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The next five years of his life are shrouded in considerable obscurity.
If we make Don Juan the impersonation of Lope's idea of chivalry, we may well interpret el Conde and Doña Ana as representing his appreciation of his more sordid contemporaries; both are actuated by motives of interest and are not scrupulous enough to conceal it. The poet is far too discreet to hold either up to ridicule, yet he makes each suffer a keen rebuff.
The leading character is introduced in the first scene, which is followed by the long exposition of attendant circumstances that could be as well narrated as produced upon the stage. Thus delay and harrowing detail are avoided.
Contaba hacer el viaje con lentitud; y como yo, por el contrario, tenía la idea de volar por la montaña, resolvimos despedirnos en la mañana. Las cosas debían pasar de otro modo. La noche de Consuelo En camino. El orden de la marcha. Mimí y Dizzy. Los compañeros. Little Georgy. They are gone! La noche cae. Los peligros. "Consuelo". El dormitorio común. El cuadro. Viena y París. El grillo.
They are the beatification, in 1620, of San Isidro and his canonization, two years later, with their accompanying poet "jousts," at both of which Lope presided and assumed a leading rôle.
Y cuando ya mi tumba de todos olvidada No tenga cruz ni piedra que marquen su lugar, Deja que la are el hombre, la esparza con la azada, Y mis cenizas antes que vuelvan á la nada, El polvo de tu alfombra que vayan á formar.
"At the end of the first act," says the Imparcial, "the applause was frantic." The last word of the play, "resucita," is not only the key note of the drama, but the summing up of Galdós' desires, and the expression of his ambition for his country and his countrymen. The purpose of the play and the spirit of the author are accurately voiced by Lopez Ballesteras, in the Heraldo, January 31, 1901.
The décimas are suited for complaints; the sonnet is fitting for those who are in expectation; the narrations require romances, although they shine most brilliantly in octaves; tercets are suitable for matters grave, and for love-scenes the redondilla is the fitting measure."
Spain has done excellent work in prose fiction during the last fifty or sixty years past, but this work is little known outside of the Spanish-speaking countries. Even those people who are, for the most part, well read in the literatures of Europe are generally ignorant of recent Spanish fiction.
His works abound in the inaccuracies and obscurities that characterize hasty composition and hastier proof-reading, but these are forgotten in the clever intrigue which is the keynote of the Spanish drama, in the infinite variety of versification and in the constant and never flagging interest.
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Otros Mirando