An Inquiry Into Possible Plagiakism Is Busco Ibisez* S M Hqrda

AN INQUIRY INTO POSSIBLE PLAGIAKISM IS BUSCO IBISEZ* S M HQRDA

APPROVED ^

nor Professor

©reign Languages

Dean of the Graduate School AN INQUIRY INTO POSSIBLE PUGIARISM IN

BLASCO IBASEZ'S J4 HORBA

THESIS

Presented to the Graduate Council of the North Texas Stat# College in Partial Fulfillment of the Requirements

For th® Degree of

MASTER OF ARTS

Madeline Jane logue, B, A,

Dentonr Texas August, 1961 TABLE OF CONTENTS

Chapter page I. INTRODUCTION • 1 II. SIMILARITIES II SETTING . . , 21 III. SIMILARITIES II PLOT . . . 50 I?. SIMILARITIES II MAJOR CHARACTERS , 71 V. SIMILARITIES IN MINOR CHARACTERS 121 VI. CONCLUSION . 161 BIBLIOGRAPHY 16$

lii CHAPTER I

INTRODUCTION

This study is primarily concerned with two Spanish novels which have a social purpose# In 1904 fio Baroja published his trilogy, Inch® nor lgt vida. in three separate novels, MiSfif Ma MSSli# »n

*M. Peres Ferrero, ?io Baro.la en su rinc6n (San Sebastian, n»d.), p. 1©7. 2Ibld. 3ibid. proclamation of & second Republic 1B Spain would retult la & *mlnad@ d© la alpargata y da los sapataroa da ri©jo. Baroja replied, nEati»o que eao qua dlea Vd. ea lo &l«o qua tendrla da bumQ,n$ Whm Blase© moved away from them, Carlos dal Rio told Baroja that he jBlaaco] had been bitter, especially in relation to tha future of tha republic. iaroja limited himaalf to saying, Blsta mlsma amSana Blaaoo ba aotu- ado o©»o or&dor as un mltin y ba preconizado que as meceaario aaarlfiearlo todo por la Beptfbliea."^ Two or tbraa yaara latar Blaaoo and Baroja mat again in the Librerfa da Fa, and Blaaoo, to aay the least, was untaet- fill. Ea draw Baroja into tba following oowraraation about tbraa of bis recent novelsj Jfc buaaa. Ma hlerba, and Auro£& roia. Slaaeoi Iso que ba heob® ?d. an las trea obr&a aon estaaipaa, pero bay Qua pintar al cuadro. Baroja: Is probable. Jlaa no por alio todos loa cuadroa aoa buenoa* lay euadros cjue aon deplorablee.' As Ferrer© shows, tba two certainly did not understand erne another. Time passed without a matting until tha famous banquet in honor of Baroja hald at tba and of hia 1913 sojourn in Paris at "La Cloaerlea daa Ulaa,* where thay wara surely not In harmony. Among tba twenty-fire to thirty present were Zulo&ga, Bias©©* and a good number of Americans. Scarcely had tba meal begun, when Blaaoo began deliberately

''Ibid.. p. 164. ^xbld. 6Xbld. 716M. to speak badly of America. His opinions on this subject seemed to have changed notably from those which he held a few years before, when he had written jLa Argentina £ sua grande* zas (l909-1910j . Baroja, disturbed, pointed out to him that at the moment there were several Americans listening to him# to which Biasco replied that "no le preocupaba lo mas m£nl»of ni ello 1# hacfa reservarse su modo de pensar."^ Toward the end of this banquet, Rafael de Mesa, a journalist from the Canary Islands, got up, perhaps to show his disagreement with Blasco* s attitude, and pointed out that, *h.a h. [*.«] «. «t th. hwd of the Spanish ..cUon of the Biblioteca Nelson, he ehose two works of Baroja to be published, £& daae errante (190$) and £& ciudad de niebla (1909) and that he had abstained from choosing any work of the faleneian novelist* Blasco responded with characteristic! violence to Meeafs remarks, arguing that those were not the moments most opportune to make literary criticism nor to try to convert the present meeting into a partisan one. Mesa did not answer, but then left the restaurant#^ With this history of disagreement, it is not surprising that Baroja wrote what he did, as a preface to the excerpt from Mala hlerba which appeared in Fa&lnas escoddaa in 1913.

*Ibld.. p. 110. In his Memorlas (Madrid, 1955) Baroja says that Mesa went on to insinuate that Blase© bad wanted to make a fabu- lous business deal in South America§ abandoning his Valeneian workers in the Argentine country and returning himself to Paris (p« 636). [No wonder Blasco grew violent!) Com© casi todas mis novelas Mala Hierba pare©© un borrador de un libro que so ha cuajado. 1st© me dijo una vez Blasco Ib&ftez, antes de que #1 escrlblera La Horda, a base da los libros mfos, Ciertamente es verdad que estas novelas La Busca. Mala Hierba. y Aurora tola no estan bleu cortadas, pero t&abiin m cierto qua el llbro de Blaaeo Ibanez es bastante rampl6n. Si en literature el rapt© debe ir seguido del aseslnato, para ser legitlao, aqui bub© una ligtra sospeeha de rapt©, par© no hubo una ligtra sospecba de asesi- nato, y eso que mis libroa tenlan una ealud pre- caria y 110 nec@sitaban mucho para morirse, Lo qu© hia© Blase© Iblriez es facil* Bar unldad a ua llbro erapleando formulas vlejas d® relleno, usando una retSrica altisonant©, @s eosa que se puede aprender, com© se aprende a haeer zapatos. A mi esto nunca me ha entuslasmado, me guita la unldadg pero cuando sale del fondo del mito que ha buacado el autor, la unldad de Carmen de Mgrimee; la unldad de Primer amor, de Turguenef, cuando la unldad ae consigue aHadiendo y qultando no me seduce.10 In Baroia en el banoulllo* In an article entitled "La Busca," Ernest Boyd reports that Baroja says of Mala hierba: nA igual que todas mi® novela®, Mala hierba pareee el tosco borrador de un libro que finalsente nunca 11ego a pullrae* Esto fue lo que Blase© Ibanei me dijo en una occasion, y entonees proeedi^ a eserlblr La horda. basada en ad material. Camilo Pltollet in his V. Blasco Ibanez. sua novelas x la novela de fu vlda. which wis published la French and in Spanish translation in 1921, summarises thia controversy of plagiarism as followsi La horda, pintura de la mala vida madrilena, ha auscltado j>or BarojaQ • . . una acusaci&i de

^®P£b Baroja, Faginaa eaco&idas (Madrid, 191$), p* 14$« •^Baroja en el banouillo, Tribunal extranjero (Zaragoza, n.d.}, p. 252. plagio, velada per© categorica, al propio tiempo ue \m reproche, auy claramente foraulado , de ?alta de unidad organica 011 la composicitfn. In la 14^ de las Paginas escoi&da.ji publicadas por #1 senor Baroja en l9H en caaa del editor Calleja, de Madrid, a® halla el pasaje en cuestion, que no me p@rdonar£a 11© senalar. Por lo viato, don Pi® Baroja m pareee haberse enter-ado d«s que ya en 1909 hiso una «onparaci6n entre Ljgt horda y la stria d@ novelas suyas titulada J& lueha por la vida el amy conciensudo critico Andres Gonatfle»- Blanco, quien dedujo de ella^que, no existiendo ning»n termino co&un ai ningun pun to de contacto entre ambos escritores y sus respectivas obras.^ cada too era grand® a su manera. lata conclusidn perfectamente ©xacta me dispensa d@ insiatir sobre ulteriores paralelos, tan superfluos corao el ya esbozado por don P£o Baroja a la cabeza de loa exfcractos de au novela tela hlerba. entre el mimo y el autor de La horda. y cuy© vano ejercicio ha intentado de nuevo en 1921 la revlsta Hemes, de Bilbao, por pluiaa de don Ig&acio de Areilza.l2 If one takes Plrez Ferrero as a trustworthy source, he must accept the fact that Blaseo had read the three book® of £& Xucha por la vida before writing La horda. Baroja considered Perez Ferrero dependable, for in a prologue to his Pio BaroJa en su rinqfoi. he wrote, wIa expresados y contados lo» recuerdos, la version de ellos de Ferrero ea exacta y fiel."^ As to Baroja*s charge of plagiarism, we have it set down twice in his own words; first in his Plklnaa eseogidas and second in Ernest Boyd1© article quoted above# Mow one needs

iaCa»il© Pitoilet, V. Blaseo Ibanez {Valencia, n,d.), p. 247. There seems to be a misprint in the above quotation. Caro Baroja in JA soledad de Pio BaroJa (1953) and Marino G& having an Asterican background and exalting the glory of Spain and ita colonisation in thetfeatem Heaiaphere . He planned three

^Fitollet, SSL* £&•# P* a novels for each country, progressing from Argentina to Chile, to Peru, and on up the continent ending in Santo Domingo, thus reversing the order of Spanish colonization* He proposed to study each country personally and to produce picture® of the current life interwoven with evocations of the past* Both George Tyler Northrop and Ernest Merimle make statements regarding the influence of Zola upon Blasco. The former says, "The influence of Zola is marked in his early works. From Zola he got his Maturalis®, hi® technique of handling plot (monotonously the same always), and his ability for describing crowds*"15 Meriraee writes, "Blasco Ibanez began as a follower of the French naturalist® and in particular of Zola, Gradually he shook off their influence and formed a manner of his own."^ Blasco writes as follows about his connection with Zola, in a long letter to Julio Cejador, dated March 6, 191$, which is inserted in the latter*s Hlstorla literaria. volume IX, pages 471 to 47$. To, en mis priaeras novelas, sufrf de un mod© considerable la influencia de Zola y de la escuela naturalists, entonees m pleno triunfo. gn gig striate* raa novelas nada mas. ... I© crea, querido Cejador, queroe arrepient o nl reniego de este origen* Todos han sufrido una influencia imitative en su juventud, aun los mm grandes maestro®, como Balzac, Victor Hugo, etc. • . .£Quien coao §1 golaj supo mover y hacer vivir las muchedurabres en las pUginas de ua

"o. f, Sorthrup, An Introduction to Spanish literature, (Chicago, 1930), p. 37$. ^Ernest Merimee. A History of Spanish Mtemfeirt. (New York, 1931), p. 55*. libro? . . . En la actualidad, por mas que busco, encuentro muy escasas relaciones con @1 gran novelists que fue considerado com© mi padre lit®- rario• 11 por el m^todo de trabajo, ni por el estilo, tmmos la menor seatejan&a. Zola era ua reflexlvo en literature y yo soy un iapulsivo# H llegaba al resultado final lentaraente, por perfo- , raci^n. To procedo por explosion, violent* y ruidosamente.17 Pitollet offers the hypothesis that since realism is an essential quality of Spanish literature, Spain and Blasco did not need Zola to teach them realism rebaptized with the name of "naturalism," that particular "naturalism" which was floating through the air of all Europe at the time that Blasco began to write* Furthermore, says Pitollet, since popular material was the basis of the Spanish picaresque novel, Blasco was already familiar with Its use and did not have to acquire this idea from his reading of French literature. Both of these assumptions are well taken, but one must admit that Blasco may have been more influenced by the French naturalists than other Spanish writers were* Franc® was, in fact, a second home to him; and French authors, especially Zola, Balzac, and Hugo ("la religion de ml Juventud")1* were the recipients of his lifelong admiration and provided him with much joy and inspiration. There are various critics who have suggested that reflec- tions of different authors are noted in Blasco* s works. They

^Pitollet, 0£. cit., pp. 192-194. l8Ibid., p. 102. 10

4© aot go so far as to eharge plagiarism. The following list contains some ©f these ideas. 1. M horda (1905J is a flalsaciaa aarrative,19 2. _S Mrag* (189$) is ©a a them© fir©* Sader- aiana*s aovel ftMSSpM {3J#9), that of a virile parson at odds with an antira ©cwwu- aity. TBlaseo published translations fron Suderjaajm1 a works in Ms publishing bouse, Prostate©, ia faleneia. Suderaana had intro-* drnead the ©odern French naturalism into the German novel with his two first novels, Frau and Katzeastag£t^ unzio had a distiat iafluaaca ©a

BuSne^Sue* s Waaderiag Jew inspired Blase©»aI1 »M (U92).22

li.0*ej «as nn, xxse re** in jmm> «a»- sected by the medical students and buried ia a swsi grave# ^ 6. Canaan by prosper Merla^e has a climax si*i~ lar t© FI©r da aav©.z» ?. Hast© rebaptizes a tireless, political revolutionary, Feraia Salvoeohea, iat© Faraaad© Salvatierra, a .. champion of equalitariaa ideas in La $m The tw© ffiost powerful descriptive scenes ia Mare nostrum. Maples* Aquarium aad tha death ©fthe hero/ware evidently suggested by Huge* s Travallleurs jfe

19Ibid.. p. 24*f* ^Ojiorthrup, f£. eit. » p. 37$. 2lPit©llet, SSL* Sl&*» P* 223. 22«?icente Blase© Iba&es," Saalcloaadia Hat* trada europeo-aaericana. Yol. VIII (Barcalaaa, n.d.). 23pitollet, ©2* flit., pp. 249-250, 2%bld», p. 216. 2§Hli*» P* 2^5. 2$f. A. 0. Gowpar and J« T. Lister, "Iatroduetioa," Los aaertos aaadaa (Mew fork, 1934)» p* aev» 11

9* SI tara£so de las auieres (1922) is sugges- Five offitajYIver« a Travels.1 » 10, La catgdral (19031 wag inspired by Hugo* s Wotre BaSc da Paris,28 11* M eiaia deanada (1906) recalls a vague memory o? Jfenette jjaloaion and may have part of the plot of Chapter vill of Bru.1as £& Biuerte of Rodenbach, a Belgian poet, [roe episode r#» ferred to in the latter work la the dressing of a model in the dead wife's clothing to try to portray the wife dressed, since the painter has been unable to reproduce an earlier painting of his wife in the nude, which she had destroyed.]29 12* "The Hero,** one of Blaseo's short stories, is R& theme ©f Daudet, added t@ a mood of Flaubert or of Maupassant. 13* S6nnioa la cortesana (1901) brought Ktfrimfce in 1903 to pST out that Hasc© was wun di®» cfpulo de Flaubert que procure imitarle 1© aejor posible.w He says Blasco was brought *? this tpour ge |ggg£ bg ||e example of Flaubert in his ... 14# Cowper and Lister make tni» statement about Msalili la 5BESHS1&. "J* wi, Zb&es, quite evidently under the spell of Flaubert* s Salammb© published S6nnica la Cortesana. , (lyz?) was inspired apparently •MM* jjlllilHiMi.i.ln, , , .11.. IUIIMM.I. de Ssplandiin of Montalvo.>3 jy tha oldaergas A sore extensive investigation would no doubt add many more suggestions to the above list. However, it would also divert the purpose of this paper, which is not proposing to decide whether Blasco Ibtiftex plagiarized writers other than

2?Ibid.. p. xvi. 2*Ibid.. p. xii. 29pitollet, 22' cit*. p. 252. 30Arth«r Livingston, "Introduction," The Old Woman of m Jfexiai m Othsr SSsrisa^^w-Tdrk, 19^1, p. xvi. 31pitoilet, op. cit.. pp. 225-226. 3*Qewp%r and Lister, ©£. cit.. p. xi. 3?Sam*«t Mlrimle, 0£. cit.. p. 557. ^ eMIWMm "WilWPPliBiw ~ ^ 12

Baroja. Nevertheless, after examining swue of these suggestions, one feel® that the critics are stressing their individual reactions and are sometiaaa straining a point to do so. For instance, the circumstances of the deaths of Kimi and Feli arc repeated countless titaes at the turn of the century in the lives of those too poor to afford a doceat burial* Blaseo did wot have to get them froa Scenes de la vie de bohkrae. Both he and Murger copied fro® real life situations* Victor Hugo1s success with using the Cathedral of Notre Baste as a focal point for his novel Motre Bane de Paris may have led Blasco to us® the Toledo Cathedral as a central point for hi® Jg Cat®oral* However, KL&sco is not merely describing a tremendous cathedral with its effect on people; he is directly attacking the fossilised, power~aad ecclesiastical organisation of which the Toledo Cathedral is the leading Spanish ayabol* The similarity in cliaax between Canaen and Flor d& aayo exist# only in that both have the violent outcome so comaioa t@ plots which have a triangular love case* Paeeuelo does not stab the faithless mmm$ as in O&rateau but stabs Kthe other mm»n Blaseo has been quite definite a© to his reason for i writing S&mlca. During his adolescence, when he wandered oa the beach, he always saw the old castle wall# of Sagunto and told hiaself that one day he would write its story# He was in the middle of his study of the- Albufera in preparation 13 for writing Caffa® j barro when he had an impulse to fulfill this adolescent promise. In a Foreword, dated 1923, to sua edition of gfoalca. he writes, wSent£ la imperioaa neeesid&d da resusitar si episodio mis heroico ds la historla At Va- lencia.® 34 le dismisses the allusions to Salamib# with, *1© e® aeeesario insistir m esto. Los que hayan lt£4« am- baa itovelat sabe® a que atenerse.tt35 But lie takes this occasion to say that S&tnica does ©we much to Silvio Ita- lic®*® poem m the Second Punic War# He admits that "algtt- ii98 da ais personajes secuadarlos lot ha sacado da alia [la

w ©bra de Italic©], aaf coiao deterialnadas ©seenas. 36 jn re- ply to critioa who say that ha stopped to wit# sSmXm la order to follow the currently popular sode of the hiatorloal novel, he says, *. • , vi en ella [Sfomlca] urn eosipleaieat© de mi obra sobrt la tlerra natal* Habfa descrito ya la vida valeaciaaa tal como puede verse directamente, y aece- tit* realisar esta excursi$n por au paeado »*s re*oto,«*7 fiasco Iba&ez had sufficient originality to sake plagiarism completely unnecessary. It i@ true that pm will find critics who say that fiasco had little imagination, as for Instance, Aubrey F. G, Bell, who writes, **fhe fact is that Blfcas© Ibfiness has am overwhelming personality but little imagination,"3$ Most critics, however, do not find Ma

3&Blase© Ibanez, Sonalca la cortesana {Valencia, n.d.), p. 7. . 35ibid p. 9. 36jMd. 37jbid., p. 10. W ^P^PPSPPSiPPiPfl» ~ "•= ,v.^. . ' ' BejJL, Conteaporary fpwflfh

39Mlri«le. op. cit.. p. 55$. 40«Yicente Blaaco lW&es,tt Columbia Dictionary Bt^dpa European Literature, (lew fork, 1947). 4lLiTingston,

Pltollet thinks that Blasco did not writ© |»a horda prima* rily to give a social message—the future awakening of tilt mob—, for this does not appear until the last chapter. He states that the whole book la leas doctrinaire than cate- dral and El intruso and lack® their polemical bitterness. The message is "fundida . . . en el patetico relato de las aventuras de un bohemio intelectual."^ One needs now to inquire as to how Blase© Xbanes composed hi® writinge. Was there in his method anything which might have caused him to have a tendency to plagiarise? He himself said, "to Hero una novels en la cabeza much© tiempo (algunas veces eon dos o tree); pero cuando llega el moment© de exterior izarla, me acomete una fiebre de actividad, vivo una existencia que puede llamarse subconsciente, y escribo el libro en el tlempo que emplearfa en eopiarlo un escribiente. Federleo de On£s writes that Blaeco studies minutely nlo® ti- pot y el ambient® de eada una de sue novelas, vlve por sema~ nas, por aieses la vida pintada en ellas, y una vez llano de su® a sun to s se retira teaiporalmente para escribirlaa."^ The Argentine Manuel Bgarte says of Blase©, "He writes a® freely

43Ibid.. p. 2M!. 4itIbld. • p. 194. ^Federico d. Onls, "Introduction," Ja Batalle del Sfarne {Sew fork, 1920), p. vii. 16 as other sien talk," and he has the "gift of fret and lucid expression. To Blasco, "El arte @8 instinto."^ He stimulated hi® instincts and nerves by going to the local# of the proposed novel to soak up impressions and atmosphere. The letter t@ Cejador, already alluded to, includes this sentence; "En escritores como yo—vlajeros, horobres de accion y laovlmiento —la ©bra m producto del ambiente."^ He began to write Canas £ barro 11902} aftor eight or ten days spent studying the letting at first hand, fishing and drowsing in the bottom of a boat on the Albufera (a fever-ridden lagoon near falen- cia). He started the book without knowing how it would end* It was in the fall* Pitollet tells thatraany night s during the composition Blasco watched the murmuring sea froa the up- stairs porch of Malvarosa. Keeping in the mood of the piece from this position, while pondering the last chapter of Canas

X barro. suddenly he saw the final solution.^9 Concerning his preparation for Flor de mayo. Blasco wrote the followingi • . * navegue en las barcas del Cabana1, haciendo la vida ruda de sus tripulantes, interriniendo en las operaciones de la pesca en alta mar. Como ya van transeurridos cerca de treinta anSs, hasta

^John Garrett Underbill, "Introduction," The Cabin (Sew fork, 1929), pp. 4-5. ^Pitollet, 0£. cit.. p. 233. ^Ibld.. p. 76. 49ibid>. p. 233. 17

me atrevo a decir que tambiln navegu# en ana barca de contraband!stas, yendo a «trabajar» con ellos en la costa de Argel. 50 In his 1923 Foreword to Los muertos mandan. Blaeco re- late# the development of this novel, He first thought of using Mallorca and Ibiza for a setting in 1902 when he was invited to come to a political meeting by the Republicans of Mallorca, Six years passed without hi® being able to write the novel, ie had not had the opportunity to return to study the types of people and the landscapes* Finally in 1900 while he was preparing to go to America for the first time, he found he could get away fro® Madrid for some weeks. He slept many nights in the little towns of the islands, climbed the mountains of Ibiza, and rowed out from the beaches in the old native boats. Returning to Madrid tanned and with callused hands, he began to write# He says of his impressions, M. . • eran tan frescas y al mismo tieap© tan reeias mis observacioaes, qm produje la novela «de un solo tiron» sin el mas leve desfallecimiento de mi memoria de novelista, en el transcurso de dos o tres ae@e«.,f^ He had to write while still in touch with the atmosphere and the mood# Most of the novels were written in two to four months' time, Los enemlgos de la rou.jer did take nine months but was written when he was ill from nervous exhaustion due

^°Blasc© Ibanes, Flor de mayo (Valencia, n# d.), pp. 9-10. CI Blasco Xbim%, Los muertos mandan (Valencia, 1919), p. 3. u to hi® intensive and unflagging propaganda work during World War I. Concerning .nmlfiop & J* au.1«r. Blasco matt that it was composed In Monte Carl©, "dande be resldidc un *ao entero, y si me qaede allf despuls <1© firmada la pas, fue porque tenia interns en terminar esa obra en el sitio mismo donde se desarrollaba su aceifcu"*2 The war interrupted his planned eyele of novels on Span- ish American life, leaving only the long prologue, Las krm* nautas* completed. After the fir® year® spent away from South America, he announced that he was not giving up the plan, but was changing the order of the eyele, mow beginning with the United States and Mexico. Ie was preoccupied with the America which he had Just seem, whose impressions were fresh, First he proposed to write his novel on the Mexican revolution, a illSM X M iSOBlSSlS* However, when his visit to Mexico to gather firsthand impressions unexpect- edly came to include a real revolution, he changed his mind and wrote El mllitarlsmo meadlean®. expressing frank sorrow at seeing a great country seised by ansrchy, .,

Pitollet says that Blasco conceived hi® novels *en bloque" (as Blasco himself expressed it), that he planned with clarity only "el nudo de la acci&c" and the part of its principal protagonist* the episodes and thousands of details did, not emerge from his mini until later. He wrote in a

52Pitollet, SOE* ilLi-t* i P. 292. 19 compulsive manner, hi® pen running feverishly over the paper* not knowing which way the story would end, writing long hours, becoming more overstimulated as the story advanced, abandoning himself Ba. esa embriaguez extrana* as the great mystics did to their visions* |<& barraca was written in a state of hyperesthesia which increased as the book reached the climax. He even suffered hallucinations at the end. B® gave little attention to the style or to worrying over pro- portions. inter, he mercilessly cut the mass of composition to a half or a third of the first draft.53

A number of sources state that Blasco IblLneas did not keep written notes* le depended on his subconscious to pre- serve a conglomeration of sense impressions arising from his direct observation and to provide him with multitudinous details. His active, even violent, life experiences and his voracious reading also kept his subconscious well stocked with plot and character material* He did not try to remember anything. When he felt moved to write, everything poured out. The influences of his past life and past reading mingled with the chosen atmosphere and setting which he frequently had visited just previous to the actual writing.

