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CHARACTERI&ATIOK in the PLAYS of JACINTO BENAYENTE By

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CHARACTERI&ATIOK in the PLAYS of JACINTO BENAYENTE By Characterization in the plays of Jacinto Benavente Item Type text; Thesis-Reproduction (electronic) Authors Owen, Marie, 1908- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 22:58:46 Link to Item http://hdl.handle.net/10150/553377 CHARACTERI&ATIOK IN THE PLAYS OF JACINTO BENAYENTE by Marie Owen A Thesis submitted to the faculty of the Department of Spanish In partial fulfillment of the requirements for the degree of Master of Arts In the Graduate College University of Arizona 1938 <^v ACKNOWLEDGMENT The writer gratefully acknowledges the helpful guidance of Dr, Helen S. Nicholson in the preparation of this thesis. Si6»55 t m m of m m m m IHfEOWCTIOH CHAPTER I - BMAVEHTE^ 5 POSSESSION OF THE KHOT/LEDGE OF HTOUH NATURE CHAPTER II • THE EXPRESSION OF THIS KHOWLSSOE IH CHARACTERIZ ATIOII CHAPTER III - THE PLACE OF CHARACTERIZATION III HIS dramatic m m m m C01CISSI0H bibliography F O O T H O m ggAMCfSBXZAfIOH IH THE PLAYS OF JACIIfO BSHAVESEB I# Beaa7ente,8 posstssion of the knowledge of human nature A. AsBtmption from his training and experience B, Statements of .the oritios concerning 1. His possession of knowledge 2* Bealism of his plays r 3. Characterization inplays G* Mteamry theories of author II. Expression of this knowledge in charaoteriaationin A. Dramas of provincial andKadrifi aristocracy • B. Dramas of middle class C. Dramas of lower class D. Rural drama E. Fanciful drama III. Place of characterization in his dramatic technique A* Importance of dialogue B. Suhordination of plot IBflOWCflQl It is our purpose to show in this thesis that the sue- oess @f the eonteoporary Spanish dramatist, Jaeikto Eehavente who was awsraed the Eohel prime for literature in 1522, la flue to his power in characterisation, and that this power springs from his knowleflg# of h u # h mature# la order to prove this thesis, the writer has react thirty-nine of Benaventef s plays and seventy-nine erltieal articles or hooks on the playwright. It would be impossible to treat all the plays rcafl in a work of this kina, because of which we have chosen to deal with twenty of the play# which we feel are representative of the author1s work. After proving that Benavente possesses a knowledge of human nature, we shall analyze these twenty plays in order to show that that characterization is the main factor in Benavente’s dra­ matic technique and is therefore the basis of his success as a dramatist. CHAPTER I BEHAYEHTE* S POSSESSION OF THE K50T/LEDGE OF e m m ^ m t s i b To say that any man poEBeaseB a knowledge of human na­ ture 1b to make a rather broad statement, but it is neverthe­ less a statement whleh we oan make without hesitation eon- eerning Jaointo Bemvente. We base this opinion on three factors: the assumption of Benavente *s knowledge of human- nature which may be derived from our aeqmaInterne# with his training and experience, his knowledge of human nature as attested by the critics who have had the boldness iosjBritl~< else the works of a contemporary, and his knowledge of human nature as shown by some of his own statements regarding dra­ matic authorship• ■ / / Angel lasero perhaps gives us the most comprehensive account of Jacinto Benavente*e life, a knowledge eoneernlng which is absolutely esseatial to us for a complete under­ standing of the dramatist*s attitude toward and insight into the lives of his fellow beings*V Jacinto Benavente was born on August 12, 1866, in Ma­ drid, where he has lived practically all his life. His par­ ents belonged to the upper middle class, his father being a prominent doctor who specialized in children’s diseases. Some knowledge of the father will help us to understand the X ' '' son* Of Bemvente * s father lazaro writes: Gueatan qua su vida de estudlante fue «un poema de sufrimlentos, de prlwelones, de constancia y.de trahajo;), Estudlo en 'las bibliotecas p^blieas— »dloen #%e hld- grafos— ; llegtf haeta copiar los libros de text© por carecer de recureos para cop- tinuar sue estudlos; desde el segundo ano slrrio de profeeor a bus conaiBofpulos en el repaso de las asignaturas del ourso* Por fin llego< el preal© fue aereelaa su talento y eu woluntad. Turo la recompensa oflcial y el carino popular. 