Kitabı oku: «Heath's Modern Language Series: Mariucha», sayfa 3
12. El abuelo, drama en cinco actos. Madrid, Teatro Español, Feb. 14, 1904. Adapted from the "novela en cinco jornadas" of the same title (1897). Galdós' greatest public success, next to Electra.
In this drama Galdós considers a general problem of inheritance of character. The aged, poor and nearly blind count of Albrit knows that of his two granddaughters one is not his son's child. Which? His efforts to read the characters of the children are vain, and when at last he learns the truth, it is to realize that the girl of his own race is fickle and vain while the bastard is generous and devoted. Then his pride knows that good may come out of evil, that honor lies not in blood, but in virtue and love.
El abuelo is beyond question Galdós' best play, practically considered. The plot is simple, the handling of it direct and skilful, there is no propaganda to interfere with the characters, who are few, interesting, and admirably drawn. The contrast between the lion of Albrit (so often compared to King Lear) and the playful children is a master-stroke. Free from effectism, dealing only with inner values of the heart and morals, El abuelo can properly rank as one of the masterpieces of modern drama. Its theme is diametrically opposed to the traditional Spanish conception of family honor (cf. Realidad), and so its popularity at home is a sign that Galdós was able to educate his public to some extent.
In condensing the dialoged novel to a drama, Galdós made a number of alterations in character and action, and all, in our opinion, for the better. Nevertheless, Manuel Bueno says: "Prefiero, sin embargo, la novela. Me llena más."
13. Bárbara, tragicomedia en cuatro actos. Madrid, Teatro Español, March 28, 1905. Coolly received.
The overshadowing figure of this drama is Horacio, governor of Syracuse in 1815, who "entertains the idle moments of his tyranny modeling out of human wickedness the ideal statue of justice." He forces the countess Barbara, who stabbed her brutal husband, to marry the latter's brother, instead of a chivalrous and mystical Spaniard whom she loves, and who is blamed for the murder. How does such an outcome represent ideal justice? It seems to teach that unhappiness, caused by oppression, must not provoke any effort for freedom on the part of the victims. Revolt must be punished and expiated. Letter is placed above spirit, and the theme is repeated often: "There is no change, no reform possible in the world. All things must return to their first state." How to reconcile such doctrine with the body of Galdós' work?
These considerations nonplussed contemporary audiences and critics, and caused Martinenche to regard the play as an "ironique divertissement," intended to demonstrate that "Galdós' art was supple and objective enough to set forth an idea apparently at variance with the general inspiration of his theater." Such an explanation would be in harmony with Galdós' favorite custom of balancing one argument against another, but perhaps Bárbara may be interpreted in the light of Los condenados, where also penance for both lovers was insisted upon. In the ideal justice, it makes no difference whether the crime committed is against oppression or against liberty. In the latter case, punishment assumes the form of a liberal revolt; in the former, it appears reactionary. This is why Galdós, holding the balance even, with the impartiality which is the root of his character, seems in Bárbara to advocate a static philosophy, whereas in most of his work he is the liberal whom Spain, a backward nation, needed.
In any case, Bárbara is a fascinating, enigmatic play, too elevated ever to be popular, but one which, on account of its closely studied characters, delicate motivation and suggestive ideas ought always to be a favorite among the thoughtful. No other play arouses greater respect for Galdós as an original creator.
14. Amor y ciencia, comedia en cuatro actos. Madrid, Teatro de la Comedia, Nov. 7, 1905. Coldly received.
The redemption of an erring woman is a frequent dramatic theme, from the Romantic era to the present. Malvaloca, of the brothers Quintero, presents it, as does Palacio Valdés' novel Tristán, with a plot and spirit not unlike that of Amor y ciencia. Here, love and science are forces which together heal and redeem the soul of Paulina, the repentant wife of a famous physician. Once more, as in Realidad, and as in Tristán, we are shown a husband who pardons. But here the treatment of the theme lacks vitality, and the abstract idea is not beautified by the veil of poetry which gives charm to Los condenados, Alma y vida, and Sor Simona.