Blasco Ibanez had read La lucha por la vida shortly before writing La horda. He had lived in Madrid much of the time between 189$ and the publication of jys horda in 1905» Blasco wrote in 1925 in a Foreword to an edition of horda

55Ibid., p. 206. Ei that| realising by 1905 the uMlessatsi of his Republican representation ®dentro de una 0imara fabridada por 1®® isonar- quieos,"^ and that he was going to be unsuccessful is achieving sooial reforms, ha frequently want on walks through the suburbs Instead of attending the Cortes meetings, fho looation of his hose at tha and of tha Paaeo da la Cas~ tellana, alitoat in tha country, halpad turn hia toward tha environs. durante un aSo axasinl las diversas agrupacicmes aeampadas en torn® a Madrid."^ The groups whieh interested him most were tha ragpickers, the gypsies, and the poaehers* lis daaira for a Republic in Spain never wavered, but he was disillusioned with polities* Saall wander that he felt Moved to write a novel about a disillusioned intellee* tual living among the starving outcasts, the ignorant, exploited toilers of Madrid* Ha wrote down what his subconscious dictated, and Baroja*$ Imafaa had bean but recently buried there. Baroja thought that ilasoo copied from his* tea needs to exftsine in detail the aisilaritiea existing between the two works in order to detersine Aether Baroja*s charge any be Justified* la the succeeding chapters this paper will dis- euss the sisdlarities which are found (1) in the settings, (2) in the plots, and 01 between the atajor and the minor characters of these two novels*

54Blasco IbaHea, La horda (Valencia, n#d*J, p. 7* **Ibld.. p. i. CHAPTER II

SIMILARITIES A SETTING

When on® discuss#® the setting' of a HOY*!. It Is necessary to consider the tint and the place of the events* These two novels were written in the first years of the twentieth century and they present contemporary problems. Blasco's La horda is a single volume of some 400 pages which covers about a year in the life of the young hero, Isidro Maltrana, the second chapter presenting a flash-back of his previous life* Baroja*s &a lucha por la vida is a trilogy; each volume is about $00 pages in length. The first one, La buaea. brings Manuel Alcisar from his late boyhood and adolescence through his first frustrated passion for a girl* Mala hierba picks him up without a pause and takes him into his twenty-first year# Between it and Aurora ro^q there is an interval of seme years# this last volume ©over# per«* haps a year| although Baroja is seldom definite about tine elements in this trilogy# It ends a few days after an his* torlcal event, the coronation of Alfonso XXXIf whieh took place on Kay 17, 1902. . The stories of both of these novels are set in Madrid, the Madrid of the turn of the century. The Enciclopedia universal gives the following description of the capital

21 at of Spain as it had feats bafore and as it was at tha time of these stories. la el CLtia© tareio del sigl© pasadO'Madrid era us puebl© graade, fa®, no may limpio, ni amy sano., Sxist£an antcneea callej$nss pobres qua parec£an reliquiae da la Mad Madia* La® easas da alquiler, cubiertas da tejiu sin oraaaeataciSn aingona as las fachadas, con s&rdidoa portalss y balcones idfcnticos a 1m qm se usaroa aa el sigl© daban a 1& capital da Espafea al aspect® da una eiudad isaprovisada# • • * Se la 1 llamabe la ciudad del polv© y da la amort* * . * Staea both authors ara raaliata and simm %bay both ohoaa to point out tha arils of tha Kadrid *lv» araaa in thasa two works, it ia but natural that tha hilly auburbs where these evils flouriahad should provide tha settings for both books* .Blase® did sot have to copy tha streets, plasas, aarkets, jails, and ceaeteries that Baroja used# He could not avoid using soae of tha aaoaa sotting once ha had daoidad to usa a theme sifciUr to Bar© jaf s and set in the same city, Madrid* He had to put tha gypsies in Caabroneras, tha poachers in Carolina®, tha ragpickers in Tetuan, the beggars and vagabonds in Injurias end Fe&melas, tha construction workers in Cuatro Caainos. Thasa types did live in those wretched sluas, and it would have bean ridiculous for Blaseo to have given then a different Madrid location*

Some of these slwm ware on the northern outskirts of the city and othera were on the south, along the Mansanares

l*Madrid,« Bneielosedla universal, Vol. XSXi, 23

Rlrar* Cuatro Caainoa waa « common antranaa Into tha aity projsar for to# dwallere of tha slum north of Madrid, from Trtufa, Chwart^n, CiroUati^ Ballaariataa* Tha Pardo, a royal ga®« praaamrag whieh figuroa In both books, is north* wait of Madrid. On tha south, th« Pliant® 4* Tolddo fornad a paaaaga from tha Caatoroaairtta aid Injurias aaatidiia mi one aida af tha Kaasaaaraa ta tha Yarioua aanatariaa on tha aouthara aida, including that of San Zaidro whioh la i»p©r«* t;ant la both worka* Yh# XadaXo priaon, tha San Martin earn#* tery, and tha Eaatro airkttf all of whiah figara in both hooka, art sot in tha atttaurba, but in tha oaatral part of Madrid* It would' aaa» proper mow to axaaina tha aattiag by trad- ing tha ehiaf dwallitiga of tha two haroaa, Iaidro Maitrana, tha haro of |& horda. began Ufa in a tenement hoiiaa but waa put into an Orphans* Aaylwa by a wall~to»do woman who waa grateful for hia mother1 a good work aa a aarrant ami. who found hia talk praeoeioua. Thia waa looated oppoait* tha tribunal jg Cuentas. When ha raaaiirad tha haahillarato. ha want ta li*a with hia baaafaatraaa and itudiad Philaaophy «a4 Letter® at thatoiyersidad Central . At har audden daath ha waa puahad out by har ralativaa whan no will waa food* low* ever, thay gave him 3,000 pesetas to finiah hia aduoation* After hia Mothar*a laat illnaaa uaad up moat af hia aaah, ha moved fro® lodging to lodging until he waa finally forced to aaak ahaltar with Seftor Joad idio llvad outaide tha Paaao da 24

Honda on the Call® d© los Artistas, just beyond the weighing station of Cuatro Caminos, He and Fell sat up housekeeping in a room in Don Vicente1s flat in the neighborhood of the Plaza it la Gebada near the center of town* In £& busca people buy greens on this plaza. As the fortunes of Isidro and Feli decline, they move south to Cambroneras, where Feli makes friends with the gypsies. This is one of the oldest and one of the worst of the Madrid slums. Fell's infant son is put to nurse with a woman living on Corvos Hill, which is located across the Segovia Bridge on the Extremadura load* Manuel Alcliar, the hero of La lucha por la vida. lives la many different parts of the city during the trilogy. His adolescence in Jg busca is spent mainly in the area between the Puerta del Sol and the river on the south and the west, except for a summer* s thieving with Vidal and Bizco on the eastern and northern outskirts of the city. As an apprentice shoe repairman, he lives with Seftor Igaacio at the Corrala, a multiple slum-housing unit at the junction of the Paseo de las Acacias and Embajadores, As an apprentice baker, he lives for a short time with Tfo Patas on the Plaza del Carmen near the Puerta del Sol. For a year he works as a Junk dealer1s helper for Seior Custodlo and lives in his hovel, which is situated on the general dumping ground between the Segovia and the Toledo bridges. In Mala hierba Manuel is a young man. He lives first as a bohemian with a sculptor named Alex. Then, he poses as the 25

son of la baroness de Aynant, Paquita Figueroa, sharing her dwelling, When her fortunes improve, they »ove from the Calls de la Princesa to the Plasa de Griente, and when they decline, to the Calle del Ave Mar£a (between the Eoada die Toledo and Atoeha). fie even goes to the country with her, to Cogolludo. When her situation becomes desperate and she good to the Motherlands* he becomes an apprentice to Sanchez Q&aes, a printer. At first he sleeps and works at the shop on the Calle de San Bernardo* Later he gets a raise and begins living with Jesus in the Santa Casllda, a slum unit on the Bonds de Toledo near the Eastro. His connection with «J#s&s begins his change in life* At first it appears to be definitely a change for the worst, for Jes&s is lasy and given to exces- sive drinking* After one of their drunken sprees they besoms tramps for months, living in all osrts of shacks and dives in an area which extends from the F&brlca del Gas south to the Pliante de Toledo and east along the Paseo de Iessr£as» ,r le comes across Tidal again and begins to work with hi® as a gambler's lure* Also, he encounters his first love, Justa, the daughter of SSKor Custodio* Their dwelling sust have been in the northern part of the city, for they took strolls - \ to Cuatro Casinos and the Puerta de Hierro, which forms the entrance to the Pardo. When Tidal is murdered near the Toledo bridge, they ehange living quarters to escape the surveillance of the 26

police, moving to the Calle de Galileo, near tht Tercar MmS* M&£ ** Vallehermoso# • He gets a job la a print shop m a typesetter* She deserts hi®, and he is picked upfey th e police but is allowed to leave when he tells the truth about his connection with fidal is gambling activities. the big gambling boas gets hia set free to stop further police investigation into the racket* La Salvadora and la Fea had be- friended hia while he was in prison, sending hia food* therefore , when he gets out, he goes to live with them, bitter beeause society which had never given him anything but toil and starvation now has pushed him into being a stool pigeon* He is ripe for «Jes&s* speeches ©a the anarchists1 vision of Idyllic humanity*^ Most of Aurora roia takes place within a long strip stretching from the Fuerta del Sol m the south to the ®lo~ rieta de los Cuatro Caminos on the north and several streets to the west of the Calle de San Bernardo and its extension, Bravo Murillo* During the interval between Mala hierba and Aurora roa&. Manuel has ceased to live with Jes&s and has been living with his widowed sister Ignacia and with la - Sal* vadora and her little brother Snrique on the Calle de Kaga- llanes on the old Aceiteros Hoad, which is opposite the cemetery of San Martfn. This interval between the two volumes probably lasted about eight years, for Enrique is two or

*Baroja, Mala hierba (Madrid, n.d.), p. 297. 2? three years old when lie and hi© sister are discover#*! is Mala hlwba. and in Aurora ssAi h« i« «till refarred touji chico. Manual buys a print shop ©a the Call® de Sandoval* which is just north of the Glorieta de San Bernardo# the title of the third velum© of the trilogy comes froia a tavern called Aurora* which stands on a dump ground between the Paseo de Areneros and Vallehermoso* the Ttroer Beg! which was feeing built contemporary with the time of Aurora roia.3 must be the Mmmm Deadaito shown on a wpp of Madrid ia the universal.4 Two theaters are discussed as a possible meeting place for the big anarchistic gathering which is a high point in Aurora ro.1a. Both were is the center of the city and produced mainly zarzuelas. The Barbieri Theater is described in the Engicloptdia universal as a «*X$^ lQw^iiliniM theater, poorly decorated where *se eel•bran alguaos benefieio-s y loa aitias de propaganda republiaana o aoeietarla*The featro £g Zarauela. in the Calle de Jorellaaos, was used on different oocasions for *ruidosos altins politico®but the «aaage»eat refused to let the Aurora group use it* As

^Baroja, Aurora roJa (Madrid, n.d.i, p* 215. ^*Madrid,w Baeiclooedla universal, Yol. XXIX*

'ibid. 6ISM. 2$

Baroja aay» in the novel, *I@ hubo mis remedio qua he@ar el mitin en Barbieri,»7 Thia point say be a good place to take up other public facilities vhloh are mentioned in both novela. Several ®ar» kata serve as background but the Eastro figures in both. . Bliaeo© devotes from page U$ to page 197 to am extended description of Xsidro and Falifa progress through the Eastro; but, as Betoret-Parfs says, he is more interested is wlos vendedores y la aaaa qua lo (el Raatro] visita qua por aua eleiaentos ffsicos* Son Maltrana y au comparers quieziaa noa llavan a #1 en seguida da haberse unido y desear adquirir una aaaa»w^ Detaila of hia Raatro descriptions will ba given later in thia chapter whan hia aetfeod of scene painting ia discussed. Baroja does not describe the Eastro at any length* In fe say® af Bon Tela© that "alguien la vitf an una ropavejerfa dal Raatro, qua probablemente aarCa auya.1^ 11 Z»rr©, a neighbor of Senor Ignacio, had a place at tha lower and of tha Eastro, "una choza obseura a infect* rallana da trapos, casaeas antiguas . . . y otraa baratijaa sin valor."1® fhe pieture of hia shop takes only six lines*. Another

?BaroJa, Iffffl P« «3.. %duardo Betoret-Parfs, 11 eoatuaibrlamo regional en la Ha |t Sgjg. Ibpas (Valencia, n.d.JTp. 131. ** ^BaraJa, La Buaca {Madrid, 1920), p. 4*. 10Ibld.. p. ?i. 29 curious character, a friend of SeKor Custodio, the hunpbaeked el Conejo, who parodies everything saered, is connected with the Eastro. He, cunningly, would first find out what the stand merchants needed and wanted, and then he would buy these articles frm the rap»n, selling then in turn to the Merchanta, always to hie am advantage. In ggls, hlwba Manual acaospanlM talc amplojrar, Bernardo Santfn, avrtral times to the Hsstro where the latter buys photographs of at* tresses undo in Paris by Reutlinger, Back in the studio, they uaglue the pictures Gem the ia©unti»g® and paste them upoa other whish,»printed ia gold letters along the margin, bear the signature, "Bernardo Santih, fot^gra- • fo«*U Later in the ss*e novel, Matmel goes to lire with Jes£s in the Santa Casilda hostelry, and from the window of his oaartuoho he sees the Eastro round about.^ The Cereal Modelo on the Calle de la Prlncesa is the prison whieh appears in both books* Manuel and Tidal attend an txstutloa there which takes pla«e the morning of the day Tidal meets his destiny and is killed beside the Maazanares, in the very area where he has engaged in criminal activities sines early boyhood,1,5 Tidal* s counterpart in M. horda* Pep&i, is more intimately connected with the Clroal Model.®*

^Baroja, Mala Ms$a» »• 33- 12IM4«. P- 130. Mlhld.. pp. 247-2}l, 30

He Is s«at there for the theft of copper and wire from a factory in Valleeas*^ Putting this character within the prison gives Blasco a chance to depict the gloomy, coffin-like dun- geon calls and, through am analysis of the, inmates, to give expression to mors social moralising* Bis most unpleasant personal experience of a sojourn of fourteea moaths in a prisoa for common criminals gave Mm mora than ample material to make this section convincingly realistic* Tarious parks and barracks appear in tha novels* In bath, tha Casa da Camno serves as a background and point of reference, although nothing noteworthy occurs there. The slum charity called Jy| Doctrina appears in both works* It had several divisions which were located in different parts of the suburbs* the one in La busca is on the $m Zsidro highway, west of the Toledo bridge* The one in La horda is at the north in a big shad at Bsllasvistas* La Boctrina held religious meetings for poverty-stricken people either once or twice a week* Upper-class woaten from the city came to the aim location, called the roll, and led prayers and songs, and gave sermons to the miserably poor, advising them to live more moral lives* The reason the wretches came to hear these religious women and put up with their pressmp- tuousness was that at intervals sheets, rice, and underwear

hbu*C§v M tea&» p* 22*< 31 were distributed to those who were enrolled and who attended regularly. Isidro's graadaother has gone to a Dootriaa meeting whea ha somes to tall on her during Carnival time, Zaratustra tails hixi that the derout city ladiaa regal&baa a laa traperms ma s&feana per a£o, v arroz y sastafias por Navidadj pero las obllgaban a oir la explloaeifo da la Doetriaa dos t«m por semaaa * . • • las qua faltaban a ©stas graa- das eolemaidadas eomo la gran reuaioa da Carnatral perdiaa la sabaaa* —Ta dig©, Zsidro. qua aa la gaasn biea, y cuando vieaea a soger los trapes da esaa softer** tiaaea oallos ea las rodlllas, los elefaates. Faro el median©» cuando aieate necesidad, ao sa para ea aada • « »A5> A coachaan, obserriag the Dootriaa aeetiag ia buaea. explains to Kaauel that so®« people earoll ia two or three dlvlsioas at oaoe so as to get all the charity they eaa. "ffosotros, mi padre y yo» aos iasoribiaos aaa vet m cuatro •ecciones eon aoafores distiatos* • * jVaya aa lib que se anil T j aeaudo ehoteo qua tmviaos com las narquesaat*!^ Baroja describes this meeting la soma detail as followsi Ira aquello ua coaolare da meadigos, ua eonoilii* bulo da Gorte da los Milagroa* Las wijeres oeu- paban oasl todo el patioj ea m extrerao, oeroa da uaa eapiHa, se amontoaaban los honbrest ao sa veian mm que earas hiaohadas, da estdpida aparie&eia, aarleea iaflamadas y bocas toroidasj viejas gordas y pesadas eoao balleaas, aelamf^ lioas) Tiejesaelaa esquslltioaa de boea huadlda

l^Ibld*. p. 117. l^Baroja, busca. p. #6. 32

y naris ave rapasj aendigas vergonzantes con la barba verrugosa, liana de pel©a, y la rairada antra ir6nica y huraHa; aujerea jovcnes, flaca® y extenuadas, deamelenadas y negraaj y todas, •iegaa y jSrenea. enTueltaa an trajas raidoa, renendades, sursidoa, vueltogt a remmd&r hasta no d«jar una pulgada sin am reiaiendo , . . • Intra ban los tinos hieratj jaovediaos* Se jaeaclabaa las anguarinas pardas eon las amarieanas rafdas y las blusas sucias. Alguaos andrajosos llevaban a la espalda sacoa y jaorrale® negrosj otros, enoraes caehiporrae en la maxio; un negrazo, cos la cara tatuada a rayas profundas, eaclavo, sin duda, am otra £poca, en- Tuelto am harapos, aa apoyaba as la pared con una fodiferencia dlgnaj par antra hombras y mujtrea eorretaaban las ahiquillos desealsos y los perros escu&lidos; y tod© aqutfl months da aandigoa, re- vuelto, agitado, palpitante, bullfa awe ma guaanera.3*' Another charitable institution is mentioned in both novels, the Hoapiclo. Baroja speaks of "la bands dal Hospieio" playing at tha annual fair which took plaea on Pasi£n atraat. Blaeco places hla haro laidro in tha iogpleio after tha death of hia father. Thara ha remains studying until ha receives hla baehlllerato. Ona of tha aioat touching scents of tha book la that which oaeura when tha children of tha Hospieio ara vialtad by thair relatives in tha lata afternoon on Thursdays and Sundays, not inaida tha building and at leisure, but a visit of only a few minutea snatchad in the street, when the children ara returning from thair walk in tha suburbs and just before they disappear again into the building*

x7lbid.. pp. 33

Tha restriction of the maternal instinct of the mothers by their poverty is depressing enough, but tills picture Of m old workman walking alone beside a motherless littls boy is worse. wSu man© callosa, cubierta do escamas del trabajo, acariciaba las majillas infantiles, alentras la eara barbuda miraba a lo alto, pensando en qua loa hoiabres no deben llo«* rar.»** Of the hospitals included la the two novels, the San Carlos Cllnia is uaad In both* Jeeua goes there for his c chest trouble in Mia hierba. Fall dies thars *m aquella euadra blaxtea* aftar sevafcal souths, surrounded by antisep- tic, cynical doctors and stern nuns with "manos da eera,tt who wars (as Biases characterises than) "hvmaaas bastlas qua silo pensaban an alia eon el ego/smo dal dolor, sin una ml* rada da earlf©.*^ Tha morgue, that frequent resting plaea of tha "un~ known1* man, of tha very poor who cannot afford a funeral, has, of course, a plaea la these stories of tha poverty- atrioken worker* Aftar Josf*s accidental daath, ha Is taken to tha PaoSalto & cadHvereB. which Blase© locates baaida tha Mansaaares on tha aaat eldanof tha Puente da Toledo, His funeral prooasalou begins tfewe. In busea Baroja describes tha Bep^slto do cadlverea as ttun pabellon bianco

l&Blaaoo, La horda, p. Iflbld* * p# 34f» 34 proximo al rio, eolocado al eomianio da la iahaaa del Ca- nal.*20 Manuel, Vidal, and Biaeo, who art members of ft gang of boys called |ot Plrataa. go along the Pmio de I«i«{*» until they reach the morgue; they circle It *por al vefan por las veatanaa algfin muerto, par® las ventanas eataban ce- rradaa.*2* Later in the aame book, the bodies of Milagraa. and Leandro are taken to the morgue. This time, whan Manual arrives at Ua eaaita pr6xima al r£o,« with Ariatln and another bay who bad aaan leandro kill himself, "hab^a una van- tana abiarta da par an par."22 Thay paap in and aaa Laandro stretched out on ona marble slab and ISilagroa* corpse on another. Several cemeteries are mentioned in both novala. The old cemeteries southwest of tha Manssanares, lying between the Puante da Toledo and that of Segovia, form a background for tha dump grounds and alum areaa which border both shoraa of tha Man panares. 4a a boy, Manual had a favorite resting apot in tha CampiUo da Oil Im6n from which he could aaa Jutting above tha mud walla "laa torrecitas y aipraaaa dal cementerio da San Isidroj una efipula radonda aa daataoaba recortada an al aire) an au remata aa arguia un aagalote, ©on laa alaa desplegadas, com© presto para levantar #1 vualo sobre al fond© incendiado y aangriento da la tarda.*25 than

20Baroja, La buaca. p. 6*. 22Ibid.. pp. 155-156. 23I6ia-» P- 70. Isidr© and Feli went to live at Cambronaras, they could see the bills across the ManEaaares nm euya eumbre se aglemera* baa las eipreses y mmmlms da los sementerios da la Almu- dena y Han Isidr© •,|2^ toother group of cemeteries was located elos® to the

Qlorleta da los Cuatro Gaminos, aerosse from the Huevo DSP<§B1» to and at th® northern end of the Calls de Magallane®* Saroja introduces then in the first chapter of Aurora ro.ia as follows: Setos eemeaterios eran el general del Sort®, las Sacramentales de San Luis y San Qinis y la Patriareal. A1 terminar los tapiales en el oampo. deade au extreme ae ve£an en un eerrillo las eopas puntiagudas de los eipreses del eeme&terio de San Martin, que se destaaaban rlgldas m el horifoate.2* La Patriarcal forms the setting for Chapter If in Fart III. lere ggamielfs brother Juan finds the miserable outcasts who frequent the cemetery shanties. They aretitle lowes t dregs of society, wretches who eren exploit one another* Juaa thinks, *Segura©ente, en el fondo de sus almas hay una bondad dormida; en medio del fango de sus maldades hay el or# eseos- dido que nadi© se ha tornado el trabajo de deseubrir* lo tra- tare de haeerlo . . .«26 He attempts to lift them «de las tinieblas de la brutalidad en que se encuentran . . . a una

2%lasoo, La horda. p. 294.

2*Baro4a, MSB ISi&* PP» *9-10. 26I3»i*.» P* W. 34 asfara mis alta, raas pura!"27 Ha talks to them ©very after* noon, rain or shiaaj but finally, raaliiing his failara, ha gives up la sadness* Baroja ©loses th@ chapter with thaaa ssataaoast nJuan as fuf a an easa, 11 or© de las alsias huaa- nas no sal£a a la auparficia."2® As Baroja talis us, San Martin is across the way from tha Patriarcal. It is this Sam Martfh which is important in th# settings of both novals. Ho Baroja describes it briefly through tha ayas of tha group which is out Im tha _country apaading a baautlful May Sunday celebrating tha suoaass of Juan*s seulpturs at tha Bxhibltion. Juan, Xgaaeia, Salva- dor, Manual, and Snriqua are seated ia a shady spot omtsida tha largs gata of San Martin. To than si eemanterio, eon su eoluaaata da astilo griago y sus altos y graves dpreass, tenia u» aspaato imponente. In las oallas y an las plasoletas, formadas por los uirtos aisarillentos, habf® eeno- tafias da piadra ya deagaatados, y an las riaao- mas| tumbas. qua dabaa una Jjipresida poltiaa y raisteriosa.*" Blase* introduaas tha Sacramental da San Kartfn briafly as «un camenteri© hermoso y apaaibla coao ua vergel, epa aataba oarrado haefa alguaoa aSos,*30 but where Iaidro'a baaafaatrass had reserved a plaea for harsalf next to har husband* In tha use paragraph ha eharaeteris&es it as

27lbid» 28Mm P. 243 • "•WPpilWPWPHiilPP r-rv — *^Ibid» | p. (S6« 3®Biasea» horda, p, n

"aqufl c intent erio d# novtla, con gut grupos de rectos eipre- 898, sus eolunuiatas orientales, y sus parterres de roa&a*B31 These awakened In Iaidro a sweet melancholy, "haeiando revl- vir m su meraoria la imagea de la buena daaa."^2 Uttr when he and Fall first fall in 1OT«, San Martin la the scene of their flrat kisses, and this gives the author an opportunity to deserttee the physical details and the spiritual mood of the place, along with the contrasts existlag between mm# of the personages hurled there* BiasGO gradually leads up to thalr realization of love for each other with a twelve~paga « ' presentation of the details of the landscaping and pavilions of the cemetery*33 g@ informs us of the approach of spring with the following picturei * * la tierra se agrlataba para dar paso a ma vegetaci^n salvaje, a una marafia verde, que pare©fa la eabellera priaaveral surglendo,lentawente de la tierra**^4 Three small children playing there symbolize life in contrast to the cemetery which at this ti*a repre- seats Oeath as wuna gran selora de bellssa trista^S The personification of Death will be treated later in Chapter I. The two young people reflect on how geniuses end, how the great ladies, now stately in their tombs, probably spent their lives in loving and voluptuousness. This i® the point

311S". 32I6M- 33ibld., pp. 159-171. 3^Ibid., p. 163. 3?Ibld. % $

of the first Icisc. Tho light, falling through the colored glass of the apsis window end reflected by a wave of color* upon fell, aafces a vivid end palpitating frame for Xsidro*# flood cf kisses inspired by her vibrant youth and sincere love for him* This discussion of the cemeteries completes the list #1 those public facilities which are found in both work®. Tho two author® will now be compared as to the way they preheat their settings and m to their showing an interplay of mood between setting and character. loth writers give the reader an intimate tense of the place of the action, but they do not do this in the sane manner. Blasco seine® the opportunity of the location of a character and seta forth on an objective presentation of the seen®* often interrupting the action ta describe the whole area, like a guide book* only with a better literary style. Sonatinas thesa pictures occupy just a paragraph! on other occasions they take up many pages# for exanple, the fourteen- page picture of' th# Eastro* As Ifidr© and Fell look for a bed, Betoret-Parfs says that they pam "por la libera de Curtidores, el rinc6n de las Anlrieas, el corraldn de las iue*ras Anfriesa, la ronda de 8»bajador®sf la eatatma del hi- roe de Cascorro. Blasco describe • . . los puesto* de gl»e- ro# diversos, los plntorescos vendedore® y la aglomeraci&a " t 39

4a pdblioo.*^ The author emphasises the deaeent of the two to the poorest seetion of the Rastro, the Ronda da Embaja* dorea, with Maltraaa,» stateaeat to Foil that nesto m el Hastro del Rastroj Xo mas barato de la baratura* Los do la Ribera da Curtidores miran a los do aqu£ eoao puedan mirarles a alios loa comerciantes da la Puerta 4*1 Sol. The following representative bit of seene painting froa the section m tha Bastro ahowa hia uaa of many details, both thoae which belong together and those whiah contrast greatly: . al male, sobre vtajaa lonas , espar«£anse 1@« mis heteroglmeos objetosi espadas eon fondaa da tereiopel© qua hablan senrido an loa teatros, machetes cubanos, sables eorvos da la Milicia National, losa dasportillada, aaleros rotos, vases da poreelana reaendados eon groaeras lanas, riejas litograffas da vidrioa empolvadoe repreaeatando las desdichas da Atala o las hazaSas da HeraSn Cortls, liensos eabetunados, en cuya negrura distingu£ase una pineelada roja que era una pierna, una manoha amarilla fi&s era una ealva* Los palos ems eostenian los toabrajos estaban unidos por euerdas, y pendiantes da ellas s* ba* lanaeaban uniforms® da soldado®, riejaa pantalonas rofdos per al root, sobrafaldaa da - gasa que habfan side 4a moda trainta aftos antes, sayas que olian a huaedad y a MXTO, delatande al oXvido am los aofras 4a algila daaY&n. . • • In otros puestoa sa exhib£an viejes teXescopioe, cornetlnes, cartucheras 4a' agrietado cuero, sillas 4a montar, y antra las ropas augrientas asomaban, com© uaa prlmavera_moribunda, las p&Xidaa rosas 4a alguna casulla.^6 Baroja latarsparsas hia brief descriptions with tha movements, tha thoughts, or tha conversations of tha

> 3%etoret-J arfsi og. clt«. p. 131. )8 *7B1ASOO# La horda. p. l#i. ZMSm »• 3l^W#5. 40

characters. Also, his scenes are presented as they are seen by the characters, m©vlng along the street, or walking through a public garden, or seated viewing a panorama. But the view is not longer or more detailed than a spectator would experience in a true situation, to take on# of many examples, in Mala hlerfea after Manuel and Jestis go off on their first drinking spree, la Salvadora tails them not to come baek. It has been snowing all day. Vhils wandering the streets* Manuel views the snow at the Plaza do Orients {nix sentences). He goes hone and while in bed stakee plans for finding work. On to sorrow he arises and walks from the Puerta del Sol to the Faseo do Eosales. From this point he views the white landscape (seven sentences). Then the plot resumes**? Baroja refers to the snow scenes of that winter in a number of plates in the book, but always with few sentences and never interrupting the movements of the characters for longer than they would rest or sleep. lis method seems quite natural, and through it the plot gains BOKlBlil* These authors paint on both small and large canvases. - Madrid at dawn is treated by both.' horda opens with the awakening of life at the octroi office of Cuatro Oaminos. La lluvia ees6 &1 amaneoer. Una lus violi- cea so filtr# per entre las nubes, ipe pasaban bajas eom*i si fuesen a roiar los tejados. D© la

^Baroja, Mala hleybq, pp. 166-167, 41

bmuna matinal siurgieron Xenta«©nte lot edificlos, htaa®dt<$id©s y relueientes por el lavado de la lluYiaj el auelo fangoae eon grandee eharooi; loa demontea de tlerra amarilla eon sanohae de Tege- taei<5n en las hondonadaa**® In La buaea Baroja also deeerlbee a Madrid dam following a rain. Alboreaba la ajffia&a, 7a no llovla} el eielo, aua obacuro, «« lianaba da nubea negruseae. * • • ' - Madrid,piano| blanquecino, ballad© por la humedad, brotaba da la ao

4©Mase@t M horda. p. 13# W-Baroja, buaoa. pp# 1$6~H&7< 42

S3, olelo &aul se llapi$ de nubaa; el Ouada- . rraraa a a daapaj6 da niabla*; m pflldo rubor tiSo ami oimaa blaneas, nevadas, da ua color da rosa idaal# En los dosmoates. algun ray© da aol vivo y fuerfc®. al eaar aobra la arena. parecCa darra- tlrla, a iaeaadlarla,** Hi# laat dftwa Baroja daaarlbaa la that of tha final day of ,T«aa*g lift whan wa las cuatro mpmS a a«aB«e«r|,, and, baaauaa Juan bad ordarad tha abuttara kapt opaa, »la lus fria da la ataUaaa

^Baroja, Mrgrg. pp. 215-216, 43ibid,, p. 295. _ . _ ^Blaaco, horda, p, 125. 43

Baroja sees an autumn landscape through the eyes of the amar- ehiats, who ar© looking toward the Casa de Caaipo trm toaalea street and am that

los irfeolea de la Casa 4# Gaspo, anrejecidoa por •1 otolio, foraaban maaaa espesaa de ©or© y de

aaafrin | alamos chopos altos y a»arill@#f de eolor de eoore, feeridos por el sol, se deataea~ bam «®n sua copas puntlagudas antra el follaje Tarda oacuro da los pinoaj las sierras lejanaa ,. at iban orland© mm la claridad del din* y el aielo aiul, em algmia® nubea blamcas, elareaba rlpidamaate « .

