IN
t
PAGE TEN
THE MICHIGAN DAILY
SUND,'AY, MIAY 17, 1925
fT list in Spain when~ he produced his IElR ido Ajeno, produced at the Teat- worthwhile <oontrliffuItiIn to -the litera- year, gr
11h h a r --In F e rnIetrst ai play, Realidad (1892). He was iode la, datedi in Madrid in 1894 ture of pain and of the dram.Teceyi
notaL imitator of foreign models but'SIn ce that date Benavente has been a itrsar o ob numbered ramiatis
17ie T ea rederatte-S aipt hcto present life on theI trmanyus rhaving mret amei pong odra0,matho hae a.Eu
--'sag s treally is. Hewas not ihypay ohscredit u oteTerol i aoio oprueahistEdor
tutuh iy arealist, though realismI y .'Kn o Pr s ts F cs Ohi present timte. He has tried his hand ipictures of life and human nature, Lwas Il
unses frequently a background for: (at aydaai types, but it is in the which to 'them is sane and soundinFadr
Pro . er er H his plays. He was never a natural- I social satire and the fantastic and general. Pathos, meanness, the baser rvvl
greaestappal.Benvene nverhumn pssins re ot ackngbut histories
Ba(89),Alaravda(19020,imaof odernlifethatheahadh'sthey are not dissected and laid bare orilla,
Contem porary Spanish Dram atic, Literature'Braa 1O) n at uxadegets pel eaet ee before our e ye in their most revolt-
sceespreaches drcl. l i pts his ing details. TPhe work of the Quintero notun
By irof1h~rWI' 11.h(~~y4fl rflit casesto San Quintin (1894) and Electra (901), people on the stage; their weaknesses? brothers may not be the product of times wti
By l'rofHerbert11. Kenyn iflie causesEchregaray t exaggerate, he was a symbolist, However, he was or their virtues, their generous or, the highest genius, but it is sneea ne
(Editor's Note: This s Ithe fourth of !but lhe is a keen student of humnnjro ybls i h es th~ean sdincerm h oitad ersin n aswot e anit
series of six articles by members of!ntasmoiti h eseta i endes rv hm h on n ersig adhswo h p- poit of
thpr-assions and frequently his creations epoe esnfctoso btatwtotasro ntelns plause of the sane critic as well as of cal even
th acut o the adaris ons admetalI are grandl and even titanic: in mold.j ideas as in the autos sacramentalesl The Bondls of Interest, (1907), a modl-the Spanish public. gina is
actontiso the parios ntir~t His masterpiece, El.1 ranl Galeoto,Iof the 17th century, but rather, as he emn Harlequinade, shows Benavente ate Somewhat in contrast to the ub- to show
cutistthprsn:progressive was in roducd at the Teatro Espanol' himself said, he developed tasy-,his best. He amuses us with his "pup- bMing joy of the sainetes of the And-pesa
tendncis i Ihethetre) I i "hic conist inreprseningpets of pasteboard and rags," but in lusian Quintero Brothers is the more new Spa
OF * l 9th, 1881 and holdsh a prominent an idea with material forms and acts." these puppets we see a clever satire' quiet satirical and often cynical type :the past
In a discussion or the moderni dra.' place on the Spanish stage today. 1Though ocasoially romantic in tone, o usle.Teppesms u fhmri h oeiso aulgets
niatists who have Spa uin as t he land oftF1 Echegaray immediately became a with the modern school he discards to reveal the inter-relation of the Linares Rivas who hails from the Spain'
world figure. The play was translated the devices and stock~ situations of thesce sanitrssofmdns-mutiou povceofGiianis rg
their birth or to oii 5Spanish isthe! scee n neet fmdr o.on.iospoic o aii ni rg
jiatural mediumi of expression, wve are',1 jnto Greek and produced) in Athens ""well orae" play of Scribe and Sar- ciety under the guise of a play in the:northern Spain. Like Benavente, the intensely
cofronted xith the problem of the 'i 85 rnhvrinapaigdn o nrqetyGlo ss'b manner of the 01(1 Comedia del Arte.najority of his plays deal with so- type of I
discussion of individual writers a-'~ ~ ::. the next year, and 1900 saw its pro- ;sorbed in enphasiing the ideas he1 In Lo Cursi (1901), Benavente sat- cety, but where Benavente shows him-mni
most entirely, at her than the treat- *:\dcio nBson drth il fwishes to imipress upon his audience irizes that exaggerated modernism, self the merciless and at tines the the neoic-
ment of grouip~ or "schrl5of play-'e w orldh aind iWife,te fol-ththi catsanhp a raaitand unconventionality in society which pessimistic critic of the deeply rooted optimist
wrights. The Spaniar id is too inkier- loesoftecneahvebcm becomes weakened and of secondary appears to be the aimi of certain types evils of society, Linares Rivas attacks jests ti
ently and uncom'promising] y i di vid-acuitd ih cegaysraet importance. His plays are often dra- of the present day. In Los Mal- problems due to customs, manners andI rance a