16. Pedro Minio, comedia en dos actos. Madrid, Teatro Lara, Dec. 15, 1908. A fair success.
Galdós' only real comedy is distinctly a minor play, with a languid second act. The scene is laid in a wonderfully perfect Old Folks' Home. The hero is an inmate, once a jolly liver and spendthrift, who still enjoys every moment, while as a foil to him is placed a wealthy money-grubber, who at forty is ridden with a dozen plagues. There is much quiet humor, and some obvious symbolism,—perhaps also some not so obvious. That reformed profligates wish to restrict the pleasures of others, while the blameless allow them harmless freedom; that the money-seeker meets with torment, while the generous spender lives happily; that "peace, fraternity and innocent love of life are all God has given humanity, to make its passage through the world less painful"; these are the plain morals. It is thus united in spirit with Galdós' latest work. But the form in which this lesson is conveyed is not calculated to encourage a life of productive toil.
16. Zaragoza," "drama lírico en cuatro actos; música del maestro D. Arturo Lapuerta. Saragossa, Teatro Principal, June 4, 1908.
This opera, only the libretto of which has ever been published, was given four nights during the centennial celebration of the siege of Saragossa, and was never performed elsewhere. The book is a mere scenario of the well-known Episodio nacional, and contains practically no spoken lines. It cannot be judged without the music. The chorus of citizens is the protagonist.
17. Casandra, drama en cuatro actos. Madrid, Teatro Español, Feb. 28, 1910. Adapted from the "novela en cinco jornadas" of the same name, 1905. The occasion of hot political demonstrations.
Casandra is frankly anti-clerical, but with an Olympian irony, not bitterness. The central figure is an aged, childless widow, whose enormous wealth is eagerly awaited by a host of distant relatives. She changes her mind, and starts to give away her property to the Church, with natural disappointment to the heirs. Casandra, not an heir, but the mistress of an illegitimate son of Doña Juana's husband, is a woman without money-interest, but Doña Juana's desire to deprive her of her children and lover stirs her to stab the aged bigot. The novel is admirably genial, full of convincing characters and pregnant thoughts; the play much changed, and inferior to it. It teaches that Dogmatism is sterile and only Love is fertile. Only Love is powerful enough to drive away the specter that oppresses Spain. Unconscious well-doing alone aids humanity, not ostentatious aristocratic charity. It is doubtful if the elaborate allegory suggested by R. D. Perés (see above, p. xxii, note 1 [Footnote #8]) was intended by Galdós.
18. Celia en los infiernos, comedia en cuatro actos. Madrid, Teatro Español, Dec. 9, 1913. Successful.
The story of a beautiful, good-hearted marchioness who, being an orphan, comes at the age of twenty-three into the free management of her enormous property. She soon becomes disgusted with society life, and, accompanied by an elderly confidant, disguises herself as a peasant girl, and visits the infernal regions of the slums, partly to learn how the other half lives, and partly to learn the fate of some former servants. After interviewing don Pedro Infinito, a half-demented astrologer and employment agent, who furnishes the best scene and the most interesting character in the play, they inspect a rag-picking factory. Celia buys it and promises to establish profit-sharing and old-age pensions, if all the workers will live decently. The project is hailed with delight, and the benefactress returns to her heaven. The rag factory is a symbol of Nature: "Nothing dies, nothing is lost; what we abandon as useless is reborn and again has a part in our existence." Only silk rags, the refuse of elegant things, are of no further use.
The plot of Celia en los infiernos is romantically commonplace. In dramatic interest each act is weaker than the one before. The slums shown here would never appal an unaccustomed visitor. Moreover, Galdós abets in Celia the vice of ill-considered charity which he condemned in Mariucha. Decidedly, the author's heart got the better of his intelligence in this play.