Both writera use figure® of speech in painting thair settings, Baroja usee aiaile, metaphor, and personification Yery effectively* There are many instances of this in the three volumes j a few examples follow, The am oame out* *un diaeo rojo sobre la tierra negra.'*^

Thick drop® of rain fell "eomo perlas de acero, fue salts- ron en el agua negra de loa charcos.*^ The smoke tta bor~ botones densoa • . . iba extendilndoae paralelaaiente a la tierra, com© an escuadr^n de eabslles salvajes,"1^ targe flakes of snow "danz&ban eon 1m rifagaa de vient© com© mri- posas blaaoas* and at intervals of calm fell ,flent© y blanda-

Rente en el aire gris como el plum£n suave deaprandid© dal

cuello de un cisae.*49 On a beautiful May day the poppies

^^Baroja, ia$H& E2jAs P» *1*»

**Bsx*jat Ms, MsMt P« W.

^Baroja, aiit p* 34 P» 74.

^Baroja, hierba* *• 44

shea# "com© m&nehas de sartgre c©.£dae m la hlerba.*^® After an extended snows cape Baroj© writes, *1 on el ambient# blanquecino, el htiao negro espirado por las ehimeneas de In# f4<* bricae, »• #xtendi>a por #1 sir# coao una aaenaBa.**1

S@ms#«t station lights, railroad locomotives, faetorles, and the Gas Hons# art subjects for parBonification* Algunas easas, com© los hoabres, timm fl«o» noraia propla, y aqu&Lla la teniaf su fachads era algo asit cotao el ro«tro d# un rlejo alegr© y r«* sossad© j los baleonee, ton am® oortinillaa blaneas y m® mmtm d© geranioa rojos y eapuchinas ver~ dee, debajo d#l al#ro torcido y proainent#, par#* «&* ojos |iTara©ho# sombreados por #1 ala da m ehaaibergo,,^ VhU* d«pl«tla« «b* IfUfldg 3al MeAlodftu B«ro4« »»y», *1«« pupilas rojas y Yerdes d# los faros d® selialea lanaaban m guiHo eonfidermial dead# sua altos soportas; las ealderaa en tension da las loeomotoras, braaaban con espantosoa alari- doa,*^ I# points out that the tanks of the F^brioa del Gas had npansas radondas* and that a factory ttparecjCa mgtr y eehaba borbotones dt hum© par la chlm#nea.n54 j***? he per- sonifies the Fabriea del Gas as follows t «• .•. de la ehlae- aea d# la Flbrica d#l Gas salla una feuwareda negra, co«o la •sptrael&i podarosa d# ua menstruo**^

isma £S&» p» 66 • ^Baroja, &jy| MsM# P* W. 5%aroja» Aurora roJa. p, 31*

^Baroja, IgOa MhM, P. ^2. 54ibid#> p, 18?. **Ibid.. p. 2$S. 45

Although Blasco*a figures of apeech seem to be less frequent in his settings than in presentation of characters, they are nevertheless quit# effective. The shafts audi the mule girth of Zaratustra's cart look like a gallows etched against the sky.^ The snowcapped peaks of the Gu&darrama seem like "una muralla de almenas dt plata que brillan al sol."57 The lighting systems of the different parts of Madrid, visible from the region of the Prado, are called ^luminous rosaries#As Iaidro and Feli wander through the San Hfcrt&i cemetery, Blasco writes, RDe cipres en eiprls aleteaban panares negro®, rasgando el ailencio ©on su sil- bido#11*^ After they wove to Gaabronera® and the winter advances , Iaidro opens the door one morning and stops aston- ished. nLa nieve eayo en raonton a sua pies, • * • Todo 1© que abarcaban sua ojoa estaba bianco, con una blancwra n£- tida y funebre, COM© el sudario de una virgen muerta."^0 Blasco also uses personification to give a more personal aspect to nature* The aoon had a "good natured facaw which it reflected "en el crlstal aaul del agua que tranacurrfa ailencioaa.**^ The red, inflamed petals of the flowers of the almond tree parecfan abrirae para saludarles (a Iaidro y

^Blaaco, La horda. p. 114* 57ibid«, p. $4* 58Ibld.. p. 106. 59ibid,, p. 163.

60Ibld.. p. 324. 6lIbid., p. 175. Fall] Aftar Isidro had left Fall at tha haapltaX, ha abaarrad tha afMmMtt wi| wm aol

TKat>. .^-•fi-rMiiiiin'M ifri 'HiMiin ilffii tiiiii *- fi flki ^ ^*1: *V| Jot- dfr-rfrult A 'T|. Jttk ***•'lijittrfflptifr tiffll ^i" Jm* Stt$r m$WR®B9L #©H IMMUS- W0 ®F©# *# * * ##Jw 49 mm. mm babraa daradaa • • Tha ©rfisr, fa@d9 and aaarn* rity a£ Mar em#todlo,a da&fgrottai hovel «ad* Manual fuit* happy* fh# aattiag rapraaa&tad poverty, hut it taeoiapasaad a batter Ufa than tbat which ha had kmtm aitiaa hia mother*a daath* Daring tha gay Car&tralfci®#, Fall * staakad aa a piah baby* diaalaaaa har Xora ta Icldro* filaaaa haa har da thia Im a apaalal setting, in tha beautiful waad af CaS* Darad*, •ua riaadia apaaibla y allaatlaaa, aargad* an priaavara da

6jU>i4., p, 179. **&&•• P. »5.

]£ twcf. p. U$. ^ixtid., r, 23?# 'w

floree j trinos, que m conadm la© habitant's de XKd»id| m oculto piniCio, un trosso 4* peeaia pers In horda treporil

•eaapu&a «t til Mm j| Ui«pf after fth* lm§ SS0feSSWSS§ Ifffflitrfflt fSBifttt Hfjlf1 til# 81.iitMfy*-ft Ofl^NbHt $1mi wtittfa

jfrftffB'-i" iifli iHii ffi %fri iaiiT -tfflr iifi Hffr JfeWlfr-Jifff jIt jti, iflr ifir JgpH. -jTtn -# Ajiterftj SliS IMBWHMf 1®» Wwwwtm 9m msm^wm§ Wm§ mmWm ||iti«li rnhmealt fckawt. tlflfflftlft fltf <*€» Mfeteflt Iftli. mmmM&£m&mitm mm *w« SilMiS. |b »,h» —ill tm» »fea fern® lover© were ebs^rUti la tbtlr tappta**** till 4fty •* tk# Mi tmnr M$n tfc* #o3td»©®« end tb» iso~ IMm resulting from th« weather mmmtmtmo Wm isolation f«lt Iqr I«Ur« af%@r to @a»f»r iiafen*« otiLd r#J«efcioii of fcii last tompwmtm fl«a im h«lp» !• wm 4a» pressed- He felt (hH, «fiNte !«• Mate* mmhm c©rra4os pit® il$ „• • Toda la nleve que tbimbia sue ojoe X* lie* Vftfeft m «X «3yM»11^ Ml* MM 4*y Ml begins Itt 41 wm sense her isolation Ifta Xsidro and ind«s<3 ftu* all toMtlty vitb her lim ett&cfc of puerperal ffc« »£#** after this attack we® ft t«mrlt&« •«*## *1* at alt wMi 4a liaHltf 1® aa&at ara abaola*a| . • , P»r««l« f» »i wrt# acababe &%m%M mmim* ftX yi » ttlMft «iftf la tlirn t\m » p«rsi«i###ir irtu^wi feij# »m «®rta|ii. it

^BlaMOf JA h€>r

i After Hogueras told Isidro that Fell had died and bet® dissected before being placed in the common grave for paupers, Zsidro found hiaself walking instinctively along tho paths which had seen their first joy* and h« saw that tha sane almond trees near tha Bishop's Garden "parecfan ahor* aaoobas plantadae por el mango.*70 imp&et of this contrast with tha earlier sotting eamsa® hia to staggertt oo§»o mm horido^* Baroja diaplaya a like correlation between the mood of tha sotting and that of his characters* After ^eais haa spoken to Manual of a viaion of an idyllic huaanity,. Baroja ends Mala hlerba with tha following woods #0na beatitud au~ gtiata rosplaadoefa an @1 cielo, y la vaga eessaoiin da la iaaensidad dol espacio, lo infinito do los wundos iapoMera- bles, llevaba a sua ooraaonea ana dolieloaa ealaa . * Tha contrast between tha horror angendored by tho eudden murder of Vidal in tha blackness of the night, only a few steps fro* tho brightly lit room in which he had just boon having suoh a gay time at a party, is foreshadowed in tha following description of a dramatic contrast of nature, a flaraiag smset before a sudden derknees. Afaera anocheoia. A lo lejoa la tierra asm* franada brillaba con las Oltiaas palpitaoiones dol sol, ooulto en mibes eneendidas como j|ragones do fuegoj alguna torre, algdn &rbol, algun* casu~ oha miserable ro»p£a la lfnea del horisonte, recta

7°Ibld.. p. 359. 7J-B«uroj», Mala faUrtw. j>. 297. 49

y mondtona; #1 eielo hacia @1 Poniente a# lle- naba de llamas* Luego obseur#cl6;_fu6 ennegreci&ndoae el eaapo, el sol s# puso. After the Sunday outing celebrating Juan* s receipt of a prize for his statusss, th# group passts through th® Call# it Resales and reaches th® Faseo da Areneros, Viewing th# open country beyond th# Hospital de .jla Princess* the dust over th« landscape, th# hasy horizon, th® rosy sunset, Juan asks th# other®, "Da tod© esto una impresidn angustiosa, jr#r*td?«73 He talc## leave of them; and, contemplating am arid se#n# including th# Hospital £# Gllrigoa, th# San Martin cemetery, and th® Mbrioa jfe ©lectricidad, h# receives th# following iapr#ssiont WI tl paisaj#fcrido, unid o a la pobre- m d# las conetruccionee, a l@® gritos d© la gente, a la pesadez del air®, al calor, daba una ii&presl6n d# fatiga, d# incomodidad, d« vida s^rdida y trist© * . At th® very end of Aurora roJa a® th© burial of Juan take# plao#, R©stabs anocheciendoiw and, as thote attending th# funeral return to Madrid, nhab£a oscurocido.*^ This darknass i» a suit* able setting for th# glooa vhieh has #nt#r#d into th# heart® of th# members of Juan*s family and into the spirits of his friends t«feo realist their loss of a truly idealistic and unselfish leader.

•rmriir. .Tit. ji.luii.i'.iju. liui .. II... IJ ].„ .1 '.nu.in y^.i.i iLir..mroi .11...... j ii.i.. ..i Jim it; . m' " " r —J'J' ' ' ',rimr;Tra 11 IJ' J1 M. n.i .1 i 72Ibld.« P. 254. 73saroja, |m £2lM, p. 74 75xbid.. p. 299. CHAPTER III

SIMILARITIES II PLOT

From the previous chapter the reader acquires a knowledge »f the similarity la the settings of the two novels* When one turns to the plots,, he finds that the central idea i» the same* loth plot® are concerned with plunging their heroes, Manuel Alcazar and Isidro Maltrana, from the low social level of the poor who eat somewhat regularly to that lowest level of those who starve all too often* Then, these two characters are allowed to rise to a more stable social level, one utiere the members eat frequently and have regular lodgings. This improvement is effected through their basic intelligence, their innate goodness, and their decision to live in a secure bourgeois milieu* Although the plots hafe essentially the sane idea, they share but few episodes* Both include seme popular fairs and festivals, but many other Spanish novels also do thisr Bach has a group of boheaians# loth contain a dramatic funeral, and that of Seller Josl in horda does have some details which echo those of the interment of Juan Alc&sar in Aurora roia. In Part II, Chapter VII, of & buaca Baroja mentions two fairs, saying that in other years Leandro had accompanied

5® 52.

Mllagros «a la verbena de dan Antonio y a las del Prado*** With this he introduce® the series of events which have their origin at the annual fair celebrated upon a vacant lot on the Calle de Pasion. Hearing that hit sweetheart Kilagros and her Bother are goifeg to the fair, Leandro hays two tickets for himself and Manuel to attend* It la a terribly hot August might* The fair takes place on two adjoining lota* the lower lot is reserved for daneing, the upper one for refreshments# Milagros is quite peevish toward Leandro* Al~ though the does dance with him, she manages to leave him with her parents, while they are having their beer, and runs off with two girls# This gives her an opportunity to flirt with Lechugino, a dude whom Leandro characterizes as ttun tio . que tiene lo menos clneuenta aloe y anda por ahf eeh&ndose- las de polio*»a

Thus, at the ppfiOar fair on the Calle de Pasi6n begins the courtship of Mllagros by Lechugino, which has the ap- proval of her parents. As it progresses to the point of engagement within the next several months, Leandro suffers increasing unhappiness, frustration, bitterness, and agony* He feels "el anargor que se deslisaba hasta el fondo de su alma* *3 He tries to control himself; but finally he fates the two lovers, and when in answer to his direct question,

lB»roj«, La ba«m. p. 125. 21M4m P- 3Xbld.. p. 13k. 52

Milagros shrieks that she prefers Lechugino to ill®, Lea&dro stabs her, ia an uneontrollable fury. While he chases his rival with his opened, bloodstained knife, the people of the Corral* try to halt hi®, though not daring to get near him* the ©lards block his escape, and, his eyes biasing, he suddenly stabs himself in the left side* la Chapter X of £§ horda Blaseo refers to the fairs attended by the gypsies* Is says that during the summer the gypsy ouineaHeros {i«ho attend fairs in summer and engage ia thieving and in swindling games .in the winter) wander from fair to fair in Castile and La Maneha* The MS trade horses and mules | and the women tell fortunes and owe illnesses with aysteriotts remedies* Blaseo lists these fairs as follows! 9ks dos priaeras ferlas eraa en San Juant las de Segovia y Avila. Luego v©n£a la fanosa de Aleala, en el mm de Agosto, in Septttabre se verifiiabaa las de Illescas, Aranjuesi Oea&a, Mora, Quintanar y Belaonte. ^ T en Ootnbre eraa las Ultimasi las de Consuegra, Talavera y Torija."*' Salguero, one-oftike gypsies , speaks to Kaltrana enthusiastically of these summer fairs, "grandee aeroados do bestias que daban vida para el rest© del atfo a la gitaner£a vaga- bond*«*' He assures hia that "si no juese por las ferias, mririams eoaso las rataa."** Later he states, "Son una

^Blaseo, £& horda. p* 307* ^Ibld., p# 6IbW. 53 gloria, 4m laidra, laa talaa farlas# A aada laataata tta; ua y aa&da mm oaballarla} • * tha fair® attamtad toy gyp®i«® ara sat DI«MNI7 ta tiia plat of horda# Yhay ar« only part af Blasca' 9 brlBiao. 8m* thirty pages ara da*#tad ta an astaadad «xj>o- siti©ti, of tha gy$sy Qtmrter, GaMfereaafaa* Ga« leara® af tha dlffarant type® af i7p«lif| thair atroggla for * living* thair faailly customs. & contrast, tha Carnival faattval daaa flay a dafiaita part la tha plat* 2% ia hurlng thi® para«J«aiita& faatival that I®idro Jtaltraaa find® m% that Fall lav®® Ma* fha «aak ami tha win® drinking af th® aalaferatiaa ere necessary ta thi® diBtlattira* Xf fill had drank no mina m& had m% bean masked, aha would not haw relaxed ta tha paint #f a*» praaaSag har anger aver his mat previau®ly notlaing her interest la him* iar would ah® have fargattaa har aadaaty IHEMIiiii i|WnWH •flftMfw' jm|jtikI iUhlifflJ@lt|i Mrt |iih itoi i ii#tJii®||Jj tiia iTiirinT&rfri Jfi^JNkI' *H Mz&t#. *4See,'rf*f$ iiliuc to raiOW i* Jte&P Tti #J'm -twifi * JI€Sf juytr#-^. * ^ 1KXJMI$9

Ikii &>t %ak jit Sft .Jife j|£#i ^b->ma± + #$&w wiWm %w ^JhI Per© a# ta aofadaa* Ta dig© aata per«ia llava la aarata paasta* -y parû® antes »#a haa hatha hefcar «» poquito all£ arriha, j Fafcr# Felicianat jPabraa wijer®®! « • • lôa hîhras hahils arreglado laa aaaaa 4a tal ®®do» qme aaaatras t«ae»5»® callar- rioe y r#f®ntar da p®na al aa âa no mat adlviiiaa* Y t& • • • tan aia|a « « « qu» m aabaa dittiaguir entre^Fellclanaô laa imatetalaa it aaaaja a qua ta

fellciana^tien*»*««*#•»••*•e 1® daagrMl* a# da'* habara« * # a*« ahala® a a® pa® r tl$ * « #* 7Xbid.. p. 307. *£^., f* W* 5k

Besides the episodes of the festival*, both novels con* tain group* of boheaians* As m@ would expect, these men tend to dress alike, and to lead disordered existences, ris* ing late in the aornings and congregating in group# in the afternoon* and at night,. Pit oil @t even refer* to J^a horda a* "el patetieo relato de la® aventuras de m bohenio into* lectual flsidro MaltranaJ, Bat before comparing the b«ha» mians in these two works* it would be interesting to inspire a* to what there my have been in the background* of the two - authors to mm« them to have their heroes live for a time as boheaian*. As a boy, Blasco tbiMm was rebellious against, discipline and showed a .capacity to become a bohemian, la 1662, when he mm sixteen, he ran away itm hie atudie* in Talen* oia to Madrid, hoping to find a publisher for hi# gran novela hi.s^oa, He failed in this purpose but became a sort of 8ecretary*collaborator of Manuel Fernandas y §©nal*» lea, who had been a most popular novelist, writing thrilling tales of adventure* Baroja also knew and aduirad this "prodigioso iaagirmdor*10 who had been a member of his father* s tertulla at the Saf€ Sulao* Baroja devotes an essay in El tafalado |g Arlectula to *el novelist*ra£s ros£xt « tieo,raas popula r y mm desaliftado de Espafta . . . don Manuel

^Pitoilet, .$p,» ct.it, «, p« 24S • 10Pere* Ferrero, ££. clt«. p. 174. 55

Fernanda* y Gonailei."*1 He thought him «»ejor como poeta que coso novelista"*2 an4 was flattered when a critic wrote that mayorageo ie labrat was wit ten too hurriedly like the novels by Fernandas j Gottfttt* low, old, worn out, and half blind, Fersfede* paid young Blaeco one meal a day to take his dictation throughout &mt of the night. This they ate together each eyenlag in the Gaff A# Zaraaota. where Biases mmt torero# and aaay types of the lower Kadrilenan class* He passed his day# wandering through the streets, having affairs with girl*, attending propaganda meetings, nm. que manos ealloaas de za- pateroe, de albafTilee, de carpinteros y de otroe artfcsanoa aplaudfan fren$ticaraente la elocuencia fogoaa del estudiaa-

Finally, his mother ease and took him back to Valencia. Re remained there half-heartedly punning his studies, until he had to flee in l£$9 because of being Involved In a Repub- lican conspiracy against the government. Be went to Paris where he lived a« a boheisian in *aquel Barrio latino 4« la burnt Ipoca,^ although the three hundred franis, which hit family sent each sonth, gave him considerably mom meant than the ueual bohsmian possessed* He lived with other

^Baroja, El tablado ja ArlequCn (Madrid, n.d.), p. 135.

12Baroja, Memories, p. 91.

^Fitollst, ong», clt.. p* 36* P* 45* 56 boheaitoa in the Motelfla lo s eraade® hoabres. He read mush, wet® little, and, la general, lived la<- a wild and undiaci- plined fashion* la 1891 it political amnesty in Yalenoia brought bis home and marked the point of his turning from a lift of dissipation to one of austerity and hard work* Pitollat describes the boheaian literary groups in Spain whose meiftbers met in cafes to talk at long length about the definitive books which they would one day write, who eonsidered their group tha aola depository of *1© Ball® an arte,* and who looked with disdain m those who ware not enlisted under their banner* Than he states that ilaseo Xbi&es ha hu£do siempre de estas tertullas. • • • Creo asimismo que una de las razones • . • por las euales Blaseo tiana tal horror a los een£- culos, as la da que un ear^cter franeo y viril cowa el suyo no sa acoisodaria al ©spfritu da aale- dioeneiacy da atordaeidad que . . • prevalece an alios.ttA> Blaseo certainly had within him some of tha character* isties which go to make up a boheaian$ he was a "grand poaeur" and "at all times impatient and impulsive,"^ How- ever, his invinoible will and great persistence and industry made -it impossible for hi® to be a true bohea&an, and ha turned awayticm th a bohamian lif# when ha was twenty-four.

%d.. pp» 67*68.

n /w v yicente llaseo Ibanez,« QmUmX MtoHU (New York, 1942), pp. 149-150. f7

Baroja, on the other hand, was thirty before he settled down in Ms mother* a home and began to give up boheraian aetivi- ties. Luis S. Gram j el divides the formative years of Flo Baroja*s life into three periods. The first, from 1072 to takaa hi© through his boyhood and adolescence* the second, from 18$? to 1$94, comprises tha years ©pent on his professional education* Tha third includes hi® experiences as a physician and at a business man from 1§94 to 3.902* Qranjel states that Baroja* s industrial and bohasian life of tha third pariod art reflected in tha two novels which appeared at the and of it in tha folletln of Globo, La lucha mr |a vida and Caaino da perfecci6n. With thair publication in 1902, Baroja abandoned *«ma oeupacionas da peqmeSlo industrial, cerrandose a las seducciones qua todavla tiana para 61 la vida da boheoia,"*? and devoted himself entirely t© writing* Two other factors probably contributed to thia step* The business of the bakery was failing, and ita owner, his aunt dolla Juana Hessi, died also about this time, leaving her home on tha Call® da Mendizabal for tha Barojas. firai Ferrer© also connects Baroja* a boheaian life to tha novel under consideration in this thesis* H© writes that wla docu- mentation para astos libros j^a lucha nor la vida la extra jo

*-7iuis S» Granjalt Hetrato da Baroja (Barcelona, 1953)* p. 115. , de la bohemia llteraria, de la pobre existencla de lot obre* ros, de las aventuras y aanejos d© los anarquistas. Since both Granjel aad Ferez Ferrero believe Baroja1s bohemian activities influenced this novel, it would seem proper to examine hi® life during the years immediately preceding La lucha. After failing to make himself financially independent as a physician in Gestona, Baroja returned to Madrid in 1$95 to try to succeed at a manager of hit aunt*a bakery, until then in the hand® of hit brother Ricardo. Qranjel says of him, wal jaismo tieaipo convive, tin entregarse por complete, eso s£, eon la bohemia literaria g circle of acquaintances grew, the office of the bakery became an habitual center for "una varlad£sina fauna de bohe- slot y lunitieet.*2* Baroja divided hit interest between butlnett and literature. At first, the latter Interest found expression 91 en tu Incorporation a la hohesda isadrile- fca.*22 later# it was to absorb all his time. Qranjel

Ferrero, cit.. p. 184. 3%ranjel, 20Baroja, Memoriae. p. 229. 210ranjel, ££. slS*i P* 106. 22Ibid.. p. 107* f* quotes Baroja aa follows: 7a en la juventud era ua (man caldo microbiano para todo® los ginaeaaa de la call®, Jke£t ha aufrido trno las fermeatacionea a infecoioaes da la Spoca. Esta inelinaei^n iimata a la irida daeordenada y laxa era para mi ua peligro. El e&fe, al alcohol, al t&baco, el noctambulizm©, las horas pasadas m eonrersacione® lnteralnablea me atrafan.*-* However, these experiences were expanding Ma rich knowledge of the aoaiaty of hla day* As Qranjel aaya, he waa at that time an waaigo da bohesioa, da tlpos faiitasticos, ingenuoa o atfisados, miembro® todos da ma autentica hampa antra literaria y plcaresea,B2^ Than, in direct contrast, Granjel proceeds to ahow that Saroja ©a repeated occasions denied that the name "hohaaiaa* might ha applied to him* E@ reports iaroja as saying, nMmchas vtces a mi ate haa dichot Usted ha. sido an bohemio, ,»verdadf I® aiempre ha coataatado que no# Podrl wao haber vivido ma vida mas o menos deearreglada em una £poca; per© y@ no ha seatido jamli® al aepiritu da la bohemia."2** Baroja felt that there ma almost no boheatiax* life in Madrid* that tha social atmosphere ma too hitter for it# Moreover, ha aaid that there vara no mmm among "aquellos j&vaaas

23Baroja, fltrlna plntoresca (Madrid, 1935)» p. 252, 2%raajal,

26 vanidosoa, agolatras y comidos por al rencorf* Baroja also vrltn thtt thwi pi wdow bohisiw# > lickiaj *®®'® and tha means to prorida for themselves many nacaaaitiaa, Hfcad to Andar por laa ©alias y pla$a® haata laa altas horas da la nochej antrar an una buMoloria y frataraiaar con al hampa y con la ehulaperia desgarrada y pint©raaca, : . . hafclar m ©Isle© y en golf®, y luago, con la imprasioa an la garganta dal aeeitt frit® y dal aguardiant©, ir al aaaaaear por laa ©alias da Madrid, baJ© ua cielo opacs, com© m cristal esmarilad©, y sentir al fr£o, al eaaaaaei©, al aaiquilamiant© dal trasnochador. ' this euBtoa of roaming tha desolate auburba, ndonda la eiudad

2d vicrte aas mistrlas a ispmrlfiea el ta»pof® aanrad iaroja wall, whan Me was filling in the background ©f Ms trilogy, lia ittcha por Jjt vida« After that® axcuraiona, Baroja fait a raaetion of remorse. It axplaiaa, »Eaal»ante, ao si ®i ©ra remordimiento © apraaai&s da ponamta t&l©i © ai®plawaota axeaao da &©id© elorb&rie© an al aatisagof par© la vardad era qua at saatia «a© daatontaat© y eanaado,*29 Karartha- leas, ha raports that Bal d£a siguiente volv£a al ®afl» al caatro da ©parauioaa®#*^® A faw lines further, ha say# @f behania. "Sua priaeipalaa puatoa da rauai6a araa loa

^Qranjal, ££# clt.. p* 10$ • ^Baroja, M&aoriaa, pp. 121*322*

2*Granjal, pit*. p. 10* •

2^Bar@ja, Memoriae« p. 322# 61 cafes, las redaccioaes, los talleres de pintor y, a vece®, las ofieinas.w^" La horda presents two gatherings of bohemians, Th© first meets at night at the Foraos Restaurant and is made up of those of the middle class and ©f lesser talent, Slasco says they adjusted themselves to wua figur£n profesional: largas cabelleras, grand©s sombreros, corbataa aapliaa y sueltas, o apretadas eon innumerable® rosea# sobre xm cuello de camiaa qua las rosaba las or«jas.«^ 7he second group meets in the afternoons In a bar and consists of upper-class poets, including two marquises* They do not resemble the first group in appearance, and they have had soma success in print. "Vestfan con elegante atildamiento; aegu£an las aodas an sua aayores eageraciones, La® lacias laelenas brillantes de pomada eran la unica revelacion de sua entu- slasuo© lit@rario«,w33

There is but one group of boheaiana in |»a lucha por la •ida» Manual becornea a silent member when he begin® t© model for Alejo Monsson, a sculptor who appears in Mala hierba and whom the bohemians call Alex, Actually, Roberto Hastings refers to hi® earlier in £a buses when ha talla Manual that he is sharing hi® living quarters with a

31Ibld. 32-Blaaco, La horda. p. 62. 33lbld.. p. 63. 62 sculptor.34 The dress of the** men Is not given, but Alex ha® a thick black beard and one of the members i® described as *ua nelenudo."** This group inttdic Alex* s garret is the afternoons in considerable nuabers, and all begin to talk at the top of their voices. They are very informal* they roll up their sleeves and model with Alex1a clay as they talk* One, Bernardo Santim, habitually addresses a person with the intimate pronoun the third or fourth tine he.is in his company# After the soenes at the studio, Baroja says, "Los conoiliabuloa en el estudio ds Alex se eonoce que no basta* ban a los bofaemios, porque de noehe volv£an a reuairae en el eaff de Liaboa."^ Uoberto Hastings summarizes the chief occupation of the bohemiane with his statement to Manuel, *Isos quieren haeer de golpe y porrazo una obra hermosa y no haeea sis que ha* blar y hablar.*1^ They do not do any consistent work. It is not that they are altogether lazy, but they are like Alejo Hon*on. iaroja analysises him as follows: Ho era el escultor peresoso, ni aueho acnes.

fae apareeiendo con m£a fuerza, las dejaba sin tenai- nar. Su orgullo le hac£a creer despufcs que 61 modelar txactasiente un braso o una pierna era una

^Baroja, busca. p. 190. 35iaroJa,ffala hierbft , p. 16. 36^id., p. 22.

