the revealing letters and burns them but the mother tells her secret to Ampare, stabs herself, and says as she is dying* . . ' . . : :■ ■ . :: ' . : '

"8i hubieras sido tan infame que deahonraaes : •: a tu madre, yo te lo juro y tume eemeeee,

Ampare no hublera sido tuya* Pero las beenas acetones, hijo mlo, hallan su recempenaa algunae VSCeS Squi*" . ' : . : '' :

Rafael, her son, answers;..Bisn dice Vd; Algunas Veees Aqu£j Pero

Siempre, Siempre Alla,”16A case of a son, Roberto, concealing his father's guilt

in order to preserve his honor is found in El estlgma. Roberto, a prominent young lawyer and politician, suddenly finds his

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hopes shattered and his unhappy past confronting him* A powerful newspaper reveals' the fact that he has served a prison term for having stolen money in his father’s ears and then having killed his father* As this news spreads everyone turns against him except his sweetheart Eugenia^ To her, in an unguarded moment, he reveals the truth: that his father had. taken the meney and then committed suicide;> Eugenia, f^erish and wiMi not realizing what she la doing, reveals this secret her friends* - They proclaim him a hero hut he, feeling himself a base traitor to hie father’s honor, kills himself; His final words are:

/ "Ti de la honra de ml padrey de sue pehree huesos habre hecho reclame para mi medro."1^

The only explanation of this act seems to be that (after the moment of weakness in which he told Eugenia the truth, which through her divulging cleared up his own record) he was unwilling to live on and profit by clearing hie own reputation at the cost of his father’s*

This is what Eduardo Bustillo says concerning the unreal­ity of this plot: :

"Parecia logica y naturalmehte imputeta la hulda de Roberto del terreno publico y del campo florido de sus aueB©8,ae©ttsejada antes per su mlcma conciencia. Pero con la huida del protagenieta se acabaria el drama, y ee

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precise para el autor que Roberto, que no atenta a eu vida sobre lae ruinas del templo de bub glorias, a tanta costa levantado, reserve eu inutil crimen para el memento en que mae le son* rle el febrll amor de su adorada*"1®

We have another example of the protection of honor in Bn el puHq de la Canada, the scene of which is laid during the time of Charles V. The story concerns Bon Rodrigo, Mar­ques de Moneada, and his wife Doha Violenta. They have reared young Doha Laura and are both surprised and pleased to learn that their son Fernando wants to marry her. Com* plications appear, however, when it develops that Don Juan, Conde de Orgaz, who also loves Laura is Doha Violenta’s old seducer and Fernando1s father. Doha Violenta, feeling that she might induce the Count to give up Laura, writes him a letter asking him to meet her at a given time and place.But, alae, the letter (as often happens in Bchegaray's plays) goes astray and falls into Fernando*s"hands. He, somehow, believes it to be Lauras letter and the young girl finds it necessary to marry the Count in order to maintain her god* mother’s honor* Fernando attempts to kill Den Juan and le stopped only when he 1earns that the gentleman le hie father. This revelation, nevertheless, does not deter him from killing himself and as he ie dying from a sword wound he cries to his mother;

"Ya esta.,.tu honra...asegurada...

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del sepuleroe••en.el.aroano,..que eiempre tendre..eaii man®.#•Sn el Pyfle de la Bapada, . :

That one*6 honor ie not oolely one's own but more often bound up with that of someone elee la further shewn in De mala raza, Carlos, in order to reveal and prove his wife's innocence of a moral indiecretion finds that it will be necessary to show that the guilt is that of Paqulta, his young stepmother* Carles says, as he is trying to decide whether or not to tell hie fattier the truths

Carlos: Hues ahi tienes, ah£ tienes comeneestra honra no es sola nuestra! 4Y tu puedeo querer, nipuedo yo consentir, que , llegue urn dia en que arrojen al rostro de

■/:;;: . tu hljo, del maestro, la calumniosa dee- ,honra de eumadre?

Adelina (Carlos' wife): IKo, eso nuncal: Carlos: Puea ah£ tienes la horrible duda que

• se agiganta en mi conciencia, iQue valemas, la honrade aquellas canas (hie father's) que ya se inclinan sobre un sepulere, o la honra de ese mlsero ser que ni defenders® puede con el llanto?^®

Carlos decides to reveal the facts to his, father feeling that the assurance of the legitimacy of an innocent child is

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more important than saving the honor of an unfaithful wife.In MycjLana we hare Ichegaray* • conception of feninine

honor. A woman who distrusts her moral strength forces her husband to kill her to protect her from herself• We learn that Mariana is the daughter of a father whose cruel diepeei* tion and unceasing conflict with his wife resulted in her desperate unhappiness and in her flight with Alvarado, her lover. Mariana, who was taken with her mother, cannot for­get the rapid cooling of Alvarado*s ardor, his consequent neglect, cruelty, abandonment, and her mother's death of grief and starvation. Yet, in spite of her great desire to avenge upon all men her own and her mother's sufferings, she falls in love with young Daniel Montoya.' Suddenly her hap­piness is forever shattered by the unexpected discovery that he is the son of her mother's betrayer. To save herself from following her natural urge and marrying the son of the man who deserted her mother so ignobly, Mariana marries an elder­ly lover of here, Don Pablo. She feels that the general's sense of duty will steel his hand to kill her should she fail in duty. She feels, too, that in her desire to save _ Daniel from her husband's fury she will have greater strength to resist her desires. To explain her action she says;

"Quise levantar una harrera entre Daniel y ? ye; quise poner a mi lado un hombre que sujetase

ml locura con mano de hlerro, un hombre impla­cable que cuande ye vaya hacia Daniel•••porque

yo me conozco$ el el no vieae a ml, yo voy a el...Pues bien; cuando llegue ese case, que don Pablo me mate y le mate; y quisi- por sal- var a mi Daniel tendre fuerzas para reeistir los impulses de ml delirioi''^!

This step, however, does not end her theught# of Daniel and when, en her wedding night, he arrives at her home and she fears she will flee with him she calls Don Pablo. The appeal to Don Pablo and his subsequent action is, of course, based on the maintenance of his'honor.

"IPablo!" cries Kariana, *isocorro!..!Tu honra te llama!”22

This appeal results in the killing of his wife and chal­lenging Daniel to a duel.

In Mancha que llmoia we have a young man killing hie be­trothed when he learns that she. has been unfaithful to him.He feels that this is the only way to maintain both his honor

< . . • • ’ ' . / - . S . s - •• 1 ' . ! -■ • • - -

and here, and when his mother eriest "I Culnta sangrelw, he replies, "IDo importa, madre! iSsa es mancha que limpiat’’23

It is difficult enough for a man to maintain his honor on the code of Echegaray and for a woman it is a tremendous undertaking, le doubt that Echegaray ever considered such a thing as a single standard for masculine and feminine honor. That they are not measured alike he brings out clearly in

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La realidad % el delirio* Here the aristocratic old Den . Anselm expresses himself thuai_ . :

"Creo que la mujer simholiza por manera poltica el sentimiento, la pureza, la piedad, el perdori; y el heeTore con todae las poten- elas de su ser representa la pasion, la fuerza, la 'rasSn eevera, el desbordamiento de la enefgia, la represion y el castigo,♦..21 llanto queespoesla dnla raujer es cast verguenza en el healre. IY en cuanto a la falta!..Iah!,.I la faltal IQue abismo del uno al otro serl En el espoao, por ley de naturaleza se perdona, ae olvida, se borra; en la mujer, ni ee per­dona, ni se olvida, ni se borra jamas, sino cuando la tierra piadosa cubre el euerpo peca- dor."24

Kchegaray’s masterpiece, El gran galeoto. with which we shall deal more fully later is a drama of honor as well as one of social protest. Don Julian1s sensitive honor, we feel, is partly at fault for the tragedies; although the real cause is the unjust gossip.

The idea of feudal honor appears in several plays. The scenes for these plays are, of course, laid during the Middle Ages and we note that the idea of honor is closely bound up

85

with social station. Chivalry Eieant chivalry toward one*s own class, not to one's inferiors* Just ao the material ex­pression of feudalism, the lord’s castle, was foreign to those who were net him equals, so was the cultural expression, chi­valry, equally foreign*

In Para tal culpa tal t>ena Don Juan explains to hie pro­tege, Don Carlos, why he must marry the girl he has selected for him and not Elena, the girl he loves*

"Turn ilusiones march!tar me duels: mas hice a tu buen padre juramento de velar por tu dieha, y siempre cumplo lo que por Dios o por ml honra promote. Amas a una mujer; no es maravilla, que algo tamhien de amor eupe en mi tlempo, pero viliana es ella y tu eres noble* riqueza, posicion, limpio abolengo, por costumbre y por ley de nuestra raza abren entre loo dos abismo. inmenoo."28 ,

In El band!do Lisandro the same Idea of feudal inequal­ity appears. Here we have a count in love with a peasant girl, but his station being such as to prevent his marrying her he plans to have an unscrupulous young bandit, lisandro, win and marry her with the idea of turning her over to the count on her wedding might. The bandit, unfortunately for the countj really falls in love with Jimena, the peasant girl, and re­fuses te fulfil his original promise* The count expresses

26

hie feudal privilege as he thus explains to Lleandre his right to have Jiaena:

"Porque tu tree handld®, aenee que siervo, yyo aoy eonde, casl rey, porque tu y Jlmena b oIs ya mis vasallos, y mlae son vuestrae vidas y vuestras honrw; porque erea para mi lo que las tierras de role eampos, que dee- menus® cuando me place con el casco de mis catolloe.^6

This note appears in one other play, Lgt neste de Otranto, a play the scene of which is laid during the time of the first Crusade. In it the feudal countess Hatilde.de Otranto finds it impossible to maintain her dignity and honor should she permit her daughter Irene to marry an ordinary crusader, Ro­berto. This difficulty disappears when Roberto is proven to be the son of the noble Robert Guiseard* The fact that he is an illegitimate son makes no difference because he has the right kind of bleed. But this discovery is made too late. Roberto has contracted a dreaded plague in his attempt to se­cure the document revealing his identity and dies seen after the discovery is made.

