V Literature and the Drama
Madrid is the centre of the intellectual life of Spain. It contains a number of academies, colleges, schools, and libraries. The Royal Academy was not founded till 1713; but, as Bourgoanne pointed out in 1789, “there are undoubtedly in Spain more learned men who modestly cultivate the sciences; more men of erudition who are thoroughly acquainted with the history and jurisprudence of their country; more distinguished men of letters and a greater number of poets, who have energy and a fertile and brilliant imagination, than is generally imagined.”
Science and letters suffered after the period of Quevedo, Cervantes, Calderon, and Garcilaso, and there was a rapid decline in learning until the eighteenth century. Under Charles III. the cultured life of Madrid was revived. Charles was opposed to the clerical restrictions upon knowledge, and the banning of science was not a part of his policy. He withstood the reactionary forces of the country, and, being himself a man of scholarly tastes, he re-awakened the moribund respect for culture. To encourage the production of books, Charles III. freed all printers from military service. He renewed the universities, built new schools, and treated teachers and professors with fairness and respect, declaring that education is the most important of all social affairs.
This revival of learning and of literature was unfortunately transient, for under Charles IV. free discussion was almost impossible in Spain; authors were gagged, and the Inquisition was revived. The study of moral philosophy was forbidden in the universities of the country, for Charles declared that he had no use for philosophers.
The first large public library in Madrid was the San Isidro, founded by the Jesuits, and containing about 60,000 volumes. The National Library was built in 1712, but the books were removed to another building about thirty years after. There is a library in connection with the Royal Academy of History in the Calle del León, which contains several thousand books and a number of valuable ancient manuscripts. The University has its own collection of books. This institution was founded in 1508 at Alcalá, and brought to Madrid in 1836. There are about 8000 students.
The old Court of Castile had many poets and satirists from the days of Juan II. In the thirteenth century, Castilian became the polite speech of the nation, and the earliest ballads were written in this language. These ballads are the basis of much of the history of Spain, and this was the first form of literature in the city of Madrid. Under Alfonso X. of Castile, who was as skilled in letters as in the conduct of the State, the art of poetry reached a higher order than it had hitherto attained in Spain.
Francisco de Quevedo Villegas, the great satirical poet and prose author, was born in Madrid in 1580. His parents were of patrician stock, and his mother was one of the royal household. Quevedo was sent to the college of Alcalá de Henares, where he was instructed in several subjects, including law and medicine. A quarrel with a hidalgo, whom he seriously injured in a duel, caused the flight of the young student to Italy. Upon his return to his native country, Quevedo was arrested, and kept in prison for about three years. Later, he was again put into confinement for a satire upon the Count, Duke de Olivares.
Quevedo was a voluminous writer. His works have been collected in the “Biblioteca de Autores Españoles,” in three big volumes of poetry and prose, while many of his compositions were left unpublished. The “Visions” are perhaps his most popular work. They were translated into English in 1668, and published in London, and met with such success that the volume reached an eleventh edition in 1715. Since then there have been other editions issued in this country.
Calderon lived at number seventy-five in the Calle Mayor, formerly called the Calle de Almudena, and in the same street was born Lope de Vega, the most prolific of Spanish dramatists. In the Plaza de Santa Ana, near the Teatro Español, is a monument to Calderon erected in 1879. It is the work of Figuéras, and a figure of Fame stands by the dramatist; the base of the statue has reliefs from scenes in the plays.
Calderon was of noble blood, and found influential patronage in Madrid. We read that Philip IV. gave him the order of Santiago, and appointed him director of the theatre and public entertainments. Pedro Calderon entered the church at the age of fifty-two. He died in the year 1681.
At number fifteen Calle de Cervantes there is a memorial tablet to Lope de Vega, with the inscription that the writer set upon his house: “A small possession of one’s own is great; a great possession of another is small.”