37Ibid.. p. 23. 63

labor indigna y decadents, y sus ai&igos,, en quienes se daba la u&sma iiapotencia .para «1 trabajo, corroboran [sic] su Idea.38 Instead of using self-discipline to accomplish some- thing, these men artificially blow up their agoa. Alejo shows his sculpture, "figuras espantable© y aionstruosas,w39 to Manuel. Of his group called "Los Explotados," which represents toilers exhausted by their labor, Alejo says una- bashed, "Tiene la rareza de todo lo genial. To no se si habra alguien en el aundo capaz de hacer est©. Quiiii Rodin.He explains that his figures do not possess "la estupida correccion acadlmica tan alabada por loa imbeci- les because they are all symbols. He closes this exhibition with the statement, "Si Alejo Horizon ao triunfa, la esculfcura en Suropa retrocede cien anos,n^2 After modeling for Alejo for some time, Manuel comes to think that "las teorifas del escultor, was que convenclradentos suyos, parecfan pantallas para ocultar sus defectos.11^ The group in La horda which met at the Fornos Restau- rant was composed of futures genlos, who had written nothing but intended to create. They were all as ignorant as Isidro but were "convencidos de que darfan que hablar stucho a la

^^Xbid., p. 20. ^%bld.f p. 18. 4°Ibld. UIbid. ^2Ibid. ^3ibid.« P. 20. 6#

Historla**^ "Con los ojos m bianco, tr&nulos de admlra- ci6n," they revered those poet®, *cuya obecuridad y escasa ©braR were, according to them, base» for' a judgment of groat merit.This reasoning supported their exalted opinion of their mm meager products. One of the earmark® of these groups is their malicious criticism of one another. Baroja writes concerning their discussions in Alejo's studios k traces una alusiSa embozada, un juicio acerea do Sste o del otro exasperaba a todos los de la reuni6n de tal sanera, que entonces eada palabra tenia un retintin rabioso, y por debajo de las frases mas senoillas se notaoa que latin el odio, la envidla y In intenoi6n aortifioante y agresiva.^® When they net at night at the g&fl. de Lisboa. *er«n casi todos ellos de males iastintos y de aviesa Intencion. Sea- tSmm la aeeesidad de hablar aal msos d© otro®! de injuriarse, de perjudicaroe eon sus aaquinaciones y sus porfidiae, y al ralsmo tiempo necesitaban verse y hablarse."*7 ll&seo also points out the boheiataas* biting criticism of each other* When Maltraaa tired of the lower*class bohemians at the fornos Restaurant, be began to attend wtma pefra de verdaderos escritores. Grandes poetass . » » gente que ha estrenad© con Sxlto#*^ in his presence w#e murmuraba

^Blasco, 2a hfty^f, p. *2. 45Mi*» P- ^3. ^Baroja, Mala hierba, p. 21. ^7Ibid., p. 22. ^Blasco, La horda. p. 63. 65

» . . de lot aueentec, . • . canblando el g&iero de sua sombres, haeiIndoles fmmtnmi9 for example, WI»® Enriqmeta eree tener talento, y m wm ffregona" t.nd "La eomedia de la Pepa no val# nada • • *w^ Besides directing their venomous tongues against their friends, the bohemians engaged in a terrible, destructive criticism of literature. Baroja writes that T,hab£an cl&si- ficado al munde* Tal, era adnirable; Cual, detestable; H, un geaioj B, an imb$cil. Mo lea gustaba, sin duda, las ma- dias tlntas al los tSmlaos medio®; parec£an Irbitros de la opinion, Jusgadorea y sentenciadorea de todo^O first group of boh«aiane with which Maltrana was in touch, Blase© says that Todo 1® eabfan aquell&s criaturaa, a paaar da . sua pocos aSSos, como si al eogarise al paste it la nodrisa hubiesen toatnsadft a hojear al primer libro. Sua Juieioa reeonaban terrible*, inexo- rabies, eonc£®o®t capacea d© hacer teabiar de pavor las Mesas del eaf£. 6asi todoe las escritores eapaSolea eran a timest besugos. o peroebest iner® marftimo

49IMS*> F* 64. $°Baro4a, Mala hlerba, p. 17« \ ^Blaaeo, yt horda. p# 62, 66 dislike of the ateabera because of some 4 ©feet he played m thesi. Inventing the names of books and authors, he ltd lea geaioa into traps of &&aiasi#ii that they not only knew th# work* In qpaatiea but ids# gave talles do eva belleaae y defeetoa**^2 After lie Joined the second group of hohestlana, he «ms realiaed that theae people toe ted little ««rt^ and that "todea estabaa mas unidoa por las fjtamtlo&ea Ml guato (pi p^r la tteiwlfe Utwitfiif *59 ilfthanrit 1% ia tfi>« that «h«n Blase© make# hilt hero a member of bohemian sr©upa he increaeea the point* of Bimi-

5® Jte tffcMteijK si&iik im rat afetf .Jfe*. *a*-^ ..n- ..^ ^ ^a... JSt THT Ai *inai itnft J£ HH&, m m iii *»> riiti 'fi- iieo-^t Jl n® -dtittJC ^.r liiWi imiitit • "*-• ,m Mitffr iUHPipy II9fWfc4BI M&Xt*3T4!tfMI 18ft S McSIMU» 4EMMI ttttjff nevertheless, refute a charge of pl&g&rim by •ayfctf tot ftwy witer of the period sight have inoluded b^M»i»Bg Iji hia atory* Ho«*everf one may not be a© ooafMent in rejecting thia charge, tshen he considers the eiailarity between the funeral© ia eaeh novel* Beaidea the oaqploalve undercurrent preaent on eaeh eeeaaioa, there ia a eoineideaee of detail which gives pause for thought. the funeral# of

^Baroja, Aurora roia* p. 297# 68

• , El cemento es polvo de la carretera, las paredes son tabiques, las pilastras estan huecas . . . T por tres o euatro pesetas esta»oa allx centenares de horabres honrados con la muerte «n 1® garganta, mientras los culpables hacen vida de grand®® senores.55 The masons donate from their meager income to pay the costs of Jose1 s burial* They plant to use their noon rest to attend the funeral en masse and to convert it into Runa pro- testa contra las rapinas de los podoroao«.n^ When the working men and the washerwomen gather outside the deposito de cadaveres, the latter are particularly noisy and insulting toward Madrid, saying, "[Ladrones! jladronesl . . . latan a los trabajadores para haeerse rieos# * • « Sol© les imports el negocio, y los pobres que mueran ©oao perros.*^ Then they turn to the working men and insult them with coarse words, calling them n,'Calzonazosl* Some fiery-eyed men also reproach the masons with their inactivity in protesting their exploitation, w;Armast -armas! . . . T para que las querela? Iso no sirve de aada. j Dlnamita, me caso mm Diosi

•(Bofflbas de dinamital"^ Although anarchism is not a feature of La horda, it was the anarchists who were using dynamite bombs at that time* There are several similarities in the two funeral pro- cessions. Both the corteges begin with a red flag*a being

55Blasco, La horda, p. 227. *6Ibid.. p. 262. 57Ibid. 58IWd.» p. 263. pjt over the coffin. In Aurora ro.1a> "un aunig® de Prats echo ma bandera reja encima del atatfd y es pueieron todos m »areha«*59 The coffin is tarried first by four of Juan*a friends, then by four women* and finally by & hears## In Jg horda* Jos!1a fellow worker# nailed down the.box and cohered it with »1* bandera roja dt la asoei&eifin.*60 the bier began to more through the crowd, carried nea hoabroa por un grupo da albaEiles#®^ When the procession in Aurora roJa pas®#0 la® Tentas on the Caaino del Est©, a couple of aunicipal guards step out »por detr£s de eada lorna," and near the cemetery there is even "un piquet® de guardias a caballo."*2 Theae men appear to siake sura that their warning, to Manuel in headed and that there is no public demonstration by this group of anarchists* la jy| horda. the police halt the procession at the and of the Puente de Toledo and bar ita further advance up the Calle de Toledo* A captain tells the siaaona that they cannot go through the city to reach the Salle da Alc&l^.* Id* ate&d, they say continue along the Paseo de las Acacias, going around the city proper, by the encircling boulevards} alto they could do "todo lo que quisleran, gritoa, lloroa, aelassa clones, todo, menoa deafilar por laa calles de Madrid

59^roja^ Aurora roiiu p. 29$. ^Blaaoo, £& horda> p# 264. 62Baroja, Aurora £&L&* P* ?0 y que In genta del mntm prosendase el •r.Uwra, eon « »%slt® 4# joraaleros qu« pedlan vengaasa.*** flars.th* similarityfestwvtn th s two funerals tads* thw» 1* a dtam&tie contrast between the final sctftt-df ths two burials* The libertarian, speaking for the anarchists in Amm r«.1a aslcst some bitter r««rk» at the gs*?«itid«f and the workers* In accordance with his final plea, %mm the graveyard in small gr«aH and return to Madrid in silence* In |& horda. a black wg# that looked Ilk# a shroud, la waved over the $tm of heads la aiaiwef to ths ultiaatutt of too police* Women seise the comers of the coffin and push the bearers so that thoy break into the rows of polios* The latter draw back to also draw their swords* Ttoa mmp&ft do not Irritate the aob as sruch ae the Em freua the sticks * of the secret police, idio, In civilian clothes, have Infill tr&tod mag thaw* The younger fellows with herole osqpras- slons shower the polls# with 9tonssf bricks, tin cans, even old shoes* The captain answers this audacity by firing his revolver, thereby jiving the algnal for his nan to ahoot at the baeka tf tho fitting crowd* Xaidro is left sitting crouchod over the coffin* It is uaharsed by th« polios fee* cause they judge from hi# clothes that he acuat bo a gentle~ mm and not one of the vor.king-'CXass Mb*

63Bla«co» M llS&fet P»- 265. 0MPTEE If

SXKIURXTIES II MAJOR CHARACTERS

the reader has seen that the similarities between the plots of hqrda and La luchj £gr le. «• «*»• ber. However, the same statement can not be made after one comparts the characters of the two novels* The major characters have m&nj points la common, and among the minor characters there are a number of likenesses. This paper will not discuss all the characters of th© novels but only those of £& lueha por la vida which seem to east a shadow in Is hordft. Of these the two heroes are the most alike, loth Maltrana and Manuel Alcazar have native intelligence and come fro* the oppressed lower class* When their mothers die, they have to give up their ohanoe for farther education and have to leave the security of their boarding houses for a life of extreme poverty and hard w©xfc* Both are not strong physically{ both are kind and humane toward their fellowmenj both listen to their consciences and have a natural aversion to coarseness and bestiality| and both suffer from lack of will power. This combination of characteristics is not the one usually found among people in their class*

71 72

There Is a contrast in the early living conditions of these two men. The economic situation of Manuel's parents was fairly comfortable. They had rooms on the Call® de R«- loj and took in two boarders. If they had not quarreled so much, their life might have been quit© pleasant. Even after hi® father1s death Manuel still lived with some security, for his mother sent him and his brother to live with her brother- in-law in the province of Soria, while she became a domestic in Dona Casiana*s ca.sa de hulspedes. On the other hand, leidro* s parents existed with very little security in a crowded, barrack-like, tenement housing unit, having "una lus triste y fatigada que v@n£a de 1® alto, ©nturbilindose al resbalar por las pa redes grasientas, al filtrarse por eatre las ropas astrosas peadientes de las galerXas."1 They sat down before «el hondo plato, en el eual volcaba la madre el pucherete de los dim de abundancia o un pobre guiso de patatas al final de la seaiana.The quarreling and the coarseness of the neighbors reflected nla vida adusta e ingrata,which was theirs. The on® thing which Isidro liked to recall from this period of his life was "Capitan, un perrillo, feo y sucio,"^ who slept with him almost every night. After his father*s death, Isidra, his mother, also became a servant and brought home each night

^Blasco, La horda. p* 41. 2Ibld., p. 42.

4 3Ibid. Ibid.f p. 44. 73 the remnants of her dinner to feed the boy. Before long, her mistress had the small boy admitted to the Hospicio* so that the mother might spend more time on her household du- ties. The formal education of Kaltrana was quite different from that of Manuel, Dm© to the continued support of his feenefactress, he received his baehillerato and moved to live at her house during his university training. His sheltered • life in the Hostdcio and the easy# peaceful life of study in her home were certainly not a suitable preparation for the hard life of the lower class into *Meh he was plunged Bid- way in the progress toward his doctorate, when her protec- tion was removed by her death. Birth was the only thing he had in Qoanon with this class. His education in a different culture disarmed him for the struggle within the poverty- stricken class where he had to procure his food, Manuel, ©a the other hand, attended the village school at Soria only two years before his uncle returned hia to his mother to learn a trade, because he wastt revoltosoy dis» colo*5 and was wasting his ti»e, When Boflm Casiana refused to keep him as a helper because of a fight which he had with one of her boarders, Petra, hia mother, decided to find hi* an apprenticeship. Before her death, he had worked in a cobbler* s shop, in a bread and vegetable stands and in a bakery.

^Baroja, £& busca, p» 21, -M ^ n

Whan on® analyzes a man, one must exsalae those who precede him, Ma parents. Baroja and Blase® tooth devote suffl- cient tiae to the parent© of their heroes, Blaseo even going back to Jaidro Maltrana*s grandmother, Senora Eusebia. loth heroes were »or© Influenced by their mothers than by their fathers. This la due partially to the early death® of the fathers tot ehiefly to the stability, the force, and the will power of both the mothers. Besides originating frost the same social class, Kanuel and Isidro have a like inheritance fro* both thair parents* An examination of the characters of the mother® reveals that they were vary industrious and dependable workers who mated their sons to have aa education and who were rewarded by having the comfort of thair sons' company in their last illnesses* The reader meets Manuel*s ©other Petra at midnight in the kitchen of the £e hugspedee. Baroja describes her as followsi "Era una aujtr flaca, oacllenta, con *1 peeho hundido, lo® brazos delgados, las aehos grandes, rojas, y el pel© gri®. SormCa con la boea abierta, santada ea una sllla, con una reapiraei6n aahelante y fatigosa**^ le Intro* duces these physical details to emphasise her haalth and to foreshadow her death froa tuberculosis. She is sitting up asleep with her head resting against the window frame,

6Baroja, £& busca, p» 11. n overcomefey th e fatigue of a long day's work. Ihen she awakes and retires to her room, a dingy, stifling hole, tired as she is, she does not neglect to road *ua instante en m lifer© de oraoiones, susio y nugriento, con letras gor» das"? sad to repeat several prayers* However, her character Is not without blemish, Baroja depicts her a# *voluntariosa, eon apariencia de hmailde, ds una testarudeg d« aula#®^ She enjoyed nagging and opposing her husband* She would irritate him until he beat her and then "satisfecha de tener un aotivo suficiente de aflieeKtaf as sneerraba a llorar y a resar en su suarto,"* On the death of her husband, disliking the location of her dwsllii^, her stubbornness caused her to ignore the advice of her old boarders, to move to other lodgings, and to take in mm boarders who would not pay. is a result, she lost her fur- niture and had to separate from her children and besoms a servant. As Baroja says, »Se araa pas6 a criada, sin *ue- jarse. Le bastaba hablrsele oeurrido a ella la idea para eonsidararla la aejor*®3^ Petra did not wish Manuel to take after her husband but to be wcoao ella, humild# con los superiors®, respeotmoso eon los sacerdotes***"*' Her educational method was limited v . p. 12. ^Ibld., p. 21i 9Ibld. • p. 22. 10H>ld. timid.. p. 37. 76 to making Ma read prayer books and to giving hia an occa- sional slap, She herself was always meditating "en @1 del© y ea el isfierao', a© se preocupaba gran mm de las peque- Seee# de la tierra,w12 Therefore, she was poorly equipped to shelter him trm the rough, coarse life of the 'hoarding house• Although she did not seem to be a good teacher^ her example wis good, and in the end its influence bore fruit, for he repeatedly returned to the "good® path after straying into »bad» nays. Toward the end of ]& busca. after Hiring with the %m wild fellows, fidal and Bizeo, for' a time, Manuel is dejected, iaroja writes, —To no sinr® para esto—se dijo [Manuel] % ni soy un salvaje com© el Bizco* ai un desaho- S&lljEfr Q0I&0 IF «$«dUtuL« # 4 # S En el interior luchaban ebscuramente la tendeneia de su aiadr®, de respeto a tod® 1® estableeido, eon su iastimt© antisocial de vaga- bundo, amentad© por sm elase de vida. —fidal y el Bi*c©-"-«e dijo—-son nigs afor- tumados que y©| no tienea vaeilaeionas mi reparos; se han lansado • • • , _ ?m&6 que al final pod£an enoontrar el pal© . o el presidio | « * •" Isidra was a ragpisksr* ® daughter who, wanting to leave her home district, married a bricklayer. She was a loyal wife and a aost attentive mother* At mealtime Blase© says,

«Su isadre apenas eoaiaj s61o se oeupaba de $lf • • » Con el instinto maternal de los pajaros, tenia

*3Ibid. t p» 206» 7?

i & por su pie© antes de que lo tragase el pequeffuelo# Being modest, she was shocked at her husband*s familiarities in public, and she endured Ms drunken beating® with silent weeping. After his death, she get financial help from her relations who lived in Tetuan and the Hastro and the Aaerioas* When this diminished, she had to take work as a servant* Her mistress had "la mania de la liatpiesa, y . . . apreciando eon honda siaipatfa a la Isidra por el brio eon que apaleaba las alfoabras, frotaba las maderas y sacudfa un polvo isa* ginario que pareefa haber huido para eiempr®, asustado de esta rabiosa pttleritud.*^ Isidra always visited the boy in front of the Hospiclo on those days when the children were taken for a walk* Both of these mothers wanted their sons to have an education* When Manuel first arrived in Madrid, Petra hoped Wque el muchacho se eonvenoiera de que le convenia mis estudiar eualquier eosa que aprenier ua oficio.**^ She finally persuaded BotSa Casiana to let Mm live in the house to run errands and serve seals until the end of the vacation season when he could resume his studies* This plan was working well until he returned the blows of one of the boarders who assaulted hiiu Then the landlady decided he had to go, and Petra apprenticed his to her husband* s cousin, a cobbler,

HBlaeco, La horda, P. 43. P» 45. l6Baroja, J& busca, p. 29. 7$

laidrft was so filled with pride at Isidro* s scholarly achievements and with hope for a. brilliant future for Ma that she would not marry Jose, They had begun living together because they were both lonely and beearns® she needed rac support, sine® her work did not give her even enough to eat* Blaseo says that "viv^gn «amontonados»»-palabraa de las vecinas—, sin que esta situaci^n Irregular produjese el ateaor eseandalo en ua easerlra donde la miseria favorec£a promiscuidades merecedoras de mayores repugnancies."17 Jos* however, *en su acatamiettto auperstieioso a tod© 1© estable- cido,w^ wanted to get married. Isidra was afraid that if they did) the Hosplclo might expel Isidrin when they found out he had a father to support him. Also, she would not let Jose come to her mistress* house for fear that Xsidrin1 s protectress might become angry if she discovered their un- married state* She unselfishly saw less and less of her son as he continued on the path of becoming a gentleman, and after the death of *la bueaa daaa® she wanted him not to ewe home but to stay in a lodging house, As Blasco comments, n. . . un sabio com© €1 no podia estar en un casuch^n de las afueras, eatre albaSiles, obreros de la villa y vagabuados#"^ She clung to her belief in a great future for her son* hoping "que Iste saliese para siempre del cireulo de miserla ea que hab£a nacido .1*20

17Blasco, La horda. pp* 5&*51* **£&&•» P* 51. *9lbld.. p. 59. 20Xbid. 79

Both son® prove their devotion in the final illness of their mothers# Manuel learns that his mother is quite ill and unable to get up# For some time she has ignored the blood she has been coughing up* When she developed a high fever* she ms forced to call the doetor. low she complains of nun magullamiento grand® en todo el cuerpo j de dolor en la espalda."2^ The landlady told Manuel that they needed to take her to the hospital, but, as Baroja says, "como tenia buen corazon, no §e determine a hacerlo,"22 Petra* s daughters visit her from time to tine but do not bring money for nedicines or special food# Manuel stays by her bed to look after her* He brings her things she asks for, and he calls for extra help when it is needed. Finally he sees her die and spends the whole night alone beside her body, a very sobering experience for a young adolescent*

While Xsidro was living as a happy university studnmt on the three thousand pesetas given him by the heirs of his "buena dama" to finish his degree, life in Josl and Isidra's home was going from bad to worse# Josls was idle for weeks at a time, and their eleven-year-old son Pep£n,could not keep a job as an apprentice because of his impudence* To oak© a little money Isidra began to help a laundress. Blase© describe® her work thus: "en las «s$tan&® de invierno bajaba al r£o desfallecida d© harabre, temhlando al contacto del agua

21Baroja, Is. busca. p* 177• 22Ibid*. p. 176* go su nleero esqueleto eubierto de piel."2* Finally she eaught cold or paeuaonia, and two laundresses had to halp har to the hospital* There Xsidro saw his mother "en la eana, eon loa pomulos earojecidos, la piel ardorosa y los labios violiieeos, exhalando el estertor da sus pulmones congestioaados# He felt ashaaed to see her in a oheerleas ward and had her re* moved to a private room. He spent the afternoons by her bedside "eseuchando SKIS eonsejos, alentladole en sus esperam* iis,"^ Biaseo remarks, nL& enferaa muri6 a los trea aeses, despuis de habar abierto gran breoha en la exigua fortune da Meltraaa.*2* The fathers of Manuel and Isidro were workmen whose hard work and difficult lives coarsened and brutal!sed then. In neither of them do we see the Intelligence or the kindli* ness whieh developed in the sons. Both fathers died suddenly and away trm hose while the two boys were still . small* As young men, they were apparently attractive enough to persuade decent young women to marry them, But before many years passed, their hard lot brought then on payday sore and sore often to the comfort of the tavern,> and exces- sive drinking poshed then to harshness toward their families and even to the brutality of wife beating*

2%laseo> |||. horda. p. 59* 2%bld», p. 6®. 2*Ibld. 26Ibid. Il

Manuel Alc&zar, the father of the hero of lueha ggS la vlda. had been nun hombr© energico y fuertd,"2^ but to- 2d ward bis last days he became Kiaalhum©rad0 y brutal." He earned good pay as a locomotive sachinist, but Ms hone Ufa was Ml of terrible quarrels with Petra. Her systematic nagging inflamed bis temper, causing him to smash the furni* ture and to beat her. Baroja says that *entre el alcohol, las rabietas y tl trabajo duro, el maquinista estaba torpe."2^ One extremely hot August day be was found dead on the train roadbed without a wound. Apparently be wither died as a result of the fall from the train, or he fell because of a heart failure* Isidro's father is not named. Like Manuel*s father, ho worked very hard, but he did not aake as much, for h# was only a bricklayer. We have three pictures of hi#, at his daily lunch, on Sunday picnics, and drunkenly boating his wife* Xsidra brought his lunch to whatever construction he was helping to erect* He ate it greedily, "devorando 1© mejor del plate* Ho paid no attention to the baby except *al beber lasfiltimas gota s [del vino] Xsidro remembered his father*® good nature only on their today picnics. Usually his father appeared to hi* "eol&rico, con 27saroja, & buses, p. 21. 2%Mi* 2?Ibid.. P» 22. ^llasco, JLa horda. p. 43. $2

la v@g ronea y el rostro congestionado, oliendo a vino, arro- jindose con los puKos levantados sobre la pobre mujer,"*2 He fall from a roof on which ha was working; and, after being carried to a hospital, diedtt tras una agon£a horrible, magu- llado y desheeh©*11^ It ia true that the father# had little influence on the two heroes due to the fact that they died when the children were quite young, However, the two boys did have the benefit of good masculine example. This ease fro© two men, Sefifor

Cuatodio and Setter Jos4t who were foster fathers to them In apirit, although not legally so. They were good men, much bettemthan their natural fathers were, they both believed strongly in the principle of order, had pride ia following the path of virtue, and gave shelter and advice to the two young men.

