While Blasco Ibá?ez does not desire to be known as regional novelist—nor does a complete view of his numerous works justify13 such a narrow description—he[Pg vi] has nevertheless in his earlier books made such effective and artistic14 use of regional backgrounds that some critics have found this part of his production best. Speaking from the standpoint of durable15 literary art, I am inclined to such a view. Yet is there less humanitarian16 impulse in The Four Horsemen than in these earlier masterpieces? Whether Blasco Ibá?ez's background is a corner in Valencia, a spot on the island of Majorca, a battlefield in France, or Our Sea the Mediterranean17,—the cradle of civilization,—his real stage is the human heart and his real actor, man.
Upon his election to the Cortes,—Spain's national parliamentary assembly,—Blasco Ibá?ez naturally turned, in his novels, to a consideration of political and social themes. Beginning with La Catedral (The Shadow of the Cathedral), one of the most powerful modern documents of its kind, he took up in successive novels the treatment of such vital subjects as the relation of Church to State, the degrading and backward influence of drunkenness, the problem of the Jesuits, the brutality18 and psychology20 of the bull-fight. In all of these works the writer is characterized by fearlessness, passion and even vehemence21; yet his ardor22 is not so strong as to lead him into conscious unfairness. A fiery23 advocate of the lowly, he yet can cast their shortcomings into their teeth; they, in their ignorance, are accomplices24 in their own degradation25, partners in the crimes that oppress them. They slay26 the leaders whom they misunderstand; they are slow to organize for the purpose of bursting their shackles27. This appears in La Barraca (one of the so-called regional novels) no less than in La Catedral, La Bodega and other books of the more purely28 sociological series. In varying degree, applied29 to a nation rather than to a class, this fearless attitude is evident in Los Cuatros Jinetes del Apocalipsis and Mare Nostrum, in which is assailed30 the neutrality of Spain during the late and unlamented conflict. This unflinching determination to see the truth and state it is also discernible in a most personal manner; the sad inability of such noble spirits[Pg vii] as Gabriel Luna (La Catedral) or Fernando Salvatierra (La Bodega) to solace31 themselves with a belief in future life is perhaps an exteriorization of the author's own views, even as these revolutionary spirits are, in part, embodiments of himself.
In the bulk of the noted33 Spaniard's books there is waged, on both a large scale and a small, the ceaseless, implacable struggle of the new against the old. This eternal battle early formed an appreciable34 part of even the writer's short fiction. His old seamen35 look with scorn upon the steam-vessels that replace their beloved barks; his vintners regret the passing of the good old days when sherry sold high and had not yet been ousted36 from the market by cheap, new-fangled concoctions37; his toilers begin to rebel against ecclesiastical authority; some of his heroes are even capable of falling in love with Jewesses or with women below their station (Luna Benamor, Los Muertos Mandan); everywhere is the fermentation of transition. His protagonists39,—red-blooded, vigorous, determined,—usually fail at the end, but if there are victories that spell failure, so are there failures that spell victory. It is the clash of these ancient and modern forces that strikes the spark which ignites the author's passion. He is with the new and of it, yet rises above blind partisanship41. His dominant42 figures, chiefly men, are representative of the Spain of to-morrow; not that ma?ana which has so long (and often unjustly) been a standing43 reproach to Iberian procrastination44, but a to-morrow of rebirth, of rededication to lofty ideals and glowing realities.
In Sangre y Arena (Blood and Sand, written in 1908) Blasco Ibá?ez attacks the Spanish national sport. With characteristic thoroughness, approaching his subject from the psychological, the historical, the national, the humane45, the dramatic and narrative46 standpoint, he evolves another of his notable documents, worthy47 of a place among the great tracts48 of literary history.
