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Quarrels and fights between country wenches would be incited for her to witness unsuspected; nocturnal tumults would be provoked for her amusement in the gardens of Aranjuez or other palaces; and it is related that, when she was in one of the grated aposentos of a public theater, snakes or noxious reptiles would be secretly let loose upon the floor or in the cazuela, to the confusion and alarm of the spectators, whilst the gay, red-cheeked young Queen would almost laugh herself into fits to see the stampede."
She practiced this theory, however, only in part, for her work partakes of both the romantic and the realistic.
Her versatility and just claim to her high position are emphasized by the ease with which she assumes her own rank at the close of the play.
In theory she has been a disciple of French naturalism, and some of her novels, particularly Los Pazos de Ulloa and La madre Naturaleza, have somewhat of the repulsive realism of Zola's work. At times she expresses a cold cynicism or a mocking flippancy which detracts from the usual charm of her writings.
It is not yet near day; It is the nightingale and not the lark, That pierc'd the fearful hollow of thine ear; Nightly she sings on yon pomegranate tree; Believe me, love, it was the nightingale. It was the lark, the herald of the morn, No nightingale.
She pleases most in her picturesque descriptions of the life and manners of her fellow-Galicians. Pardo Bazán early founded a critical review, El Nuevo Teatro Crítico, and in this and in other periodicals she has published many valuable articles of literary criticism. She is now giving her time and thought chiefly to critical work. Her most popular novel is probably Pascual López.
On the Spanish stage, woman had always had a secondary rôle, not only because she was not fully appreciated, but also because the rôle was usually taken by boys, for women were long prohibited from the stage. "Lope, the expert in gallantry, in manners, in observation, placed her in her true setting, as an ideal, as the mainspring of dramatic motive and of chivalrous conduct."
Then to escape arrest she fled in the guise of a servant girl, which was in fact a very natural one for her to assume, for even at the present time no high-born young Spanish woman would dare to travel unattended and undisguised through her native land; besides, to do so would have revealed her identity.
She has since then suffered from civil and foreign wars and from internal dissensions, but she has grown in wealth and strength and intellectual cultivation, until there is once more in the heart of her people the hope of ultimate and complete redemption.
At an early age Philip had been married to Isabel de Bourbon, daughter of Henry IV of France, and she was an unconscious tool in the hands of Olivares, for she was as light and as fond of pleasures as the king. Trivial incidents in royal circles were sufficient excuse to provide the most lavish celebrations and expenditures, illy authorized by the depleted condition of the royal exchequer.
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