After two months of very hard work and little rest in the bakery to which he was apprenticed, Manual fell seriously ill. He lay two weeks in a delirium ia his mother*s room and was allowed by Dona Casiana to recuperate in the casa de huespedes. This happy interval was cut short by his experi- mental courtship bf her niece, which resulted in his being thrown out of the house. He had no place to go, and soon afterwards he lost his mother. Still an adolescent, he took up with ragamuffins and tramps. Occasionally he made a few

3ZMA*» PP« 43-44. 33Ibid.. p. 45. 05 pennies its a delivery boy. Whenfee ha d not a c^ntiffio. he at* at the aoup kitehena of tha public barrack©. After a weak apeat aXeaping la tha open, ha waa influenced by Biaco and Vidal te join the* la their oaraar of thieving. Thay would • aaXX theaueXvea Saeiaiad & |£§ fraa* Beaplte hla acruplee •f aanaaienae againat thla unlawful nativity, ha a pea* a aunaar with theau Their miade&eanora were "aodeataa roboa I da loa XXaftadoa par loa prafeaionaXea al dtamiMo.1^ Alae thay eaXXaotad oata to have aomething to aat and t# aaXX tha akina in tha Baatro* finally» thay robbed an empty houaa and gat thoroughly frightened la the bargain. Biaco* a baatiality dieguated tha athar two boya aa much that thay dealdad to Xeave hla and to sake a living with tha thaatar claque, W&m winter e«ia, Manuel had no pXaaa to aleep, and tha ooXd waa baeoaing aavere* Tha filth of tha hoXaa where ha aought ahaXtar and the axduaaXian of tha outeaata with ha waa throwa diaguated him m aueh that# ha ms daa* parate* Zt waa than that a ragpan, Stflor Cuatodio, found his aarXy ona naming naarXy frosan and trying ta aleep in a - hole af an aftfeantaent* Ha offered MM work in exohange far food and ahaXtar* ManueX accepted partXy baaauae of hie daaparat® plight but aXao baaauae of the impression made by Sefeor Cuatodio. Saroja wrltea that "tenia faaha da buena

2 3^iaro|a# M lp*j»» P* °7« persona."^ Ha had an old cart "coapuesto con tlras de plei- tan^^ and drawn by two donkeys* Hia dog Revert# la described as having "uaas lanas araarillas, iargas y lustrosas, un perro siapitio© que, en su clase, Xe pare©16 a Manuel que debla aer tan buena persona coiao am gf xived on; a city dump ground between the Segovia and Toledo bridges in a hovel which was the largest in the neighborhood and had a yard with an adjoining ahed. There all the collected items were ar- ranged methodically and neatly and kept until he found an advantageous sale for the®. The animals la the corral, the cat, the hens, the gig, and the donkeys had a satisfied air, Froat Seior Custodio1 s establishment, Manuel got an impression of ugliness but also of tranquillity and security, two conditions with which he had had little experience in the past* In the mornings Setter Custodio had a fixed route for collecting junk and was very thorough in his pickings* "Las hojaa da verdura iban a log seronesj el trapo, el papel y los huesos, a los sceos; el cok Medio quemado y el carbon, a un cubo, y el estl&rcol, al fondo del carro*1^® After sorting their accumulation of the morning, Manuel and SefTor Custodio would wait for the dumpcart® fro* Madrid and would separate this refuse on the spot, "los cartones, los pedasos

35lbid.. p. 22«. 36lbid,

3^xbid«, p* 234* *$ da trap®, da criataX, y da huaao*"** to the aftarnoou. Sailor Custodl® wouXd ooXXaot manure from a atabXa in tha Arg&aXXaa diatriat and taka it to tha orchards on too Kanaa- naraa. Baroja say§, "AquaXXa vida toaea y huaiXda, auataa~ tada eon Xoa datritoa dal Tivir rafinado y visioM) * * « antuaiasaaba a Manual#11^® Ha wiahad to iaitata Safior Cuato- dio j ha thought ha would ba a happy aan to hava much a hut, a aart, donkaya, haaa, a dog, and la addition, a voaaa to Xova hi*. Safior Cuatodio not only infXuancad Manual k Making his •want to aohiava hia finaneial aaourity, but acma of Ms atandard of raluaa aad hia reaXiatic eowaoa aaaaa rubfead off on hie. Saroja atataa that "Manual, qua aolia habXar nueho ooa «X aaBor Cuatodio, pudo notar pronto qua «X traparo ara, aunqua ooaprandlaado lo tnfiso da au aondiai&a, da ua «rg»* XXo axtraordinario, y qua tania aoaroa daX honor y da Xa virtud Xae Ideas da un aatfor nobXa d# Xa M&d Th® author aaya that Sailor Cuatodio waa *un ho&bra intaXigpnta, da 1mm naturalt®, ?MJ obaarvador y aproveohado.S« • eouXd aot raaft or writ* but waa vary atta&tiva to tha n*wa~ ptpar# which h# would hara KamMl rm

39IWLd.. p. 235. *°ItKl.. p. 237. 41 Ibid,• p. 2U. 42Ibid., p. 239. m

de tin instinto de sensatess y de buen sentido."^ His realistic criticism cut short any attempt of Manuel* s to defend "una tesis rom£ntica e inmoral.*^ In addition, he had two fixed ideas. The first was to use on the fields of the suburbs all the manure then being wasted and to have them irrigated by the Manzanares and the Losoya, thereby producing gardens and orchards everywhere. The second was to reclaim used material. frCre£a que se debfa de poder saear la eal y la arena de los cascotes de mortero, el yeso vivo del ya viejo y apagado, y suponfa que esta regeneracidn darla una gran cantidad de dinero."^ Manuel fell in love with Justa, Custodio's daughter. She, after cruelly leading him on, became passionately attracted to el Carnicerfn. Manuel then thought of leaving Selor Custodiers housej but, when Bizco suggested that he again join him in robberies, he refused to go, Baroja comments, "Las ideas del seftor Custodio habfan influfdo en Manuel fuertementej pero, com a pesar de esto sus instintos aventureros le persist^an, pensaba marcharse a America, en hacerse marinero, en alguna cosa por el estilo."^ tfusta*s betrothal was disappointment enough, but Manuel case to feel further separated fro® the family through an invitation to a bullfight extended them all by el Carnicerfn.

43Ibid., pp. 239-2Ifi. W-Jbld., p. 240. ^Ibld. ^Ibld.. p. 250. #7

Somewhat to his surprise, Manuel found that he, alone out of their g&mPt sould not stomach bullfighting and had to leave the arena before the conclusion of the contest# the specta- cle seemed to him "una asquerosidad repugnante y cobarde,* and he thought that "aquello no podia gustar mis que a gente como el Carnlearin* a ehulapos afeminados y a mujersuelas indecent ee."**? Jks the summer went by, the preparations for the wedding depressed him even sore* His complete break with Custodiers family eaae in Sovem- ber as the result of his treatment at the wedding of one of Justa*s ahopaates# Manuel was sent by the parents to escort Justa and to bring her back before nightfall. When he tried to get her to leave, he was manhandled by some of the guests who were friends of el Camieerln. His despair turned into a mad rage, and he fled toward Madrid, determined not to re* turn *a easa del se&or Custodio aunque se auriera de hambre.*^ He does not meet this friend again in the trilogy, but he does find Jueta in the last part of Mala hlerba. fhe effects of her father*s influence on him are seen as he matures, when he rejects extreme actions and ideas and makes realistic, balanced decisions. It is true that Manuel was exposed to good example®, from his mother, fro® SeSor Ignacio, the cobbler with who® he began his apprenticeship in the trades, from Roberto

47Ibid., P* 254. 4*Ibld.. p. 257. m

Hastings, who preached the importance of a strong will, and from SeHor Custodio. However, most of his contacts were with people who ranged from coarse and selfish to criminal and even r. to horribly evil# therefore, it can he stated that the good people had a greater importance than might have been expected from their number* Their teachings no doubt met a responsive chord id thin the boy's spirit, and they helped him to reject evil* One feels that Without them the terrible environment would have completely rained him. The same Imbalance of good and evil is not found in the background of Isidro. He spent most of his formative years in the Boaplelo where he received the affectionate regard of his teachers and the discipline necessary to make him an excellent scholar, lis mother gave him the best example and encouragement within her power* "la devoci6n fetichista y estrecha"^ of his benefactress was tempered by her sincere i feeling for the young man* the other good influence in his background was Seftor Jose. He was a quiet, sober Aragonese, who was gruff in manner and frugal. 4s a soldier, he had served abroad In the colonies and in the civil guard at home. Blasco states that the army had molded his thinking, so that *de sus arfos de discipline guardaba un gran respetp a todo poder fuerte, un habit© de sumisi4n, que le hac£a acoger las contrariedades con inquebrantable bondad."50

^Blasco, La horda. p. 54. P* 49. S9

Isidro knew Jm& even before his father's death, for he was also a bricklayer and a friend of his father's* He lived as a neighbor in the big tenement housing unit. He had been abandoned by his wife, *una buena pleza que andaba suelta por el mundo despuS® de amargarle la e*iitenoia.n^' &s a little tot, Maltrana used to ait on Jos*'s knees, puH his coarse moustache, and ask hi® questions about his adventurous life* When Josl accompanied Isidra on visits to the Hosolclo. he would gently oaress Isldro*s head with his hard hand "en la que el yeso marcaba con entreeruzados fllamentos las escamas de la piel,tt^2 Be would say to hi®, "Que signs siendo bueno. Que no disgastes a tu pobre ®adre.w^ is Isldro1s education progressed and he beoame more of a gentleman, Jo®4 (Saw him only oceaslonally* When he net him by ehanee, he spoke to hia respeetfully as if he were a part of that world of authority whioh he almost worshiped. He would say, "Is© mareha, auehaeho* Slgue zurrando a los libros. Tu iris lejos."54 Isidra, in the hospital, begged hi* not to gorget Jos* and their son Pepin* She told him that Jose had been very good to her and had had the courage to help her when she had been aost miserable* She urged hi® to rsspeet the sasot* as

5^-Ibld. ?2Ibld. »Xbld. ;l>Ibld., gp. 52-53. m if ha wara lila own fathar, aaylng that 3 after Jm§ "la habfa quarido a&a %m el otro • « • al l«g£tiao.*** siato© rtporti that Joai ahowad thla with *au allanoio daaaaparado" and with *al gaato da dolor"whan ha aaw har in tha hoapltal bad* Raving uaod up tha laat of hia naana and unabla to gat a ragular Job, Kaltrana waa finally foraad to aaoapt ahaltar

n fro* Joait i&o llvad with Fapin is mn aiaaro cuartuaho*^? on Artiataa atraat which oontained only a oawaatro. a tabla* and two chaira, Zaidro had to mat tha bad during tha day mhlla thay vara working# la lay down on it vhan it waa "todavia aallanta, aon la bualla da loa cuarpoa#*** Qwly on Sundaya did ha $a» hia rocamataa* Than ha paid hia atap* fathar what ha eould toward tha rant of tha rom* Papln apant that day with a gang of baya at &aialt a public planla ground in tha northam part of Xadrld, and tha two mm uau- ally want off to aat at a rotlaaarla at Cuatro Caninoa* «foai could not talk to hia fallow workara* 11® attltuda of aub«iaaion to aatabliahad authority and aeaaptanoa of hia lot in Ufa lrrltatad tha«» Thay inaultad hint »por raac~ oloaarlo, por borrago#"*^ Ha waa fond of talking to Xaldro* for ha fait that ha, aa a laarnad man, could understand hia

**Ibld«. p. 60. **Ibld« "ibid.. p. 14. allPfPWiiPWWIiilP* " *** F* 75* m philosophy. These two statements of Josl to Xaidro contain the kernel of Ms eonvietlonas (1) *®1® ordaa a# so pueda Tiflr,*^0 «ad (2) *Cada uno pars 1© qua ha aaeido, y que at coafome eon au auarta."61 Ilaseo aaya that ha »reeoaoe£a que tod# eataba mal repartida y que #1 pobre a«fr£a mucho. • , • Faro al raetlan sus manoa aquelloe arregladarea qua predicaban contra los ricoa, jquedar^a el mundo major? • #

• »62 Whan Papln, at tha aga of fourteen, waa caught la tha act of robbery and pit into tha C

de todas las doctrlaaa de orden y sumlsion ensetiadas per m padre*

The shattering paradox that he «®1 guardian del orden procrearia oarai de presidi©*67 begin# hit dlslllusloBKent , I# wonders if he has not altogether misunderstood the world. He says to Xsldro, wTe dig©, Xsldro • , . que soy otro, y que eada d£a pierd© algo de mis cresnclaa, 1st© «s el fin del mundo? todo farsas y ©entires. It i* at this point that Jos* telle his stepson of the crookedness existing In the construction business which leads to his sudden death. The reader will remember that this episode is presented in Chapter III, Blaseo writes his epitaph as followst *Horir era una soluclfa para a quel ho&bre sencillo, que ss indlg* naba contra m awnd© apartado de los sanos prlnelplos y contra la mala suerte que eonvertlfa en aprendlces.del crimen a los hiJos de los servldores d# la ley.«^9

The reader has seen the strong, formative effect of the sothers and of Custodlo and Josl upon the two heroes. This is perhaps a good ti*e to take up the strong influence of their sweethearts upon then. Both Manuel and Xsldro are kind and humane to their feliowsen and especially so to women. Their concern for their mothers has already been presented in the present chapter. They are equally attentive

66Ibid,« p. 226. 67lbid.. pp. 224*225.

%bid.. p. 226. 69Ibld., p. 262. m to the needs and desires of their sweethearts. Both of the latter are decent, lower-class girls who sow for a living* Both are hard workers, serious, and dependable. Feliciana through her infant eon and Salvador* by her own positive character lead the two men from a life of changing occupa- tions and weakness of will to strength of purpose nut exertion of will power* Salvadora was too young to ho the recipient of Manuel1 s first love* His frustrated passion for Jmsta has boon described in the seotion on SeSlor Custodies Actually, Manuel had oooe across her earlier in La busca when ho first came to Madrid and was staying with his mother. She was the modiste* B assistant who came daily for a period of several weeks to the casa de hu€at>odea to fit the Baroness do Aynant and her daughter Kate with dresses and hats# One night Manuel saw her pass by and fell in love with her. Ho foX* lowed her at a distance until she disappeared in tho crowd* As Baroja says, nfu$ para Manuel el recuerdo do aquella ehiqullla coao una s&siea ensantadora, vm fantasia* base do otr&s fantasias.*?0 When Manuel leaves Custodio*® family at the end of La busca. she is about eighteen> and soon to be Married to el Caraicer&n Toward the end of Mala hierba. after Manuel and Tidal had bean working some time for Marcos Calatrava in tho

?0BaroJa, I* teSSi P« 94 gambling rooms, the latter invited them to go with MM to a house on the Calle del Barquill© where they could, pick up some aozas guanas. the third girl to arrive was Justa, "mis |W|4| palida, con los ojos mas negros y la boca roja**'A Seeing Manueli she tried to sneak out, hat Vidal got her to go along* She and Manuel scarcely spoke the whole evening. Bareja described Maximal* s mood as follows i "Manuel sentfa una tristssa dolorosa, el aniquilamiento coapleto de la vi«

(|fiL#«f2 he accompanied her home to the Calle de Jaco* metreao, she invited him up to her room and soon burst into tears and told him of having been first dishonored and then infected by el Garnieer£a. Seftor Gustodio found her In the hospital and •con vos rabiosa dijo que para €l su hija hab£a Muerto*®^ So, she became a prostitute# Manuel did not Intend to stay with Justa that night, but after she made advances, he did* le promised her he would at once leave the gambling job at the clreulo, find honest work, and take her out of that life* Despite their plans of regeneration Manuel continued at the gambling den, and did not have the force of will to alter his life exoept to move in with Justa, Baroja states that *a veces los dos sent^an una repugnancia grande per la vida que llevaban, y reiian y se insultaban por cualquier motivo, pero en seguida

7lBaroja, Mala hlerba, p. 23#. 7?Xbld.. p. 241. 95 hae£an las paces, Justa was wildly jealous and sometimes is a paroxyaa of rage would throw herself on the floor and lie there as if dead, f© escape involvement in Tidal* ss murder, they moved into a houaa in the suburbs which had bright, •unlit roomu It was 011 the Calle da Galileo near the terser depSelto. Manuel got work in a printing shop of Chamber£; but Justa found time heavy m her hands, and after a weak of thla reforaied life aha disappeared* When shi did not eoae baak, he felt miserable and depressed, Baroja explains his emotion thus: BIra al despertar da m smelfo hermoaoj habia llegad® a creer qua al fin se eaancipaban los dos da la mlaeria y da la deehonra."''* The next time Manuel hears of Justa la in the first part oi $mm% SMM* He is at a theater, the »Apolo,« with his brother Juaii. In the lobby Flora, Tidal*a former sweetheart, telle hi® that Justa has becoae very fat and has taken to drink, le sees Justa for the jlast time at a restaurant i ©ailed los placer®s de Ten^» where he is accompanied by all his faaily* Justa aends for his to sit at her table, and when he rejects her invitation, she comes toward him. She tells hia that Salvadora looks like jg|§ fldao rafdo and asks for an introduction to Juan. Manuel curtly refuses and leaves her. Her appearance had filled hi* with disgust, Baroja states that

folbld.. p. 242. "ifeM.. 9' 25«. 96

La Justs habia tornado un aspect© de bestlalldad repulsiva; su cara se habia transformed®, ha* cilndose mils torpe; @1 pecho y las caderas ©staban abultados; el labia superior la sombreaba un llgero vello asulado\ tod© su cuerpo paree£a envutlto m grasa, y haata su antigua expr©si6n de viveza se borraba , como ahog&da en aqmella gordura fofa. Tenfa todas las trazas de una mujerona de burdel que gjerce su ©ffiiiocoa una perfects incons ciencia•7® The shock of Tidal*s murder marks the turning point in Manuel1a life. For the first time, he find® a job for himself and Justa. After his arrest and his subsequent re* lease, he struggles continually toward respectability# Sal- vadora serves as a maturing catalyst for Manuel* She reads in the paper of his Imprisonment and brings food to the jail for him* When he is released, she meets hint at the entrance of the and tells hi», "Pasa luego por cast. Vivimos en @1 callej6n del Mellizo, cerca de la calls de la Arganzuela."^ However, he is not completely a free man. The police give him this choice: "0 ayudas a buscar al Bizco, u otra vez vas al calabozo."^ Rather than rot in prison, he agrees to help the police, since he believes Bizco to be the mur- derer. Salvadora* s respectability gives him status with Ortis, the police detective under whose direction the Judge has placed him. Ortis releases him to her responsibility.

^Baroja, Aurora roia. p. 71. 77garoja, Mala hlerba. p. 272. 7&jbid.. p. 274. 97

This position of informer is onerous to him. He feels that his degeneration through the pressure of poverty and petty crime ha® been bad enough, but that being a police helper is altogether too low. Salvadora* s kindness and faith in him help him to decide to try to get out of his predicament* He goes to the Maestro of the Cireulo and asks him to tell his man, el Garro, to quit pursuing him* SI Garro is one who collects graft from the crooks while at the same time working as a plain-clothesman for the police. The Maestro approves of Manuel1s decision and agrees to call off el Garro, leaving Manuel a free agent to continue his lucha por la vida in the last volume of the trilogy. Salvadora*s name is truly symbolic* She brings out the best in Manuel, and, as he admits to Perico Rebolledo, she saved him from being a tramp. With her patience and stability she helps him to follow the path of common sense and balance. Her influence is strongest in Aurora roja* How- ever, she first makes her appearance one Christmas in Mall, hierba in the Santa Casilda hostelry where Manuel has gone to live* Three members of the Conferencla de San Vicente 4s Paul come to visit the sick and the poor and to give food tickets to the most needy* One of the residents leads thea to a dark hole under a staircase, where "sobre un monton de trapos y arropada en un manton ra£do hab£a una chiquilla delgada, esmirriada, la cara morena y flaca, los ojos negroi, 9$ hurrf&os y brillantee*"^ Beside her slept a little boy of tm or three. She was Salvadora, Her mother, wqu« * • # no llevaba mj buena vida,"^ ha# died la that housing unit, the little girl had then planted herself and the baby la that hole, a®4 a® one could get her to move or to give up the baby* She gets their food by stealing it* Jes&® feels it would be quite Wong for the two to be separated and put in asylums, so he offers to give the® both a horn©. His sister, la Fea, ha® Just lost a baby, and he thinks their presence will make her happy* they are enthusiastically welcomed by la Fea. Baroja describes Salvador^ as followsi Tenia la Salvador® un genio huralio y desp6* tieo, una afiei$n a liapiar, a barrer, a fregar, a saeudir, que a JesSs y a Manuel les fastidlabaf le gustaba ordenar y disponer; todo lo que tenia da esmirriada lo tenia de energies.• Ella dispuso llevar la eomida a Resile y a Manual *. porque gastaban mmho en la tabaraa, y al medio dxa, mm un eesto que abultaba mas que ella, iba a la iinprenta. In tree meses de ahorros, la Fea y la Salvadora eompraroa an^uaa casa de esipefos una m^quina de eoser nueva«6i testis had been staying sober sine# la Fea1® confinement, yet he became dally more glum. Finally he oould not stand the steady work in the print shop where he and Manuel were employed and suggested that in the spring they take to the wad and work ja route* fhey drank toasts to the prospective Journey and finally got drunk. Jesfis disappeared, and Manuel

79lbld. • p. 139. WM- 81Xbld.. p. 157. ; 99 : ii , ' missed two day# work. Salvador a, furious, told hira, »I® Tuelvas mis p&r aqu£ . . , no naeesitaraos? golferfa# Mien- tras estaao# ahf nosotras trabajando, vosotros de juarga. la te dig©, m ru&lrm wis por aquf, y si le ves a ^#s€a dile eat© mlsmo de part® de m heraana, y de la Itanael finds Jests, and they tramp together for several month®. Then the guards pi«k thera up for sleeping la the Saa Sebastita Church. Jes6s escapes, but Manual la detained i» the fitj jail overnight and let go because he say® he la a compositor ©a II Mundo. He does not meet Jests or Salva- dora again until after he is arrested in connection with the stabbing of Tidal, Both la Fea and Salvadora had always sewed for a living. In Aurora ro.ja, in order t© be frte of exploitation by the shirt manufacturers, they opened a shop for children*s clothing. After la Fea married el Ariat$n, Salvador® came to live with Manuel and his widowed sister Ignacia to escape insistence that she tet up housekeeping with hia* low twenty years of age, la Salvadora era una vuehaeha alt a, esbtlta, con la eintura que hubieee podido rodear una liga, y la cabeza pequeHa. Tenia la maris eorta, los ojos oscuros, grandes, el perfil recto y la bar- billa algo salientef lo <|ue le daba tut aspect® de dominio y de teson, , . • Su~'exj>re8l6n era una ®e§ela de bond&d, de amargura y de. timldez qm despertaban una pro- funda siapatia; su risa le iluainaba el rostroj • » #

^2Ibid.. p. 166• 100

kquella cara tan expresiva, en donde m transparentaba unas veees la ironia y la gratia| otras, como mi sufrimiento lltnguido, contenldo, producia a la larga un deseo veheaente do saber qui paaaba dentro de aquella cabeza voluntariosa* It Is this expression that compels Juan to make a bust of her* 1® says, *Tieaea ma cara especial* Mo eres coato noao- tros, por ejemplo, que siempre somas guapos, elegantes, distiriguidos . , . ; tu, no; un d£a estts tea y deaencajada y flaca, y otro d£a de buen color y casi, casi haata guapa*"^

Manuel says that Salvadora believes that wtodo se puede conseguir con voluntad y eon paciencia.n^ fhia determined frame of mind makes her work too hard and keeps her too thin. Each morning she works in the children's shop on the Calle del Fes* In the afternoons, she teaches sewing at home to twenty mall pupil*• At night she attends to the house* When she first came to live with them, she gave part of her earnings to Xgnacla to pay for her and her little'1 brother* s food* But after a bit, they gave up keeping separate ac- counts, and Salvadora took charge of the money while Ignacia cleaned and cooked for the four of them.

Sometimes Manuel would wait for Salvadora when he got through working. She would appear 11 en invieroo, de mantdn; en verano, con su traje claro, la mantilla redogida y las tijeras que le colgaban del cuelle."*6 Baroja says that

^Baroja, Aurora ro.1». pp. 41-42. 84jbld., p. 50. 8*Ibld.. p. 34. S6Ibid.. p. 42. 101

Manuel liked to have people think that she was hi® sweetheart and was proud to have her take his arm* It la assuaed by thea and their friends that eventually they will marry, but they want to bay a printing shop first# She waits up for hits at night and listens to all his problems and adventures* She earefully nurses hia when he becomes seriously ill of a nervous exhaustion brought on by overwork in setting up their shop* She is Bother, sister, and sweetheart to hia* After they marry, she nurses Juan in his last illness with great care* Her humanity and tolerance is especially shown when she allows la Filipiaa to go in te Juan*a corpse* La Filipina is the lowest of the prostitutes* The poor girl had been operated on and "01& de un modo in* soportable a yodoforao.®^ Just as Manuel waited for Salvadora at her place of work to walk with her, Xsldro waits for Feliciana across from the sap factory on Bravo Murillo* He wants to tell her that he loves her as she does him and that the two of them are going to be rich, because ion Gaspar Jimlnes will give hia 3000 reales for a book which he is to write but which will bear Jlasnss* s name* Be also tells her that he had not allowed himself to notice her "regraclosfaima person!- 11a* before because he was a beggar, "sin casa, sin una peseta, durmlendo poco sienoe que de lin©sna«tt He adds,

87lbld.• p. 29S. 102

"^Cftao iba a pensar en ma Kujer, a proponerla qua part lata la mlaarla oonaigo?*** She Is a pretty, young girl, innocent, and very inex- perienced. We catch a glimpse of her la the first chapter of £& horda. Aa the workers, ragpickers, and beggars stream past the ootroi office of Cuatro Caainoe, two girls alao pass, "cogiias del braze, con el embozo del mantra ante la boea.**' Blaaeo writes that "tenfan la bellesa de la obrera, la freseura de eaa brere juventud de laa heabras de trabajo, que triunfa a61o moment&neamente da la anemia hereditaria, da la# privaciones que dificultan el desarrollo."^0 the smaller of the two girls waa una aorena de rostro pilido y grandee odos da un negro intense, caai asulado, igual al de aus cabellos. II busto emdeble ergufaae con una arroganeia natural dentro del oant&n; sua pobres faldas de reran© ia marim con cierto ritmo aajeatuoso, sin tocar el barro, en torno da log pies pequeHos, euidadosamente calssados, que re- 01 velaban aer la parte mis atendida de am persona.** She and Xsidro exchanged greetings, and hi® eyas followed *sm cuerpo gentil y esbelto.*1^2 He knew she wis the only daughter of his friend Mosco, the famous hunter of Tetuan. Mosco had originated from Tetuan and was a printer by tradet but ha felt stifled in the ©Ity and hated the crowds

^Blasco, La horda, pp. 156-157. ^%bid.» p. 31, 90 Ibid, 91£M* 92IMS»# p* 101 of people. Finally, he married a ragpicker*» daughter and fled Mde las grandes agloBaraeionas hwmma para Tivir aolitario"** In Tetn*n. Ha left Ms trade and pretended to take up hiri a® a pretext for following his natural bant, that of hunting* Ha did not go out without a weapon as tha other poathers did, "resignados da antemano a reoibir un eseopetaso o una palisa"^ fro* tha guards of 11 Pardo« Blase© talis tha reader that "el guarda qua intentass impe- dirlo eorria al riaago da Terse oasado, de qua la disparaaan da antra la espesura sin darla al^altoto>*95 Mosco claimed that ha only eaught birds with net®. Ha kept his gun and his ferret hidden at all times| and what meat ha did not eat. was sold immediately in the neighborhood, for tha oiTil guards often searched his house. His famous dog, JPuesto ama» killed so many dear that he was »la pesadilla da loa altos empleados da 11 Par do 1**^ Mosco said it took tha game keepers, "desplegados an ala eomo un ejlreit9,*^ to finish an animal that had more cunning than many men. This nonconformist was born for violent aetion and enjoyed risking his skin all the time# Blase© says that he abandoned himself *a las puertas de una gran poblaci6n, a una vlda prehist^riea, easando a la bestia para comer, y al

ibid.* pp. fMo, P• d0- 9hbU. P* 97MA- 104 hoabre, si era preciso, para defenders®| consider&ndo la tlerra com suya, sin respeto a tapias que podia, saltar, ni a leyes represent&d&s por horabres que eran mortales «o»o He bad met Maltrana at the torn®# of hi® neighbor, Seftora Kusebia, Isidro's grandmother, one of the oldest of tha ragpickers, also called Mariposa, Mosco invited the young man to lunch, and he earn© often after that, bringing bread and wine* &i Sundays Feliciana served at table and watched Isidro, overawed by his education which was all tha mora apparent In this unaduoatad groups Ha guessed bar admiration and was attracted aapaalally by bar »sianos da virgen, , . . las ilnicas del barrio que ofreefan cierta lim« pi«*a|®^ but baeauaa of hie unstable finaaelal position and his respect for women, he never thought of oourting her. Onca Maltrana and Se15or Kanolo, the brother of Mosco, accompanied tha latter on a boat. For soma twenty pages Blasco describes the details and the suspense of this rabbit hunt through tha grandeur of El Pardo, wcatarea leguas da tlerra las que guardaban los reyas para sus oaeer£&s#w^ Maltrana found himself in a new world, unbelievably beautiful, an "inaenso jard£n encantado,*10* Aer® the wind playing through the trees spread "el lament© de la slafonfa

98Ibld.. p. 85. "M4., p. 123, 100Ibld.. p. 97. 101iblS-» P- 102. JVMHPPiWPRPIIp ~ ^ 10| salraje.1,102 During the two hour* within the walls they were in constant danger of being shot* The suspense @1 mm% in this episode is especially suc- cessful because Blasco is retelling a persons! experience* While he was serving as a deputy to the Cortes, he and Pedro OoaaSlez-Blanco (brother of Andres Sonsailez-filaneo) went on just such s poaching expedition in 1905# Blase© relates the following in the lector section, dated 1925* which Intro* duces the edition of Jg horda used for this paper. Junto#, y -restidos earn nuestrss peores ropae, para que nos sirviesen ds disfras, fuimos una noohe a mmr toaejos en El Pardo, con unos cuan- tos hoabres que exponian su rida en este trabajo paligroso, ilegal y poeo lucrative, La deserip- eion da dieha eaeeria, qua figure ®n La horda* reflsja easaotameiitt la realidad# SmfHsoslas• mismae fatigas fie lot personajes de la novels, arrostramos igualoe peligros, tuvinos qua saltar elrauro d a H Pardo, eomo los eazadores fuera da la ley* Crao qua poeas veees un novelists ha llevado tan [email protected] deseo da estudiar directamente la realidad#*™ He says that this excursion was kept a secret for some time, hut finally the Keraldo de Madrid related «en an grades© artfeulo como el autor de horda habfa acompafiado a los explotadores furtivoa de 11 Pardo para vtrles trabajar, eon riesgo da su propla vida.«10^ Blase© sites this newspaper as saying that had the guards shot this particular group of

102Ibld.. p. 103. 103IMj., PP. 8-9. 101>Ibid., p. 9. 4i\

106 poashors, tho r©suit of tho affair would havo boon %«& sorpresa extr&ordinaria, inaudita, al reeoger horido o wuerto a mo do loo oulpables, enoontrarse eon los puohorotos do Foli, . . . y ol no trasnoohar daban nuovo

105ms. 106Xbld., p. X77. 10?

