His father was Don Serafín Baroja. Born in San Sebastián in 1840, Don Serafín was a well known mining engineer, and enjoyed no small amount of fame as a writer. As far as literature is concerned, he is perhaps best known for his songs and ballads4 written in the Basque tongue. He composed the libretto5 of the first Basque opera ever produced, the music of which was by Santesteban. He is said to have been responsible for the libretto of one other opera—a Spanish one.
His son, Don Pío, decided6 to take up the study of medicine, and he went to Valencia for that purpose. He received his doctorate7 in 1893, when he was but twenty-one years of age.
He practised his profession in Cestona, in the Province of Guipúzcoa. Life in that small, provincial8 town proved[2] very dull indeed, and he decided that the medical profession was not his proper sphere. After two years in Cestona, he moved to Madrid. There he tried his hand at several kinds of business. He even set up a bakery in partnership9 with his brother Ricardo, a painter and engraver10 of no mean ability! We do not hear of his return to the practice of medicine. Evidently he had proved to his own satisfaction that he was not suited to it.
After he had failed in several attempts at business, he began writing for the newspapers. He succeeded in obtaining positions on El País, El Imparcial, and El Globo. His success in this line of work inspired him to further effort, and, from that time on (1900), he devoted11 himself entirely12 to literature.
His first published work was a collection of short stories, or sketches13, entitled Vidas Sombrías. Among them are some exquisite14 pictures of Basque life. This volume was closely followed by a novel, La casa de Aizgorri. These two books scarcely caused a ripple15 in the literary circles of the Cortes. Certainly, Baroja cannot claim to have sprung into fame over night! His next attempt was a humorous novel which he called Aventuras, inventos y mixtificaciones de Silvestre Paradox16. It was scarcely more successful than the first two.
His next book, Camino de perfección, was characterized as “a book of apparently17 sane18 tendencies”! From that time on, he became a recognized figure in the Spanish literature of the day. Idilios vascos appeared that same year, and in 1903 he produced El mayorazgo de Labraz, a novel that has been compared most favourably19 (by Spanish critics) with the best of contemporary novels both in Spain and abroad.[3]
In all lists of the works of Pío Baroja, most of his novels are divided into trilogies. For the sake of convenience, I shall follow the same plan, without any attempt at chronological20 order:
Tierra vasca (Basque Country): La casa de Aizgorri; El mayorazgo de Labraz; Zalacaín, el aventurero.
La vida fantastica (Life Fantastic): Camino de perfección; Inventos, aventuras y mixtificaciones de Silvestre Paradox; Paradox, rey.
La Raza (Race): La dama errante; La ciudad de la niebla; El árbol de la ciencia.
La lucha por la vida (The Struggle for Life): La busca; Mala hierba; Aurora21 roja. (In this trilogy, Don Pío evinces a “spirit of opposition22 to the present social organization and the prejudices that embitter23 life and kill human spontaneity.”)
El pasado (The Past): La feria de los discretos; Los últimos romanticos; Las tragedias grotescas.
Las ciudades (Cities): César o nada, El mundo es así (incomplete).
El mar24 (The Sea): Las inquietudes de Shanti Andía (incomplete).
Besides these trilogies, Baroja has written several novels under the general title of Memorias de un hombre de acción (Memoirs of a Man of Action), long winded affairs in which any real action is sadly lacking.
In addition to his novels, he has published several volumes of essays, and not a little verse. Few of his works have been translated into other languages; none (except the present novel) into English.
Personally, Se?or Baroja is somewhat of an enigma25, a mystery. He is extremely modest and retiring, and seldom appears prominently before the public. It has[4] been said of him that, although he apparently knows what every one else thinks and believes, there is no one who can say for sure just what his thoughts and beliefs are. He is an ardent26, pious27 Catholic, with very advanced ideas. One is led to believe from some of his works that he is an ardent Republican. Some even go so far as to assert that he entertains strong anarchistic28 views. But, just as we have about made up our minds as to his political creed29, along comes a novel like La feria de los discretos, in which he ridicules30 Republicans and Anarchists31, and we are forced to reject our conception.