ualltlcto llyhimelfforlon wih jplay. His portrayal of the evil re- imatizeit novels. Always a bitter op- hechores de Bien (190), he presents conitions of the day. In Aire de fuera ish temp
any suitsaof calumnytandpslaederrist'o poxiemt of' the power of the church in a biting piece of irony ini an attack on (19.;), lhe deals with unhappy mar- s eno,'
another country, tcooconservative and ' forceful and gripping, that one for-;Spain, of political bossism and the sham and hypocrisy. La Malquerida,1 riage and divorce in cntemnporary1 lm'amiati(
resistant to what is novel or different gets it is still Echegaray, the preach, compacent indifference of the average (1913), a strong drama of Spanish Spain. In El abolenigo (904), It is ais;lhhod i
to take up new fad or facie inths er I the play his verse has become Spaniard of his day to the need for An- country life with a naturalistic tone is! tocratic prejudice, slander in La ci- at drain;
to terepr nwhtd;er ele.cEe n suh more plse than in his earlier pro- provement and progress, his thesis one of the best of Benavente's later zana (190), and La garsa (1914) is .a Padme (
'thatre portn andwhal l c. nsin co- ductions and the artificiality and even 'dramas foi'm an ucaig attack on period. it was played in English trans-' thesis on the clerical situation in (1916),
Ilagration as the Romntic movement: grotesqueness, which nars some of. what Galdos considered the cancers laion by Nance O'Neil a few years ago pain. In 1910 the production of El una an
was late in making itself felt south th;rcein ly asdspere.o pnihlf.in this country and is perhaps the best Caballero Lobo, a dramatic fantasy sat- 1312 MaT
of the Pyrenees and whlile' it caunot. In 1885-90 'Echegaray wvas direc tlyi The leader of the younger genera- known to American audiences of all irizing society in the manner of ios- sidered
he dened tht it ad cosiderble IJacinto Benavente intiuenced by Ibsen. Vida alegre y ltioun of Spanish dramatists Jacinto of Benavente's plays.'ad hntlepoudinheam(o
effect the Rmantiism ofSpaifineverthe distinguished Spanish dramatist,' murte triste (1885,) and El Hijo de II ____
attaine the oatiim comnics o inanedein Benavente, is a veritable realist. He. The success of the Quintero brotlR-
pipiAi5the leader of the contemporary Span- After 1890, the important dramas areI paints society of th"rsn ae- rJaunadSrfn isrte
Prance, in ishrthatre.r in proslmstnf.tem!harcte pecially the society of the middle class in the short farce and the sainete',I,
Life in Spain is, or at least seems to i____________________ suiswihpolm fhrdtr and aristocracy of Madrid, with its wich is a short diamatized picture
us, so muach mtom e romantic than else- stud.ieswthor bormsyof hereity foibles and vices,-the cultured society; of national customs. 'Phese pieces are"
~where that Romanticism was not a spirit of thte French naturalists is in- insanity o bomlpyhlg t of the capital, "puffed up with its own I pure realism, never exaggerated, nv-
new ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ mdr tmnnrwaitanvlie.cmail wih Saih ntoavoe.inshort, bEc hegbl ateray is not iimportance, frequently ignorant and r overdone. They are scenes fr-om!
In Lope de Vega and Calderon, the I dramatic ideals. ral oenbttecnetn
great dramatists of the Sigo de Oro,4 With this brief discussion of the L link, as it were, betweeni the roman-- notoriously idle." His first play was popular life which are a valuable andj . v i
are to be found the seeds. of romanti-'traditional background of the mod- ticists and the dramatsts of the fir.t! L k
cism and the wealth of niedaeval ro- Iern Spanish theatre, let us consider!yaso h 2t etr.at theLIke Ious
mance and ballad material, which had I a few of the outstanding dramatists The last decade of the 19th century
never been forgotten in Spain as in of recent years and their more im- dmateg dgelin tEheat a theIW it or
other countries, gave to the dramatic; portant contributions to the literature doiaigfgr+nteiaini -c Al~~- ht oe 1
Idraxa and the rise of Perez Galdos. Ii Of A L~.1JiesT r a ur s
writers of the romiantic period a vast of thne stage. Zenavente and t~ un rthers
storehouse of material, national in Jose F~hegaray, who was fatuous as GaQouaste notepouam' oe-.E WL NED
source, national in type andl national-;a nwthematician, physicist and states;-
DANCES A T THEL
l haortri.tics ,Roa cismnrxa-Iro ntcs in his earlier lperiod. To
ed longer in }pain than elsewhere - this stage of his writing among other i.one thing that should d1o111l.