Tigor a m

107lbld., p. *14. 10*Ibld.. p. 245. Wlbld. 10#

Their misfortunes increased. Her father was killed by the gam# keepersr and, unknown to Isidro, the lixtj duro8 of her inheritance were set aside for future needs* She me more or laaa constantly 111 and afraid of her condition. She began to take leas care of Isidro's appearance, letting him go out "sin lansar una mirada a sua euelloa grasientos, a sua pantalones moteados por al barro da lajana# lluviaa.***® He was sometimes gruff with her hut regretted it later* When the money ran out and he eould not find a job, she got one putting stays In corsets, even though he was opposed to her working while At was 111* 4s she sat all day bent over the corsets, he became truly ashamed of his idleness, tried to write, and made, a point of accompanying her when she returned the corsets to the shop* In spite of the shame he felt at the possibility of having his friends see him carrying the great parcel» he wanted to help her. On these walks he thought nostalgically of their happy past* She be* came saddened and resigned to carrying the heavier load, *

X10lbld*. p. 249* mIbid*« p. 260* 109 de la ®iseria,«^ the workingpea*# houses. He found a room in Cambroneras, where the gypsies lived, This wa® a wise choice, for tha gypsies vara vary kind and helpful to Fali» She continued to sew on the corsets until ah# became too ill. Ha anxiously watched her illness develop. The advancing winter addad to her discomfort# Thay had no fire, littla cover for tha had, and only hits of bread and cheese to aat. She ate almost nothing. He want out daily in search of bread# i@ applied for jobs, and triad to borrow frost friends and relatives. Finally, aha began to have convulsions. .After tha second one within two days, ha da- cided that she would have to go to tha hospital,.not tha coumon one where all tha poverty cases go, but to tha San Carlos Clinic where his old friend Hogueras was a doctor, Nogueras recognized the sympto»s immediately as thoaa of puerperal eclampsia and asked him to bring her at ©nee, A forced delivery was necessary to avoid the danger of death during tha convulsions. There is a touching, almost wordless farewell between the 1 overs in th® hospital corridor. Maltrana ha# told Mogueras that Fell la his mistress, but "una querida a la qua aoaba ooao muchos «aridoa no aatan a sua mujeres j una querida que pod£a gloriarae da ma fidelidad qua poc&s espo* sas ooaoc£an,As he leaves the hospital$ he is weak

n2Ibjd«. p. 293. P« 542, 110 from ©motion# He ftars the worst. H® cannot bear to go back to Cambroneras without her. He spends the following nights in the editorial rooms of the newspapers, frequently sle@p~ lag m a sofa. He eats almost nothing. The remembrance of Fell causes him to burst suddenly into tears. Hi® compan- ions are unable to understand. Each morning h® goes to the door of the San Carlos Clinic, and on one occasion is told that he ha® a fine son and to take him away as soon a# possible. He get® Senora Eusebia to take him. She, deeply moved, joyfully undertakes to ear# for the baby and advises him to visit Fell, who is extremely ill. Xsldro is afraid to set fell suffering and spends the nights in taverns, drinking to forget. Finally, he cleans up and brings her a bunch of violets# It takes him some time to recognize her$ she is so changed. Her bloodless face, her chin *eon la agudesa de un hlerro de lansa," her eyes Hcon el estrabiwo de la® froquentes crisis,8^1" her voice, weak and slow, her words somewhat incoherent—all torture him. He does not go bask because h@ has not a penny to buy her the flowers he promised her on leaving. A week later, he hears fro® Hogueras that she has died and been dissected by the medical students. He is horrified and feels a great remorse for the days he had wasted, without enough courage to go and visit her. He fled the city,

u»Ibld.. p. |50. in weeping openly and unconsciously. He writ to 111® grandmother's, #10 listened to him but did not share hie sorrow* Mariposa thought only of her great-grandson and cared nothing about the fats of ths mother* Feli's death forced Isidro to look at himself criti- cally. BlAsco explains that "lo qm It avergonssaba era el abandono en que la habia dejado, la cobardfa de su floja voluntad, _el egoism© de no entristecerse viendola wifer* ma,"*1* She had died without a word of loirs# If she could come back for a day, an hour, he would not leave her until the last moment. He stayed two weeks in the Carolina© district* The day he returned to the city, he learned the true irony of the situation* She really had not died la the terrible attack which Hogueras heard of, but did a week later. Actually, he could have been holding her hand at the last moment and might have prevented the final indig- nity of her being dissected and thrown into a common ditch, logueras ends his remarks with these words, "Pens® avisarte, escribirte; pero

H5ibid., p. 360. ll6iSid.. P. 362. 112

Tlie last eight pages of the novel leave the reader a bit breathless and dissatisfied with its sudden solution to the problems of the poverty-stri cken mob and with ita forced and unconvincing change in the hero. Pitollet writes that the conclusion of the book would be nespanto~ samente triste,* if the author had not left us with a picture of a Kaltrana, "vencedor de su caracter, encami- njtndose hacia el desahogo»,f^*^ He admits that one of Blasco*s critics, F. Vesinet, in his j£S ataftres da roman espagnol contemporain. find® this ending, "imagined© para coaiplacer al lector."*** Pitollet finds its justification in Maltrana as he appears in later books. He crosses the stage in jLg, ma.1a desnuda (1906). In J*o£ argonautas (1914) he is one of the transatlantic passengers on the ship Goethe. His last appearance is in a short story entitled "II autoraovil del general* {1921). To a group of Spanish friends gathered in a small restaurant off lower Broadway • in lew Iorkf Kaltrana summarizes "his character as a wielder of a mercenary pen letting his genius out for hire to the highest bidder*3"^ irrespective of the cause to be' served.

? ^Pitollet, OP« cit.* p. 250. 11%. Tiunet, iai salkEsfi |a gasaa'wyot porain (Paris. 1907)» p. 254» note I., cited in Pitollet, 0&, cit.. p. 2$0. li9Blasco, "The General*s Automobile,w translated by Arthur Livingston, ^e Old Woaan of th& Movies ind Qthey Stories (New lork, ifSsTjTpp. 280-2i~ 113

He tells them that# £like Blaso©3 tried farming la Argentina, and ted returned to journalism to make a living. He ©alls himself "essentially & bohemian, never satisfied with what he bad, « • * always moving ©a in search of some- thing better."120 Several months intervene between Felice death in horda and these last eight pages. The winter is almost past# Maltrana is working, has had several articles accepted by the ©agaaines, has some translations to do, is living in a boarding house, and is able to save enough money to pay his son's nurse. He wears mourning. Outwardly and inwardly he has changed for the better, but too late for comfort. He goes to the Corvos hill on the Extremadura road to visit the baby. While waiting for him to finish his nap, he contemplates the city across the Madrid, monumental, superb* Then, he fixes his gate on the nearer side of the river with its beggars1 huts; K@1 hormiguer© de la mi stria taabiln estaba &ll£« , # • subsistiendo con las arfces y sstucias del hoasbr# primitivo, aaoatonSndose en la promiecuidad de la ssiseria, procreando sobre el estUrcol a loafeerederos d e sus odlos y los ejecutores de sua ven- He thinks of all the famished mob gathered in

120Ibid. ^Blasco, £& horda, p. 36?. 114 the suburbs around the capital, "la horda que a® aliiaentaba eon sua despojos y suciedades, el cinturtfn d# esti&rcol IS? viviante, da podredurabre dolorida." Ha foresees that "alguna ves la horda dejar£a de permanecer inm6vil. Los qua entraban an Madrid al amanecer se presentarIan a mediodla. la no aceptarian los despojos: pedirXan su parte; no tende- rlan la mano: exigirfan 0011 altivez.*123 Maltrana decides that the horde lacks leaders* He thinks, "\Ay, si los qua naefan an su sen® armadas 0011 la potencia del pensamiento no desertasen, avergonzados da su origan! . • . poniendo a su servicio lo que habfan aprendido, esforslbdose en regimentar a la horda, dltndola una bandera, fundiendo sue bravfas inde- pendencias en una voluntad com6niw^2^ At this point the nurse gives him the baby, whose touch almost simultaneously wipes from the father's mind the fata of the unfortunate ones, nel destino da la horda miserable#The child1 s body inspires in him Runa reso- lueiln ego£sta y brutal."*2^ Ha wants his son to ba among the privileged, "auaqus para ell© tuviese que aplastar a muehos."12? Blasco contrasts the old Maltrana with the new one in these wordss 122Ibld.• p. 366. 123jbl^., p. 367. 12*Ibld. 125Xbld.. p. 368. 126Ibld. 127Ibld. 115

Lo que no habfan logrado la miseria y el triste destino de Felt, lo oonsegufa a quel chi- quitin eon s6l© su contacto. Caia hecha polvo la herrusbre da au voluntad. Era otro hoabret . . . Lo que a© habfa osado haeer, por el amor, lo haria por su hijo, 3e lanzaria m plana lucha, « • . Adios, ideas, fa, entusiasnos • • • Ilusiones, todo iluslones. „ . , se vender£a0|. com© ©sclavo, para qua su hijo fuese libra. The book ends with these final thoughts of Maltrana, mentally addressed to his son, wMo temas qu© eaiga dessalentado, qua vuelva a sentirrae cobarde y ta abandone como a la pobra m£r~ tir. lata amor que ahora naca es da hierro. fa toy otro. Soy . . . tu padreOne doubts the endurance of sudden will power in a nan whoae force haa hitherto been spent in speech-making about a courae of action rather than in active work toward a definite goal. There is quite a difference in attitude between the two heroes on the idea of trampling on one1s fellowmen. Manuel Alcixar turns from the anarchists when he realises how ruth- less they are and how lacking in responsibility for their felloiwaen# This change occurs after he and Salvadora find a bomb in the suitcase of Passalacqua, whom Juan has brought home to spend the night* Perico Rebolledo defuses it« It was to have been used on King Alfonso ZZIX during his Coro- nation parade. Baroja says that com© si aquella m&quina infernal hubiese esta- llado en su cerebro, Manuel sentfa que todas sus ideas anarquistas se desmoronaban y que sus instintos de hombre normal volvian de nuevo. La

128Ibld., pp. 368-369. 129Ibld.• p. 369. 116

idea de un aparato as if calculado fr£amente le sublevaba, Nada podia legitimar la mortandad que aqmello podia producir.1™ The police, alerted, raid Manuel1s house, fail to find the bomb, but carry off the Italian on a charge of not having a pa®sport. That night Manuel tries to make Juan see how idiotic his growing fanaticism is. He says to his, I t&, libertario * • » t6, que crees que el derecho de vivir de un hombre esta por en« ciraa de todo; t&, que no aceptas que un© evite la fatiga y haga trabajar a otro, acepta® que un inocente tenga que^sacrificar su vida para que los hombres de manana vivan bien, Pues yo te dig© que eso ea iab6cil y monstruoso, I si a mi ae di$eran que la felicidad de la Humanidad entera ae pudiera conseguir con el lloro de un ni£tof y eso estuviera en mi mano, yo t« dig© que no le harxa llorar a un niffo, aunque todos lot hombrj^dsl ^do .. „ puaiaran 3. rodillaa

In contrast, f Isidro Maltrana, in his changed character, is quite determined for his son to rise, even if to reach such a position he has to "aplastar a muchos.n^2 All the major figures of £& lucha por la vida are reflected in parallel characters in horda except Juan Alc&sar. The very omission in Blasco1 s novel of an anarchist, when occasion exists for such a person, gives rise to inquiry* Why did Blasco not include an anarchist as a focal character to solve the basic problem of £& horda. the

i^Baroja, Aurora roja. p. 264. P* 267* ^2Blasco, horda. p# ; - 117 * t : 1 4 i need for a better life for the downtrodden poor? There are anarchistic roubles In the book, but not until three pages before the end does Maltrana suggest that th# members of the horde lack leaders who will mold "sua bravfas indepen- dencias en una volundad comun."*33 Perhaps the early introduction of an idealistic anarchist might have strength* ened the novel and saved its conclusion fro® seeming forced and unconvincing* Blase© must have had plenty of contacts with such aen before writing £& horda. Could it be that he realized that any further parallelism in the major character# would lay him open to a charge of plagiaries*? fliers are other possible explanations for this ©mission. He had included a social revolutionary* Fernando Salvatierra, in La. bodega, which was published in 1905 immediately precede ing jya horda. Also,, his creative method may be the cause of the omission» Being a compulsive writer, he may have been carried away by the personality of his intellectual bohemian, Isidro Maltrana, and say have had no time for or interest in another character# This chapter has already referred to his continuing interest in Maltrana during the years following Jg horda. Juan Alcazar is mentioned in busca as a boy Who combined good scholarship with an inclination to morbid sentimentalism. With that compound one Is not surprised

133Ibid., p. 36?. 11$ to learn that he was the best student at the seminary. He was, however, a true idealist* When he discovered corrupt tion in the seminary# he ran away and abandoned religion# Thereafter, he educated himself through books and art, finally achieving some success as a sculptor in Paris with hi® group Log rebeldes. At this point he return# to Madrid and finds Manuel again. Fifteen year® have passed sine® they were separated at the beginning of Jja busca i they are probably between the ages of twenty-five and thirty* Juan's success at the Madrid Salon bring® him disillusionment with artists* He finds them as guilty of envy and selfishness as the bourgeoisie. Blinded by his unreal- istic idealism, he now puts his faith in the proletariat, seeing it as the last bastion of unselfish human dignity. Throughout his life he had believed in the principle of individualism opposed to the principle of authority# Therefore, he now embraced anarchism as a means of achieving freedom for the proletariat# As his health declined, he became less balanced and more fanatical, eventually living and working single-mindedly for the cause, believing that wtodos los caralnos, todos los proeedimlentos eraa bue- rios con tal 4e que trajeran la revoluci6n sonada#"*^^ Speaking at the big propaganda meeting in the Barbieri The- ater, he wished that "los hombres se libertasea del yugo de

^Baroja, Aurora roJa# pp» 267-26S, 119

toda autoridad, sin riolencia, solo por la fuerza de 1a He wanted to do away with the Stat®, the law, th® judge, the soldier, the prie st-«"cuervo* que viven de sangre humana."3^ Baroja state®, "11 afirmaba que #1 h©m~ bre es bueno y libra por naturaleza, y que nadie ties# derecho de ssandar a otro. El no querla una organizaei6n comunista reglamentada, que fuera enajenando la libertad a los hoabres, sino la 0£ganis5aei6n libra, basada en el paren- tesco espiritu&l y en el amor*®^? He not only made speeches! he -also gave unselfishly of himself. He sold his sculptures to secure money to pay for propaganda. His personal missionary work among the lowest derelicts at the Patriarcal cemetery has already been described in Chapter II, His death at th® end of Aurora ro.la occurred after a bad haemorrhage brought on by his over-agitation preceding the Coronation parade*

Juan Alc&zar is an autobiographical combination of p£© Baroja1® two brothers# Like Hicardo Baroja he was a self- trained artist who had a great sympathy for the lower class and used it as subject matter for his art* Eicardo and P£o Baroja lived together in Madrid at the time of the writing of jLa lucha. por la vida. and their personal ties -were very

135Ibld., p. 231* ^Ibld. l37Ibid» 120 strong* Juan also cam® to live with Manuel, and the two brothers shared an active interest in the plight of their fellowmen. It is in his illness and death in early- manhood that Juan resembles Barf© Baroja, who died in February 1$94. The progress of Juan's tuberculosis parallels that of Dario's. They both have initial spells of illness and seem to improve with good nursing and rest# But within about a year's tiae they each have a fatal attack. The physician who is called to attend Juan tells Manuel, "No puede reslstlr mas que d£as."^^ About thirty-four hours later Juan dies at dawn. Concerning the death of Darfo Baroja, Pfrss Ferrer© writes as follows % • • hacia febrero, recibi6 [pio Baroja] un telegrama de su casa avi- slndole que su hewan© se morfa. Tom© precipitadamente el tren y, al d£a siguiente de su llegada, Darifo fallecidf. HabjCa cumplido veintitrSs anos . • .n1^

13dIbid., p. 290.

139p|re2 Ferrero, ojj. oit.. p. 66. #-< '1 '"«<

CHAPTEE ?

SIMILARITIES IN MINOR CHAHACTESS

With the passing of Juan Alegar the parade of major characters has come to an ©ad. Now, on® turns to compare the minor character® of the two novels in order to note similarities which appear between those presented by Baroja and those of Blasco# These seem to fall into pairs and into groups# There is in each book a bad son, an ingenious repairman, a philosophical old ragpicker, an old woman who hoards trifles* Also in both, there are priests, gypsies, and men who are a part of the printing and newspaper world* There is much likeness between the two bad sons, Vidal in fe lucha por Ja vlda and Pep£h in £a horda# They come from good fathers# They are both clever and daring and from early boyhood have been leaders of juvenile delinquents# They have little or no feeling for their parents and no moral sense. One ends in jail and one is murdered# Manuel Ale&zar1 s first apprenticeship is with his cousin, SeSor Ignacio, who is a good man, but lacking in force# A master cobbler, he has been reduced to the salvaging of usable parts of old shoes and boots# Manuel learns that he is a mild liberal, who speaks na boca llena 121 122

de la Gloriosa [la revolucionj,and who would like to see the expulsion of religious orders from Spain* He also believes in hard work and keeps his two sons at it* Leandro, the older, is a good boy, but obstinate and mentally not too quick. the other, fidal, is nde la edad de Manuel, delgaducho, esbelto, ©on c&ra de pillo*" Tidal has been pilfering, stealing, and chasing girls since he was quite small* The first time Manuel goes out with fidal and his gang, his conscience troubles him with "un miedo horrible"^ when Bizco steals SOBS codfish. The three boys later form a Sociedad de los fres dedicated to stealing; but after a summer, fidal and Manuel separate from Bizco be* cause of his brutality* Actually Bizco is sore animal than human* Baroja introduces him as follows: "La cara del Blaoo producia el interes de un bicharraco extrano o de un tic patoltfgieo* La frente estrecha, la naris roma, los lablos abultadoe, la plel pecosa y el pelo rojo y duro, le daban el aspecto de un mandril grande y rubio*"^ He enjoyed torturing cats and dogs to death with jabs of his sharp knife* It was this monstrosity who in Mala hierba murdered his mistress, Dolo- res la Escandolosa, as well as fidal, and then in Aurora roJa killed another mistress, la Galga—all by stabbing*

^Baroja, Ls busca, p. 59* P- 3ibid*, p* 69* %bid*. p* 67.• '

123

After being condemned to death, he ait® not in remorse but. in "una •norm* tristejsa.1'** le is rather pitiful when he says to Manuel, "Si me matan, dile al verdugo que no me haga Z aucho daffo." Between the UM of the & li& toft and his death, Vidal climbed the criminal ladder from thief to pro* curer to high-class gambler for a crime syndicate. He never did a bit of honest work; he ceased to visit his parents$ he did not lose his scheming air. H« was clever enough to see that others took all the risks, and he always had suf~ ficient means either fro® his crimes or from his mistresses* Pepfn, JosSfs son, was at seven "un genio asoabroso para •char la aaneadilla y poner la piedra donde fijaba el ©jo.*^ At eleven he was "tan malo que los vecinos le apoda- ban el Barrabas,"^ thereby indicating his chief activity# He was dismissed for impudence from a series of apprentice* ships. He continued a career of thieving until he was arrested with other boys for stealing copper and wire from a Vallecas factory and thrown into the Parcel Modelo. Seftor Jos$ appealed to Isidro to help get him out of prison, He admitted that Pep£n was nun golfo, pero de los de marcan and that "ni golpes »i eonsejos habfan servido de nada al

^Baroja, Aurora ro.la. p« 178. %bid., p. 179. ^Blasco, horda. p. 53* *Ibid.. p. 59. 124 padre.He Indicted PepJjn as un plllo but hoped that he would repent and change his ways. Isldro does find him in the prison and Xearns that Pepin does not repent but la cynically proud of his roll of criminal and dreams of leading other thieves «eomo glorioso cap!tfa,*10 Indeed, his fellow iimates have decided t® form a gang when they get out, with Pepfn as chief* Pep£n regards the thefts of his gang as portentosas haaaHas and says, concerning this particular theft which landed hia in jail, "His consortes son mis culpables que yo* Si hubiese justicia, ya me habr£an puesto en la calle."^ Xsidro knows that his words will have little effect m Barrabls# Blase© give® us this re- flection of Isldro1s on his stepbrother, "Estaba agarrado por el engranaje del crimen* Guando saliese de eata mala aventura, caer£a en otra* 3a careel era su casa, y toda aquella juventud que se aislaba d® la soeiedad, su verda- dera familla, la ©scogida por 11, con la atraceion de la® coBrunes afi clones He reports to Senior Jo si that it would be possible to get Pepin out of jail if they could raise a bond for him; but he advises him to give hi» up for lost, telling him that the boy has no shame, no sense of

9Ibld. • p. 223. 10Ibl

^Baroja, La busca. p. 94. ^Ibld,> p* 95. P* 96. 12 6

Padre e hijo pasaban la vida soSando raaqui- nariasj para alios no habfa nada inservible*. la Have que mo abre puerta algunaj la cafetera dt viejo sistema, estrafalaria como un instrument© da ffsicaj el quinque da aeeit© eon miquina, todo at guardaba, se descoraponfa y se utiliaaba. Re* bollado, padre e hijo, gastaban mie ingenio para vivir miserablemente que el que emplean un par da docenas da autores comicos, de periodistas y de ministros para vivir ion eaplendidez.4-® They mad® toys of wire and pasteboard which thay sold to the street vendors. The fathar» a masterpiece was a set of falsa teeth made for himself out of a divided and sawed bone napkin ring with gums of sealing wax* He said that "comJua con alia perfectsaente, aieapra qua tuviera qui."17 Perico early proved his inventive genius with a mechanical snuffer made of a shoe polish tin. The greatest pleasure of these tw© was "pensar y eavliar las aplicaciones da un cristal da una® gafas, por ejeaplo, o de un braguero, o del cuerpo d® bomba de una lavativa, o de cualquier otro trasto roto o i d descompuesto."*4- This couple appears again in Aurora ro.1a. After Manual had been living for two years on the Call© da Magallanes, the EebolledoS| now in better circumstances, rented the lower floor of the house* On one sid@f the father installed his barber shopj on the other, Perico maintained his shop as a mechanic-electrician# During Manuel*® experiences in

l6Ibid,. p. 97. 17Ibid.« p. 96. iaibid.. p. 97. 121 l&JA MSCM* P«rico was apprenticed to an electrical @ngi« neer# At the beginning of Aurora roia he is Inventing & simplification of arc«lights, and planning to take out a patent on it and narket it* His success has not »ad® him vain* nor dot® he consider himself superior. He ha* becoae a close friend to Manuel and takes the liberty of reasoning with hisa about Salvadora* s love for hiia and his feeling for her*. Both Eebolledos are almost like members of Manuel's family* In the evenings all of them gather in the "workshop to talk of their individual problems and their plans for the future* On Sundays they take long walks together* The father has always taken his deformity for granted. When they were all on the outing celebrating Juan Alcizar*s success, the escort of Justa taunted him with "Ah* va uno gue se lleva la merienda guardada."1^ Juan was indignant* but the hunchback Buttered indifferently, "Falta de educa- ci£n."20 Later in Aurora ro.1a the father displays a logical mind* He tells a group of socialists and anarchists at the caf£ that he can not grasp the universal right to happiness because *teaer derecho y no poderf e@ eomo no tener dere- 21 cho *« To Prats* statement that "podran quitar la vida# no el dereeho a la vida," he replies, nD© modo que estar& uno muertoj per© tendril dereeho a la vide?"22 When

^Baroja, Aurora ro.1a. p* 72. 20Ibid* P. xo*. P.-110, 12$

Maldonado say® that in the coming revolution "a cada uao at I# darK 1© que merece," Kebolledo p<^ro retorts, —i I qul£n 1© tasaf ^ 1 c6mo se taga? »«pb s© v# elaraaente lo que uno ha traba- jado?-»-aljo Prate d@ mal humor* —In ©1 oficio de usted y ta #1 mio, si; pero en los ingenieros, en los inventores, m los artistas, en los„hombres d# talent©* ;quiIn leg tasa @1 ' * On the next, page he says to Maldonado, —Porque mated me dice* "Ho habr£ l&dro- nes> no habr* eriminales, todos serin iguales * * . « lo lo ere©. —No 1@ erea usted, •-Claro que no? porque si tuviera que ereer en mm milagros, por sm palabra. de usted, antes hubiera creido «n #1 Papa, ^ The friendship and the discussions with the Rebolledos war® surely stabilizing influences for Manuel# Whan he and Salvadora find the bomb in Passalacqua1s suitcase, it is to Perico that they turn for adYice. He grasps immediately its construction and courageously defuses it* Then, at his direction, they wash the various ponder# down the sink, throw the bits of iron into the patio sewer, and bum all the propaganda papers including the sketches of the bomb's construction* Perico Rebolledo brings to mind Pedro Ruidavets with whom Baroja became friends during his last year of the baehillerato (1&&6) while attending the Institute de