His process, like his plot, is simple; whether attacking the Church or the evils of drink, or the bloodlust of the[Pg viii] bull ring, his methods are usually the same. He provides a protagonist38 who shall serve as the vehicle or symbol of his ideas, surrounding him with minor49 personages intended to serve as a foil or as a prop50. He fills in the background with all the wealth of descriptive and coloring powers at his command—and these powers are as highly developed in Ibá?ez, I believe, as in any living writer. The beauty of Blasco Ibá?ez's descriptions—a beauty by no means confined to the pictures he summons to the mind—is that, at their best, they rise to interpretation51. He not only brings before the eye a vivid image, but communicates to the spirit an intellectual reaction. Here he is the master who penetrates52 beyond the exterior32 into the inner significance; the reader is carried into the swirl53 of the action itself, for the magic of the author's pen imparts a sense of palpitant actuality; you are yourself a soldier at the Marne, you fairly drown with Ulises in his beloved Mediterranean, you defend the besieged54 city of Saguntum, you pant with the swordsman in the bloody55 arena. This gift of imparting actuality to his scenes is but another evidence of the Spaniard's dynamic personality; he lives his actions so thoroughly56 that we live them with him; his gift of second sight gives us to see beyond amphitheatres of blood and sand into national character, beyond a village struggle into the vexed57 problem of land, labor10 and property. Against this type of background develops the characteristic Ibá?ez plot, by no means lacking intimate interest, yet beginning somewhat slowly and gathering58 the irresistible59 momentum60 of a powerful body.
Juan Gallardo, the hero of Blood and Sand, has from earliest childhood exhibited a natural aptitude62 for the bull ring. He is aided in his career by interested parties, and soon jumps to the forefront of his idolized profession, without having to thread his way arduously64 up the steep ascent65 of the bull fighters' hierarchy66. Fame and fortune come to him, and he is able to gratify the desires of his early days, as if the mirage67 of hunger and desire had suddenly been converted into dazzling reality. He[Pg ix] lavishes68 largess upon his mother and his childless wife, and there comes, too, a love out of wedlock69.
But neither his powers nor his fame can last forever. The life of even Juan Gallardo is taken into his hands every time he steps into the ring to face the wild bulls; at first comes a minor accident, then a loss of prestige, and at last the fatal day upon which he is carried out of the arena, dead. He dies a victim of his own glory, a sacrifice upon the altar of national blood-lust. That Do?a Sol who lures40 him from his wife and home is, in her capricious, fascinating, baffling way, almost a symbol of the fickle70 bull-fight audience, now hymning the praises of a favorite, now sneering71 him off the scene of his former triumphs.
The tale is more than a colorful, absorbing story of love and struggle. It is a stinging indictment72 brought against the author's countrymen, thrown in their faces with dauntless acrimony. He shows us the glory of the arena,—the movement, the color, the mastery of the skilled performers,—and he reveals, too, the sickening other side. In successive pictures he mirrors the thousands that flock to the bull fights, reaching a tremendous climax73 in the closing words of the tale. The popular hero has just been gored74 to death, but the crowd, knowing that the spectacle is less than half over, sets up yells for the continuance of the performance. In the bellowing75 of the mob Blasco Ibá?ez divines the howl of the real and only animals. Not the sacrificial bulls, but the howling, bloodthirsty assembly is the genuine beast!
The volume is rich in significant detail, both as regards the master's peculiar76 powers and his views as expressed in other words. Once again we meet the author's determination to be just to all concerned. Through Dr. Ruiz, for example, a medical enthusiast77 over tauromachy, we receive what amounts to a lecture upon the evolution of the brutal19 sport. He looks upon bull-fighting as the historical substitute for the Inquisition, which was in itself a great national festival. He is ready to admit, too, that the bull fight is a barbarous institution, but calls[Pg x] to your attention that it is by no means the only one in the world. In the turning of the people to violent, savage78 forms of amusement he beholds79 a universal ailment80. And when Dr. Ruiz expresses his disgust at seeing foreigners turn eyes of contempt upon Spain because of the bull-fight, he no doubt speaks for Blasco Ibá?ez. The enthusiastic physician points out that horse-racing is more cruel than bull-fighting, and kills many more men; that the spectacle of fox-hunting with trained dogs is hardly a sight for civilized81 onlookers82; that there is more than one modern game out of which the participants emerge with broken legs, fractured skulls83, flattened84 noses and what not; and how about the duel85, often fought with only an unhealthy desire for publicity86 as the genuine cause?