19. Alceste, tragicomedia en tres actos. Madrid, Teatro de la Princesa, April 21, 1914. Succès d'estime.
The sacrifice of Queen Alceste, who dies in place of her husband, Admetus, was used for a drama by Euripides, and from his have been drawn many later plays, as well as a famous opera by Gluck. In his Preface Galdós details the changes which he introduced into the story, so many that his plot and characters may almost be considered original. Galdós has abandoned the surpassing lyric quality of the Greek, so far removed from his own genius, and set the theme down into a key of everyday humanity, at times half humorous. The figure of the queen has lost at his hands its poignant tenderness, but Admetus has gained in dignity, and the dramatic movement is much heightened. The realistic visualization of Pherés and Erectea, Admetus' selfish parents, the excision of the buffoonery in the rôle of Hercules, who restores the queen to life, are excellent adaptations to modern taste. Galdós' Alceste, mingling comedy and pathos with singular charm, power, and discretion, must henceforth take its place among superior modern interpretations of the story, beside Alfieri's severely dignified Alceste seconda (1798). Balaustrion's Adventure (1871) by Robert Browning is hardly more than a rude paraphrase of Euripides.
20. Sor Simona, drama en tres actos y cuatro cuadros. Madrid, Teatro Infanta Isabel, Dec. 1, 1915. Received with applause, but soon withdrawn.
The action takes place during the last Carlist war (1875) in Aragonese villages. Sister Simona is a runaway nun, thought slightly demented, who devotes herself to nursing the wounded of the war. She attempts to save the life of a young Alfonsist spy by declaring him her own son. This serves only to destroy her reputation for saintliness, and the situation is suddenly saved by an offer to exchange prisoners.
It will be seen that there is, properly speaking, no plot, and the ending is full of improbabilities. Once more Galdós, with characteristic persistence, has used the justifiable lie, which failed so signally in Los condenados. The work is saved by its poetic atmosphere and by the spiritual central figure. Charity is not to be imprisoned in convents; it is as free as the divine breath that moves the planets. God is reached by good works; the only fatherland worth fighting for is humanity; the only king, mankind. These are the teachings of Sor Simona. Her name is to be connected with Simon Peter, the cornerstone of the Church of Christ.
21. El tacaño Salomón, comedia en dos actos. Madrid, Teatro Lara, Feb. 2, 1916. (Sub-title, Sperate miseri.)
The scene is the modest home of a Madrid engraver who earns good wages, but is victimized by all who appeal to him for help. Stingy Salomón is sent him by a wealthy brother in Buenos Aires to assist his want if he will reform and acquire thrift. The engraver proves incorrigible, but, through his brother's death, receives the money nevertheless.
The play is of the same type as Celia en los infiernos, but is less interesting and even more improbable. In a way it is a complement to Pedro Minio, which taught the beauties of an open and generous life, while El tacaño Salomón appears to preach thrift. But the author has hard work to become enthusiastic over that virtue, and at the close quite lets it slip away from him. Both Celia and the present play are the work of a man who has despaired of accomplishing any good in society by logical and practical means, and resorts to the illusions of a child dreaming of a fairy godmother.
22. Santa Juana de Castilla, tragicomedia en tres actos. Madrid, Teatro de la Princesa, May 8, 1918.
A picture of the old age and death of Juana la Loca, the daughter of the Catholic Kings, and widow of Philip the Handsome. The Queen's mad passion for Philip is barely mentioned, her figure is idealized, and she is made a symbol of humility, self-effacement, and love for the humble. Closely guarded by a harsh agent of her son Charles V, she escapes for a day to a country village, where she talks in a friendly way with the peasants, discussing their problems with a simplicity which conceals much wisdom. To those who wish to use her name as a standard to restore the power of the common people, she insists that she desires nothing but darkness and silence in which to end her days. She had been suspected of heresy, because she read Erasmus, but the Jesuit Francisco de Borja, a man of saintly life, is with her at her death, and bears witness that her faith is untainted and that she will receive in the bosom of God the reward for her many sufferings.
As far back as 1907 Galdós was deeply interested in the life of this wretched Queen: "No hay drama más intenso que el lento agonizar de aquella infeliz viuda, cuya psicología es un profundo y tentador enigma. ¿Quién lo descifrará?"14 In his interpretation of her last moments, Galdós has made the figure of the Queen vaguely symbolic of present-day Spain, like Laura of Alma y vida. But she embodies still more the soul of the aged author, blind, feeble, living in silence and obscurity, absorbed in contemplation of approaching death.