23Ibid*. p* 113. P* 1H* 129

San Isidro. Many afternoons Eicardo Baroja, Riudavets, and p£© got together in the attic of their aunt16 house and "oonsumfan las horas charlando y d£ndose a trasar nil fan- tas£as juveniles.*2'' Later, Eiudavets and another friend, Carlos Venero, p@rsuad@d Pio to study medicine Instead of pharmacology. After p£o abandoned the practice of medicine and returned to Madrid to manage his aunt* s bakery, h® began to ••• Riudavets again. Granjel writes as follows concerning the.three ftrlaad*» Ricardo, Pedro, and Plot "In un ao- tabanco d® la caaa ©stablecid Rioardo, ayud£ndole su hermano y el eompaiitro da ©studios d© mte flltimo Riudavets, tin taller en el que loa tres a® aislaban para entregarse a extraSos experimented ffsicoquimlcos y a for jar toda suerte de ingenios mecanicos."2^ El Ingeniero is much more of a minor character than either of the Rebolledos, He is called #1 Ingeniero because of his great ability at fixing musical instruments and mechanical toya# He it Isidro Maitrans* s uncle and formerly had a stand in the Rastro where his speciality was weapons and ancient mueieal instruments. When he retired, he left this store in the hands of his children; but he likes to do a little business on Sundays. His friends st&U bring to the Rastro whatever defective mechanism

^Hrm Ferrero, ££. clt»« p* $1< 2 ^0ranjelp 6|j»# cit.. p. 106. 130 falls Into their Mad® for him to fix# He is now quite old and almost blind. Be share® his genius at fixing things with Perico and his joy in living and his sens® of humor with the older Rebolledo* He is a regular Don Juan but has the good sense not to acknowledge any of hi® mistress®® in a formal way* He is the scandal of the mhole Rastro district because of the loud squ&bttes among his various oda- lisks* When Isidro and Fell are seeking a bed in the Rastro, they look for this uncle* He tell® them to go to hie son®* shop where they will get one for a small sum. He goes on to inform then that his brother, the antiquary, and hie own eone are .1udios who are only interested in money* Concern* ing himself, he says, "To parezco un chaval ai lado de ell©#* Aqul no hay otro joven en la familia, alegre y que 6® las tr&lga, que este curat el Ingeniero." f The two ragpen philosophers art SeHor Custodio and Seftor Polo* Seftor Custodio has been discussed at length in Chapter I?* In his personality, Polo is a great contrast to Custodio* tie is a scheming, undignified, grasping man who beats Mariposa\ isfaereas, Custodio, who has a fine sense of personal honor, is dignified in his behavior and good to his wife and children* The similarities between these two mm lie in their fur caps, their dwellings and trades, and their capacity for independent thought*

^Blasco* £& horda, p* 193 < 131

Blasco gives us this picture of Seffor Polo; "Sus barbae amplias de plata se extendjfan sobre el pecho y foriaaban una aureola de biancos vellones en tomo de sus majillas sonro- sadas# * . « las manois eran negras, con escaaas en el dor«©| las isejillas y loa labios, acariciados por la navaja, »o»~ 2d traban una freseura de niffo," His clothing was very filthy but picturesque# He had two coats. One wae sleeve- less, made of rabbit skins and tied around the waist with a rope; the other was liberally covered with spangela, tinsel, and ribbons v&ich mad® him look like un salvaie de teatro> His trousers were adorned with ribbons like those decorating the headstall of his aula. These ribbons recall another ragman from £& lucha por la vida, el Cone jo, who also dressed in a picturesque fashion and liked to decorate hi® cap with bright cock feather© and stride about in riding boots. The dwellings of these two men were located on a city dump ©round, but not the same one, Cuetodio's was in a great quadrangular ditch "ennegrecldo por el humo y el polvo de carb6n, limitsdo por muralias de cascote y montones d® escombros."2^ Polo*a was in Tetuln sunk into the side of a small hill from which one could view all Madrid* These huts grew little by little# Their many annexation® could be 2*Ibid.. p* 34. 29Baroja , £& busca. p. 220, ^ tl-~

m marked from the exterior, the materials of construction varying with the items of the £uak collections* Polo1® windows were galvanized bottomless pails and his chimney a broken tub. Both these hovels were divided into three compartments and included a yard* Custodio* s house had a kitchen, a storeroom, and a bedroom* Polo*a had the same divisions except that his bedroom was just a cave off the stable* This last detail will give the reader an idea of the filth and confusion in Polo* s hovel which contrast® sharply with the cleanliness and order within Custodio's* Blasco says, "El almacSn exhalaba un hedor de polvo, huesos en putrefacd6n y ropas corrompidas, . • * Un zumbido de mos~ cas pegajosas vlbraba en la obscura profundidad de la® chosas."30 The bedroom, "saturado de polvo y esti*rcol,«31 was entered froa the stable and had no window and so low a roof that Polo had to glide into bed, *co»o por la boca de ma madriguera.*^2 He and Mariposa kept warn froa the heat of both the mule and the manure* The whole cavern was hung thickly with dusty cobwebs which nearly touched the bed and of which Polo was proud. He said to Isidro, nTamiza fla telara&Q el aire, le quita los salos bicharracos que dan

3°Blasco, fca horda. p* 116. 3*Ibld». p* 123. 32Ibld*. p. 121. 133 las emfermedades, se corns a loa aicrobioa y demla insectos «33 * • •

Senor Cuatodio ha# no niotaame, but laidro ©all# Polo "Zaratuatra" and »el gran fildaofo da loa Cuatro Caainoa#"^ Polo complaina baeauaa Isidro has kept on ©hanging hit sastft, from Cruger, to Trapatuatra, to Zorra~no*a6»que* Ha aaya to laidro,

• * . me contest© un dla au hlatoria« Un aabio qua no tenia un parr© chieo, eorao yo\ qua estaba an al at©rat© da todo y aa rala da todoj lo alamo que yoj que vivia an alto, com© yo vivo, vian^o a mi® pies todo Madrid, II tenia al lad® un aguilucho al deeir aua coaaa, y yo, a falta del pajarrgco, tango einco parroa qua » • • ma ... rodaan y me ascuchan euando digo laa alas • • Evan Polo's doga differed greatly from Cuatodiota Reverte, a good-natured, playful, satisfied dog "con unas lanaa amarillaa*"^ Polo* a dirty, ferooioua pack ware of all aiaaa and braada *eon loa ojoa aaarillentoa y una baba rabiosa en loa eolmilloa: animales casi salvajRe- vert e and Polo*a five doga reflate the teraperamenta of their maatara# Polo la ninety-four at the beginning of fa horda and haa bean going down to Madrid every day for fifty years.

33Ibid.. p. 122• %bid.. p,. 35, Mlbid.

^^Baroja, Jg busca. p. 22#,' ^Blaaco, £& horda. p. 114* 134

He feci* that sine* he has seen so much, he is qualified to speak confidently* Whereas Custodio's chief interest is in a realistic appraisal of current problems and in the recla- mation of wasted materials, Polo is interested in social problems. He considers woman as inferior to man and "mil animal de escaso caletre."-^ He says she thinks only of appearances. In contrast, since man thinks of other things, he is more dignified and noble* Concerning modem progress, he says, ... he vlsto como la villa ha ldo poco a poco ensanchimdose y dindoaos con el pie a los pobres para que nos fueramos mas lejos. ... Dicen que esto es el Progreso, y yo respeto mucho al tal seHor. May blen por el Progreso • • • pero que sea igual para todos. Porque yof seller silo, veo que de los pobres s6lo se acuerda para echamos lejos, como si apestiseiaos, £1 hambre y la miseria no progresan ni se camblan por algo major.-** His sympathy is with los medianos, who he says must be helped; He tells Isldro, "* . • que gaste el de arriba, ya que tiene, pero que no sea todo para *1 . . .**° Also, he assures Maltrana that we are all pilgrims. j Que somos todos en est# mundo, mis que pare* grinos que vamos pidiendo a los desiaa y casii- nando hasta llegar al final de nuestra vida? Peregrino es el rey, que plde a los de abajo los millones que neceslta para ririr en grandsj pere- grines los rlcos, que riven de lo que les sacan a los pobres| peregrinos nosotros, los aedlanos ... y no dig© los de abajo, porque es fee#

34Ibid., p. US. 39ibld., P. 36. 40Ibld.. p. 39. 135

No hay crlatura de Dios que eat£ aba jo. De; aba jo solo son- los aniiaales, Nosotros SOBIOS los ffiedianos.^ He bids the octroi official, Maltrana, and all the pa ®sers» by, who have paused to form his audience, farewell with this analysis of the social systen: "Es el planeta ds las criaturas. 11 lobo ae eorae al oordero, el milano a la pa- loaa, el pes gordo al pequarfo, y hay que dar gracias al rleo porque, pudlendo tragarse al aediano, le deja vivir para que pene."42 Blase® closes the scene with a Nie- taschean echo, wAsjC hablaba Zaratuatra."^ Polo's wife, Seizors Eusebia, or Mariposa, Is one of ths women ragpickers who has a secret hoard* The one in 1a lucha por la vida is Dolores la Escandolosa. These two old women consider the items of their hidden treasure to be very valuable when in reality they have little worth. Each reveals her treasure to the hero of her novel.

Dolores is about fifty; she is at gypsy who lives la Canbroneras and, in £& buaca. is Blsco's mistress* When Manuel visited them, at Bizco* s command she went over to the wall, and Mdespego ua trosso de tela rebosad© de eal, de una vara en cmadro, y aparecio un boquete lleno de eintae, cor- domes, puntillas y otros objetos de pasamaneria#"^ In the

^Ibid,* p. 37. ^2Ibld». p. 40. 43lbid. ^Baroja, |& busca. p. 201. 136 middle of Mala hierba Tidal tells Manuel that be is sure that Bizeo murdered Dolores. Seftora Eusebia is much older than Dolores. For many years she has been courted by Polo and finally goes to live at hi® "palacio real d# Tetufcan^ while at the same time maintaining her independence in business matters. She has always had a hoard which her neighbors and friend® think must be very valuable. She has never allowed Polo even to know its hiding place. When Isidro comes to her for help just before he and Fell move to Cambroneras, Blasco describes her as having "ojos pitaSosos"^ and as contracting *el negro agujero de su boea.n^ At first she denies that she has a treasure, but his appeals to help her great-grandchild soften "su dura avarieia,"^ and she disappears into the narrow tunnel that leads to the stable* Here Blase© builds up a bit of suspense as he writes For fin sali6, sueia de telaratias, eon el paKue- 1© de la eabeza cubierto de briznas de paja. Llevaba en las aanos un trap© blaneo re- plete de objetos. A1 depositarlo sobre ua tronco, con mueho cuidado, como si ©ontuviese cosas fragile®, sono en su interior un retintin metalieo. . • * lentamente, . * . fue desatando los nudos del envoltorio. Un resplandor de oro, de piedras preeiosas, de objetos de gran brillo, que aun parecfan mas

^Blaseo, &£. horda. p. 115. ^Ibld.. p. 2$3. 47Ibid.. p. 234. %bid.. p. 2*7. m

esplendorosos en est# ambient® de miseria, hiri6 I®# ojos del asombrado Maltrana. 11 tesoro era cierto. ,Vive Diosl** However, in an instant, Maltrana's astonishment changes to pity, for he realises that the large jewels art false. Blaaco points out the irony of the situation, "Aquellas ri# quesas qua hacfan eatreaecer de codicia a la trapera no eran aas qua basura da insignificant® valor.Itfhen Isi» dro takes only a small part of tha treasure, some silver spoons, a few plain rings, a little gold chain, ah® thinks he does not want to take advantage of her and is leaving the beat things for her to bequeath to the great-grandchild. Out of gratitude, ahe givea him some silver eoina and bega him to keep her riches a secret, Her last words are, "Huye, Xaidr&n que no noa pille [polo] aquij que no huela el gato#*^1 Personified Death stalks both novels# It is true that death does aeem to be ever lying in wait for hungry, poverty-ridden people, but one who reada these novels will be struck by the fact that Death is personified in both. Baroja names a drunken, old hag la Muerta# She haunt® the Corrala, begging alms and spitting out insults as if to sake sure "que en aqualla caaa hubiea® siempr© algo terrible

Wjbid., p. 288. S°Ibld.. p. 2*9,

51Ibld.. p. 291. 13# y tragico#"^2 When Manuel goes to live at the Corrala, Barojs describes her as followsi . • » su mirada era extraviada, su aspecto hurafto, la eara liana da costr&s j una de sue p&rpados- infer!ores, retraido por alguna en- fermedad, dejaba ver el Interior del glob© del ojo, sangrlento y turbio* Solfa andar La Muerte cubi#rta defaarapos, e n chanelas, con una lata y un cgsto viejo, donde recogfa lo que encontraba*5-* Baroja reflects that none of the residents of this micro** cosato of "la sterna ® Irremediable jaiseria"^^ dared to throw her out due to an ingrained superstitious dread. H@ presents another picture of her in a drunken stupor at Blasa*s tavern, nLa lus daba en su eara erisipelatosa y llena de costrasj de la boca entreablerta, de labios hin* ehados, le flula la saliva; la melena estoposa, grig, sucia y enmaraBada le salia en neehoaes por debajo del palftiel© negro, verdoso y lien© de easp&j * . Later, she appears again and precipitates Leandro*s suicide. He has just killed Milagros and, fleeing through the Corrala, is blocked by guards at the impure Street entrance* He turns to esoap® through the Paseo de las Aca- cias when he stumbles against la Muerte, who begins to call him names. He stops, looks in every direction, and suddenly stabs himself,

52Baroja, M busciu p. 74* ^Ibld. %bid,. p, 75. %bid.. p. 136. m

Biasco does not embody the idea of death is a character, but he present® three personified Impressions of her* Fell listens to Teodora's presentation of the gypsy idea of death, *jAy, la Merivlhl -Qui mardita bestial jl qui de tristezas trael • • Grimace# of horror accompanied the word MeriTfa, ®eomo si la tuvlese delaate y qui si era apartarla con las manoe."^ Long before she met Teodora, Fell had heard Isldro*s impression of Death as they miked through the San Martin cemetery, Era uha gran seftora de belleza triste, pillda, intensamente p&lida, con una plel mate que parecla absorber la vida del aire, sin dejar en su superficle brillo ni jugo; con unos ojos negros, lntensos, helados, profundos, que re- cog£an la lus del espaclo sin devolver el raaa lev® fulgor. Ira una matrona de potentes cade* ras, en cuyas ©ntraflas renacfa la vidaj de robustos y volumlnosos pechos* siespre hlBcha- dos de leche densa y amarga,5® it her passing, plants whither and animate beings fall dead, but afterwards everything revives. She is wel abono de la vlda, la hos que slega el prado para que resurja con mayor fueraa#1*^ Wandering distraught, after learning of Fell's death, Isldro find® himself again before the San Martin cemetery. Death is for him no longer a beautiful woman, but a horrible, threatening one* Blase© says that he dared not enter

56Blasco, Jja horda, pi 312. g?Ibid, 58Xbld.. p. 163 . 591M4«i P- 1^4. 140 the gate, that La Muerte 1® asediaba eon sobrada insistencia par® que 41 fuese a devolverle la visita. jAy, corao odiaba a la ihfame seRora.de los ojos aln luz, de la piel intensaaente palida, que una tarde habfa descrito all! dentro, ante In ab* sorte muchachal Con qui delectacionla ©scu» pir&a, an ®u peeho voluminoso y amargo, en ems flancos potentes, si pasase ante 411 . • • Cierto que tras sua pisadas resurgi® la vidaj qua ©tras Falls vendrfan al mundo; paro no ©ran para 11*011 The two novels have In common three groups of people who provide soma of tha background for tha other characters: priests, gypsies, and worker# in tha printing and newspaper world, The priests reflect tha anticleriealism shared by both authors, and they are much alike. Jn £& buaoa, Baroja has the priest Don Jacinto tell smutty stories to the boarders and remark after Irene*s abortion, ttTiene cara de Infanticida, pero est! mas guapa." A Later, Petra realise# that ®he is dying and send® Manuel to get Don Jacinto* the priest is in the dining room at a gay party and tells the

J# 0* boy, ttTu madre no tiene mis que aprensi6n. Luego irl*w When she begins to breathe with a loud rasping sound and Manuel runs to notify Don Jacinto, the priest leaves the party, but grudgingly. At the end of Aurora ro.1a, when Juan is also dying, another priest, summoned by Ignacia, is determined to

^Ibid*, p. 35$. 6lBaroja, La busca, p. 39. P* W** t •

1U literally push his way Into the bedroom, Juan absolutely does not mat to see him# Salvadora tells him that it •would be better for him not to see Juan# She continues, + ahora ya ha pasado ®1 peligro y no que- rents asustarle. —iAsustarle?—repuso el cura—; no, al rev&s; se tranquilizer®, ~Es que ha tornado hace poco una medicina y est! entoatecido# —No imports, no imports; me han dlcho que as un chico aiuy bueno, pero de ideas avanzadas, antirreligiosasj ademls, ha aid© serainarista y es necesario que se retracte* T el cura trat6 de pasar a la alcoba# «m»No entre usted, seffor cura«wsur»ur6 la Salvadora# ' , —Mi obligaci&i es salvar su alma, hija uixa. --»Entonces, espere usted us inoseatof yo le hablare de nuevo-~replie£ ella. Y^sntrando en la alcoba cerro la puerta con llave.6* She left the door looked until Manuel carae home. Blasco has a very unattractive priest who is a hanger- on of Don Vicente, the kindly but ignorant religious fanat- ic* This priest resent# Vicente*s allowing Iaidro and fell almost rent-free occupancy of a room to his flat# He pushes hl« my into Feli1# rooa during the absence of both Isidro and Vicente, sees the pictures of Hugo, Darwin, Zola, Schopenhauer, and Haeckel on the wall, and plays on Vicen- te's ignorance to assure him that these men are worse than Voltaire and Oaribaldi* who to Vicente are the quintessence of evil. The priest uses these pictures as a pretext to get

63Baroja , Aurora roia. p. 292. : : 142 ,.SS •

Vicente to ask the couple to leave his dwelling, although they both know that the two have no place to go and that they id 11 be plunged into the deepest misery* It seems natural for gypsies to be part of the scene of both book®, Many of them lived in Cambroneras, and Cambroneras is an important part of both the settings* Words from the gypsy language are scattered through the nov®l®| for example, alusplar. bato. dai, churumbeles. iurde. paplris, chorar. .ion.iano. plnrelea* The gypsies are only incidental to La buaca: they are referred to at various points* One of them, Dolores la Escandolosa, has a quite aiaor roll in the novel# In contrast, Blase© devotes some forty 'pages to a description of the lives of the gyp*' sies in Cambroneras. He writes in the |1 lector section of a 1925 edition of JLa horda that on his walks he studied "las costumbres de los gitanos instalados junto al puente de Toledo. {Cambroneras adjoins this bridge#f Rub^n Darfo went with him several afternoons, winteresado por mis relatos aobre las costumbres de estas geates da origen n<5- mada, entregadas a una vida sedentaria#1*^ In their destitution Xsidro and Feli received much kindness from the gypsies# The latter were really outcasts in the Christian community# Despite their extreme poverty, they lived with dignity, not wearing castoff clothing or

64Blaeco, M horda, p. 8, 65IM&« 143 sating slops from the refuse of the rich. They preferred rags when they could not get new clothes, starvation when they could not buy fresh food, itinerant stealing to steady work# let, even they were better off than Isidro and Fell* The last group of characters is mad© up of those who live and work on the fringe of the printing and newspaper world* Both of the heroes were attached to this world, Manuel Alcazar by his printing business, and Isidro Maltrana with hi® journalistic writing. The first of these characters presented in j£ busca is el Corretor, the father of Milagros and a proofreader for a newspaper# He lived at the Gorrala, and Manuel met hi® when he became an apprentice to 3«®@r Ignaclo. The description of his clothing is reflected in |jt horda in the clothing of Isidro. II Corretor wore "un sacfarMn destrozado, lleno de flecos, un paKuelo grande y sueio anudad© a la garganta y un hongo aaarillo, bianco y ntugriento.w At the beginning of jya horda. Blaseo describes Isidro as follows: Su® botas mostraban loe tacones rotos y el cuero resijuebrajado baip los rofdos bordes del panta- l<5n. Un macferXan de un negro rojlt© servfale de abrigo, y per entre las solapas mostraba eon cierto orgullo su unico lujo, el lujo de la juventud mieera, una gran eorbata de colores chlllones, que ocultaba la caaisa, y un cuello postizo, alto, de rfgida dureaa, pero cuyo

66Baroja , busca. p. ?8. 144

brillo habfa tornado, con el gsof una blancura amarillenta de »tr®ol viejo. ' Toward the end of the novel Blase© remarks on th@ deterio- ration of Isidro1 s appearance# "Isidro conservaba a6n aquel aacferl^n de color indefinible, que era coao la 11- brea de au miserla* Le servia para ocultar la delgadez del traje y m deshilachada caiaisa,raal cubiert a por un pafiuelo negro lustroso de nugTa.* At the Corrala Manuel also became acquainted with Aristae, whoa he finds again toward the end of Mala hierba at the housing unit where 3alvador& lives, the old friend how distributee periodicals* Baroja gives this picture of Aristas* activities; Corria medio Madrid llevando el paael de un puesto a otro, . . . Por laraaRana renarti a perl6dicos, repartia entregas* repartia pros- pectost por la tarde pegar anuncios j por la noche iba al teatro. Tenia una activldad extraordinaria, no p&raba nunca j organizaba f unclones, baileej representaba losQdomingos una compania de aficionados; . « This friend finds Manuel a job in a print shop in the Carrera de San Francisco. This Is not his first Job in such a shop. At the beginning of Mala hierba. after Manuel has decided to be one of *los que trabajan al sol, no de los que busean el placer

^Blasco, La horda. pp. 16-17. ^Ibid. > p. 323. ^Baroja, 'Mala hierba. p. 200. i;v'

145 en la scsnbra, ha thinks that Roberto Hastings might help him. Dona Casiana suggests that Superhombre, who works for El Mundo, a newspaper on the Call© de Valverde, aight know where to .find Roberto# From this Superman he learns that Roberto teaches at Fischer* s Academy, At first Robert© has Manuel help Alex the sculptor. After Manuel*s happy inter- lude with the Baroness de Aynant, Roberto suggests that he learn the business of printing and finds him a place with the printer Sitnchea O&nee. There he learns to know two typesetters* Jesus, with who® he goes to lire and through whom he meets Salvador a, and Yaco, who in Aurora ro.1a at Manuel's invitation installs a book bindery next door to Manuel*s own print shop* Their boss, "aquel Proteo de la tipograf£a»tt^ was a most versatile printer# On a single press, ru$ by an old gasoline engine, he published nine newspapers: Los Debates. El Porvenir. La Waci6n« La Tarde. II Radical. La Malana. El MundO. 11 Tiempo> and L^ Prensa. Baroja writes that Cada peri6dico importante de estos tea£s una column* suyaj y lo d«£s» informaci6n, artlculos literarios, anuncios, folletin, noticias, era oooCin a todos. . , , ' JUL Radical, por ejeaplo, furibundo republican©f ~"dedicaba la primer© columna a faltar al Gobierno y a los curas; pero sus noticias ©ran las misnas que las de J|1 Mundo. diario conservador

?%arojaf jya busca. p» 263. ^Baroja, Itela hierba. p. 121. 146

impenitent© que empleaba la primera columna en defender la Xglesiju esa area santa de nuestras tradicionesj * . #7« Three journalist® are described ta this chapter on the activities of Slmehez Gibes# Ckms&les Parla seemed »wa b&rbaro por am faeha de mozo de cuerda. Hablaba brutal- mentej llamaba al pan, pan, y al vino, vinoj a los polfticos braguetoaes y a los periodistas de S^nehess Q^mess, 1©® j§« £2S>M^ Seftor Fresneda was «»uy flaeo, muy espiritado, muy bien vestido y siempre muerto de hajflbre."?^ His fines®® was climaxed one day when, very hungry, he asked his director for money. The latter answered, «To le darl a listed una recomendacion para el ministro." Fresneda replied, "Para morirse de hasibre « • * no se necesitan reeoBiendaeione®, The third journalist, Ernesto Langairinos, was nicknamed Superhombre because he was always talking about the earning of Mietzsche's superman. He first appears early in tofeu>c* a s a boarder in Bolia Casiana^s house# He used, to send the boy Manuel off to the printers with his copy. When Manuel was recuperating at the boarding house, Super- hoiabre employed hi® to copy his notes and articles, paying him by lending him novels by de Koch and Pigault-Lebrun• Some of their plots *de un verde muy subido"?* led to

72 Mi'» PP* 121*122* 73Ibid.« p# 125* P- 123* 75Xbid*. p. 127*

?%arojaf busca. p. 169* m

Manuel*s expulsion from the house, when he tried to practioa their love theories ©a the niece of Dofta Casiana. At the tine that Manuel begins working for S6n chess G&aez, Superhoo- bre is on the staff of fcos Bebates* but his work was printed 11 en los nuev® sapos nacldos en los sUtanos d@ la imprenta de Sanchez G&nez."^ He was then in his thirties with a black beard, an aquiline noise, and a noticeable abdomen* His trousers were always baggy and frayed, his coat auch stained, Baroja remarks that "la superior!dad del espiritu de LangairiHos no le penait£a supoaer que un hombre que a© fuera §1 valiese mils que otro.*^ Roberto lasting# also writes for a newspaper. In addition, he serves Baroja well as a mouthpiece• He represents will power and, as Manuel*® ftttend, gives advice to him throughout the trilogy. Like Superhoabre, he first appears as a roomer in Dona Casiana* s house, a serious, youag student, an aristocratic type, thin# with thick blond hair, a silvery blond moustache, and eyes of steel* He becomes Manuel's friend when he upholds him in his fight with the

77garoja, Mala hierba, p. 123, Either there is a misprint on p. 125 (see footnote 73} and wiodisMi. should be perlodicos. or Baroja gives rise to confusion with his use of'the expression los saoos* The chapter in which this occurs is entitled^osSres de los sa^os.« 0» p. 123 he calls the nine newspapers printed by Sanchez Gomes Ijgs nueve saoos. On p# 125 he has Gonzales Parla call the journalists working for Sanches Gomez a&s gapos. 7iIbld>, p, 124. Hi salesman, He is a good student and tries to delve Into til# meaning of what he reads instead of just learning thing® by heart, tee time he ©ones upon Manuel In the bread line at the Maria Crlstina barracks and tell® him, "Estoy en un peri6dico trabajando y esperando a que haya una plaza vacante^*^ h@ helps support his mother and sister and works very hard at making translations, giving English lessons, and writing newspaper articles, He informs Manuel that it would require seven or eight years preparation t© get into the newspaper trade# He later becomes Manuel* s silent partner when he let® him have 15»000 pesetas to buy his own print shop. loberto seems to reflect Baroja in hi® remarks about poverty| upon polities, and on wip. power# In jy* busca he lives and works with the very poor* While observing the customers in Blasa* s tavern, he remarks, "Serfa eurioso averiguar . . . hasta que punto la aiserta ha servido de eentro para la degradaoi6a de estos hombres."*0 Baroja seems to be investigating this same environmental influence throughout his trilogy# Roberto does not believe that human brotherhood will ever come. He thinks that "la democracia es el prlneipio ffdi de una soeiedad, no el fint He states twice in Aurora