These who will maintain their hener, we have noted, must defend it. An outstanding method of defense is the duel. The duel, being lawful and fully accepted, is considered the most honorable way to settle a controversy and, as such* appears in

27

many of Echegaray’s plays# «• see that morally It may be re­pugnant, and such a,sentiment Is express!d in,La deseouilibradat

Laurieio: iUn duels? Me repugnan loo duelos.Roberto: is£; la'moral loo condena! Solo que

la moral es elastica: no impide la ofenea yprohibe la reparacion.2^

Nevertheless, let us note the drawing reee manner with which a challenge is made in El estigroa and characteristic of dueling in generali

rauriciot Pues aun tengo que pedirle el ultimo ' ; \ ■ favor.' ' ’ ' ' : ' '

Roberto: Como yo pueda complaeerle.Maurlcio: Q,ue no saiga Vd. seta noche, haeta

que vengan a visitarle doe amigos mice. Roberto: Esperare gusto so <»Pauricio: I Mil gracias, aeBor de PedrosalRoberto: Ho hay deque, oenor vizeende. w'

(Se dan lamano con mueha cortesla.)28

R. Gossip. In dealing with the corroding power of gossip we deal with Echegaray*s dramatic masterpiece, El gran galeoto. This play was first produced in the Teatro eepaHol in Madrid on March 19, 1881, and achieved a triumph that seen spread the fame of its author, which until then

28

had been local, beyoKd the Pyrenees. It is now generally re- cognizedaeone ®f the standard monuments of the modern eeeialdrama* ' ' ; - ■ 1 - : *' ■ ' - ' ; : "■• ■ .

' In the French romance of Launcelot of the Lake, it was Gallehault wh® first prevailed on Queen Guinevere to give a kiss to Launcelot: he was thas the means of making actual a guilty love that might otherwise have "been restrained. His name therefore became a symbol to designate a go-between, in­citing to illicit love. In the fifth'canto of the Iriferno. Francesca da Rimini relates to Dante how she and Paolo read one day, ail unsuspecting, the romance of Launcelot and how her lover, allured by the suggestion of the story, kissed her. She then adds, “Galeoto fu'l libro c chi lo scrisse", which may be translated, *fhe book and the aether of it performed for us the service of Gallehault.1,29

It was Echegaray*s wish to retell in modern terms the old story of a man and woman drawn together by a modern Gallehault and it struck him that the great Gallehault of modern life - el gran galeoto - was the great power of gos­sip, the force of whispered opinions, the suggestion of evil tongues. It is possible that Echogaray, who was an ardent admirer of Tamayo y Baus, may have received some suggestion for his play from La bola de nieve.

The drama has a most interesting prologue. It shows Ernesto, the hero, attempting to compose a play whose prim* eipal personage cannot appear upon the stage. The great

29

©allehault of his play is. not any one person, it is soeiety at large. This G&llehault is todo el roundo. The treatment of such a drama naturally shows the individual in conflict with society. The overwhelming power of that society with its unthinking and apparently harmless, remarks is stressed*

The play concerns Don Julian who is ideally married to a much younger y/if e, Teodora* He is generous and kindly and upon the death of a. friend who had helped him attain his . present fortune he adopts this friend's son, Ernesto, who comes to feel a filial affection for Don Julian and a bro­therly at taehaent for Teodors*. All three are happyi do things and go places together, and thoroughly enjoy each other’s company. Society, however, begins to construct a triangle* The first person to voice to them the rumors is Don Severe, Julian’s brother* Juli&n rejects the suggestions as insulting and they arouse in him no feeling other than anger. Ernest#, hewevez, chafes under the insinuations and feels it wise to move from his adopted home* Be sayai

"...pero yo tenge aprendid© qae 1© que dice la gente con maldad o sin maldad. Begun aquel que lo inapira, comienza oiende mentira y acaba siendo verdad. ' M

When Ernesto goes to live alone in a small studio Todo el roundo is assured at once that he must have had a real

30

motive for this move* Gossip grows and gradually Don Julian himself begins to wonder if there could be any possible basis for the remarks. This flicker of doubt I® hardly perceptible but it exists. When feeders hears the suspicions carried to her by her sister-in-law, Doha Mercedes, she begins to ques­tion her own feelings. ;

Ernesto decides to seek seclusion in Argentina but before he sails he arranges a duel with a man whom he heard uttering a slurring remark about feeders. Don Julian, hearing this, is troubled by the idea that another man should be fighting for his wife's honor and decides to fight the duel himself, feeders, also hearing the news and not knowing what her hus­band is trying to do, rushes to Ernesto's roems in an effort to forestall hie duel. Meanwhile, her husband encountere the slanderer, is severely wounded by him, and is carried to Er-

• - , 1 ’ ' • • - . 4 - • r* , * : - " ■ ■ " • - ■■ • ‘ ' . ■ . - * • -- . ■' ' , • —nesto's studio. Teodora, when she bears people coming, hidesherself in Ernesto's bedroom, where she is discovered by her

- - . . . . * , ' , . . . . . ►

husband's attendants. This discovery convinces Don Julian of the worst. Ernesto finds and kills Den Julian's assailant.The whole world doubles its whisperings. In vain do Ernesto and feodora plead their innocence, neither Don Severe, Doha Mercedes, the dying Don Julian ner the world believes them. Teodora is thrown cut upon the world; that same world thus throws them into each ether's arms, and in desperation Ernest© finally cries*

Zl

"Kadie se acerca a esta raujer; ea *la»Loquieo elraundo; yo eufalleacepto. ih la trajo a ele Brazos: Iven Teodora!,'31

Later he add#:

’•Mas si alguien oe preguntaqulen ha aide de eata infamia el infame medianero, respendedle: 1ITu alamo, y lo ignorabas!1Y contigo la lengua de loa necioal*"32

Thus we eee the tragic irony of a happy household being shattered by something entirely impersonal and intangible.To one has any personal reason for defamation# Julian dies in agony of soul, Teodora1a name ia ruined, Ernesto feels him­self to be the lowest and most ungrateful of men# And the cause of all these miseries is a lifted eyebrow, a suggestive word, a questioning smile, a careless gibe# The gran galeoto is invincible and indestructible. He seems to see the bad rather than the good in all that surrounds him# The play maintains a perfect unity of mood throughout, it begins seri­ously and the action grows more series# and more tense as the play develops until it reaches its tragic end.

The power of gossip ie shown in several other plays of Bchegaray# La realidad y el dellrio has much of its suspense based on mysterious gossip. It is being whispered that when the police raided a gambling house recently they found a pro­minent young married woman there with a man who was not her

32

husband. The speculations as to who she might be are mme* roue. Don Anselrao, the unsuspecting father-in-law of the young woman concerned, expresses great pity for the victims of the scandal and; says:

"Una mujer raanchada para siempret un esposo deshonrado: una familia deshecha.Aeunto sabroso, como dice Yd*■' ' ' - ' ' .

His old friend Leandro replies:

"IAh* Ieeta eociedadt lesta sociedad!leefior, si la moral, si las leys# ■ooiales,

• - : • - - - : . ,si las costumbrea public## no slrven paraevitar estas desdichas! 6para que sirven?"33

Later Leandro hears;that the lady was Angela, and passes the rumor on to Anselmo, who in turn informs his son Gonzalo. Gpnzalo does not wait to get Angela's explanation of her pre* sense at the raid but almost goes mad at the thought that it was his wife who had started tongues wagging* That he feels keenly the fact that everyone knows his disgrace we see in this answer which he gives when he is asked where he is goings

"IA las calles, y a las plazas, y a los teatros, y a los eepectaeules, y a donde la gente se reuna, y rla, y goce, y munnure, y eacarnesca, y manchel"8*

33

The solution of the play proves the wrid to have been wrong in Its inference#. Gonzalo's wife was at the ganbling house with hie young friend Enrique but not because of love for him. She we there to prove him wrong in his attempts to convince her that Gonzalo was being untrue to her and habitually visiting a young girl living next door to the raided house* She had forced Enrique to agree to watch with her from this point of wantage, sure that Gonzalo would not come. However, gossip had done its work, and not until En­rique, thoroughly ashamed of what he had done, allows him­self to be killed in a duel with Gonzalo1s father, is tram* quility restored.

In A la orilla del mar it is the fear of gossip which impels an otherwise reckless young man, Leoncio, to implore his wealthy sweetheart, Valentina, to marry him. Valentina had gone for a day's cruise on Leoncio's yacht. Because of engine trouble the cruise had lengthened into one lasting several days. Valentina's friends and her guardian are her* rifled that this should have happened, principally because of society's reactien. Don Aneelmo, an old family friend, says:

VISe dicen tantas coeasl...ly nlaguna buenaS i Ya sabe Vd. lo que es la murmuracloml"

Valentina refueoe to marry Leoncio even though he im­plores her to do so. She asks:

"iPuede Vd* hacer mis de lo que ha beeho?Ya a n t e d round©, ique soy? Bntendaroooesi ants elroundo. Ante Dios soy lo qse era."

Leonciot Per eso quiero que lleree mi norobre*Valentinas Por eso yo no quiere. 4Qui dirian?

Per lastima, por ruego de don Balustio (her guardian), la hizo su roujer. 1Y ella coroo era rico, coroo era esplendido, ee dejo coro- proroeter para coznprometerle. ISi Vd. misrao llegarla a pensario alguna vest

Valentina, at last when she realizes that she does in fact love Leoncio, has the courage to defy all gossip and marry him. .

The world and its gossip is again defied in Maias heron* cias. Here again we see society attempting once more to shape the lives of two people with its ideas* Victor Euitrago, an accomplished young man, mourns the death of his father who has died under the shadow of unjust calumny. He falls in love with Blanca Ibarrola and they plan to marry. Her brother Bo* berto attempts to separate them, as he knows that it was their father who had caused the ruin of Victor’s father, when other means fail, he says to Blancai

"ISi esos aroores sen impoeibles! ISi la sociedad enters, con fallo implacable

,: r::.- .■ . „ grita ’IHljos infaroes, respetad la muerte de vuestros padres!11

35

Blanca and Victor fall to see why they should be unhappy ■because of the unfortunate past and resolve never to separate, despite what the world may say, Victor remarkst

"IQu« imports! 1 El round® no se ha hecho "... para el odio sino para el amor! IKo vol- varoos atras la vista! iAdelante! lYa que nos odian y nos despreciazi no espereroes a nanana! jYa que sufrimos, mezclemos nueatras lagriroas que el roundo no las ha de secar!ttS7

Blanca agrees that the world's opinion is to be ignored and expresses"hereelf thus: _ '''* '

niEa decir que Victor y yo debemos seme- ter nuestro carino, aun siendo noble y henrado, al Juicio de los deroas?...!Para saber si he de concede? mi alma a Victor, tengo que consultar el primero que pass por la calls! AEo es esto? IPues no! |Ui conciencia honrada y liropia se subleva ante esas tIranlas!"58.....

The two young lovers feel so strongly that they are in the right and that they should not allow their fathers' quarrels to mar their future, that all persuasion, talk, and argument are of n® avail*

36

To show that our unjuel ideas and conclusions are often the reflection of our own deeds, Echegaray wrote Piensa mal... 4^ acertaras? The story tells how a young man named Valentin, when out hunting one day, was surprised by a storm and teek refuge in an abandoned hut. It was nightfall when hd heard the cries of a woman begging for aid. He went out to seek her, brought her in a faint to his shelter, and seduced her.

