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LIFE OF VALDÉS

THE early writings of this distinguished native of Asturias partake of a peculiar interest, strongly appealing to one's human sympathies. On his thirtieth birthday Señor Valdés married a young lady scarcely more than half his age. She was very frail, and after eighteen months of tenderly devoted love on both sides, the husband was left alone with an infant son. The charming and pathetic little tale "The Idyl of an Invalid" describes the earlier portion of the author's brief wedded life, and in fact was written during that happy period. The year after his wife's death he published "Riverita," in which novel his late partner was made to appear as a child, and in the sequel to "Riverita," "Maximina," published still a year later, we find her depicted as ripening to womanhood. Thus, out of Valdés's early novels three bear this melancholy yet attractive personal quality.

His beginning in the field of fiction, Armando Palacio Valdés made in 1881, with "Young Mr. Octavio," following it up, in 1883, with "Martha and Mary." Then, between "The Idyl of an Invalid" and "Riverita" came "José." The novel here offered, a specimen of his work combining pathos with humor, was printed the year after "Maximina," that is to say, in 1888.

When "The Fourth Estate" was brought out Valdés was thirty-five. He was born on the 4th of October, 1853, in a little village called Entralgo, where his family owned a summer villa. The greater part of the year they spent at Avilés, at which place young Armando first went to school. He continued his studies at Oviedo, and then went to Madrid, with the object of graduating as a lawyer.

His real bent, that of authorship, however, soon declared itself, so that while yet occupied with his legal studies he contributed articles on philosophical and theological subjects to the Spanish "Revista Europea"—of which periodical he eventually joined the staff and became the editor. In this capacity he earned a national reputation as a censor of literature, his articles and sketches pertaining to literary criticism being collected in several volumes. But after 1881 he devoted little time to commenting on other people's books, preferring to bend his main energies to creative endeavor.

Seven of his novels have been mentioned above, and among those subsequently produced seven more complete the list of his novels best known to the Spanish public. These are "Sister Saint Sulpice," "Foam," "Faith," "The Grandee," "The Origin of Thought," "The Dandies of Cadiz," and "The Joy of Captain Ribot."

In a letter sent a few years ago to an English literary friend Señor Valdés wrote as follows:

"Since my wife died my life has been tranquil and melancholy, dedicated to work and to my son. During the summers I live in Asturias, and during the winters in Madrid. I like the company of men of the world better than that of literary folks, because the former teach me more. I am given up to the study of metaphysics. I have a passion for physical exercises, for gymnastics, for fencing, and I try to live in an evenly balanced temper, nothing being so repugnant to me as affectation and emphasis. I find a good deal of pleasure in going to bull-fights (although I do not take my son to the Plaza dressed up like a miniature bull-slayer, as an American writer declares I do), and I cultivate the theatre, because to see life from the stage point of view helps me in the composition of my stories."

THE FOURTH ESTATE

CHAPTER I

THE CURTAIN RISES

SARRIO, the well-known town on the Cantabrian coast, boasted some years ago of a theatre neither bright, light, nor commodious, but quite good enough to afford entertainment to the pacific, industrious residents during the long winter evenings.

It was built, as such places usually are, in the form of a horseshoe, and it consisted of two floors besides the ground floor. On the first were the boxes—goodness knows why they were so called, for they were nothing but a few benches stuffed with goat's hair and upholstered with scarlet flannel, placed behind a balustrade. To take one of these places, a push had to be given to the back, which raised the seat with a spring, and once the person was in it readjusted itself, and he was as comfortable as a human being can be on an instrument of torture. On the second floor all the rabble vociferated, scuffled, and pushed, irrespective of social distinctions between the well-to-do seaman, the poor mussel-picker from the rocks and pier, and Amalia, the respected dealer, and the sellers in the streets. This part of the house was called the gallery. The stage-boxes were of the same wretched style as the others, and the upholstering seemed to be the same, as far as one could see. Beyond them came the "front rows," reserved, according to the old-fashioned way, for certain handicraftsmen, who, from their calling, their position as employers, or for any reason, were averse to going up into the gallery and mixing with the common herd. From the roof hung a prismatic cut-glass chandelier, lighted with fish oil, which was subsequently replaced by petroleum; but that reform I never saw. Under the staircase leading to the boxes there was an alcove, enclosed by a curtain, which went by the name of "Don Mateo's box." Of this Don Mateo more anon.

Then you must know that in this provincial theatre the same dramas and comedies were played as in the capital, and the same operas given as at La Scala in Milan. Incredible as it seems, it is perfectly true. There the narrator of this story heard for the first time the famous lines:

They certainly struck him as splendid, and the theatre a marvel of luxury and good taste. Everything in the world depends on imagination. Would that mine were as fresh and vivid as it was in those days, so as to be able to give you a few hours' pleasant amusement!

There it was I saw "Don Juan Tenorio," with its flour-whitened corpses, its commander gliding away on a door pulled with cords, its infernal regions made of lighted spirits of wine; and its apotheosis of paper, stuffing, and packing-cases made such an impression on me that I never slept that night. In the auditorium the same things went on more or less as in the grandest houses of the capital. However, more attention was given to the performance here than in Court theatres, because we had not arrived at that high state of culture in which behavior is in direct contradiction to the place—swearing and chattering in playhouses, laughing and giggling in church, and silence and sedateness at the promenade, after the delightful fashion in Madrid. Even now I do not know if they have attained to this state of culture in Sarrio.

But it must not be thought that there were not some enlightened spirits who were sufficiently advanced to give a sample of correct manners at the theatre. Pablito de Belinchon was one of these. With three or four kindred spirits he had a season ticket for one of the stage-boxes, and from thence they spoke across to other gentlemen, older men, who subscribed to the opposite stage-box. They cracked jokes, they turned the soprano or bass into ridicule, and they threw sweets and pellets of paper. The people in the gallery, not yet conversant with