Thus, through the Doctor, the Spaniard states the other side of the case, saying, in effect, to the foreign reader, "Yes, I am upbraiding87 my countrymen for the national vice1 that they are pleased to call a sport. That is my right as a Spaniard who loves his country and as a human being who loves his race. But do not forget that you have institutions little less barbarous, and before you grow too excited in your desire to remove the mote88 from our eye, see to it that you remove your own, for it is there."
Juan Gallardo is not one of the impossible heroes that crowd the pages of fiction; to me he is a more successful portrait than, for example, Gabriel Luna of The Shadow of the Cathedral. There is a certain rigidity89 in Luna's make-up, due perhaps to his unbending certainty in matters of belief,—or to be exact, matters of unbelief. This is felt even in his moments of love, although that may be accounted for by the vicissitudes90 of his wandering existence and the illness with which it has left him. Gallardo is somehow more human; he is not a matinée hero; he knows what it is to quake with fear before he enters the ring; he comes to a realization91 of what his position has cost him; he impresses us not only as a powerful type, but as a flesh and blood creature. And[Pg xi] his end, like that of so many of the author's protagonists, comes about much in the nature of a retribution. He dies at the hands of the thing he loves, on the stage of his triumphs. And while I am on the subject of the hero's death, let me suggest that Blasco Ibá?ez's numerous death scenes often attain92 a rare height of artistry and poetry,—for, strange as it may seem to some, there is a poet hidden in the noted Spaniard, a poet of vast conception, of deep communion with the interplay of Nature and her creatures, of vision that becomes symbolic93. Recall the death of the Centaur94 Madariaga in The Four Horsemen of the Apocalypse, dashing upon his beloved steed, like a Mazeppa of the South American plains, straight into eternity95; read the remarkable96 passages portraying97 the deaths of Triton and Ulises in Mare Nostrum; consider the deeply underlying98 connotation of Gabriel Luna's fate. These are not mere99 dyings; they are apotheoses100.
Do?a Sol belongs to the author's siren types; she is an early sister of Freya, the German spy who leads to the undoing101 of Ulises in Mare Nostrum. She is one of the many proofs that Blasco Ibá?ez, in his portrayals102 of the worldly woman, seizes upon typical rather than individual traits; she puzzles the reader quite as much as she confuses her passionate lover. And she is no more loyal to him than is the worshipping crowd that at last, in her presence, dethrones its former idol63.
Among the secondary characters, as interesting as any, is the friend of Juan who is nicknamed Nacional, because of his radical103 political notions. Nacional does not drink wine; to him wine was responsible for the failure of the laboring-class, a point of view which the author had already enunciated104 three years earlier in La Bodega; similar to the r?le played by drink is that of illiteracy105, and here, too, Nacional feels the terrible burdens imposed upon the common people by lack of education. Indicative of the author's sympathies is also his strange bandit Plumitas, a sort of Robin106 Hood61 who robs from the rich and succors107 the poor. The humorous figure of the [Pg xii]bull-fighter's brother-in-law suggests the horde108 of sycophants109 that always manage to attach themselves to a noted—and generous—public personage.
The dominant impression that the book leaves upon me is one of power,—crushing, implacable power. The author's paragraphs and chapters often seem hewn out of rock and solidly massed one upon the other in the rearing of an impregnable structure. And just as these chapters are massed into a temple of passionate protest, so the entire works of Blasco Ibá?ez attain an architectural unity in which not the least of the elements are a flaming nobility of purpose and a powerful directness of aim.
Once upon a time, and it was not so very long ago, it was the fashion in certain quarters to regard Blasco Ibá?ez as impossible and utopian. The trend of world events has greatly modified the meanings of some of our words and has given us a deeper insight into hitherto neglected aspects of foreign and domestic life. Things have been happening lately in Spain (as well as elsewhere, indeed!) that reveal our author in somewhat the light of a prophet. Or is it merely that he is closer to the heart of his nation and describes what he sees rather than draws a veil of words before unpleasant situations? Ultimately these situations must be met. The Spain of to-morrow will be found to have moved more in the direction of Blasco Ibá?ez than in that of his detractors.
