Spanish Realism and Naturalism: A Literary Movement Overview
Literature in the Late Nineteenth Century: Realism and Naturalism
Realism in Spain
Realism arrived relatively late in Spain, but it experienced significant development. Several factors contributed to its introduction, including the popularity of newspaper articles, serialized social issues, and translated serial novels by foreign authors like Balzac.
As in other European countries, fiction dominated the literary scene, overshadowing poetry and theater, despite the success of poets and playwrights of the time.
Poetry
The most representative poet of Realism is Ramón de Campoamor, known for his anti-romanticism.
Theater
Playwrights such as Adelardo López de Ayala and Manuel Tamayo y Baus cultivated high comedy, a genre characteristic of Realism that critically reflected contemporary society. However, the most prominent playwright of the era was José Echegaray, a Nobel laureate who primarily focused on neo-romantic drama.
At the end of the century, Benito Pérez Galdós contributed to theatrical renewal by adapting some of his novels for the stage. However, he only achieved significant success with Electra, a work that critiques religious fanaticism.
Narrative
Novelists of the 1868 generation experimented with new narrative forms to replace older models. Costumbrismo, a literary movement focused on depicting everyday life and customs, paved the way for Realism and influenced many writers. However, the definitive triumph of realistic narrative occurred with the publication of Galdós’s La Fontana de Oro (The Golden Fountain).
Characteristics of Realistic Narrative
- Observation of Reality: Writers reflected the reality surrounding them in their works.
- Detailed Descriptions: Descriptions were a fundamental tool for Realists.
- Objective Narration: The narrator’s presence was minimized to convey a greater sense of objectivity.
- Simple Language: The language used was straightforward, without excessive embellishments, and adapted to each character.
Naturalism
The emergence of Naturalism in Spain was accompanied by controversy. Emilia Pardo Bazán, in her essay La cuestión palpitante (The Throbbing Question), rejected the materialistic determinism of Émile Zola. Other writers involved in the debate included Juan Valera, Leopoldo Alas “Clarín,” and Galdós. In Spanish narrative, it is often difficult to distinguish between Realism and Naturalism, as the latter primarily influenced Pardo Bazán, Clarín, and Vicente Blasco Ibáñez.
Authors of the Realist Novel
Juan Valera
Valera advocated for “art for art’s sake,” believing that art should improve life through beauty. He wrote articles, stories, essays, and, in his maturity, novels. His narrative works are characterized by an elegant style that avoids ugliness and moralizing. He is considered a Realist author who surpasses the typical conventions of the movement by focusing on the psychology of his characters and the analysis of their feelings.
Among his notable works are El Comendador Mendoza (Commander Mendoza), Pepita Jiménez (his most important work, which tells the story of a seminarian who abandons his vocation for a young widow named Pepita), Doña Luz (Lady Luz), and Juanita la Larga (Juanita the Tall).
Emilia Pardo Bazán
Pardo Bazán fueled the debate about Naturalism with her essay La cuestión palpitante. She wrote excellent short stories and both Realist and Naturalist novels. Los Pazos de Ulloa (The House of Ulloa) and La Madre Naturaleza (Mother Nature) depict the decline of the rural aristocracy amidst evocative descriptions of the Galician landscape and its people.
Benito Pérez Galdós
Galdós represents the pinnacle of Realism in Spain. He was one of the most prolific writers of his time.
Episodios Nacionales (National Episodes)
This series consists of 46 novels grouped into five series of ten novels each (the last series has only six). They chronicle the conflicts that marked Spanish history from the Battle of Trafalgar (1805) to the Restoration (1875).
With these novels, Galdós moved beyond the Romantic historical novel by narrating events from the recent past that helped to understand the Spain of his time. He interweaves fictional characters with historical figures and explores spiritual and moral issues without sacrificing detailed descriptions of reality. Examples include Trafalgar and Misericordia (Mercy).
Novels of the First Epoch
Around the same time as the first series of the Episodios Nacionales, Galdós wrote thesis novels such as Doña Perfecta, Gloria, and La familia de León Roch (The Family of Leon Roch), which criticize intolerance and fanaticism. Other novels from this period include La Fontana de Oro and Marianela.
Novelas españolas contemporáneas (Contemporary Spanish Novels)
This series comprises 24 novels that depict contemporary Spanish society. It begins with La desheredada (The Disinherited), followed by El amigo Manso (The Meek Friend), Tormento (Torment), La de Bringas (The Bringas Woman), Miau, and Torquemada en la hoguera (Torquemada at the Stake). Other notable novels from this phase include Fortunata y Jacinta (Fortunata and Jacinta) and Lo prohibido (The Forbidden).
Galdós also wrote novels that reveal his interest in spiritual and moral issues, such as Nazarín and Misericordia.
Significance of Galdós’s Work
Galdós’s work is significant for its comprehensive portrayal of contemporary Spanish society, particularly Madrid. He is also valued for his holistic vision of Spain’s contemporary history, depicting the two opposing factions—traditionalists and progressives—and advocating for tolerance and harmony between them.
Leopoldo Alas, “Clarín”
During the age of liberalism and republican ideas, Clarín was highly critical of traditional Catholicism and sensitive to social injustices.
Critical Work
Clarín was a feared and respected critic who wrote on a wide range of subjects. As a literary critic, he demonstrated remarkable insight in his analyses of new books. He was a strong advocate for Galdós, although he had reservations about Naturalism.
Narrative Work
Clarín was a prolific writer of short stories and novels, including some of the best written in the nineteenth century, such as ¡Adiós, Cordera! (Goodbye, Lamb!) and Doña Berta (Lady Berta).
He wrote only two long novels: Su único hijo (His Only Son) and La Regenta (The Regent). La Regenta tells the story of Ana Ozores, the wife of a much older judge, Don Víctor Quintanar, who is also the regent of the Audiencia (court). Ana’s emotional and physical dissatisfaction leads her to oscillate between her confessor, Fermín de Pas, who is in love with her, and Álvaro Mesquita, an experienced seducer to whom Ana eventually succumbs. In the end, she is left with nothing.
Key Aspects of La Regenta
- Psychology of the Characters: Clarín masterfully portrays the psychology of his characters, particularly Ana and Fermín. The other main characters are also skillfully depicted as individuals.
- Description of Vetusta: Vetusta, a fictional city based on Oviedo, represents Spanish society during the Restoration. Clarín, with a critical and ironic perspective, presents a hypocritical and corrupt provincial city that influences the behavior of its inhabitants, including the protagonist, who ultimately succumbs to its influence.
- Perfect Structure: The novel is divided into two parts. The first part (Chapters 1-15) takes place over three days and focuses on the mood and psychology of the characters at a slow pace. The second part (Chapters 16-30) spans three years and depicts the conflicts that arise at a faster pace.
- Innovative Narrative Technique: Clarín employs various narrative techniques, including an “objective” omniscient narrator and interior monologue.