Lope de Vega was born in Madrid in 1562. For a time he was secretary to the Duke of Alba, but, after wounding an opponent in a duel, he fled from the city. His power of production was marvellous, and it is said that he wrote a play of three acts, in verse, in twenty-four hours. He died in 1631.
Cervantes was intimately associated with Madrid, though Alcalá de Henares is claimed as his birthplace. The greatest author of Spain came to the capital in his youth, to study for one of the learned professions, and here he lived under the tutelage of Juan Lopez de Hoyos.
After serving as chamberlain in Rome to Cardinal Aquaviva, Cervantes, at the age of twenty-four, joined the expedition against Turkey, and for several years he passed an adventurous life on sea and land. Returning to Madrid, he lived with relatives, and began to apply his mind seriously to study, and to the cultivation of his literary gift. In Madrid he wrote a number of comedies and novels, but he left the city for Seville, where he obtained more lucrative employment as a government official. The first part of the masterpiece “Don Quixote” was published in Madrid in 1605.
Cervantes died in 1616 from dropsy, and his body was laid to rest in Madrid. In the Plaza de las Cortes is a memorial in bronze to the greatest of the romance writers of Spain. It was designed by Antonio Sola, and set up in 1835. There are reliefs on the pedestal of the monument depicting episodes from “Don Quixote.”
The Church of San Francisco el Grande, the National Pantheon, was built in 1784 on the site of a convent; but it was not established as a mausoleum until 1869. It has been decorated at great expense and with much taste, and is not altogether an unworthy repository for the ashes of the illustrious dead. Here are supposed to rest the remains of Guzman, Cervantes, Lope de Vega, and Velazquez, but the tombs have not been identified. In 1869 the ashes of Morales, Juan Mena, Quevedo, Calderon, the Great Captain, and other illustrious Spaniards were placed here, but all of these have since been restored to their original resting-places.
The Italian opera was introduced into Spain by Charles III. The country has not produced any very eminent operatic composers, though opera is a popular entertainment. In the drama Spain excelled at one period above all other countries. The plays of the nation were exceedingly numerous in the palmy days, ranging from sacred representations, or miracle dramas, to farce. Many of the subjects were historical; but with the decline of taste, the drama lost its Greek simplicity, and became the vehicle of complicated intrigues and artificial plots. Cervantes, as dramatist, endeavoured to check this corruption of taste, but the pressure of poverty forced him to follow the conventions of the hour, and to write on a level with the intelligence of his audiences.
Lope de Vega wrote about eighteen hundred plays. Much of his work is hasty, extravagant and bombastic. Calderon wrote with more directness and simplicity of style, and spent far more pains upon his compositions. Augustin Moreto produced thirty-six plays, which rank high from the literary point of view. De Castro, de Roscas, and de Solis are three of the more esteemed comedy authors of a later period, whose pieces were played in Madrid.
Galdos, who is the author of several novels and plays, resides in Madrid, in the Paseo de Areneros. Doña Emilia Pardo de Bazan, the most powerful of the women writers of Spain, says: “The life of the playwright in Madrid is more active, agitated, and arduous than other branches of the literary career, which languish and sleep for want of stimulus.” Most of the dramatists of the nation live in Madrid, or spend part of the year there. Among them are José Echegaray, now the leading playwright, Guimerá, Eugenio Sellés, Dicenta, Vital Aza, Abati Ricardo de la Vega, Garcia, and Paso.
Poets living in Madrid are Emilio Ferrari, Grilo, Manuel del Palacio, the Marquis de Cerralbo, the Duke de Rivas, Eduardo Benot, and Melchor de Palau. There are also several writers of humorous verse, such as López Silva, Pérez de Zúñiga, and Luis de Tapia.
The great novelist, Armando Palacio Valdés—who, in his novel, “Froth,” gives a true picture of Madrid manners—lives in the city occasionally. Here, too, reside Father Luis Coloma, Blasco Ibañez, Baroja, José Ortega Munilla, Antonio de Hoyos, and several other writers of fiction. Doña Emilia Pardo de Bazan lives in Madrid.
