The Rise of the Catalan Novel: Realism and Naturalism
The Bourgeoisie and the Novel
Part Two: The Rise of the Novel
As the bourgeoisie gained undisputed social and political prominence throughout Europe, the novel experienced a period of brilliance. Authors strove to cater to the tastes of a growing readership.
The Realist Novel
The 19th century saw the rise of the Scottish writer Walter Scott (1771-1832), who pioneered a new model of the historical novel. French writer Honoré de Balzac, author of The Human Comedy, is considered a pioneer of realism and acknowledged Scott as his teacher. The realist novel aimed to portray truth without being overly stylized.
Naturalism
Led by Emile Zola in the latter half of the 19th century, Naturalism employed almost scientific methods to study the human mind in literary works.
Scientific Background
The 19th century witnessed significant scientific advancements, including the work of Claude Bernard and Charles Darwin, and the deterministic theories of Hippolyte Taine.
A Novel Model
Zola’s Naturalism marked the birth of the experimental novel, as exemplified by his works Thérèse Raquin (1867) and L’Assommoir (1877), which explored what a novel should be.
The Birth of the Modern Catalan Novel
In the early 19th century, there was no established Catalan narrative tradition. However, a Catalan literary revival emerged in the latter half of the century, initially following European trends with historical novels. Writers began to write in Spanish, but 1862 marked an important year for the Catalan novel with Antoni Bofarull’s L’orfeneta de Menargues, a blend of historical and romantic elements that asserted Catalan identity.
The Realist Novel: Between Customs and Realism
A new vision of the world emerged, grounded in realistic parameters and emphasizing values that Romanticism had praised. In Catalonia, Romanticism was primarily adopted by Marià Vayreda and Joan Sardà, whose works focused on local customs.
Narcis Oller
Narcis Oller (1846-1930) embraced realism fully in his novels.
Naturalism in Catalonia
Thanks to Vayreda and Sardà’s connection with Zola, Naturalism quickly reached Catalonia, although it never fully adhered to Zola’s principles.
Narcis Oller
Born in Valls in 1846, Oller moved to Barcelona to study law. Educated by his uncle Josep Moragas, he was influenced by Manuel Milà i Fontanals and Joan Sardà, who sparked his interest in literature and Naturalism. This interest was further developed through Sardà’s friend, Josep Yxart. Oller’s first significant work was La papallona (1882), which showcased his narrative quality and creativity within the 19th-century Catalan literary landscape. However, it wasn’t a purely naturalistic novel, as it deviated from Zola’s deterministic principles and had a more realistic, open ending. In 1884, he wrote L’Escanyapobres, a bleak portrayal of dehumanized individuals driven solely by money. This work is considered more naturalistic, although it still contains a moralistic element of “punishing the bad.” In 1885, he wrote Vilaniu, considered a weaker work with an implausible and rushed ending. In contrast, La febre d’or (1890-92) solidified Oller’s position as a crucial figure in the Catalan literary scene. While not strictly naturalistic, it leaned towards realism and offered a moral lesson.
Recent Novels
By 1898, the literary landscape was changing. The realist and naturalist model championed by Oller was in crisis, yet it introduced modern developments in narrative techniques (e.g., replacing the omniscient third-person narrator with discussions between the narrator and Doctor Giberga about Daniel Serrallonga) and incorporated the philosophical principles of Naturalism (e.g., determinism) into the novel’s themes. In 1906, he published Pilar Prim, a successful psychological novel. Perhaps influenced by the emerging Modernisme movement, of which he was not a part, Oller did not publish any more novels until 1913 and 1918, when he wrote his literary memoirs, which were not published until 1962 according to his wishes. Oller produced the most significant body of narrative work in 19th-century Catalan literature. He died in Barcelona in 1930 and is rightly considered the initiator of the modern Catalan novel.
Characters in “La Febre d’Or”
Daniel Serrallonga
The protagonist of the novel, the story revolves around him and his perceived madness.
Narrator
The narrator’s name and age are not revealed. We learn about him through the limited information provided, such as his being a former student and aspiring lawyer, married to Matildeta and having children. His primary function is to relay what other characters say.
Armengol
Armengol is a friend of both the narrator and the protagonist. Little is known about his life, but he is also an aspiring lawyer. His role is to offer his perspective on events, which is conveyed through the narrator.
Doctor Giberga
Giberga is Daniel Serrallonga’s son and a doctor. He is somewhat of a gossip, seemingly knowing everything and convinced of Serrallonga’s madness. He is quite cold in his remarks about his father.
Secondary Characters
Don Ignacio Serrallonga
Daniel Serrallonga’s father, who committed suicide. Doctor Giberga attributes Daniel’s madness to his father’s suicide and reveals details about him: he abandoned his responsibilities to pursue politics, had numerous affairs, and some of his daughters may not be his legitimate children.
Adela and Carolina
Daniel Serrallonga’s sisters. Adela is described as a “devil in a skirt” and is portrayed as attractive and seductive when the narrator meets her. Carolina is described as a “gossip” and said to be worse than Adela. Both sisters contest their brother’s inheritance of their father’s will.