Ten years later Valentin Is visiting his very good friend Benigno, who has hopes of marrying him to his rich and beauti­ful ward Esperansa. Valentin feels that he is about to realize all his dreams of happiness. Before long, however, evil thoughts assail him; he feels there is some mystery in him friend's family. He comes to believe that Benign#, who should be Seperanza'e protector, is really her lover; that the result of this impure love is the child Sieve, a supposed­ly adopted daughter; and that his friend wishes to relieve himself of further responsibility and embarrassment by marry­ing Esperanza to him and giving them the child.

There are facts corresponding in part to these suspicions but the personages involved in the facts are quite different from what Valentin eue&ccts.

There is a man who did dishonor a woman he should have protected but it isn't Benigno, it is Valentin. There is a woman who has been betrayed but it isn't Esperanza, it is Benigno's wife, Olvido. The fruit of the betrayal exists; but Nieve is not the child of Esperanza and Benigno, she is

the child of Olvido and Valentin. The fact is that Valentin sees in others the reflection of his own acts. When matters are finally cleared Benigno says to his' friend:

"La traicion que viste aqul era tu propio reflejo, olvidsde ya por viejo y proyectandpse en ml."39

In El estigaa the effect of gossip upon a young politi­cian is shown. Roberto's promising political career is ruined by a newspaper which publishes the fact that he had served a prison term. This new#, of course, gives society an opportun­ity to say and imagine many things which are not true in any way. The following conversation between Roberto and a friend shows the impersonal quality of calumny and the fact that whether it be printed er spoken a clear conscience and the knowledge of an eternal Justice in heaven are the only weapons which one possesses against it:

Leandro: Pero la calumnia neeesita un freno.Roberto: s i, lo neeesita. Pero ea bestia

tan salvaje, que en seeenta siglos nadie ha pedide enfrenarla. Se enfrena un potro, perque tiene cabeza en que sujetar un cabezon de serreta, lomos que oprimir y doa ijarea en que clavar las espuelae.Pero no se enfrena ni el mar por lo

inmenao, ni el airepor lo vagoroso, ut el ralsema por lo eutil. Contra la cal mania «» letra de molde o en allento hrnnano, no hay mas que eato: una con- ciencia limpia aqui abajo; una justlcia eterna alia arrlba, y la frente muy alta*,.40

In mumming up Echegarayfe treatment of gossip, we may may that he shews its power to be illimitable. It always sees the bad and never the good in thing#* It is often the reflection of one’s own limitations and only with real valor, conviction, and a clear eeneelence can its power be defied*

C, Duty, Duty is as vital as honor; in fact, to main­tain one's honor it is imperative that one do his duty. Often it is difficult to know just what this duty may be and this fact is the theme for one of Echegaray1s most interesting plays, Conflicto entre los deberes. The conflict exists be­tween the duty of gratitude toward one's prelecter and the duty of fulfilling a promise which involves the protector's ruin.

Don Joaquin has been very kind and helpful to his young lawyer-secretary, Raimundo, and accepts him gladly as a pro­spective husband for his daughter, Amparo. toon Dolores, am old school friend of Amparo, arrives to visit her and tells

her sad story. Her father had been murdered and his money stolen, leaving her and her brother Baltasar in poverty. Dolores has a letter given to her by her guardian as he lay dying which reveals the assasin’s name and which is to be opened by someone in whom she has complete confidence* Be* fore long Dolores selects Raimundo to be the person she trusts and gives him the.letter. When Raimundo opens it he finds that hie benefactor, Joaquin, is the person accused! What to do? Shall he fulfill hie duty as a trusted lawyer or shall he fulfill hie duty of fealty and gratitude to the man who has done so much for him and who is the father of hie betroth* ed? So one knows Raimundo*s secret excepting Don Joaquin who recognises Dolores* name, and Prudencio, an old friend, who urges Raimundo to destroy the letter* Den Jeaquln dees not try to influence the young man ao he feels that honorable duty is greater than gratitude* He expresses this opinion in the following passage:

Joaquin: Ko sigas: ne tiene objeto.Te protegl. Si has dudado... een tu duda estoy pagado*Brea libre por complete.

Raimundo: lEso no, que no gobiernala ingratitud en mi ser!IMi deber es mi debar y mi deuda es deuda eternal

40

Joaquin: Si la quieres recordarte toca darle valor, que a .costa yo de .tu honor no la pretendo explotar.41

Joaquin then explaina the true happening to Raleundo saying that he was not entirely to blame for the banker’s death. He had gone to his home in order to secure some of his funds as he had heard they were not any too safe. He was received with Insults and a flat refusal $ a struggle en­sued in which Amparo’s father was killed.

Ealtasar’s sudden arrival at Joaquin’s home, to join his sister, complicates matters, for he Is revengeful and menac­ing; but rather than give him the paper Raimundo wounds him in a duel. On their return from the dueling ground they find that Hon Joaquin had decided to solve matters by killing him­self. Raimundo then hands the letter to Baltasar, who, with­out reading it, casts it into the flames, saying:

"Cumplio' su deber. Ya no porfio,De este modo cumplo el mio."42

.... The play ends with several philosophical reflection# by Raimundo about the struggle between two duties:

"4Que resta al humano ser, si por cumplirsu deber pierde su felicidad?

41

iCual ee la compenoacion- ' V - . ' ' T ....... Jqut pet la dicha perdida

eneuentran en ouerte o vida• ■ ' ' .1 j> . -T ■ • A * .. *? . , ,el alma y el corazon?

4ReBponderme no Babels? m mieterlo no aclarals?

, IPues conmigo aqu£ .qu# reopuesta me deteiel (AeerdmdoBe a Amparo)1 Ten a mis brazes.••Iob dos

, mezclemoe llantos y pensel; 1Ten...dc miserlas terrenas

pidamos justlcla a Dios!”43

Tart tier light Is cast on Echegaray*s opinion of the rela­tive importance of gratitude and justice in La rouerte en lee lablos. Here.Walter," one of the very severe characters, Bays: "La gratitud es crimen cuando ataja el camino a la justicia."44

Duty must he fulfilled no matter what the consequence may he and even though to others it may appear an act of folly. Robert®, in El estlgma, fights against doing hie duty hut the purity of hie ©eneeience will not permit him to ignore that

v - - ' '

duty. He follows the dictates of his conscience even though he does so explainingly, as we here note: .

■€u*pl© ni deher, pero de mala gana, prdtestando, desesperade, maldiciendo

42

la pureza de mi ©e»ciencia tiranica,Inaiiltando mie eecrupuloe, llamandome eea todoe loa gritos roncos de mi garganta: leotupido, imliecil, qui,$ote!M45

Just as several plays show the eeneeptien of honor in feudal times, so do they show the idea of feudal duty. In La oeste de Otranto the duty of the vassals to their count­ess is ahowri, as they prepare to go ©n a crusade to the holy land at her erdere*

That a vassal^ personal affairs are controlled by his lord is nowhere more clearly shown than in Sn el seno de la muerte. The scene of this play is laid in Aragon in the year 1285 and we see the King regulating the details of the private life of his count, Don Jaime, and of the latter'sfamily. It is the King who condemns Don Jaime1s half-brother,

: 1 • ' 'Manfredo, to a sealed dungeon for having made successful levs to the countess, his sister-in-law, and it is of the King that Don Jaime asks permission for himself and his wife to be lock­ed in the dungeon with his brother in order that he would thus have a fuller revenge upon them.

D. Ideals. To show that much of one's life is spent in pursuit of an ideal which exists only in the mind, Schegaray wrote Correr en nos de un ideal. Eugenie and Sofia have been married a year. Sofia notes her husband's restlessness and

apparent unhappiness "but little does she suspect that he is thinking about another woman. In fact no one knows that Eu­genio is troubled by the vision of a girl he met at a costume ball and who struck him as being ideal. In vain does he try to learn who she is* At one time he is sure his ideal is named Rita, but Rita turns out to be an old friend of his mother-in-law* At another time he is sure his ideal is a visitor'coming to his home, Ventura. But Ventura turns out to bo Don Ventura. Again, he believes it must be a Laura, but of her he only has a fleeting glance* He feels sure she is the one he has dreamed and thought of but he never sees her again. Eehegaray in analyzing this play says:

"...El ideal existe; se presenta un instante, solo un instants, y luego se borra. Eugenio lo buses, 10 persigue, pero en vano. Una ves y otra tropieza con la realidad bajo su forma mas proeaicai en ocaeienee bajo su mas grotes- ca forma. A1 fin su ideal va al otro mundo."46

Eugenio expresses practically the same idea as does also his mother-in-law Ramona. Their idea is that the ideal does exist but is never attained in this world. It may be en­countered fer a fleeting instant but it always disappears:

Eugenio: Es que el ideal en el mundosolamente se divisa, cuando se divisa mas.

44

una, o doo vecea,.0 tree; y paea y huye, y deopues

' no vuelve a veree jamas#47

Later Ramona eaye:

"El ideal existesienpre,..•pero en otro nmndow.48

Many of the forceful characters in Bchegaray*e plays adhere strongly to their ideals. In 0 lucura o santidad. we have an ideal conception of honor. Lorenzo’s ideal is per­fect, so perfect that those about him cannot understand it and feel it is madness. It is an ideal concept of honor just am Quijote’s is an ideal concept of chivalry, and the world’s reaction to the two is more or less the same. Lorenzo could not fulfill his duty half way, he had to fulfill it as per­fectly as he knew how.

B. Politics. Bchegaray wrote just one play in which the subject of politics, about which he doubtless knew a great deal, is the dominant theme. This play is called Co­rned la sin desenlace and is designated by its author as an Betudio comico-polltieo. ; In reading this play we realize that political methods have changed very little during the past thirty year#* , : • .

Den Santiago, the main character of the play, is running

4*

for office and, in order to win votes in a certain district, hie political manager, Peecador, practically destroys the reputation of a Don Ambroeio, bet ter..known as Tie Virt tides#In vain do Santiago and his young daughter complain of this. Pesoador feels that any means of winning an election are fair means. However, when the daughter, Angela, falls in love with Luis, a young army officer, and developments shew him to be Tio Virtudee* son, her father decided that all persecution of hie opponent must cease. The fact that this means that he will lose the election dees net daunt him; it is poor Feeea- dor, the agente-oolitico. who suffers Indignation and sorrow at such a move. He fails to understand why such a thing as mere love should be allowed to endanger the sueeess of a political campaign. As a picture of a typical voterseeker and ruthless politician, Pesoador is perfect.

In spite of the corruption in politics, Schegaray feels that they contribute much to the useful activity and developed thought of a nation. Don Santiago expresses his idea of the usefulness of politico in the following manner*

MPero la politica es la oxigenacion del : v . < : ambiente.social. IQ,ue diferencia entre las

naetones orientales y las naeiemes europeasI 4Por qu$ aquellas se estancan? Porque no hacen politica. 6Y per que progresan estas?Porque hacen politica aunque sea mala,...