7%aro4a, M p. 190. %bld.. p. 105* ^Baroja, Aurora roia. p. 275. 149 ro.1a that an enlightened, progressive despotism would be a good thing for Spain* He continues, RIo prefiero obedecer a un tirano que a ana mucheduabrej prefier® obedecer & la jtuchedumbre que a tin dogiaa, La tiranfa de las ideas y de las raasas esf para mi, la mas repulsiva.*^ The sain bails of his philosophy rests on the win. Early in their acquaintance he assures Manuel that f,nada hay imposible para ma voluntad enlrgiea,**^ and later in the same voluse he tells him, *Se necesita mas voluntad • * * para veneer los detalles que aparecen a eada instants que no para haeer un gran sacrlficio o para tener un memento de abnegaeiSft,18^ At the beginning of Mala hierba he smiles banterlngly at Kanuel*s willingness to do ^atever turns up and exclaims, ",Qu4 espaftol es esot Estar a lo que saiga* Sieapre esperando * •

Concerning the bohemians, he tells Manuel that if he keeps hanging around with the loafers who ease to Alex1 s 4 studio, he will change from an idler to a tramp» He rea*» 4 sons further, pero cuando un hombre no puede eoaprender nada en serio, cuando no tiene voluntad, ni coraz<5n, ni sentinientos altos, ni idea de Justleia ni de equidad, es oapai de todo. Si esta gente

*aIbld.. p» 274* ^Baroja, busca* p» &9# ^Xbid«, pp« 194-195# ^§Baroja, Mala hierba, p* 14. 1§0

uviera un talent® exeepclonal, podrlan ser ttil®® y haeer su carrera, pero a® lo tienej ea cambio han perdldo las nociones morales del burg##a, los puntales que sostlenen la vida i®l hoabr® vulgari , . • Quizii haya algo genial, yo no dig® que no, m asos monstruos da Al«3t, • . • par® eso no feasta, hay qua ajaeutar 1© que at ha pensado, lo qua ©e ha sentido, y para eso at aeeesita el trabajo dlarlo, constante«8£> Robert© gives him this advices "Has algoj repite lo qua hagas, hasta que la actividad para tl sea una costuaibre* Convierte tu vida astatlea ea vida din&aica, ^ Mo me entien- das? Quiero decirte qua tengas voluntad*11^ This last idea Roberto repeat* tiriee in Aurora rolai ©a la vida hay que luehar siempre*^ ; Cr^emeJ Ea el fondo a© hay mas que un reraedio y un remedio individuali la acel6n» . . . La aecion es todo, la vida, #1 placer, Gonvertir la vida «§tatica en vida dinlbnica j 6ste es el problema. La lueh® sie»pref hasta el Ultimo laomeiito, * * * 11 motivo e« lo da inenog, SI aconteci- miento est£ dentro d® uno mismo. La cuesti^a es poner en juego el fondo d® la voluntas^ el instinto guerraro qua ties® todo hoiabre,8® fe horda has three characters connected with this "paper" world, Mosco, Manolo* and Maltrana# Mosco will be identified by the reader as the famous poacher of the Caro- lina® and the father of Feliciana, Reference has been pad® in Chapter If to his having been a printer by trade* He even achieved the managership of a press where several

86Ibld.. p. 23 . 87Ibld. • p. 24. * * dd 69 Baroja, Aurora roJa, p. 129. $bid., p. 2?S# -

151 magazines were printed* Blaseo asks, ®|Por qui hab£a de permanecer dentro de una poblacion, juntando letrltas de plomo, agot£ndos© en esta tarea de mujer? . . • Era hombre de pelea; 1® gustaba torear a la Muerte todos los dlas , . .-90

lis brother Manolo, nicknamed el Federal for his pollt- leal beliefs, was the foreman of a newspaper agency. In hi® newspaper distributions he recalls to the reader's mind * Arista® In lucha por la vida, but he was calm where Aris- tas was very restless. He would tell laldro, • y* sab# d^nde tengo las. ofleinas: Puerta del Solv de cinco a ocho de la manana, en la acera de la botica de Borrell • . « aunque lluevan chuzos, aunque eaigan capuchinos ds punts. Blase© inform© the reader that Manolo was a great person to the retailers of printed matter and that he was also famous in the editorial rooms for his picturesque language as wsll as for his renarles on politics. Jgl cuarto estado «*» his favorite phrase. • Blaseo explains his us® of it. ttSl«cuarto estado> era su frase f avorita, en la que lo abarcaba todo, y cuyo alcance hab;£a que adivinar. Unas veces, el cccuarto estado» era tmicamente los vend©dor©s del papel; otras, la gente popular; y algunas, todos los que compran peri6di~ cos,*^2 After Isldro and Fell had eloped, Manolo spoke

90Blasco, La horda. p. 9*Ibld«. p. 07* 92Ibid.. p. dd. 152 indignantly to Isidro, «Par@ce mentira que hombres intelee~ tuales que no son del cuarto estado cometan mas pifias*"^ Despite their mean trick and the sadness they have caused Mosco, he offers to intercede 'with him to forgive the couple. Later Manolo is the one who brings them the sad news of Mosco*s death, the result of his ambush by the guards of II Pardo, The journalist of ^ horda is Isidro Maltrana. ie is not only a member of this "paper* world, but Slaseo say# •# that wel papel le perseguia, le rodeaba} hab£a naeido para ser su siervo* \ Siempre el papel, negro de tinta, acoslm- dolo, cerrSndole el caaiinol"^ In his extreme poverty he eould not find anyone who would give him food, but he always came home with his pockets full of paper, the articles and books given hi» by their authors* Isidro resembles not one character in Jjg. lucha nor la x 4 ' * vlda, but three, el Corretor, Roberto Hastings, and Manuel Alcazar, If the only similarity lay in Isidro*s attire being like that of el Corretor, the reader would deny that being a basis of plagiarism, for this dress say well have been common for underlings of the newspaper world# But,4 as •» ~~ he reads further, he notes that Isidro also engages in activities similar to those of Roberto Eastings, He writes articles, hangs around the editorial rooms, does

93 lb id,, p* 21?, 94Xbid. pp. 335-336, 153 translations, and is always waiting for a vacancy to arise so that he my secure a permanent newspaper job. He even writes a book for a politician to sign, but it is too good for everyone to believe it written by Don Gaspar Jimenez, therefore, Isidro receives no more commissions from that worthy senator, Unlike Roberto, Manuel is not interested in polities, Blasco says he never made an effort to remember a single word of the frequent political talk in the editorial rooms# Isidro thought, "^Cooo podfan iateresar a nadie tales f utilidades? Maltrana's outstanding characteristic is weakness of will. In his lack of will power lies his chief resemblance to Baroja*s hero, Manuel Alcazar; that ist the Manuel Alca- zar of the first two books of the trilogy. Blasco writes that Isidro reconocfa su gran defect©* el aal de sm genera- cion, en la que un estudio desordenado y un exeeso de razonamiento h&bxa roto el principal resorte de la vida* la falta de voluntad, Ira impotente para la acci6m . . . Y permanecia inmovil, . . . sin aniao para intentar un es« paso, Does that not recall Manuel* s waiting for whatever turns up? Again toward the end of the novel, Blasco repeats, "Estaba veneido sin remedio, . . . El estudio desordenado y

ansioso solo servfa para anular su voluntad."97

95Ibld.• p. 17. 96IHld., pp. 25-26, 97Ibid.• p. 336. 4 k

l8idro used the editorial rooms of Don Cristobal's paper as hia home by night# The latter was a klndhearted soul ^#10 was preoccupied with his paper and nla revoluti6n que no llegaba nunea,"9^ H® tolerated Isidro*s using the light, the paper, and the ink of the rooms to do hi# translations because he admired him as a learned wan* At the game time he realized that Isidro would not have made even a good office boy# Isidro*s fellow journalist# hated his culture and every mont|i gave him a new nickname, depending on his current quotations# First he was "Schopenhauer,* thenff Mietz@che,n and finally "Homer," The editor wanted 0 to put him on a regular job, but hie writing was too concise for everyday reporting, and his editorials were long, cold prose which came to disinterested conclusions# Blasco describes the® in this manner; • despues de examinar y pesar todo lo existente, Jeraj tan malo y defectuoso el ideal defendido por el periodic© coiao el regimen de los go- bernantes actuales#"^ Then, they allowed him to write on any subject he pleased, and his learned prose was so dull that Bon Crlst6bal remarked that he nearly wrecked the paper# So, he failed to get the regular job and the fifteen duros monthly# There are many authentic touches in these pictures of the printing and newspaper world# Both authors had been

9*lbid». p# 20# • P- 25' 155 journalists and were writing from personal experience* Some of the characters la this field are no doubt based upon real people they knew. It i® interesting to examine their journalistic experience before the publications of Jgg, lucha *>or M JJ& horda. G^mes-Santos quotes Baroja as follows concerning his first published articles "Por esta Ipoea creo que el primer arti'culo mfo que se comento algo ful uno que publiqu# en el aKb 1397, en una reriata Germinal, que dirig^a^ Dicenta. II cuento mi® tenlfa como tftulo *Piedad o cult a o Bondad oculta»» However, P£rez Ferrero says that the firat journalistic efforts of Baroja came to light in the Madrid newspaper El Ideal» which was' located in the Plaza del Celenqae and whose director and owner was e^ comandante Prieto, Mext, he began to sign eome articles for jysi Justi- ciar Rafael Altaaira had left its directorship and Franco# Bodrfgtiez had taken it up. After a while Baroja1s friends took hi® to g. Pa£s. established in the Calle d© la Madera, which was directed by the talented priest Ferrihdiz, who was anticlerical in his attitude and wrote some scandalous books under the pseudony® of Constancio Miralta, At JS1 Pa£it he knew Antonio Palomero, Carlo® Soler, Adolfo Luna, and Pineda, In 1899 he also wrote for Arte Joven. Granjel

x°pMsrino G^mes-Santos, Baro.ia x su mascara (Barcelona, 1956), pp. 197-19$. 156 says lie attended the tertuliaa in the office of Arte Joven and na la que sostenfa en su casa #1 editor Rodrfgues Serra."101 At the end of 139$ Luis Ruiz Contreras, "aniaador d® flamantes efrculos littrarioa,"^02 had wanted Baroja to wit# for a magazine which he was about to bring out under the title of Bevista Nueva. It was also located on the Calle da la Madera, Baroja did wita some articles for it but refused to contribute to its support, although p|re« Ferraro states that he did donate to its furnishings, "un par d« mesas y algunas sillaa."*0* In this venture- he associated with Cornuty, Bernardo G. de Candamo, ?alle- Xnclan, Maeztu. Baroja* s connection with gl Globo was very important for hi® literary life, As chief editor h© was brought in direct contact with other writers and publishers, and with the public. When be became the Tangiers correspondent for the paper in 1902, he was able to give up the bakery and devote himself entirely to writing# This daily belonged to Emilio Rfu and was administered by his brother Baniel# Plrez Ferrer© lists some of Baroja*$ fellow workers;

{ikzorim, Lopes Pinlllos fc'vParmeno»), Pedro de Elpide, Luis

10iGranjel, 0£. cit.. pp. 109*110. 102Peres Ferrero, 0£. cit*. p. 83. 10^Ibid., p. 124* 157 de Oteysa, Delgado iarreto, and Jardiel.10^ In 1901 hi® aovel &Venturas* inventos £ mixtlficaciones de Silvestre Paradox was'published in a follot£n of El Globo. During 1902 he wot® theatrical criticisms for this paper. Azorin thought that the "inflexible independencia"-^ of Baroja especially qualified him for this work, Jos4 Alsina characterizes his pieees ae ailltawtes and says that he published then wbajo #1 epigrafe de «0r£tica arbitmp ria» ,»»106 jjowreP# Baroja did not like the work and gave it up at the end of three months* That same year 2& lucha por M T*da appeared in a folletfn of J§1 Globo. and Careino de came out in a folletin of a different newspaper, La Opinion, When one turns to Blasco*s journalistic efforts before the creation of Jgg, horda, he finds that his first publication was a short story in Valencian dialect entitled nLa torre de Boatella." He was sixteen when it was printed in Valencia in 1##3 by Constantino Llombart in his magazine Lo Bat-Penat.*0^

104J 105Joe* Alsina, "On crftico arbitrarlo," Baroja «n el banonillo. tribunal espaSol (2aragoza, n.d.), p. 172. lo6Ibid.. p. 171. 1®7Betoret-Paris, S£» lii*# PP* 317 337. 15$

After the political amnesty of 1891» Blase© returned to Madrid, married, and founded El,, Pueblo. OascS Contell quotes hi® to the effect that J£1 Pueblo was founded wen una epoca en que no existfan en Espafla, fuera de Madrid, perid- dicos radisales y ae arriesgul en la empress sin apoyo pecuniario ninguno.*^0^ Blasco*s fixianeial risk in this undertaking ma considerable, for the paper eould not have the support resulting from advertising# As Blase© said {still quoted by Gasc6 Contell), advertisers flee "como de la pest©* from newspapers with "ideas avanssadas.*109 Since El Pueblo depended on the sale of copies and was directed toward poor people many of whom eould not read, it was cer«* tain to have a standing deficit* Concerning the current illiteracy, @asc$ Contell reports Blasco as saying that "Espa&a tiene una mitad de poblacirfn que es iletrada.*^"0 Blasco poured his inheiritance and his energy into this venture for a ten-year period* He wrote the art criticism and many of the other articles himself, as well as short stories, and also novels in serial form for the folletines of the paper* These were Arros x tartana. Flor de mayo, and La barraca, and those stories later gathered into Cuentos valenciarios and Jjft condenada. El Pueblo not only aroused ?

^%®ilio Sasco Contell, Blasco Ibafiez (Paris, 1925), p. 46. I09Ibld., 110Ibid. 159 the people through Its lnflaoatory articles, but alio It organized public demonstrations. Because of government opposition and the threat of imprisonment, Blaeeo fled to Italy for three month# of 1895> From that safe ©pot he sent back articles on Italy which make up hi# volume En pafs del arte (1896). On hla return he served fourteen months in prison before his fella* journalists succeeded in securing hit release. While he was a deputy to the Cortes, he took part in th# Asamblea de Castellan where the party of the Uni^n Republicans was organized« From that time dates hi® famous article "A1 fasar" which the Bncielopedla universal says alcanas^ gran resonancia y fu^ denunciado a los tribunales, y la organizaei6n de sus partidarios qm con el nombr© de blasouistas se pusleron en encarnizada pugna con los llaisados sorlanistaa (partidarios del diputad© a Cortes don Kodrig® ' Soriano) por los silos de 1903 a 1907, conten- 111 diendo a veees en las wisaas ealles de Valencia. Masco himself did not consider his journalistic work worth preserving and later in life wanted to use his impressions la novels and not in journalistic articles. In the JL3± lector section at the beginning of £1 milltarisao. meiicano. he states, ttIl novelisia deseaba guardar la vir* 112 ginidad d® sus tepreslones para el llbro." He continues}

lllnyicente Blasco IblSes,** BneifeJhopedla universal. VIII, 1119-1120. ^^Blaaco, El mllitarismo me.ilcaaa (Valencia, 1920), p. 10. j I 5 160 lo he conslderado siempre el trabajo pariodfs- tleo eoa© eflor da ma dia» que no siereca v@r prolorigada ©11 un libro su existencia, circmstari- eial y affstara# He coleeoionado m voltinanaa ©Is cuentos (no todos) y algimos articulos lit#- rarios (muy contados)» Nunca consider! digues de sar reunidos bajo una cubiarta adltorial mia trabajos gobr® politics, aociologfa. historla, at©* He sido gariodista durante quine© a|©|f y escribi wi artlculo o do® todoa los dCa*,*4-*

U3Ibld.. p. 12. CHAPTER YX

COHCLUSXOK

Tha ptirpoaa of this thaala haa baan t® datarmina mhathar Blaaco Xb&flas In his noral J£ horda uaad Baroja's matarial which ms publlahtd in La Xucha pot la •!

Thara are so wmj paraxial® «nd raflaetiona brtvMB tha two novala that ona mm not sussaarlly dtaalaa tha eharga of plagiarism. Soma critic* atata daflnltaly that Blaaco uaad the sana aubjaet nattar and tha aaaa thaaa that Baroja did* Xn 1927, is th© 'rIllt^oiwctioIl•, to to&rraga* Mayward Ka&latoa vritaa that |g| horda *ia a rathar i&taraatl&g pio* tura of tha aordld Xlfa of tha rafuaa eoXXaetora and gypalaa la tha auburba of Madrid, a thaaa already traatad

by Baroja la !a Bttaca*"* HaXaa Sch

. %»wrt Ianl®t«i * Introduction* * M (Haw York, 19107, p« ad. 161 162

2 Struggle for Life*" She saya that therefore she will omit a separate analysis of Blase©'© book and proceeds to discuss that of Baroja, Perhaps the hulk of the evidence of similarity alone will cause the reader t© admit that Biasco did use sane of Baroja*s material* If this is the case, a further judgment must be made as to whether he did so intentionally or unconsciously* In fairness to Blase©» it may be said that part of his background material may lie in the experiences of his first sojourn in Madrid in 1B&2, long before Baroja wrote La lucha por la vida. and in his various Madrid residences froa 189$ until 1905, the date of Ja horda, The first five years of this period he maintained his Yalenelan residence,, staying in Madrid when the Cortes were in session. However, in 1904 he moved to Madrid to a house on the Paseo de la Castellana, where he remained until he withdrew from politics and went to South America in 1900. Also in Blasco's defense, some ©rltics state that both novels are great books, implying that therefore the similarities do not matter. Pitollet agrees with Axtdrls Gonzalez-Bianco that there is "ningun punto de contacto entre ambos escritores y sus respectivas ©bras, cada uno era grande a au manera,"^

%elea Schenck Nicholson, £he Novel of Protest gng. th& Spanish Republic (Tucson, 1939), p. /• ^Pitollet, op« cit», p» 247* m

Even if tli® winy similarities d® not matter, if they are unintentional coincidences, there is a© denying that the timing is against Blasco. For him to publish a noTel using the identical setting and the same sequent of a tingle social class Just one year after the publication of Baroja*s trilogy is, t© say the least, an expression of bad taste# M© on# but an egoist would do such a thing. He must have thought that his rendition of the theme was much better than Baroja*s. If, on the other hand, he had mited some years, he probably would not have written horda at all, for he usually wrote his novels when h® felt close t© a particular setting and situation* After a cursory examination of the evidence one sight convict Blasco only of bad taste, if the latter had not made this unfortunate remark to Baroja concerning his trilogy, "Sso que ha hecho Yd* en las tres obras son estarapas pero hay que pintar el cuadro«B^ Baroja says that Blasco made this statement "antes de que §1 escribiera && Horda. a base d# los libros mios**-* Without the composition of La horda this remark might be considered an interesting bit of literary criticism, but in the light of a published £& horda* it seems to point toward an intention on BlascoTs part to "pintar el cuadro."

^Peres Ferrero, $>j>. cit.f p. 168. ^Baroja, Pa&lnas escogidas. p. 14*« fc

164

Many of Blasco's novels were written *&ile he was in a state of hyperesthesia# Sis. method of composition has been described at length in Chapter X, Whenever some special stimulus broke through the dam which held back the impressions stored up within his brain, there was a compulsive outpouring of words without an attempt on his part to examine or to shape the results* nevertheless, he did not publish the novels in this rough, verbose form. Before presenting them to the public, he condensed them to one~ third or one-half of the original mass* After he had poured into jy* horda all that he felt in protest against the social system that produced such vic- tims as Fell and Isidro, he must have examined his work, cut it down, and polished the descriptions# He would have noticed the likeness between this nm novel and Baroja*s trilogy, which he had read in the recent past. When he realized that there were so many similarities between the two works, why did he not give up the book as he did two, years later with £& voluntad de vivlr (1907)? After this latter work was printed, Blasco first stopped its distri- bution and then had the whole edition burned to avoid offending a friend who believed the novel contained her physical and moral portrait,^

voluntad £e vlvir has been published posthumously (1953). 165 ,ii I II" he felt impelled to protest the special evil® which flourished ia the suburbs of Madrid, he could have used Baroja's theme and setting without danger of a charge of plagiarism, for no writer has a monopoly on a theme or on a particular setting. If he had only used the same theme in the same setting, the reader would have thought of Baroja, but with little sense of disapproval toward Blasco, It is whan the evidence of similarities between incidents and among many characters begins to accumulate that one at first doubts| and then questions. Instead of the ragpickers, why did he not select a different group from the lower class, the prostitutes, for example? Why not choose an intelligent hero who is not a member of the printing and journalistic world, a teacher or a painter, neither of which figures in jya lucha por la vida? One must agree with Hayward Keniston that most of Biasco's heroes "are embodiments of some single aim, toward which they strive without reck of circumstances*Why did he on just this occasion choose a' weak-willed hero who would be certain to recall to the reader*s mind the weak and vacillating will of Manuel Alc&sar? Finally, why does he have his book end in the same disillusionment as that of M lucha por ^a vida? At various spots tn the novel he points toward a. future awakening of the exploited lower

^Keniaton, 0£. clt». p# xii. 166 elms®, but at the end he offer# only disillusionaent for those who hop® to see this dam of a new day# Manuel SUBS up the situation at the end of Aurora ro.ia. when he saye while gating at Juan1s corpse, BNi los miserableg se levantar£n, ni resplandecera un $£& nuevo , sino que persistlri la iniquidad en todas partes. Hi colectiva ni individual- mente podr&i libertarse los humildes de la mlserla, ni de • ft la fatiga, ni del trabajo constante y aniqullador*" In the future there remains only depression for the poverty-stricken masses* They are abandoned by their possible leaders. Isidro Maltrana, like I4anuel Alegar before hia, in the full knowledge that wrong should be righted and that the masses need capable leaders, decides to conform henceforth to the bourgeois pattern, turning his back on the problems of the current evils, and leaving to others the protesting against the existing social order* Some may see a ray of hope for the lower class in the example set by Manuel and by Isidro, that of the individual, who, through the development of will power, improves his own lot within the bourgeois frame. Others, more realistic, would protest as Manuel did earlier, "Pero no todos est&i a bast&nte ai- tura para luchar, ^Baroja, Aurora ro.ia. p, 296, 9Ibid., p. Z1&* 16?

Is Blase© Xba&es guilty of plagiarism in horda? la consideration of his method of creation, one feels that during the aetual composition he probably was not conscious of using Baroja's material* However, when he came to re- shaping and condensing the mrk for publication, one feels reasonably certain that he did recognise the many likenesses between the two novels* His publication of horda in spite of this realization amounts to an intentional disre- gard for his use of Baroja's material and leads one to decide that Baroja*s charge is a legitimate one* BIBLIOGRAPHY

Book® Baro.1a m el l^aou&llo.* Tribunal espaffcl, Zaregoza, tibreria' general, n. d, Baroja^en el banauillo. Tribunal extranjero, Zaragoza, *lbr#rx& general7 n« d» Baroja, p£o, Aurora ro.1a> Madrid, Rafael Caro Raggio, n» d. . La busca, Madrid, Rafael Car© Raggio Editor, 1OT7" hierba. Madrid, Rafael Caro Eaggio, Editor J nTd." . Memoriae. Madrid, Edicionee Minotaur©, 1955# t'Pfaly escoKldas. Madrid, Casa Editorial ' i, 1918, $ HsL tabl&do de Arlequin« Madrid, Rafael Caro , n* u« . Vitrina pintoreeca. Madrid, Eapasa-Calpe, 57X7 1935* Bell, Aubrey F. G», Contemporary Spanish Literature, lew York, Alfred A. Knopf, 1925.

Blaaco IblHes, Vicente, Arroz £ tartana, Valencia, F, Seapere y CompaSia, Edit ores, **• d. • 1U barraca. Introduction by Hayward Keniston, New York, jienry Holt and Company, 192?• . la batalla del Marne. Introduction by Federico de Onfs,"New York, 0« CV Heath & Co., Publishers, 1920#

166 169

, f The Cabin, Introduction by John Garrett Underbill, lew York, Alfred A. Knopf, 1929, . » IMS I§lSi Valencia, Prometeo, # U# |ja horda, Valencia, Proraeteo, n. d. li militarismo ae.licano. Valencia Promet"00 | X/2U| j nuertos mandan. Valencia, >roaieteo, 19W

nW , , w,„t > Mf Sjglll, ISMp, Introduction by F. A* Q» Cowperand J* T. Lister, New York, Harper and Brothers, 1934. —_» n& 2M pan M Me iaisi isi tner MStories , translatewiauoxavcdu bwjy Arthuwww*r- *»**Livingston. , lew Tork, E. P„ Dutton & Company, 1925# ., Sfenica la oortesana. Valencia, Profieteo, n* d,

r, la yoluntad d£ vivir, Barcelona, Mdi wOyi&l PX&ii©fc8i p 1953 # Caro Baroja, P*o, Lgt soledad de P£o Baroja, Mexico, D, F., Pi© Caro Baroja, Editor, n. d. Oasc6 Contell, Eailio. Blasco XbaKez. Paris, Agenda A ^ T 4 V Wjltf u "uiikiiiuw w MtmuXiiX a# Xi3lf jL5F^ * GSmes-Santos, Marino, Baroja x MM SiSSa* Barcelona, Editorial A H R, 1956. Granjel. Luis S., jetrato de Pfo Baroja, Barcelona, EultOfjlsl BsJu&it| S» A* I 19/3 # M*rim*e, Ernest, A gi^op of Spanish Literature,, translated by S, Griswold Morley, Mew lork. Henry Holt and Company, 1911. Nicholson. Helen Schenck, Bm> Hovel of .Protest and the Spanish Republic, The University of ArisonaThilletin, X, 3, Tucson, Arizona, University of Arizona, £1939.3 Northrup, - George Tyler, to lntroduction to %$a*s.h M$S»- ture. Chicago, The university of Chicago Press, 1930. 170

Peres Ferrero, Miguel, Plo Baroja en su rlnc6n. San Sebas- tian, Editora Internacional, n. dT Pitollet. Camilo. ?• Blasco IbUffes.sus novslas y la novels £ HE iM&t Spanish translation by Tulio Moncada, alencia, Prometeo, n. d. Swain, James 0*, Vlcante Blasco Ibitiez. General Study with Special emphasis on Realistic Techniques, Knoxvllle, Tennessee, Graphic Arts, 1959*

Enciclopedia Articles "Baroja y Nossi (P£©),» Inciclegedia universal tlustrada europeo-american*. Vol, III, Barcelona, Hijos d© J. Espasa, Editores, n. d. "Biaseo Ib&flex (Vicente),B Enciclopedia universal ilustrada europeo-amer1 cana, vol. VIII, Barcelona, Hijos J* Sspasa, Editores, n« d. .cana. XXXI, Barcelona, Hijos de J. Espasa, Editores, R# it# "p£o Baroja y Iessi,w Columbia Dictionary of Modem Euro** pean- Literature« Horatio Smith, General Editor, New xorlc, Columbia University Press, 1947. "Vicente Blasco Iblffeg,w • ^lymMf, European literature,. Horatio Smith, General Editor, ew York, Columbia University Press, 1947# "Vicente Blase© Ib4ae2,n Twentieth Century Authors. New Tork, H. V. Wilson Company, 1942•