The construction of the play is flawless, of diaphanous simplicity, the dialog is pure and brief, the characters are delicately outlined in a few sure touches. "A mournful, somber triptych," says Luis Brun of its three acts, "the central panel of which is lit by a ray of light." An atmosphere of serene melancholy broods over this admirable drama, fitting close to the career of a well-poised spirit.
BIBLIOGRAPHICAL NOTE
No definitive critical study has yet been made of any side of Galdós' work. The following list, by no means complete, does not include general histories of Spanish literature, encyclopedia articles or reviews in contemporary periodicals of first performances. The best of the last-named are those by Gómez de Baquero in España moderna. Criticisms dealing only with the novels of Galdós are not cited here.
1. BIOGRAPHY
Leopoldo Alas (Clarín), "Galdós" in Obras completas, tomo I, Madrid, 1912.
L. Antón del Olmet and A. García Carraffa, Galdós, Madrid, 1912. [Contains the most information.]
"El Bachiller Corchuelo" (González Fiol), "Benito Pérez Galdós," in Por esos mundos, vol. 20 (1910, I), 791-807; and vol. 21 (1910, II), 27-56. [Important.]
William Henry Bishop, in Warner's Library of the World's Best Literature, vol. XI, pp. 6153-63.
"El Caballero Audaz" (José María Carretero), Lo que sé por mí, 1ª serie, Madrid, 1915, pp. 1-11.
E. Díez-Canedo, "La Vida del Maestro," in El Sol, Jan. 4, 1920.
Archer M. Huntington, "Pérez Galdós in the Spanish Academy," in The Bookman, V (1897), pp. 220-22.
Rafael de Mesa, Don Benito Pérez Galdós, Madrid, 1920.
Emilia Pardo Bazán, "El Estudio de Galdós en Madrid," in Nuevo teatro crítico, agosto de 1891, pp. 65-74. (Obras completas, vol. 44.)
B. Pérez Galdós, "Memorias de un desmemoriado," in La esfera, vol. III, 1916 (especially the first two instalments).
B. Pérez Galdós, Prólogo to J. M. Salaverría, Vieja España, Madrid, 1907.
Camille Pitollet, "Comment vit le patriarche des lettres espagnoles," in Revue de l'enseignement des langues vivantes, Feb. 1918 (vol. XXXV).
Camille Pitollet, "Le monument Pérez Galdós à Madrid," in Revue de l'enseignement des langues vivantes, Feb. 1919 (vol. XXXVI).
Luis Ruiz Contreras, Memorias de un desmemoriado, Madrid, 1916, pp. 10, 65-72.
2. CRITICISM
J. M. Aicardo, De literatura contemporánea, Madrid, 1905, pp. 316-50. [A Catholic point of view.]
Leopoldo Alas (Clarín), Galdós, Madrid, 1912. [Already a classic.]
Leopoldo Alas (Clarín), Palique, Madrid, 1893.
Rafael Altamira, De historia y arte (estudios críticos), Madrid, 1898, pp. 275-314.
Rafael Altamira, Psicología y literatura, Madrid, 1905, pp. 155-56 and 192-98.
Andrenio (Gómez de Baquero), Novelas y novelistas, Madrid, 1918, pp. 11-112.
Anonymous, "Benito Pérez Galdós," in The Drama, May, 1911, pp. 1-11 (vol. I).
Azorín, "Don Benito Pérez Galdós," in Blanco y negro, no. 1260 (July 11, 1915).
Azorín, Lecturas españolas, Madrid, 1912, pp. 171-76.
R. E. Bassett, in Modern Language Notes, XIX (1904), pp. 15-17.
Luis Bello, Ensayos e imaginaciones sobre Madrid, Madrid, 1919, pp. 95-129.
Christian Brinton, "Galdós in English," in The Critic, vol. 45 (1904), pp. 449-50.