46

Prefiero la polltica corruptora de loo Eetadoe *ldes, armando uri negocio de ocheata ralllones de dollars entre dos artlculos de una ley, al quietiomo del Indie dunniendo veintitreo horao mlentrao su eeplrltu ee deovanece con ondae maneas y perezoBaa en el oc^ario inmenso del gran todo...1,49

In only one other play are politico mentioned. We have shown how in El estigma Roberto, a young politician, found hie political aspirations shattered because of revelations made by a rival newspaper* In this.play are expressed several interesting opinions about the politics of the day. Spain's greatest problem is.an economic one, and before she can occupy a position of importance among the nations of the world she must solve her economic problem* Her financial condition de­pends , of course, on this economic condition. Bchegaray*a knowledge of this problem is well founded, for, as Kinistro de Hacienda, he came to know well Spain's economic and financial problems. In 51 estigma. Karoos and Leandro, friends of Roberto, express these opinions in the following speeches: ... ... ' ' : .. .. , .

Marcos: Hoy el elemento economico se sobrepone al elemento politico. Para mi no hay mas que el elemento economico*89

And later,

..... Leandrot Yo le digo a Vd. y so lo he dicho a Roberto: hasta que BopaHa no oea-tina . naoion de primer orden, no podra eatar en primer linea. . • ■■

liarooei Y lo priraero es.resolver el problem eeon&iloos**Bn.el.orden.financier© haata que no tengamoo resuelto el problem ■ econSaico, n© tendreaos una situacion . . deapejada para la Hacienda.51

F. . Religion. Three of Schegaray’a plays deal with the problems of religion. They arc La rouerte en los labloa. En el pilar y en la crus, and Soa fanatlamos. The first deals with the religious persecutions in Geneva by Calvin, the se­cond tells of. the Catholic Inquisition in Flanders, and the last shows a conflict between an atheist and a devout believer

The chief interest of La muerte en los labios lies in the character of Michael Servetus, the victim of John Calvin?* suspicion and jealousy, bemei at the stake in Geneva in 1553. Ilia theory of the circulation of the bleed was considered heretical, and his advanced knowledge of science doubtless led him astray from orthodoxy in other direct ions. Fanny Gardiner Hale says she tried in vain to learn from Echegaray what his authority and sources of information on the subjeet were. Echegaray did not tell her, although he gave her per­mission to translate the play for Edwin Booth who expressed

interest in it* Mr. Booth, however, found, it too Borotere and too much concerned with religious natters to euit American audiences.

The action of the play takes place in Geneva in the year 1558. The opening scene shows Margarita, a beautiful young Spanish girl, scanning, the street from the balcony of her house. She is awaiting the return of her sweetheart, Conrad, and is deeply worried about the presence of a Walter in her home. This Walter is an aged Protestant personage, who, on passing the house with John Calvin recently, had fallen in a fit and was given shelter by its resident, Jacob©, a Spanish physician who adds skill to his hospitality. But, for those who acknowledged Aragon as their native land, Geneva, at this time, with or without a Calvinist in the house, was a danger­ous place. Jaeobo says to Margarita and her friend Berta, when he sees them on the balcony:

UQuI haclais ah£, imprudentes? ilio sabeis que Calvin© es inflexible y severe? R u e ante

: eu moral implacable el amor a la luz es tanto * eomo al amor a las tlmlebles; y la dicha, cosa may parecIda al mal; y el lujo, un crimen$ y la alegrla un ultraje a Dios! IMujeres a la ventana y quiza con la eonrisa en los labios!...”

When Margarita tells Jaeobo not to make fun of Calvin, he cries:

flBurlarmel IBurlarne de Calvino, el rey pontifice, y de nua l>atalle»eB de ecsigrad®B franoeeee! ^Yo? lUn pofcre eapaftol!''55

Walter la particularly anxieee to find Serretue, whom he would like to send to the stake with his book Restitution of Christianity. This book contains two heretical pages dealing with the circulation of the blood. The knowledge of this fact angers Walter and his excitement is augmented when Margarita entreats him to save a woman about to be burned in the adjoining square. To this appeal he replies harshly that Calvin knows what he is doing: weakness is a crime and woman was ever a temptation to sin. This speech is a clue to the thread of romance running through the play; for Margarita's lover, Conrad, is Walter's son, abandoned and forgotten till they confront each other in this house, the secret being re­vealed first to Margarita and them to Servetus, by old Berta, the housekeeper, who was present when Walter broke into a Catholic chapel and murdered his wife at her prayers*

It is Eervetus who unwittingly causes everyone's ruin.He knocks at their door when a price has been set upon his head, at the hour when the counsellors of Calvin are in the house. Hearing this, he refuses to accept the hospitality of his compatriots. He feels that the Catholic Inquisition, as well as Calvin, would kill him for the content of his book, but he finally accepts shelter for the sake of this

precious book which he carries OB hts foody, giving It later to the eager Jacoho. When Walter learns that Jacob© ha# the book he put# him to torture. He also attempts to terrify Margarita Into revealing Servetus* hiding place, unaware that Conrad stands near him with drawn'dagger ready to avenge any violence that might be done to her# Usable to contain hi# rage Conrad springs upon the old man and they clinch in mer* tal combat. Servetus rushes to part them iuid reveals to Wal­ter that Conrad is hie own eon# Walter ie seized with a paroxysms but, upon recovering conecloueneec and while dying, he denounces them all to the Consistory.

Rot the least interesting character in the play is Jacobo, the physician and student, the man of experience, out of touch with the religion of his time by reason of his advance upon the road to modern knowledge. It is easy to believe him a reflection of the authors own character, for Echegeray said, in an address before the Ateneo of Madrid in December, 1898, "I believe in liberty..#and I humbly confess that I believe in free will. If it be a sin, then I confess that I am a sinner".54

Bn el pilar y en la cruz deals with the Catholic Inquisi­tion in Flanders. The city of Brussels is under the domination of the Duke of Alba, and we see that not even family ties are respected in the heat of religious fervor# Two brothers live together, the Marquis of Hoyoe, who mourns the condemnation and death of his wife by the Inquisition, and his brother,

the Count of Hoyos, who hao ouch great religious zeal that it ie he who demounted his sister-in-law as a Lutheran. The Marquie is naturally unaware of this fact# The eventual dis­covery thereof. involves the family in a series of conflicts which result in the condemnation of several of itc unorthodox members, • . ... : . -

Dos fanatismos shows two people with very different ideas being brought together by the marriage of their children.Don Martin, the young man1e father, is a confirmed atheist, a free-thinker, while Don Lorenzo, the bride’s father, is a devout man, a mystic. This results in constant conflict be­tween them and almost stops their children’s wedding. The play does not expreea any vital ideas on the part cf either, it merely shows that although their thoughts are so different their past lives have been practically identical in action. They had loved the same woman and had done many of the same things. Their opposed beliefs, somehow,/did not result in opposed actions and accompliehments, . ’ . - ;

La peote de Otranto deals with the interesting period of the first Crusade and casts some interesting lights on the spirit underlying the religious activity at this time. Whatever the religious zeal of the Crusaders may have been, it is clear that there existed many other powerful forces which motivated the undertaking of a crusade.* This fact is, of course, very significant in the later Crusades after in­formation of wealth arid adventure had gotten back to Europe,

52

but we are a little surprised to see it expressed in the first Crusade. One of the young crusaders of the feudal Countess explains to him father in this way his reasons for wanting to go on & crusade:

MI Padre el Oriente es nuy rico!I hay muchao minas en Persia!* pedreria y oro y plata, aromas, tejidos, codas!Icargamiento para miles y miles de hlancas velas que han de llenar nuestros golfos desde Amalfi hasta Valencia!"**

G. Abnormal Psychology* The great modern literary move­ments affected the Spanish drama less than they did the drama in other countries* Realism and naturalism were slow in find­ing a welcome, and it was not until after 1890 that discussion grew warm as to the propriety of depicting immorality on the stage. The tardiness of this effect, says Elizabeth Wallace, was due to a variety of reasons. First, a manifest incom­patibility existed between the very spirit of the French realists and the Spanish national dramatic ideals, and second, the tardy effects of French realistic influence lay in the simple fact that the public in Spain did not read much.**

The northern realistic drama was also doomed to failure

in Spain, Such types as are found in Bjornson, and 6u4ei*eii were unknown in Spain. The most notable attempt to imitate this realistic drama was Schegaray’s El hi.1o de don Juan, based on Ibsen's drama, Ghosts. But even Echegaray, although he produced a signally successful drama, does not entirely feel the spirit of the original. It deals, as do several other of Echegaray*s plays, with the problem of abnormality. This abnormality is, in El hl.lo de don Juan, both psychologi­cal and physical; ‘in SI loco dios and in 0 locura o santidad it is purely psychological.

Echegaray enumerates in a written, but not to be acted, prologue the conclusions of the critics in regard to El hi.lo de don Juaji:

That it was inspired by Ibsen*s Ghosts.That the passions it deals with are more appropriate to

northern climes than to the south.That it deals with the law of heredity.That it is gloomy and lugubrious, with no other object

than to inspire horror.That it is a purely pathelegical drama.That it contains nothing but the process of madness.That from the moment it is foreseen that Lazaro will go

mad, all interest in the work ceases, and there remains noth­ing but to follow step by step the ruin of the wretched being And so on. . : : .■ .■. '■ - .

Echegaray considers all of this a lamentable exercise

54

of dramatic criticism. He refuses to explain the underlying thought of his work, saying that each scene, each passage, and each phrase sufficiently explains it. Only one phrase in it does he defend; a phrase which he says is met his but Ibsen*B, and one which he considers to be of singular beauty: "Hadre, dame el sol.1,57 This simple, infantile, almost coal* cal phrase enfolds a world of ideas, an ocean of sentiments, a hell of sorrows, a cruel lesson, a supreme warning to so­ciety and to the family. ’

JSehegaray continues, saying that a generation, devoured by vise, which carries even in its bones the poison begotten of impure love; with corrupted blood which carries organisms of corruption mixed with its red globules, goes falling into the abyss of idiocy. Lazaro,s cry is the last twilight gleam of mind which is sinking into the eternal darkness of imbeeil* ity. And at that very moment, nature awakens and the see rises: another twilight which will soon be all light.

The two twilights meet, cross^ salute each other with a salute of eternal farewell, at the end of the drama. Reason, which hurries, driven by the corruption of pleasure; the sun, which burst forth with immortal flames, driven by the sublime forces of nature.58

We can understand from all this that Echegaray deals with inherited injustice and unmerited suffering. We cannot, he says, corrupt the sources of life and expect a satisfactory result. ■ . ' ■ ' ■■ ■ ': -, - • ■ : • . % :' ;■ ■■ .