The renowned110 novelist is but fifty-two, energetic, prolific111, voluminous; besides more than a score of novels thus far to his credit he has written several books of travel, a history of the world war, has travelled in both hemispheres and made countless112 volumes of translations. He has now a larger audience than has been vouchsafed113 any of his fellow novelists, and his future works will be watched for by readers the world over. That is a rare privilege and imposes a rare obligation. Blasco Ibá?ez has it in him to meet both.
ISAAC GOLDBERG.
Roxbury, Mass.
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1
vice
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| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
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projections
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| 预测( projection的名词复数 )； 投影； 投掷； 突起物 | |
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genres
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| （文学、艺术等的）类型，体裁，风格( genre的名词复数 ) | |
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arena
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| n.竞技场，运动场所；竞争场所，舞台 | |
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epic
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| n.史诗，叙事诗；adj.史诗般的，壮丽的 | |
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mare
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| n.母马，母驴 | |
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nostrum
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| n.秘方；妙策 | |
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relish
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| n.滋味，享受，爱好，调味品；vt.加调味料，享受，品味；vi.有滋味 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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10
labor
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| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
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11
labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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unity
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| n.团结，联合，统一；和睦，协调 | |
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justify
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| vt.证明…正当(或有理)，为…辩护 | |
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14
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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durable
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| adj.持久的，耐久的 | |
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humanitarian
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| n.人道主义者，博爱者，基督凡人论者 | |
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Mediterranean
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| adj.地中海的；地中海沿岸的 | |
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brutality
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| n.野蛮的行为，残忍，野蛮 | |
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brutal
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| adj.残忍的，野蛮的，不讲理的 | |
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psychology
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| n.心理，心理学，心理状态 | |
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vehemence
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| n.热切；激烈；愤怒 | |
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ardor
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| n.热情，狂热 | |
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fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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accomplices
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| 从犯，帮凶，同谋( accomplice的名词复数 ) | |
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degradation
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| n.降级；低落；退化；陵削；降解；衰变 | |
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slay
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| v.杀死，宰杀，杀戮 | |
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shackles
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| 手铐( shackle的名词复数 )； 脚镣； 束缚； 羁绊 | |
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purely
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| adv.纯粹地，完全地 | |
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applied
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| adj.应用的；v.应用，适用 | |
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assailed
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| v.攻击( assail的过去式和过去分词 )；困扰；质问；毅然应对 | |
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solace
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| n.安慰；v.使快乐；vt.安慰(物)，缓和 | |
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exterior
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| adj.外部的，外在的；表面的 | |
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noted
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| adj.著名的，知名的 | |
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appreciable
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| adj.明显的，可见的，可估量的，可觉察的 | |
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seamen
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| n.海员 | |
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ousted
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| 驱逐( oust的过去式和过去分词 )； 革职； 罢黜； 剥夺 | |
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concoctions
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| n.编造，捏造，混合物( concoction的名词复数 ) | |
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protagonist
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| n.(思想观念的)倡导者；主角，主人公 | |
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protagonists
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| n.（戏剧的）主角( protagonist的名词复数 )；（故事的）主人公；现实事件（尤指冲突和争端的）主要参与者；领导者 | |
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lures
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| 吸引力，魅力（lure的复数形式） | |
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Partisanship
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| n. 党派性, 党派偏见 | |
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42
dominant
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| adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因 | |
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43
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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procrastination
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| n.拖延，耽搁 | |
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humane
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| adj.人道的，富有同情心的 | |
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46
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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47
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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48
tracts
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| 大片土地( tract的名词复数 )； 地带； （体内的）道； （尤指宣扬宗教、伦理或政治的）短文 | |
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49
minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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50
prop
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| vt.支撑；n.支柱，支撑物；支持者，靠山 | |
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51
interpretation
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| n.解释，说明，描述；艺术处理 | |
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52
penetrates
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| v.穿过( penetrate的第三人称单数 )；刺入；了解；渗透 | |
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53
swirl
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| v.(使)打漩，(使)涡卷；n.漩涡，螺旋形 | |
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besieged
