Vicente Blasco Ibáñez - The Shadow of the Cathedral

There are three cathedrals which I think will remain chief of the Spanish cathedrals in the remembrance of the traveller, namely the Cathedral at Burgos, the Cathedral at Toledo, and the Cathedral at Seville; and first of these for reasons hitherto of history and art, and now of fiction, will be the Cathedral at Toledo, which the most commanding talent among the contemporary Spanish novelists has made the protagonist of the romance following. I do not mean that Vincent Blasco Ibañez is greater than Perez Galdós, or Armando Palacio Valdés or even the Countess Pardo-Bazan; but he belongs to their realistic order of imagination, and he is easily the first of living European novelists outside of Spain, with the advantage of superior youth, freshness of invention and force of characterization. The Russians have ceased to be actively the masters, and there is no Frenchman, Englishman, or Scandinavian who counts with Ibañez, and of course no Italian, American, and, unspeakably, no German.

I scarcely know whether to speak first of this book or the writer of it, but as I know less of him than of it I may more quickly dispatch that part of my introduction. He was born at Valencia in 1866, of Arragonese origin, and of a strictly middle class family. His father kept a shop, a dry-goods store in fact, but Ibañez, after fit preparation, studied law in the University of Valencia and was duly graduated in that science. Apparently he never practiced his profession, but became a journalist almost immediately. He was instinctively a revolutionist, and was imprisoned in Barcelona, the home of revolution, for some political offence, when he was eighteen. It does not appear whether he committed his popular offence in the Republican newspaper which he established in Valencia; but it is certain that he was elected a Republican deputy to the Cortes, where he became a leader of his party, while yet evidently of no great maturity.

He began almost as soon to write fiction of the naturalistic type, and of a Zolaistic coloring which his Spanish critics find rather stronger than I have myself seen it. Every young writer forms himself upon some older writer; nobody begins master; but Ibañez became master while he was yet no doubt practicing a prentice hand; yet I do not feel very strongly the Zolaistic influence in his first novel, La Barraca , or The Cabin, which paints peasant life in the region of Valencia, studied at first hand and probably from personal knowledge. It is not a very spacious scheme, but in its narrow field it is strictly a novela de costumbres , or novel of manners, as we used to call the kind. Ibañez has in fact never written anything but novels of manners, and La Barraca pictures a neighborhood where a stranger takes up a waste tract of land and tries to make a home for himself and family. This makes enemies of all his neighbors who after an interval of pity for the newcomer in the loss of one of his children return to their cruelty and render the place impossible to him. It is a tragedy such as naturalism alone can stage and give the effect of life. I have read few things so touching as this tale of commonest experience which seems as true to the suffering and defeat of the newcomers, as to the stupid inhumanity of the neighbors who join, under the lead of the evillest among them, in driving the strangers away; in fact I know nothing parallel to it, certainly nothing in English; perhaps The House with the Green Shutters breathes as great an anguish.

At just what interval or remove the novel which gave Ibañez worldwide reputation followed this little tale, I cannot say, and it is not important that I should try to say. But it is worth while to note here that he never flatters the vices or even the swoier virtues of his countrymen; and it is much to their honor that they have accepted him in the love of his art for the sincerity of his dealing with their conditions. In Sangre y Arena his affair is with the cherished atrocity which keeps the Spaniards in the era of the gladiator shows of Rome. The hero, as the renowned torrero whose career it celebrates, from his first boyish longing to be a bull-fighter, to his death, weakened by years and wounds, in the arena of Madrid, is something absolute in characterization. The whole book in fact is absolute in its fidelity to the general fact it deals with, and the persons of its powerful drama. Each in his or her place is realized with an art which leaves one in no doubt of their lifelikeness, and keeps each as vital as the torrero himself. There is little of the humor which relieves the pathos of Valdés in the equal fidelity of his Marta y Maria or the unsurpassable tragedy of Galdós in his Doña Perfecta . The torrero's family who have dreaded his boyish ambition with the anxiety of good common people, and his devotedly gentle and beautiful wife,—even his bullying and then truckling brother-in-law who is ashamed of his profession and then proud of him when it has filled Spain with his fame,—are made to live in the spacious scene. But above all in her lust for him and her contempt for him the unique figure of Doña Sol astounds. She rules him as her brother the marquis would rule a mistress; even in the abandon of her passion she does not admit him to social equality; she will not let him speak to her in thee and thou, he must address her as ladyship; she is monstrous without ceasing to be a woman of her world, when he dies before her in the arena a broken and vanquished man. The torrero is morally better than the aristocrat and he is none the less human though a mere incident of her wicked life,—her insulted and rejected worshipper, who yet deserves his fate.

Sangre y Arena is a book of unexampled force and in that sort must be reckoned the greatest novel of the author, who has neglected no phase of his varied scene. The torrero's mortal disaster in the arena is no more important than the action behind the scenes where the gored horses have their dangling entrails sewed up by the primitive surgery of the place and are then ridden back into the amphitheatre to suffer a second agony. No color of the dreadful picture is spared; the whole thing passes as in the reader's presence before his sight and his other senses. The book is a masterpiece far in advance of that study of the common life which Ibañez calls La Horda ; dealing with the horde of common poor and those accidents of beauty and talent as native to them as to the classes called the better. It has the attraction of the author's frank handling, and the power of the Spanish scene in which the action passes; but it could not hold me to the end.

It is only in his latest book that he transcends the Spanish scene and peoples the wider range from South America to Paris, and from Paris to the invaded provinces of France with characters proper to the times and places. The Four Horsemen of the Apocalypse has not the rough textures and rank dyes of the wholly Spanish stories, but it is the strongest story of the great war known to me, and its loss in the Parisian figures is made more than good in the novelty and veracity of the Argentinos who supply that element of internationality which the North American novelists of a generation ago employed to give a fresh interest to their work. With the coming of the hero to study art and make love in the conventional Paris, and the repatriation of his father, a cattle millionaire of French birth from the pampas, with his wife and daughters, Ibañez achieves effects beyond the art of Henry James, below whom he nevertheless falls so far in subtlety and beauty.

The book has moments of the pathos so rich in the work of Galdós and Valdés, and especially of Emilia Pardo-Bazan in her