55

SI hi.lo de don Juan is harsher and more unpleasant than Ghosts. The characters are more carefully dravm and we feel a greater sympathy for them. There are two victims in the Spanish play rather than just one as in Ghosts. Don Juan, the middle aged roue, has a friend, also a middle aged roue. Carmen, the daughter of his friend, is consumptive and is be­trothed to. hie, son, Xazaro, who is subject to vertigo. The play open* with Don Juan, Carmen's father, Don ;Timoteo, and another old friend, all ill-preserved after n life of scandal, holding a gay conversation about their past eseapad##* Don Juan describes to his friends the one moment in which his life soared above material enjoyments and sighed for the glo­rious and impossible. It was after an orgy, and as his half- closed eyes saw, through the silky waves of a girl's hair, the sun rising above the Guadalquivir, he understood the beauty of poetry and nature and stretched out his hand to grasp the splendid orb; This desire is afterwards recalled to him in a moment of surprising horror when his beloved son too, yearned for the sun.

Don Juan seems still to carry on intrigues with ballet and servant girls without any opposition from his wife or his son* In fact, he feels that his brilliant son is a living proof of the denial that such a father as he could have such a perfect eon* Lazaro has managed to keep his ailments fair­ly well concealed up to this time*

The second act.of the play is somewhat liviler and eon-

56

tains more action than the first* lazaro*s restlessness, courtesy, and musing, make an admirable contrast with the alert and fussy affection and frivolity of his father* We learn that lazaro*s mother, Dolores, having become greatly worried about her eon's health had gone to a famous brain doctor, Bermudez, and had presented to him the ease of a supposed nephew in order to conceal that it is really her son’s case about which she is inquiring. Lazaro, ignorant of what hie mother has done, sends for the same doctor in order to consult with him about his condition. A most dis­agreeable interview results when the doctor innocently, but with terrible frankness, discusses the nephew’s case with the unfortunate victim himself:

"Ah, no se corrumpen Impoaemente los manantiales de la vida. HI hi.lo de ese

■ v ■ :- ■ > .

nadre acabara muy pronto por la locura o- por el idiotismo. I Loco o idiota! ITal es su destine!59

Lazaro bursts out in frantic horror and tries hard to believe hie father innocent. Dolores’ despair is pitiful, and she wavers between kindness and bitterness toward Don Juan. She finally forgives him all if he will.help her savetheir boy, and this, with his whole soul, he vows to do with

- . - - ' ■■ : : ■ : ' :

the remainder of his life. To this promise Dolores cannot refrain from uttering a cruel remark:

"IBar tu vida!...iYa, quo vIda tienea?.•.I Toda lo que te concedio Dios, debiste darle!

When Carmen and her father arrive to plan the betrothal, the broken hearted parents try to conceal lazaro’a calamity and make an effort to appear to welcome the betrothal with delight. Lazaro*s behavior, when he is called in to greet hie sweetheart, is, however, so miserable that all are as­tounded. When his father reproves him, the following conver­sation results:

Lazarot I Padre!...IPadre!... I eree mi padre, salvarne!

Don Juan: si; te salvare...I te di la vida!Lazaro: IKe diste la vida pero no os bastante!

IDame mas vida para vivir, para aroar, para ser feliz, para mi Carmen!...IDame mas vida, o maldita sea la que me diste!61

In the third act we are introduced to the Tarifa girl, Don Juan*s old mistress, now pensioned and respectably estab­lished as a servant on his estate on the banks of the Guadal­quivir. We see here the frivolous Don Timoteo, sipping his manzanilla, and sneering at the younger generation. As ex­amples of its weakness he offers Lazaro with his dementia; his daughter with her affected lungs; and Lazaro*s close friend, Javier, with his headaches and constant formality.

53

"ISeeotroB cramos otra coea!n, he declares. To this Javier replies: nQuiza porque Vds. fiieron.. .otra cosa, eouds nosotros de este mode**^% : :. ' ... . : % :: . : ’

When Lasaro appears, he is completely altered and dis­trustful, afraid even to sleep for ho does not know what the awakening will tiring. In his attempt to tie cheerful he falls to drinking with his father*s old mistress, and when half drunk and quite mad he plots with her te carry off Carmen.When he confronts Carmen, his queer behavior and vague look frighten her and her agonized cry brings a response from the unhappy mother. Her arrival brings a glimmer of intelligence which gives a sort of dignity to lazaro’s almost incoherent words. She takes him in her arms and tries to calm him, but, as he sees the rising sun, he begs his mother to give it to him; and Don Juan, who had also come in, and suddenly realizes that his son has loot his reason, sobs that he too, once asked for it. "IPara sierapre!" is the last terrible note sounded by Doctor Bermudez.$3 ^ , '

A comparison of SI hi.to de don Juan and Ghosts shows both to be three act plays. We have said that SI hl.lo de don Juan is more cruel than Ghosts. Echegaray had a lesson to teach and he considered it so vital that he did not worry about sparing anyone?e feelings. Where Ibsen suppresses him­self and permits the reader to formulate many of his own conclusions, Echegaray puts forth the entire idea. Hie work is more lucid, pointed, and direct. But it is the lack of

##

words rather than their preoenee; which places Ghosts on a higher le^el as a dram of ideas. The process of Lazaro* s madness is placed before us from the start. When his friends are not discussing the symptoms of hie strange malady, he himself is enumerating them* But to have Ibsen’s Oswald go to sleep in an apparently sane condition and awaken with an idiotic request is more effective. The fact is that Ibsen deals only with the presentation of the problem; Echegaray is interested not only in the problem, but in presenting a play with action and terror to help drive home the problem.The result is that Ibsen is less frightening but, nevertheless, more convincing. To Ibsen the degeneration of Oswald is;one aspect of his work, it is a consequence of a central theme.To Echegaray, Lazaro1s madness is the out standing problem.

Ghosts deals with a problem which Echegaray neglects, the conflict between free will and law. J'ro. Alying, Oswald’s mother, tried to rebel, to exercise her will, but the law of society, personified by Parson IZandus, forced her to return to her husband. Was Handus right? Was social law right?Ibsen says "no”, and to prove that he means "no", he shews that even the building constructed in memory of %r. Alving and set up to honor what were really false ideals could net endure. Dolores never questions her marital position nor does she try to break away from it. Outwardly, she accepts her lot quite uncomplainingly. , .

Another conflict lacking in El hl.lo de don Juan is quite

60

evident lii Qhooto. It is a cenflict between truth and ideals. Mrs. Alvihg attempted to instill in her son a feeling of res­pect toward his father, and to keep his Ideals intact. Was she justified in doing do? Would the truth have been better? Was it better that she should finally tell him the truth and shatter tiis ideals? Or would it have been better to let him know the true state of affairs from the beginning? These are questions Which Ibsen raises and which Bchegaray dees not Con­sider. :' :: ' "■

A touch of humor, entirely lacking in Ghosts, appears now and then in the Spanish play. There are the first scenes showing Don Juan with his friends humorously recalling the escapades of their early days. Then in the first scene ef the sacond act, between liUsaro and his father, we see the lat­ter slyly attempting to conceal from his son his taste for im­moral literature. Tot until the play ends do these scenes be­come pathetic in their humor.

Bchegaray*s enthusiasm for what is striking, brilliant, and dramatic is particularly shown in one of his last plays,SI loco dios. This is a pathological study of a man who be­lieves strongly in human perfectibility. His belief becomes such a great obsession that it develops into madness, and he believes himself to be God.

Gabriel, a rising young lawyer, shews decided interest in the very wealthy and capricious heroine, Fuensanta. His interest is opposed by the young lady's various relatives,

#1

who do not care to have any part of her, fortune go to a hus­band. Everyone considers Gabriel conewhat eccentric. From the first his idea of God’s boundless power is stressed. He chastizes Fuenaanta severely when she attempts to catch a , butterfly. A butterfly, he tells her, falls when its wings are broken; so too does a human fall when evil beings shatter his illusion** He enjoys punishing the cruel bugs who try to wound the butterfly when it had fallen. Punishment, he feels, can be enjoyed, for to punish is to destroy the bad. He yearns, as we see hero, for a power like God’s:

MiAh!...lSi yo fuera Dios!...(Con ira y violeneia crecientee.) lil es demaeiado bueno! (Sn voz baja y como si quiere deeir on eeereto.) SI pud1era tener algun defecto tendrla este, ser demasiado bueno.n64

Such flights of thought as these lead the jealous rela­tives to question his sanity and to convince them, more than ever, that he seeks to impress Fuene&nta in order to secure her fortune. Great is their surprise when he leaves for a two-year stay in America and prophesies that he will amass a fortune of hie own, which he does. His Idea of human perfect­ibility grows and by the time he marries Fuene&nta it ie so exaggerated that he is declared mad. Fuensanta tries desper­ately to protect him, but has a feeling of defeat when he

62

declares himself to be her God. When he beats one of her relatives, his condition is reported to the authorities.When jailors corns to take him away he appears from his hid­ing place framed in a red splendor - a fire is raging, i n ­fusion reigns, everyone runs about madly/ only Gabriel is impassive and immovable amid the. confusion. Embm#i##'?m##- santa, he cries to the rests

f::: ■’ ■ " . ' V ' . y i v ; v - * ■ ■ ■ ’ , ' • - -

"Is£..emalditos! ILlego la hora...el castigo ...la purificacilnl iDijisteis loco? IPues loco...vuestro Dios...el loco Dios! I Gabriel no es Gabriel, e# el loco Dios...el loco Dieel1,65 .

The play is eloquently constructed and although its plot may seem unreal it is vivid and most striking, Curzon says that it enjoyed, in spite of any criticism, a decisive success.66 * • ’ ■ ': : ." - ' ' ; ’

We have already seen how, in 0 locura o santidad. Lo- renzo*B idea of duty is so over-refined that when his friends represent him as insane they succeed in making everyone about him believe that he is soi ,

@s

IV* Method of Treatment*

. A* Theatrical Craftsmanship. Schegaray is, above all* a wonderful; stage mechaitleS*## .Hie stage directions and hie ability to produce the desired atmosphere and effect are;such that he is - always able t c conceal any fundamental unreality- in hie plays. ,A spectator of an Echegaray play, never ques­tions its truth and grandeur, while seeing the performance. Even a reader cannot hope to get the entire spirit of an Echegaray play without giving careful attention to his de­scription of the sets and his stage directions. Fltzmaurice- Kelly attributes Echegaray*s popularity to the fact that hav-\ ing selected a thesis, he was able, eith:clear scenic vision, to bring forth surprising theatrical effects from artificial combinations.G? Cejador y Frauca says that Echegaray raised the theatre from its prostrate state, taking to the stage social matters with unusual courage, dramatic grandeur, inten­sity of effect and vigor of language, qualities that subjugate the public.6®

The majority tf his plays contain three acts. Often there is a prologue, sometimes an epilogue. In the written form there is, as in all Spanish plays, a change of scene each time a speaking character enters or leaves the stage*This means, of course, that there is a frequent change of scene, which must not be confused with the idea of a change of stage setting or scenery. His stage directions are

64

detailed^ he knows just what atmosphere and effect he wishes to produce and states it clearly. One might consider# fer instance, the very careful and detailed directions for the setting of the duageen scene of Bn el seno de la muerte,69 That it achieved a most lugubrious effect cannot he questioned.

