Valle-Inclán’s Literary Evolution: From Modernism to Grotesque
Valle-Inclán: Evolution From Modernism to Grotesque
Valle-Inclán’s work evolved from an elegant and nostalgic modernism to a critical literature based on a vicious distortion of reality. Salinas incorrectly linked him to the Generation of ’98, viewing him as a prodigal son. However, both his ideological assumptions and the radical novelty of his aesthetic place Valle-Inclán far from the positions adopted by the *noventayochistas* in their maturity. His career shares similarities with Antonio Machado’s.
Reducing his trajectory to two stages—modern and grotesque—should be avoided. The distance between the *Sonatas* and the nonsensical is clear. However, *esperpentización* (the grotesque) existed before absurdity, with grotesque features appearing even in his modern works. In 1920, a significant year for the author, he published four plays: *”Farce Italian King’s Love and Leave Farsa Castiza Queen,”* *”Divine Words,”* and *”Lights of Bohemia.”*
In *”Lights of Bohemia,”* Valle-Inclán names absurdity *esperpento*, an extravagant person in whom the tragic and the burlesque are mixed. Goya influenced *esperpentismo*. Classical heroes reflected in concave mirrors create *Esperpento*. Spain becomes a grotesque deformation of European civilization. Its definition appears in stage XII of *”Luces de Bohemia.”*
It was once believed that the *esperpentos* were not suitable for drama, and that only novels were unrepresentable. Such views have been refuted; new concepts of theatrical shows and techniques have allowed many of his works to be staged. Valle-Inclán was ahead of the conventions of his time, which were dominated by the *teatro benaventino*. He refused to bow to aesthetic tastes or social groups and employers, continuing his work proudly, even though his plays were condemned to be *”theater to read.”* Years later, Valle-Inclán is recognized as the greatest figure of Spanish drama of the last three centuries and a true avant-garde figure who anticipated new trends in world theater.
Bohemia in Historical and Literary Context
Valle-Inclán was born in Villanueva de Arosa, Pontevedra, in 1866. Ramón Gómez de la Serna described him as *”the best mask on foot crossing the street of Alcalá.”* Beneath his bohemian eccentricity lay a violent dissent and a rigorous dedication to his writing, constantly seeking new forms of expression. Valle-Inclán was avowedly anti-bourgeois. From 1915, he became a radical, opposing not from a traditional idyllic perspective, but from revolutionary positions. His statements became more frequent after 1920, the year of *”Luces de Bohemia.”*
His work features a densely populated human scene with over 50 characters, some inspired by real people. Valle-Inclán described his characters as puppets or bowlegged figures playing out a tragedy. However, Buero argued that some of these characters transcend the status of puppets and attain considerable human depth, such as Max Estrella, the Catalan workers, or the mother of the deceased child.
Max Estrella: A Study in Contradictions
Max Estrella is a mixture of humor and complaint, dignity and indignity. Alongside his pride, he is bitterly aware of his mediocrity. He demonstrates a strong sense of brotherhood toward the oppressed and tenderness toward the prostituted girl.
Don Latino: The Ultimate Puppet
Don Latino is a large puppet, a miserable wretch characterized by disloyalty, as seen when he steals Max’s portfolio containing the prize-winning tenth.
Other Characters
Other puppets represent different groups:
- The middle classes (the bookseller Zarathustra, the bartender Pica Lagartos)
- The police (Captain Pitito, Serafín Bonito)
- Pedants (the journalist Don Filiberto, Basil Soulinake)
- Popular characters (the concierge, prostitutes, the Moon, or the gravediggers)
- The chorus (XI scene, about the mother with the dead child in her arms)
The characterization technique is masterful, relying not only on their actions but also on their speech.