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| 包围，围困，围攻( besiege的过去式和过去分词 ) | |
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55
bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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57
vexed
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| adj.争论不休的；（指问题等）棘手的；争论不休的问题；烦恼的v.使烦恼( vex的过去式和过去分词 )；使苦恼；使生气；详细讨论 | |
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gathering
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| n.集会，聚会，聚集 | |
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irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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momentum
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| n.动力，冲力，势头；动量 | |
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61
hood
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| n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖 | |
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62
aptitude
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| n.(学习方面的)才能，资质，天资 | |
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idol
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| n.偶像，红人，宠儿 | |
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64
arduously
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| adv.费力地，严酷地 | |
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65
ascent
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| n.(声望或地位)提高；上升，升高；登高 | |
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66
hierarchy
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| n.等级制度；统治集团，领导层 | |
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67
mirage
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| n.海市蜃楼，幻景 | |
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68
lavishes
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| v.过分给予，滥施( lavish的第三人称单数 ) | |
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69
wedlock
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| n.婚姻，已婚状态 | |
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70
fickle
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| adj.(爱情或友谊上)易变的，不坚定的 | |
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71
sneering
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| 嘲笑的，轻蔑的 | |
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indictment
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| n.起诉；诉状 | |
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climax
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| n.顶点；高潮；v.(使)达到顶点 | |
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gored
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| v.（动物）用角撞伤，用牙刺破( gore的过去式和过去分词 ) | |
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bellowing
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| v.发出吼叫声，咆哮（尤指因痛苦）( bellow的现在分词 )；（愤怒地）说出（某事），大叫 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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enthusiast
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| n.热心人，热衷者 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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beholds
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| v.看，注视( behold的第三人称单数 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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ailment
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| n.疾病，小病 | |
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civilized
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| a.有教养的，文雅的 | |
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onlookers
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| n.旁观者，观看者( onlooker的名词复数 ) | |
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skulls
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| 颅骨( skull的名词复数 )； 脑袋； 脑子； 脑瓜 | |
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flattened
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| [医]（水）平扁的，弄平的 | |
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duel
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| n./v.决斗；(双方的)斗争 | |
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publicity
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| n.众所周知，闻名；宣传，广告 | |
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upbraiding
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| adj.& n.谴责（的）v.责备，申斥，谴责( upbraid的现在分词 ) | |
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mote
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| n.微粒；斑点 | |
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rigidity
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| adj.钢性，坚硬 | |
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vicissitudes
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| n.变迁，世事变化；变迁兴衰( vicissitude的名词复数 )；盛衰兴废 | |
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realization
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| n.实现；认识到，深刻了解 | |
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attain
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| vt.达到，获得，完成 | |
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symbolic
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| adj.象征性的，符号的，象征主义的 | |
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centaur
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| n.人首马身的怪物 | |
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eternity
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| n.不朽，来世；永恒，无穷 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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portraying
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| v.画像( portray的现在分词 )；描述；描绘；描画 | |
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underlying
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| adj.在下面的，含蓄的，潜在的 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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apotheoses
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| n.尊为神圣( apotheosis的名词复数 )；神化；美化；颂扬 | |
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undoing
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| n.毁灭的原因，祸根；破坏，毁灭 | |
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portrayals
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| n.画像( portrayal的名词复数 )；描述；描写；描摹 | |
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radical
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| n.激进份子，原子团，根号；adj.根本的，激进的，彻底的 | |
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enunciated
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| v.（清晰地）发音( enunciate的过去式和过去分词 )；确切地说明 | |
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illiteracy
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| n.文盲 | |
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robin
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| n.知更鸟，红襟鸟 | |
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succors
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| n.救助，帮助（尤指需要时）( succor的名词复数 )v.给予帮助( succor的第三人称单数 ) | |
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horde
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| n.群众，一大群 | |
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sycophants
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| n.谄媚者，拍马屁者( sycophant的名词复数 ) | |
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renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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prolific
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| adj.丰富的，大量的；多产的，富有创造力的 | |
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countless
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| adj.无数的，多得不计其数的 | |
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vouchsafed
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| v.给予，赐予( vouchsafe的过去式和过去分词 )；允诺 | |
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