The author*s directions to the actors are detailed. That he trusted to the discretion of his actors is often shown. We notice this fact in sueh directions as the followingt

Fuensanta vuelve para mirar a Gabriel varies wesesi esta salida esta enoomendada a la actriz.70

Levantandose en este momento o cuando crea oportuno.71

Baltasar hace un movimiento para arrojarse sobre Joaquin. Raimundo ee interpone, Pausa* la esceha queda enoomendada al talento de losactoren.™ ' , ... .... . .

Xehegaray felt a close personal interest in many ef the actors who so sueeessfully presented his plays, particularly the first actress of the stage of hie day, Karla Guerrero, her co-star and husband, Fernando Diaz de Mendoza, the Calvo family, and of course, TeodoraLamadrid, who presented his first sueeess, gL libro talonario. Hie high regard for the abilities of his greatest stars is shown in his dedication

6#

.to them of 51 loco dios.

A MarlaGuerrero y a Fernando Diaz de Mendoza dedico eote drama, que mas es euyo quo mlo, For loe prodigies artlsticos que en el ban realizado. '. , ' - ', v . ;• r,. '• . • - ■■ \ ■ ■.■ -Y ya saben sin mas encarecimiento la

admiracion entusiasta y el verdadero cariBo que les profesa

■ " ■ ’ 1 : ' Jo=4 Behegaray.m ■ ' ■ ; *

Marla Guerrero mas born in Madrid in 1868. She alwaysfelt a great interest in acting and was fortunate in receiv­ing much encouragement from her father, who took her to see the principal Spanish and foreign dramatic companies and , arranged for her study with the famous actress Teodora Lama- drid. She made her debut in;the Teatgo de la Princesa of Madrid,October 1885, in a small role. The public received her enthusiastically, and before long the beat authors were asking her to.take important roles in their works. The very eoon went to the Sspafiol. the ranking theatre in Madrid, with Ricardo Cairo, and there she appeared in various works of Bohegaray, among them sleropre en fldlculo, Un cyitlcc Incj,- piente. and Mancha que limpia. Wishing to improve her tech­nique, she went to Paris and attended classes given by the French actor Coquelin, with whom she made several stage ap­pearances, as she did also with Sarah Bernhardt. On her- <

66

return to Spain mho became the leading lady of an important company directed "by i&rio and Vico, the latter an excellent actor himself, w!t® appeared in many "of Echcgaray'B plays.In the now company Marla Guerrero continued to appear in play® "by SetMifwmyvftnA by Galdoo, ao well ao in Guimera*®Karla Rosa* In 1896 she married a leading Spanish actor, Fernando Diaz de Mendoza, with whom she had already played for several seasons, and the following year they made their first trip to Buenos Aires, to which place they returned each year, having built there the magnificent Teatro Cervan­tes* In 1898 they made a tour through France and Italy,With her feme tie husband, Karla Guerrero contributed greatly to the splendor of the Spanish theatre. She and her husband truly loved their art and gave everything to it: talent, cul­ture, strength, fortune, and untiring effort. Her repertoire was vast and embraced all types of drama including most of the modern works of Benavente, the Quintero brothers, Linares Rivas, Marquina* and of course, Bchegaray, in who®# «#®t tragic role® she could not be excelled* .

We have said that Marla Guerrero studied under Teodora lamadrid, and that it was this actress who accepted Bchegaray*s first dramatic success, She was born in Zaragoza in 1881 and died in Madrid in 1896. When barely eight years old she took children’s parts in the Teatro del Princlne of Madrid, In 1851 she began appearing in the greatest successes of Tamayo y Baus, Ayala, Larra, and Tirso de Molina. In 1870 she accepted

m

a contract 'which took her to America where her popularity, equalled that which she had earned in Spain. She had married an Italian professor of voice, Basil!, hut was quite unhappy in this marriage. Although not gifted with unusual talents, she succeeded, through much study, in correcting her defects in voice and speech, and came to he known as the first actress of Spain during her day, she retired from the stage some years before her death and succeeded Hatilde d £ez, another famous Spanish actress, as teacher of declamation in the Conservatory of Madrid.

It is well that we say a few words about the three Calves, the father, Jose, and his two sons, Ricardo and Rafael, losl was primarily interested in medicine and politics and took only minor roles in several plays of Echegaray. His sons, particularly Rafael, became intimate friends of the great dramatist and lent their acting talent to many of his plays.In the sixty-one plays analyzed by Henri de Cursen in his Le Theatre de Jose Echegaray. we note that one or both Calves had important roles in twenty-four, and Karla Guerrero played the leading role in twenty.

B. Dramatic Technique. We shall first consider the dia* logue in Echegaray*s plays. His early plays are, with the exception of four, in verse; the later ones are written more often in prose. Echegaray is not a poet and although his verse is often not harmonious it is almost always forceful

and peseeaBed of a.vigor and grandeur which led oome critico to liken him to Victor Hugo. Often we find artificial phrase inversions and a superfluous use of symbolic words, such as luz, azul. and claro, to provide the desired atmosphere. The plays are replete with long monologues that provide the eherieh* ed opportunity for declamation.. These monologues are much longer in the verse dramas than in those of prose. Often he resorts to comparisons with nature in expressing his ideas.In La esposa del vengador one of the characters declares that one being repulses another that is like him, for monotony is the death knell of enjoyment. Y/hen his listener expresses doubt as to the truth of this statement the following reply is made to prove its - .

"lues dedas en vos contemplo, eseochad algun ejemplo que ml doctrina contiene#Ho envidia a la nube el sol, que no hay luz propia en la nube, y por eso cuando sube

■ : : „„ v .la col ora de arrebol.1,715

Xtfaegaray's characterization is moved entirely by the idea of his play. The characters are tools with which he puts forth his lessen. His purpose animates them; never do the characters create a situation, the situation creates the charac­ters; : Fatality, as a dramatic resort, is magnified in all the

author's dramaa, and the characters are almost always impel­led hy fate. Vie; find that the most original characterizations are the leading ones in I/ariana. 0 Ipcura o santldad. and El loco dies. Very often the characters symbolize an idea. We have Fescador in Comedia sin deoenlace symbolizing the typical selfish politician; Laura in Correr'en pos de un ideal repre­senting the ideal in life; various characters in El poder de la impotencia representing envy, senility, avarice, andjeal-ouevt Eorroso. in Tin critico incipiente. typifies the uncertain

?

and wavering literary critic.: Humor is conspicuously lacking. Echegaray often declaredthat the sublime things of life were to be found in tears,sorrow, and death. Hot one of the plays can be termed wholly a comedy and the majority are wrapped in an atmosphere of gloom. The tremendous weight of moral purpose which Echegaray wishes to present is better shown in a very serious atmosphere,such as ie maintained in his best plays, El loco dlos. El hl.lo M don 5uan» 0 iocura o santldad, and Sj gfijoto. :

% e ruling quality of the author is imagination. Often his felicity of invention led him into the greatest depths of improbability but it also provided him with innumerable means of getting out# Many are the surprising events which he builds and if no other solution offers itself he kills off the characters as their usefulness terminates# There are tokenswhich reveal identities; there are many secret letters whichgo astray; there are poisons and daggers, which cause or cure

70

many an unhappy situation* It;io ourprining that Bchcgaray, being a writer in a Catholic land, should uoe suicide as such a frequent -sole!lea* ;; ■: : • 7■ ■; ‘ ' * • • , \

The plays are characterized by a great deal of action.In fact where he seemed to he influenced hy foreign writers he always excelled:.them in the fertility, of action and the unueualneeS of the plots.

A clever sat ire is evident in several plays $ A f uerza de arrastrarse. which shows a ruthless young, man who is wil­ling to humble himself for success* This character, the heartless Placido, displays a strength of will worthy of a better cause and of a nobler means to attain eueceee* Hie object, attained by dragging himself through the mire, brings him no pleasure* By exercising will power, Schegaray says, you will succeed, but your success may turn out to be mereI,: > /'Or: , v t. \ : .■ . : ‘.i. . • . - J - : ■dust in your hands* A keen satire is also shown in 31 coder de la ironotencla, which deals a blow to those Individuals who, unable to do good themselves, hinder others from doing it.

Schegaray, himself, indicates in a sonnet which he wrote, his method of writing dramas:

*1 choose a passion, take an idea, a problem, a character. And I bury it like solid dynamite in the very depths of a personage with a certain number of puppets ..r.'::5:V .

who in the world either wallow in the mud and filth or warm themselves in the heat

of the.cun. -I-light the fuse. The fire spreads, the cartridge explodes,:naturally, ,

; and the principal star is the one that pays. r Although'sonetines in this siege which I

' : make an art and which flatters my instinct, 'v the explosion catches me in the midst of things.1,74 ■

Eehegaray^ methods influenced a considerable group of writers who were hie contemporaries. One of the most notablemembers of hie eehool is Eugenio Belles, Marques de Gerona,

■ . - .. ' .

journalist, politician, and member of the Spanish Academy. Although he wrote short stories he is better known for his dramatic composition#. Some of hie plays have an historical background, others are of a social and philosophical nature. His most celebrated play is 31 nudo rrordiano. which deals with the problem of adultery and divorce.

Leopold© Cano y ITasas is another disciple of Bchegaray1 a dramatic eehool. He is a poet, a facile versifier, has a keen dramatic instinct, and would have produced very good comedies if he had not been fascinated by Bchegaray*s style, so given to failure in his followers.75 In Loo laureleo de un poeta,he attempts to show the effect of bad example, and in La ^ylnosa he show# that happiness is a quality which cannotdeliberately be attained. Other of his dramas are La opinion. La pasionaria. and La trata de blancos. . The last mentioned is a severe social criticism.

V#

Pedro Hot© y Colson was.influenced by 2chegaray as well ae by other writers of his day. His best known play is La manta del caballo. a story founded on a traditional tale about the ingratitude of children toward their parents. The title of another play,; Altezas de honor, shows an Bchegarayan influence. -it. t : tv 'r :; - . ■

w. :V ;

75

V. Conclusion.

Outside of Spain, Jose Echegaray is known as the author of El gran galeoto and little else; to his nation’s drama he is little more* Yet, he is one of the most interesting fig­ures that Spain has produced in recent years. A man of varied interests and activities he fairly dominated the Span­ish stage for forty years. He brought to the Spanish stage not a groping, inexperienced idea of life; hut a mature life of constant study and activity, and a mind naturally given over to moral, mathematical, and social considerations. Inthe drama he saw, not so much a vehicle for art, not a form

\

in which to encase beauty, but rather a means for expressing his own particular moral principles. He is a writer of prob­lem plays and has always allowed his thesis to predominate in his works. This thesis, at first treated in the romantic manner, is based principally on questions of honor, ideals, duty, slander, politics, and religion* Beginning in the late nineteenth century, his treatment deviated from the romantic influence and showed the effect of the northern realistic social drama. Always his treatment is exaggerated, often improbable in the cireumetaneee it depicts, but never does it deviate from the field ef great idealism. To no problem does he suggest or offer a solution. He merely shows its existence and its effect; and endeavors to prick the con­science so that it will aim to right the problem.