Manuel Bueno, Teatro español contemporáneo, Madrid, 1909, pp. 77-107.
Barrett H. Clark, The Continental Drama of To-day, New York, 1915, pp. 228-32.
Barrett H. Clark, in Preface to Masterpieces of Modern Spanish Drama, New York, 1917.
José Díaz, Electra, Barcelona, 1901.
Havelock Ellis, "Electra and the progressive movement in Spain," in The Critic, vol. 39 (1901), pp. 213-217.
Havelock Ellis, "The Spirit of Present-day Spain," in The Atlantic Monthly, vol. 98 (1906), pp. 757-65.
A. Gassier, Théâtre espagnol, Paris, 1898, pp. 308-13.
J. Geddes, Jr., Introduction to edition of Marianela, New York, 1903.
Georges Lenormand, "A propos de l'Electra de D. Benito Pérez Galdós," in Revue hispanique, VIII (1901), pp. 567-73.
J. León Pagano, Al través de la España literaria, Barcelona, 1904, II, 77-112.
Eduardo de Lustonó, "El primer drama de Galdós," in Nuestro tiempo, 1902, I, pp. 155-65.
E. Martinenche, "El Abuelo," in Revue latine, IV, 419-28.
E. Martinenche, "Le théâtre de M. Pérez Galdós," in Revue des deux mondes, 5me période, vol. 32, pp. 815-50 (1906). [This is, as far as it goes, by far the best study yet made of Galdós' drama. It appeared in a Spanish translation in España moderna, no. 210, pp. 118-58.]
Antonio Maura, Necrología de D. Benito Pérez Galdós, discurso pronunciado en la Real Academia Española. Madrid, 1920. [Contains as appendix a useful Catálogo sincrónico of Galdós' works, compiled by Cotarelo.]
M. Menéndez y Pelayo, "Discurso leído ante la Real Academia Española en la recepción pública del 7 de febrero de 1897" (reprinted in his Estudios de crítica literaria, 5ª serie).
Luis Morote, Teatro y novela, Madrid, 1906, pp. 59-75, 259-70.
E. Pardo Bazán, "Realidad," in Obras completas, vol. VI, 197-239. [A splendid interpretation written in 1892.]
R. D. Perés, "Casandra," in Cultura española, 1906, pp. 135-38.
Ramón Pérez de Ayala, Las máscaras, Madrid, 1917, pp. 17-102. [By a fervent admirer.]
J. Pérez de Guzmán, "Electra en América," in La Ilustración española y americana, 1901, II, pp. 230-31.
Ricardo Rojas, El Alma española, Valencia, n.d., pp. 87-106.
Boris de Tannenberg, "B. Pérez Galdós," in Bulletin hispanique, II (1900), pp. 340-50.
C. A. Turrell, Introduction to Contemporary Spanish Dramatists, Boston, 1919, pp. 10-12.
F. Vézinet, Les maîtres du roman espagnol contemporain, Paris, 1907, pp. 41-128.
R. W. Waldeck, "Benito Pérez Galdós, Novelist, Dramatist and Reformer," in The Critic, vol. 45 (1904), pp. 447-49.
Elizabeth Wallace, "The Spanish Drama of To-day," in The Atlantic Monthly, vol. 102 (1908), pp. 357-66.
José Yxart, El arte escénico en España, I, Barcelona, 1894, 309 to end, passim. [Objective and historical.]
MARIUCHA
COMEDIA EN CINCO ACTOS
Estrenada en el Teatro Eldorado de Barcelona el 16 de Julio de 1903
PERSONAJES
MARIUCHA
ACTO PRIMERO
Sala en el palacio de Alto-Rey. El soberbio artesonado es el único vestigio de la antigua magnificencia. Las paredes desnudas; el mueblaje moderno, poco elegante; algunas piezas, ordinarias. Puerta al fondo y a la derecha. A la izquierda, ventana o balcón. Cerca de éste una mesa de escribir. A la derecha, sillón de respeto, sillas. Es de día.