2n su gestion oomo mlembro de la Real Academia de Medial- na y del Cuerpo PacultativodeBenefieencIa Provincial, se distlnguld' freeuentemente en debates inlclativas. Posela dotes muy no­ tables de esorlter eientlfleo. Cuando murlS, los ninos de la Benefi- cenola cubrieron de flores su fdretro, y hoy tlene un senclllo mohumehto en Madrid- en un grato rinedn del Barque del Retire. Don Mariano Benavente’s influence on his son must have been great indeed. When Jacinto was a child, his father did not leave Jacinto’s and his other two eons’ training entire­ ly in the hands of his teachers, but personally directed and supervised then. «En eso y en nueetra instruecicn— ha dicho el dramaturge— intervenla directamen- te; no nos dejaba a mercefl de los maestros. Se preocupaba de todo. Jamas nos pegd. Bien es verdad quo al reprendernos lo M e l a eon ana cara y anas palabras, y en un ton# de tan imponente seriedad qua no quedaban r; ganas de repliear ni de reineidlr.^ Annie Russell Marble says: His father was a prominent physician and the boy had a stimulating home environment.4 Jacinto Benavente’s devotion to his mother formed the 3 greatest l@Te of hi® llf#» It was she who shared his disap­ pointments and his triumphs. When interviewed hy Josef Marfa Carreterb in 1922, Benavente gave evidence of his feeling for h#r* , - - - '-r.. ' ... %- . :... ■ — dCuales son eus mas granges amoresf ——Mi maflre y xina ahl jadita qne tengo allif en el puehlo, en Aiae&eabah@;§‘ ; . Of his mother Benafente has said: maflre*».pensah'a' -cee - el eerehre 4e ml ^dre, al que idolatraha, y si tenfa sm® ietoeIones fue portae a mi padre„no se le oeurrid irisinuar q,ue las dejara.6 Since Benavente came from a home in which conjugal love was strong* it is somewhat odd that such a lore was not sought after and experienced by the dramatist. Perhaps we have in this enigma, just as we have many years before in the chiId*s rebellion against going to mass and later against be­ ing a conscientious law student, an indication of his tenden­ cy to make his own decisions and to lire his life in a manner wholly suited to his owe desires, without regard for the opin­ ions of others. This attitude may be due in part to the 1m- fluence of the director of the Colegio de San Jose, don Carlo# de Miguel, who, according to Angel Xazaro, ”no era uno de esos 0 ■ maestrom terribles qua exigen la lecoion al pie de la letra, y propinan un palraetazo al educando cada vez que este omits ana eflaba del texto aprendido de memorla.n7 Lazaro further states: Benavente conserva gratfalmo recuerdo 4 tie aquel maestro. Explicate amablemente la leeelde, a»ealsMati®la con aneedotas y ame- nas tilvagaclones, proeurantio captarse la , slmpatfa y el carlno tie sae tiiscjCpulos,8 This master tioubtlees encouraged hts students to think for themselves, anti one of the results is manifested in Benaven- te*s being one of the leaders of the nGeneration of 1898". This group mas comprised of the young intellectuals of Spain, who, after seeing their country deprived of her colonial pos­ sessions in the Hew Y/orld in 1898, were characterized by an earnest spirit of self-analysis and revolt. Aubrey P. G. Bell la his Contemporary Spanish literature says that they . were determined to do away with everything that savoured of hollow pretence and to make war on all surface values. He goes on to say: ■ >:/■ : Stripping away the pomp of rhetoric and conventional or hollow-sounding phrases, they made a cult of intellect and wor­ shipped thin lines and outlines, the art of El Greco, the primitive poets.9 George T. Horthup writes: Haturally each author has his own idea as to what constitutes good writing; but all are united in the belief that the worst vices of Spanish writing, careless impro­ visation and pompous.inflation, should be avoided. In this respect there has been a sharp break with the past. They also avoid literary esnaBollsmo. Spanish writers, they feel, should be free to seek inspira­ tion abroad. Many of the group became mod­ ernists. Two main trends should be ^pted. First, the tendency toward precioslte in the poets following the lead of auodn Ba­ rf o, and in prose-writer® like Valle-InclanV Second, the reaction toward simplicity, of which the poetry of Juan Eamon Jimenez af­ fords the most striking example. Benavente, s Azorlk, and Pfo Baroja -Bh'ow. a modern @#a* t«»ft for patterns. In general, they be- - H a v e that a play or novel should take the in haphazard course of the average human life. Benaventels leadership In this group, according to John S®r- rett Underhill, the most -widely known English translator of Jacinto Benavente?e plays, was responsible for the play­ wright’s coming into prominence.^ ^Evidently, then, Bena­ vente fs characteristic of unbiased and independent thinking was to play an important part in his acquisition of the know­ ledge of human nature that was to'-1 stand him in such good stead as a playwright.
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