Among the celebrated journalists are Cavia, Kasabal, Azorin, Claudio Frollo, Luis Morote, Troyano, and “Zeda” (Sr. Fernandez Villegas).
The Madrileños appreciate the drama—in small doses—and support fourteen theatres, of which the most frequented are the Teatro Real, belonging to the State, the Español, belonging to the Municipality, the Princesa, Comedia, Lara, Apolo, and Zarzuela. As elsewhere in Spain, each performance consists of three or more short pieces or sketches—zarzuelas and saynetes—almost always dealing with aspects of popular life. To foreigners this persistent harping on the amours of the policeman and flower-girl and the vicissitudes of a chairmender’s career is a little surprising. The legitimate drama has been almost driven from the boards in Spain, despite the efforts of Señora Guerrero—the Spanish Bernhardt—to revive it, some years ago. This lady’s husband is the Marquis de Mendoza, who follows the same profession, to do which he required the special authorisation of the Council of State. Spain does not want for good actors and actresses, despite the loss of Vico, Calvo, and the ever-popular Emilio Mario. Maria Tubau is an able interpreter of Ibsen and Sudermann (when the opportunity presents itself), and the names of Thuillier, Pinelo, and Carmen Cobeña deserve mention. Naturalism has by no means asserted its sway over the Spanish theatre, and the entertainments, as the old play-bills used to say, are still largely frequented by ladies and children. Every one smokes during the performances, and talks frantically during the entr’actes. The theatres are comfortable and well upholstered. English visitors will be struck by the absence of programmes, the place of which is often taken by some such sheet as Blanco y Negro.
Emilia Pardo de Bazan deplores the decay of the literary circles and salons for which the city was once renowned; “of literary gatherings at private houses or in splendid palaces we might say there are none.” Circles there are, it is true, she adds, but few of them of greater circumference than a tea-table. Yet young writers still seek Madrid, bringing with them plays or novels, which, in most cases, are never given to the public. “There are in Madrid,” continues this authoress, “more producers than, in proportion, consumers, and the proletariat of the pen suffers the bitter consequences of this painful position.”
The first newspaper printed in the city was the “Gaceta de Madrid,” which was founded in 1661. It was first issued annually as a news-sheet, but in 1667 the journal appeared each Saturday. The title of the paper was frequently changed, and at one time it was the official organ of the Court, and sold on the account of “the king our lord.” Later, the “Gaceta” was issued twice a week, and in 1808 it was made a daily publication. With one or two interruptions, the “Gaceta” has been printed in Madrid since 1661.
The pioneer of modern journalism was Don Francisco Mariano Nifo, who started the “Diario” in 1758. Nifo sold the journal in 1759, and the title was altered to the “Diario noticioso Universal,” and later, to its present title, “Diario official de Avisos de Madrid.” In 1825 the “Diario” became an official newspaper by royal decree.
The establishment of political journalism dates from 1806; the “Imparcial” was then founded, as well as many other journals which had short histories. The present “El Imparcial” dates from 1867, and “La Correspondencia” and “El Dia” began to be issued about the same time. “La Epoca” was born in 1848.
The more solid reviews published in Madrid are the “Lectura,” and the “Ateneo.” “España Moderna,” “Nuestro Tiempo,” “Cultura,” and “Blanco y Negro,” a well illustrated magazine, are produced in Madrid. The city has certainly given birth to a very large number of periodicals, for from 1865 to 1878 no less than 1130 issued from the press.
Students of the literary history of Spain will find many interesting links with the past in the National Library. Here are numerous editions of “Don Quixote,” and a collection of old manuscripts, including a beautiful Visigothic work of the tenth century, and the “Siete Partidas” of Alfonso the Wise. There are several autographs of Lope de Vega and other Spanish authors in the collection.