and becausec of this very romantic lplays, hlelongs La Esposa del Venga- ( ^nte all your life's treasures is Ii h mdlrf h .e
quality of Spanish ife'(, whenm this ies, do, (1874), which was his first playI your ortraIt in i CandaI~ gown. Io ~sc~tel nio
is put on tie stage it seems to us of real merit, lie universally known yAnd oneOftiat Is rhelally fine-'
more like tie life of theIMidle Ages 0 Locura o Santidad (1877), and ak10 /tuetasldd potn3
than it does' the life oif tie presemt day.stragedy on aoitrcl eedr one by Rentscller. suetaslni potnt
Realism has had somec but naturalit Subject-Fn el seno de a Muerte ( tnu oA few hours of dancing to di
ism comparatively ittle imflunce ini ( L879). in most of his plays Ecli- Ii btafe+>iitst
t'pikeOscursaert a fteemw iiWatkins and his Granger Ei
Spinividual s ehee anmd tee ngamay is something of a preacher and tae ouwlotrt Arag
indiiduas ae tobe rundtemdencieaja moraizer,rHis haracters frequent-!,wihwl ebnfca o 0
in these directions, but nthing trait ;fy have to make a choice between two now vfor a sitting with I eutsc- wihwl ebnfca oyo
could in any way be c'alled a groupl du ies-omne is absolute right, their.sie Wednesday night crowd
movement among the damatists Thieother desire Now adthnthis con, ~mt ~ ~ te Ptfit1'amr l ti~ ~lI .a real pleasure.
_ D n't pas ri th i't t attresur inutars oda . ets4chler cases with. Appoitments canI R e iate by
ouK O R LA YI(t looking' tem over. lPhoie.! Dancing every
T K ,Yo~ull tint] it a treat Wdedy
ii ~~~~~~~~~to ee theo displayshe e;th r ea h w k.F d y , 9 1
For pleasant trip on the beautiful I urhrohrneahwek F atrday, 9-129
Oh, WhereSaudy9-
River. We have 01(1 Town Canoes in first Grne' iste ec d p
class condition at your disposal. J Do you ever get as good highway upon reaching
I meals as at John's Place?
Drop in for a real Sunday }i)
SAUNDER'S CANOE LIVERY A inrtdy
Good Eats Portrait Photographer JI r ci
at the Foot of Cedar Street on the Huron River C f t j39F uo Phone 5541
Phone 21 11 7 for Reservation C ftra 1Iat uo
j 6010 East William St.
vre an interesting study of so-
ai similar medium by two such
ts as Linares Rivas and Ed-
)stand.
dlo Marquina returns to tie
of Spain for his inspiration.
jas del 'id (1908), and Imm
5se ha punesto el sol ('1910) are
of the romantic andi poetic
d drama of Lope (de Vega ad~
but with this difference that
a has attemmpted to receate
ya histomrica picture of the
ich he dramatized, but as well
nleretation (f the ideas amd
view which led to tie histor-
ts themselves. To manyMai-
as wvell a synmbolist attempting
the conflict between the old1
d the new anmd to recreate a
jmi through tie inspiration of
glories of what was once the
nationi of \western Europe.
's youmgest popular playwright
orio Martinez Siermra. le is
y' national ini tonle, not (of tie
M iqina but rather of the ro-
idealistic type of the poet of
-omanmtic school. H e is ever
mce and ever p)atriotic. Ile re-
e, realism andl iaturalismn of
s exit irely foreign to the Span-
peranmen t. Tihe Teatro de n-
agroini of symbolic fantastic
etales rat hem' than plays, Pub-
11 1905, was his first attempt
ta. Latem' caime la Sombra del
1909) amid IlAna de la Cs
Inl 1911 appeared Cancion (do
il Primuavera en Otono and imm
mra, which to date nm~y con-
amnong ils best. plays.
nthinied on P'age Sixteen)
e Pavili01n
NIGHT
LAKE
aifter three days
iment offers the
y for recreation.
he music of Bill
ight is a change
u. The medium
is make dancing
11
avilion on the
the lake.
[AIW NY
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