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In his realistic works he is a careful observer and a faithful describer of life, and he is especially successful in his portrayal of the uneventful lives of the middle and lower classes.
Before passing on to the modern school of realists, mention must be made of a writer whose influence has been far-reaching. This is B
Breathing his love in poetic musings, eating out his own heart in sleepless nights and in anxious waitings for his lady-love by the fountain in the Prado or at the lavaderos along the banks of the Manzanares, refusing wealth and spurning position gained at the price of his love, preserving an unrivaled fidelity to his friend and kinsman, but finally consenting to sacrifice his love for the honor of his name and family, Don Juan is the embodiment of Spanish chivalry of all ages.
"Last night," said he, "will mark a great date in history for the Spanish theatre and for liberty. It is a movement of social and political renovation, Spain demands light and liberty; she demands the right to live under modern, European conditions; she is coming to life."
They could be creatures of passion or impulse who gave expression to the most violent or romantic sentiments, mingling laughter and tears with all the artlessness of children. Therefore we may expect the most divergent interests and the most complex combinations of aims and actions of which the popular reason is capable of conceiving.
France, on the other hand, is so situated as to feel the cross-currents of European life. Do not these facts explain, at least in part, the relatively insular characteristics of much contemporary Spanish literature? The Spanish literature, however, by its very provincialism is fascinating to those who are interested in Spanish civilization.
It is most important for the light it sheds on the early years of his life, for it is largely autobiographical. Another volume, issued from the pen of Lope in 1634 under the title of Rimas del licenciado Tomé de Burguillos, contains the mock-heroic, La Gatomaquia, the highly humorous account of the love of two cats for a third.
Pereda's language is academically correct, with some of the flavor of Cervantes; but his thought is often ponderous, or even obscure. He is at his best when he pictures the uncouth homely life of his highland peasants or simple fisher-folk. This he does with the truthfulness of the most scrupulous realist, but without stooping to pornographic detail.
This very Spanish personage dates, in idea, back to the servants of the Celestina and to the simple of Torres Naharro, but in the hands of Lope he is so developed and so omnipresent that he is justly accredited as a creation of the great "Fénix." Martín, the clever but impudent servant, is the leading character in the secondary plot and the only one to whom prominence is given.
In the present instance the Indiano is a bigoted, miserly fellow who seeks, at the least possible cost, position at the Spanish court and who employs doña María largely for motives of interest rather than through sympathy for her poverty-stricken condition.
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