Bchegayay enjeyed his greatest popularity during his lifetime. Rarely has an author been received so enthueiae*tically inhie own land, and he is the first of the modern

zplaywrights who secured ample recognition outside of Spain*To him same the popularity that was denied authors who were- infinitely more artistic and of superior gifts. Much of this popularity; was due to his own striking personality, to his magnificent stage technique, and to the fact that in his best plays he.broke the bonds of narrow nationalism. Though the great bulk of his work will sink into oblivion, his name will hold its place in the history of Spanish literature as a vital transitional force in the Spanish drama and as a mighty force for righteousness and ideal living that thorough­ly deserved the award of the Kobel Prize for the Ideal in Literature, in 1904.

?§

; VI. Botes •

1. Anton del Olraet -Garcia Carraffa, Echegaray, p.80*2. Itid. , p.26. - ■ ■ . ■' w-;■3# Ibid*, p*40# ; /■4. Ibid., p.159*5. Salcedo Ruiz, La Llteratura Escanola. Tomo IV, p.593*

wBs un teatro efectlata o sea, oue causa iTapresion mientras que oe este bajo su direct© contactoi euando el espselador inteligente queda a solas, y reflexions sobre lo que le ha emocionado, piensas IPero si nada de esto ee verdad, si aqui falta la verosiailidad vulgar e de la vida ordinaria cara.a loa clasicielae, y tampoco ee halla aquella otra gealriea, filosofica o poetica, bonds y tranaeendental, propia de las grandee obras romanticas!*

6. Romera • lavarro, Historla de la lite^tura espaHqla,Ps822» .

*S1 teatro de la primers epoca de Echegaray; esto es, hasta 1885, efreee en eenjunto varies notaa del romanticismos el ixnpetu lirico, el use del verso en todas las obras, eon excepcion de cuatro, la seleeeiln de cases agudos que se dan en la vida raramente, el poco estudio de lee caracteres, la fiebre pasional,.la fatalidad

76

eorao resorts dramatic© y los efectoB teatrales.Pero se aparta de los romanticos, en cuanto Echegaray reemplaza em la mayorla de sus oforas los argumentoo legendaries con los ceoflictos del hogar y de la sociedad mpderna.M

7. Barja, LTbrSi X podernos, p.470.8. Earia. LiTaros y autores modernos. P.47S.

w4Q,u4 quiere decir la absoluta imposiMlidad pslcologica y artistica de transplantar uno ©ual- quiera de esos dramas a tm escenario extranjero?Has todavla: 6que quiere decir luego la absoluta imposibilidad psicologica y art lotica de sosterner a uno de esos genlos dramaticoo en el escenario

: espaRol mas de dies o quince anos que tardan en.paaar el,"y su generaeion?*..Todo ello es prueba de una comun falsedad espiritual; digamoslo clara- mente, ya que por rodeos lo venimos dielendei de una incultura espiritual y de una irracienalidad sentimental.!’

9. Hamilton, Holding the Mirror u p to mature. Forum, Vol.40,p.539. . : 1 ' . • - '

10. Echegaray, La deseoullibrada. Act I, Sc. 9.11. Echegaray, 0 locura o santldad. Act I, Sc. 14.12. Echegaray, Ibid.t Act I, Sc.15.13. Echegaray, Ibid., Act I, Sc. 4.14. Echegaray, El prologo de un drama. Sc. 3, p.SS.

15. Echegarav. El primer acto de un drama. Sc. 9, p.37.16. Echegaray, Aleunaa veces agul. Act III; Sc. 7,17. Echegaray, El eatlema. Act III, last scene.18. Bustill©, Eduardoj Campanas Teatrales, p.122.19. Echegaray, En e l puho de la espada. Act III, last scene. 20* Echegaray, Be mala raza. Act III, Sc. 5.21. Echegaray, ^iana,, Epilog, . Sc*; 5.22. Echegaray, IMd., Epilog, Sc. 10*23. Echegaray, llancha que limpia. Act! IV; last scene*24. Echegaray.la realidad y el delirlo; Act I, Sc. 4.25. Echegaray, Bara tal culpa tal nena. Act I, Sc. 7.26. Echegaray, El bandido Lisandro. Act III, Sc. 7.27. Echegaray. La deoeduilihrada. Act III.28. Echegaray, El estimna. Act III, p.36.29. Dante. Bivina Coaraedla. Inferno. Canto V, lines 130*136.

Ber pll flat# §11 eechi ci eoopineeQuells lettura e scolorocci 11 viso,

. Ka solo un punto fu quel che cl vines*Qmmde leggemmo 11 dlslato rise

Bsaer baclato da cotanto amante,,Quest1, che mai da roe non fia diviso,

La bocca ml bacio tutto tremarite.Galeotto fu il libro e chi lo eerleee!

30. Echegaray, El gran galeoto. Act I, Sc. 2.31. Echegaray^ Ibid.^ Act III, last scene,32. Echegaray, Ibid., Act III, last scene.

fS

33. Echegaray, la reelidad y el delirio. Act fX. .Sc*.4... .34. Echegaray, I M d . ,. Act; II, Sci 9. .35. Echegaray. A la orllla del mar. Act III, Sc. 9.36. Echegaray. Malas herenclas..Act II. Sc. 5; . •37. Echegaray, Ibid;, Act III, Sc. 13. ; . 1 - -36, Echegarayj Ibid.^ Act III, Sc.fl©* ;39. Echegaray, Pienea mal.,.&y acertaras?. Act III, last scene.40. Echegaray. El estigroa. Act III; a.63.41. Echegaray^ ConflActo gntre los deberec. Act I, Sc. 6.42. Echegaray, Ibid., Act III, last set*#* •43. Echegaray, Ibid., Act III,:last scene. • :44. Echegaray. La muerte en los labios. Act I. Sc..5.45. Echegaray. El estigroa, Act I, p.15. . '46. Echegaray, Co.rr.er en d£ ffi jldeal, Eote-2,. p.96.47. Echegaray, Ibid.,. Act III, p.89. ... /48. Echegaray, Ibid., Act III, p;94,49. Echegaray, Coroedia sin deoenlace. Act I pp.11-12.50. Echegaray. El estigroa. Act I, p.25.51. Echegaray, Ibid., Act I, p,27. , ; . .52. Hale, Echegaray. Poet bore. Vol. 12,p.409.53. Echegaray. La auerte en los labios. Act I. Sc. 4.54. Hale, Echegaray, Poet Lore. Vol. 12, p.413*55. Echegaray, La neste de Otranto. Act I, Sc, 5.56. Wallace, Elizabeth, Spanish Drama of Today, Atlantic .

Monthly. Vol, 102,%p,357•"This;tardy influence of Dumas, Augier, and

79

their school was owing to a variety of reasons, fhe first, I take it, was.the manifest inee®*

patlbillty existing between the:very spirit of the French realists and the Spanish national dramatic ideals* The Spanish national drama deals in ele­mental passions; is poetic in language, melodrama­tic in situations, and maginfieently conventional in tene; while its literary form is more important then its dramatic structure. Cn the other hand, the art of.conversation, a French art oar excel­lence. has given to the French .drama its form*The modern prose dialogue seeks to hide any liter­ary effort* Sociability, the soul of French liter­ature, gives it its fine end subtle psychology, wit ty and i^genleBe,.;but eomet imes a lit tie attenu­ated. As for themes, it has found them, not in universal, and as It were virgin passion#, but in complex and involved feelings, in the fevers, vices, and moral depravations induced by the upheaval of an old order of things. Kow, the Spaniard, though characterized by a warm, unembarrassed, exuberant southern sensuality, is nevertheless essentially modest. He cannot look upon irregularities as serious problems; nor dees he like to exhibit him­self on the operating table, nor does he wish to theorize about himself in intellectual subtleties*

90751

80J

Therefore he was slow to appreciate the m o d e m French realistic play, In fact he never did adept it in Its original and unadulterated forms.

Another reasen for the tardy effects of French realistic influence lies in the simple fact that the Spanish public does not read much. The intel­lectual classes who were familiar with Flaubert, and Dumas and lol« «id the resit anderstood and appreciated'what was of value in realism and in naturalism; hut the mass of the people knew nothing about dramatic impossibilities, or of truth, or of the new isms. All they asked was to be thrilled and moved and stirred by the action and the melody of their -Calderonisn Compositions*" r <

57, Bchegaray, 31 hl.1o de don Juan. Act III, last scene.58, Kchegeray, Ibid., Prologue. -

"Procuramle adivinar el pensaroiento de ini ultimo drama SI hi.lo de don Juan, han dicho los crftlcos varias cosas.

%ue el pensamiento era el micmo que inspire a Ibsen en su cllebre obra titulada Gengangere.

%ue las pasione* que se agitan, son mas proplas de aquelloo pa£ees del Forte, que de nuestras re- gionee meridionales.

que se trata del problem de la locura here­ditaria.

que se discute la ley de hereneia.

81

Que es tetrico y lugutre, sin mas objeto flue el de produelr horror.

que es un drama puramente patoloeico,- que no hay en el mas que el proceeo de una

locura. , - , .que deade el momento en que se adlvina que ,

Lazaro ha de volverse loco, acaho el intereo de la ohra,;y no queda man que seguir paoo a paso, el naufraglo.de! pohre sert

I aa£ auceslvasente.To crcoque todo eeto no es otra cosa que una

eerie de lamentablee equlvocaclonee de loe grandee y pequehoB juzgadores del arte dramatlco.

Ho ee nlnguno de estoo el peneamlento de ml drama. ' ' v- ■ '

Eu peneamlento ee muy otro, pero yo no lo ex- pllcarex 4para que? en todas las eeeemas de mi obra, en todee b u s personajes, caal en todag bub frases eeta expllcado. , :

Mo qulero nl debo, slqulera por buen gusto, defender ml nuevo drama; pero hay en el una frase que no es rola. que ej| Ibsen. y esa deb© defen# derla energicamente, porque me parece que es de extraordinarla heimosura.

"Madre, dame el soli" dice Lazaro. Y esta

frase senelll*, infantil, caai comica, encierra un oceano de sentimientos, un infierno de doleres, una leccion cruel, un Ialerta! supremo a la socicdad y a la familia.