While his name is often coupled with that of V. Blasco Ibá?ez, there is more difference than similarity between the two, especially in their style. The Valencian spreads his canvas with the broad, brilliant, impressionistic strokes of a Sorolla, while Baroja employs the more subtle and delicate methods of a Zuloaga. He is a stylist. His vocabulary is remarkably32 extensive, and he employs it in a masterly fashion—not as one who would overwhelm his readers with a flood of ponderous33 verbiage34, but rather as one who, knowing all the delicate shades and nuances of his language, employs words as an artist uses his colours—to produce the proper effects. His power of description is marvellous. In a sentence, sometimes in a single phrase, he brings a character or scene vividly35 before our mental vision. The chapter headed “Spring,” in The City of the Discreet36, fairly aches with the drowsiness37 of an Andalusian Spring.
La feria de los discretos has been chosen for this series mainly on account of its Spanish atmosphere. Though not his best novel, it is perhaps the best one with which to introduce him to the English reading public. Above all else, it demonstrates his powers of description, and[5] his subtle, quaint38 humour. It is not my purpose in this paper to write a criticism of this novel. I shall leave that to abler pens. I might say, however, that in this work, Pío Baroja has no special message to convey, no propaganda. His purpose here is essentially39 to entertain, to amuse. One suspects that he derived40 no little pleasure himself from its creation. It is said that its appearance aroused a storm of protests from Republicans on account of the sorry light into which he put them. Be that as it may, the details of his description of Cordova and its environs are accurate in the extreme. The City of the Discreet might almost serve as a guide book to that ancient city. One can follow Quentin’s adventures on any accurate map of Cordova. Of his knowledge of Masonry41, one cannot speak quite so highly!
J. S. F., Jr.
Cambridge, Mass.
October, 1917.
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hardy
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adj.勇敢的,果断的,吃苦的;耐寒的 | |
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thoroughly
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adv.完全地,彻底地,十足地 | |
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conversant
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adj.亲近的,有交情的,熟悉的 | |
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ballads
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民歌,民谣,特别指叙述故事的歌( ballad的名词复数 ); 讴 | |
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libretto
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n.歌剧剧本,歌曲歌词 | |
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decided
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adj.决定了的,坚决的;明显的,明确的 | |
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doctorate
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n.(大学授予的)博士学位 | |
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provincial
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adj.省的,地方的;n.外省人,乡下人 | |
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partnership
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n.合作关系,伙伴关系 | |
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engraver
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n.雕刻师,雕工 | |
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devoted
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adj.忠诚的,忠实的,热心的,献身于...的 | |
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entirely
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ad.全部地,完整地;完全地,彻底地 | |
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sketches
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n.草图( sketch的名词复数 );素描;速写;梗概 | |
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exquisite
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adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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ripple
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n.涟波,涟漪,波纹,粗钢梳;vt.使...起涟漪,使起波纹; vi.呈波浪状,起伏前进 | |
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paradox
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n.似乎矛盾却正确的说法;自相矛盾的人(物) | |
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apparently
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adv.显然地;表面上,似乎 | |
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sane
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adj.心智健全的,神志清醒的,明智的,稳健的 | |
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favourably
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adv. 善意地,赞成地 =favorably | |
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chronological
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adj.按年月顺序排列的,年代学的 | |
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aurora
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n.极光 | |
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opposition
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n.反对,敌对 | |
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embitter
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v.使苦;激怒 | |
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mar
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vt.破坏,毁坏,弄糟 | |
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enigma
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n.谜,谜一样的人或事 | |
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ardent
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adj.热情的,热烈的,强烈的,烈性的 | |
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pious
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adj.虔诚的;道貌岸然的 | |
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anarchistic
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无政府主义的 | |
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creed
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n.信条;信念,纲领 | |
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ridicules
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n.嘲笑( ridicule的名词复数 );奚落;嘲弄;戏弄v.嘲笑,嘲弄,奚落( ridicule的第三人称单数 ) | |
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anarchists
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无政府主义者( anarchist的名词复数 ) | |
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remarkably
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ad.不同寻常地,相当地 | |
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ponderous
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adj.沉重的,笨重的,(文章)冗长的 | |
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verbiage
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n.冗词;冗长 | |
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vividly
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adv.清楚地,鲜明地,生动地 | |
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discreet
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adj.(言行)谨慎的;慎重的;有判断力的 | |
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drowsiness
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n.睡意;嗜睡 | |
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quaint
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adj.古雅的,离奇有趣的,奇怪的 | |
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essentially
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adv.本质上,实质上,基本上 | |
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derived
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vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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masonry
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n.砖土建筑;砖石 | |
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