Yo as! lo veo.Una generacion, devorada- por el vicio; qee

lleva hasta en los huesos el virus engendrado por el amor impure; con la sangre corrompida, que ar­ras tra organismos de corrupcion mezclados a sus globulos rojos, va cayendo y cayendo en los abismos del idiotismo : el grito de lazaro es el ultimo crepusculo de una razon que se hunde en la eterna negrera de la imbecilidad. Y al miomo tiempo la naturaleza desplerta y el sol sale : otro crenus~ culo que sera bien pronto toda luz.

Y los dos crepusculos se encuentran, se cruzan, y se saludan, con saludo de eterna despedida, al cenelulr el drama. La razon, que se precipita empujada por la corrupcion del placer. El sol, que

. brota con llamas inmortales,- empujmde por lae fuerzas sublimes de la naturaleza...•”

59. JSehegaray, Ibid., Act III, Sc. 4*60. Bihegaray, Ibid., Act II, Sc. 7,61. Echegaray, Ibid., Act II, sc. 10.62. Schegaray, Ibid., Act III, Sc.63. Schegaray, Ibid., Act III, last scene.

83

64. soheearay, 31 loco dice, Act I, Sc. 6.65. Behegaray, Ibid., Act IV, last #e#a@$66. Cuimon, Le .Theatre de Jooe ScheEaja^, p.130.

we?est un peu fou, tree inyraiseinblable conane toujeura, maie la comcdle est M e n faite, vivante, arausante, aouvent eloquente, et le saecea a ete dleleif. ” ; - .... . . . .... .

6?. Fltzmaurice-Kelly, Hiatoria de la l.^eratura eajanola, p, 360* .

"iComo explicar entoaeea una toga que, a peaar, de bastantea-fracaaoa, duro maa de,treinta.aRos?Bn primer,tenaino Behegaray aabla au oficio; elegla una teals, y, con Clara vision esceniea, aacaba a menudo aorprendentes efectoB teatraleo de sue arti- ficioaaa combinacionea."

68. Cejador y Frauca, Hiatoria de la lengua y la llteraturacaatellana. Vol* 9, p.llP,. .

"Behegaray levant 6 al teatro de an post radon, llevando a laa tablas aauntoa socialea con deeusada valentia, grandeza dramatica, inteneidad de efectoa y nervio an el decir, cualldadea queaubyugan al publico." •

69. Behegaray, En el sent de la muerte. Act III, Be, 1.La eacena representa el panteon aubterraneo

del castillo de Argelez. En eata decoracion cabs cuante la.imaginacion quiera; y, sin embargo, para

84

las necesidades del drama, todo ello patd# rede* cirse a muy poco* Lo purajaente precise es lo eiguiente: puerta en el fondoj cstando aMerta se vc bajar de frentc, o algo ineliasda, una ancha eecalera entre doe rouroe macizoe, la cual tenniaa per abajo en un corredor transversal; es declr, que entre la puerta y el principle de la expreaada escalera, bay un espacio de nivel que represents el ancho del pasadizo.••.ll panteon muy sombrlo: a uno y otro lado ee ven los acoraetimientos de varies galer£as transversales.••*En primer termino, eaei de frente, a la izquierda del actor, un sepulero que ce supondra que es del padre de don Jaime#Bste sepulero no debe ser muy alto; sobre el una escultura yacente, a ser posible, con armadura de bronce y cara de marmol##*.La decoracion, sobre todo, muy severa: detalle que no pueda presentarse dignamente debe suprimiroe.

70. Echegaray, E& loco dlos. Act IV, Sc. 4.71. Echegaray, Ibid., Act I, Sc. 9.72. Echegaray, Confllcto entre loo deberes. Act III, Be. 7.75. Echegaray, La esnosa del veneador. Act I, p.1474. VitzeQerald, John 3)., Jose Echegaray. Romanic Review.

Vel, 7, p.113the original is as followst

Escojo una pasion, tomo una idea,

im problem, un caracter, y lo inf undo, eual denea dinamita, en lo profund# de un pereonaje que mi merite crea.

La trama, al peraonaje le rodea do urn## cuantoe munecoa que en el munde o ee revuelcan en el oieno inmundo, o ee calientan a la luz febea,

la mecha enciendo $ el fuego ee propaga, el cartuche revienta sin.reraedio, y. el aetro principal ee quien lo paga.

Aanque, a vecee, tambien en eete aeedio que al arte pongo, y que al inetinto halaga, roe coge la expl.eeion-de medio a medio.

75. Hurtado y Palencia, Hietoria d& la literatura eepanola,

: P‘985» ■ ■"Be poeta, facil vereificador, tiene inetinto

de lo draroatico, y hubiera producido rouy buenae comediae de no haberle faecinado la manera de Echegaray, tan propicia al fracaeo en loe died* pulOBe *

86

VII. Bibliography.

Anton del Olraet, Luie - Garcia Carraffa. Arturo:.Echegaray.L o b Grandee Eepaiioles, Vol. II, Madrid, 1912.

Barja, Ceoar: Libroe jr autores raodernoe. Hew York, 1924. Bell, Aubrey F. G.s Contemporary Snanloh Literature. Hew. ■ ■ Yeikt"ISIS# . • • : : - ■ ..

XIX. , 3 partes. Segunda edlciSn. Madrid, 1903.Bueno, Manuels Teatro espanol contemporaneo. Madrid, 1909. Eustillo, Eduardos CamparSae teatralee. . (Gritica dramatica).■ Madrid^ 1901. l :Cejador y Erauca, Julios Hletoria d£ |a lenr-ua y literatura

caetellana. 14 tomqB.;: Madrid, 1918.Current Literatures The World and hie Wife. Vol. 46. 1909.Cursen, Henri des Le Theatre de Jone Eche/?aray. Ifude

analytique. Earle, 1912.Eehegaray, Joses A fuerza de arraetrarse. Madrid, 1907.A Echegaray, Joe&: A la orilla del mar. Madrid, 1903. Echecavay, Jose: Alpunaa vecea aquj. Madrid, 1883.' Eehegaray, Joels Amor ealva.je. Madrid, 1909.Echegaray, Joels Bodaa traelcaa. Madrid. 1894.Eehegaray, Joses Comedia sin desenlace. Madrid, 1892.: ' . . : ' . . : '.}: ..\ . - . ' ' -- .

4 The plays of Echegaray are listed alphabetically by the entire title, including prepositions, conjunctions, and articles.

87

Eehegaray, Jos&t Como eropieza y coibo- acaba. Madrid, 1912# Schegaray, Joact Conflicto entre log deberes. Madrid. 1908. Echegaray, Joses Ccrrer en poa de tm ideal,; Madrid, 188S* Echegaray, Joses De mala raza. Madrid. 1905. lehegarey,:Jo sc: Dos fanatisnos. Madrid, 1887.Behegaray, Jose: El bandido Lisandro. Madrid, 1886. Echegaray, Joels El conde Lotario. Madrid, 1905.Echegaray, Joses El estigma. Madrid, 1910. •Echegaray, Joses El gladiador de Havena. Madrid, 1884. Echegaray, Joses El gran galeoto. Madrid, 1908., Echegaray, Jose: 31 hi.lo de don Juan., Madrid, 1892. Echegaray, Jose: El loco dios. Madrid. 1900.Echegaray, Jose: El coder de la ironotencia. Madrid, 1897. Echegaray. Josis El primer acto de un drama. Madrid, 1895. Echegaray, Jose: El -prologo de un drama. Madrid, 1905* Echegaray, Joels Bn el nilar y en la cruz. Madrid, 1906. Behegaray, Joses Bn cl puHo de la eamda. Madrid, 1912. Echegaray, Joses En el seno de la muerte. Madrid. 1903. Echegaray, Joses La eantantc calle.iera. Madrid, 1912. Echegaray, Joses La desequ11ibrada. Madrid, 1904. Echegaray, Joses La esealinata de un trono. Madrid, 1903* Echegaray, Joses esnosa del vengador. Madrid, 1907. Echegaray, Joses La muerte en los labios. Madrid, 1911. Echegaray, Joses la neste de Otranto. Madrid, 1902.. Echegaray, Josls realidad % el delirio. Madrid, 1887. Echegaray, Joses Malas herencias.. Madrid, 1912.

88

Behegarmy, Jose: IfenantiaX cue no so agota. Madrid. 1901. Ichegaray, Jose: Mancha qua limnia. Madrid. 1906,Echsgaray, Jose: Mar sin orillas, Madrid, 1898.Bchegaray. Jose: Mariana. Madrid. 1921.Bchegaray, Jose: Morir nor no deenertar.. Madrid, 1879# Ichegaray, Jose: 0 locura o santidad, ■lew York, 1923.Bchegaray, Jose: Para ts.1 culra tal nena. Madrid, 1885. Bchegaray, Joaet Piensa real.. .6y acertaras? J£adrid, 1884. Bchegaray, Jose: IM crltico inclnienta. Madrid, 1895.Bchegaray, Jose: Tnilagro on Bglnto. ’ Madrid, 1883.Bhciclonedia Universal lltistrada: HiJoe do j; Bepaea, Sditores.

Barcelona, [s^a.] In course of publication. ?0 relB. plus 7 of supplement.

Fitz-Gerald, John B.: Echeftaray. Romanic Review. Vol. 7,1917.

Fit2maurice*Kelly, Jaime: Historia de la literatura esnanola.4 edicion, Madrid, 1926.

Gardiner, %mmy Hale: Bchegaray: Snanish Gtatecroan. Dramatist.Poet. Poet Lore. ¥©1,12, 1909.

Goldberg, Isaac: The Drama of Transition. Cincinnati, 1922. Hamilton, Clayton: Holding the Mirror up to Mature. Forma.

Vol. 40, 1908.Hurtado y J. de la Serna, Juan •* Gonzales palencia, Angel*

Hiatjarla de. la lltexaim P^ h p la. seguada edicion.Madrid, 1925.

Lynch, Hannahs Jose Bchegaray. Conternporarv Review. Vol. 64, 1895.

89

Kerimee, Ernest: A History of Spanish Literature* Translated, revised and enlarged "by 8. Griswold i’orley. lew York, 1950.

Review of Reviews: Jose Echeearay. Vol. 56. 1917.Review of Reviews: Spain*a Homage to Echegaray. Vol. 31.

1905. .Roaera Kavarrc, : Historia de la lit eraturn espanola. Kew

York, 1928.Salcedo Ruiz, Angel: La literatura espanola. Resuaen de

historia crltlea. segunda edicion refundida y auaentada. 4 tomoe. Itadrid, 1915-1917.

Sanches, Joel Rogeriot Autores eapaholse e hispano-americanoB. Madrid, 1911.

Smith, Lora Archibalds Jose Echegarav. Poet Lore. Vol. 20. 1909.

Wallace, Elisabetht Spanish Drama of Today. Atlantic Monthly. Vol. 357. 1908.

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