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La fiera, drama en tres actos. Madrid, Teatro de la Comedia, Dec. 23, 1896. Coldly received.

      La fiera is allied in subject to the Episodios nacionales, although it is not taken from any of them. The year is 1822, the scene, the city of Urgell, in the Pyrenees, attacked at that moment by the liberals under Espoz y Mina, and defended by the absolutists. A young liberal spy is loved by an absolutist baroness, and after numberless intrigues during which the hero's life is in danger from friends and enemies, he kills first the leader of the liberals, then the commander of the fortress, "the two heads of the beast," and the lovers flee toward regions of peace. As an appeal for tolerance, La fiera is unexceptionable, and Galdós, the radical, has painted the excesses of both sides with perfect impartiality. But as a drama, it is an example of wildly improbable romanticism, and might have been written in the thirties, except that in that case the comedy element would not be so insipid as it is, but would have tasted of the pungent realism which was the virtue of the best romantics. The characters are unconvincing, the love-story a poor parallel to Romeo and Juliet.

      9. Electra, drama en cinco actos. Madrid, Teatro Español, Jan. 30, 1901. A wild success. A French adaptation made a hit in Paris in 1905.

      This "strictly contemporary" drama depicts a contest for the hand and soul of Electra, an eighteen-year-old girl whose mother was a woman of dubious life. She loves the young scientist Máximo, but Pantoja, the religious adviser of the family with whom she stays, believing himself her father, desires her to enter a convent. Since he cannot otherwise dissuade her from marriage, he tells her falsely that she is Máximo's half sister. She cannot be convinced that this is a lie until the spirit of her mother reassures her.

      Concerning Electra and the battle which it excited between radicals and clericals, one can consult contemporary periodicals, and Olmet y Carraffa, cap. XIV. Its estreno happened to coincide with a popular protest against the forced retirement to a convent of a Señorita de Ubao, and the Spanish public saw in the protagonist a symbol of Spain, torn between reaction and progress. Consequently, no play of Galdós has been so unduly praised or so bitterly attacked. Two facts appear to stand out from the confusion: (1) Galdós did not deliberately trade upon popular passions, since this play was written before the exciting juncture of events arose; (2) The enormous vogue of Electra, its wide sale and performance in many European countries, were not justified by its intrinsic value.

      Electra appears now as a drama of secondary importance, with some cheap effectism, excellent third and fourth acts, and a weakly romantic ending. The ghost of Eleuteria is less in place than the corresponding spirits of Realidad and Casandra, both because it is unnecessary for the solution of the plot, and because it is an anachronism in a play devoted to the eulogy of the modern and the practical. On the other side, it is clear to an impartial reader that Galdós did not intend an attack on the clergy, much less an attack on religion. Máximo is careful to affirm his belief in God. And Pantoja is not the scheming hypocrite that some have seen in him; he is a man of firm convictions and courage, sincere in his religious mysticism. Galdós was interested in studying such a character and in showing that his religion is not of the best type.

      A punning title. Beside the Greek allusion, Máximo's laboratory is a "taller de electrotecnia."

      10. Alma y vida, drama en cuatro actos. Madrid, Teatro Español, April 9, 1902. (Published with an important preface.) Succès d'estime.

      This play is Galdós' vital contribution to the sentiment aroused in Spain by the Spanish-American war. The heroine, Laura, an invalid duchess of the late eighteenth century, is ruled by a tyrannical administrator, until freed by the love of a vigorous young hidalgo. But the effort of will involved exhausts the delicate girl, and she dies just as the triumph of her partisans is announced. She was the divine beauty of the soul; without her there is left only a tyranny of one sort or another, and evil, injustice, corruption, are perpetuated.

      Alma y vida is Galdós' most ambitious attempt to write a literary symbolic drama on a grand scale. In it he resumes, with Aragonese stubbornness (to use his own words), the attempt made unsuccessfully in Los condenados, only this time the symbolism is not abstract, but has a definite application to Spain. The extreme care which Galdós took with the costumes of the pastoral interlude in the second act, going to Paris for advice on their historical accuracy, the spectacular and costly settings, the length of time, four hours, consumed in the performance, the passages of verse,13 all demonstrate that Galdós put his full will into the elaboration of this drama. The result was disappointing. Audiences were bored, despite their desire to approve. They knew some symbolism was involved, but could not decide upon its character until the author solved the problem in his Prólogo. He there defended the vagueness of his play, as more suggestive than clearness, and explained that Alma y vida symbolizes the decline of Spain, the dying away of its heraldic glories, and the melancholy which pervades the soul of Spain; the common people, though possessing reservoirs of strength, are plunged in vacillation and doubt. The sad ending is the most appropriate to the national psychology of the time. Warned by Electra, he says, he deliberately avoided popular applause, and sought to gain the approval of cultured persons.

      Although the pathetic figure of Laura is most affecting, the author did not fully reach the goal he had set for himself, yet "no mediocre mind or ordinary imagination could have conceived such vast thoughts."

      11. Mariucha, comedia en cinco actos. Barcelona, Teatro Eldorado, July 16, 1903. Given for the first time in Madrid on Nov. 10, 1903. A fair success, especially in the provinces. The aristocratic portion of the Madrid public did not like it.

      Mariucha carries a moral aimed directly at the Spanish people. Like Voluntad, it preaches firm will and the gospel of labor; like La de San Quintín, it points out a new path which the decayed aristocracy may follow in order to found a renovated Spain. In the exaltation of stoicism (V, 4) it resembles Realidad. Clericalism does not enter into the discussion. Instead it is caciquism which Galdós attacks in passing. The play overflows with daring and optimism; it is like a trumpet call summoning the Spanish youth to throw off the shackles of tradition and political tyranny, and to walk freely, confiding in its own strength. One's best impulses must be followed, no matter what ties may be broken or what feelings hurt in the process. We recognize here a favorite doctrine of Ibsen.

      Mariucha is not quite so good a drama as its theme deserves. The two chief characters suffer from the weight of the message they bear, and are, in fact, rather symbols than characters or even types. The play possesses, however, many interesting features. One is the fact that the "good angel" of the play is a priest. His figure proves that Galdós grew in sympathy for the representatives of religion, if not for bigots, as he grew older. Another is the protest against thoughtless charity, which fosters shiftlessness. Galdós gave expression to a different point of view in Celia en los infiernos.

      12. El abuelo, drama en cinco actos. Madrid, Teatro Español, Feb. 14, 1904. Adapted from the "novela en cinco jornadas" of the same title (1897). Galdós' greatest public success, next to Electra.

      In this drama Galdós considers a general problem of inheritance of character. The aged, poor and nearly blind count of Albrit knows that of his two granddaughters one is not his son's child. Which? His efforts to read the characters of the children are vain, and when at last he learns the truth, it is to realize that the girl of his own race is fickle and vain while the bastard is generous and devoted. Then his pride knows that good may come out of evil, that honor lies not in blood, but in virtue and love.

      El abuelo is beyond question Galdós' best play, practically considered. The plot is simple, the handling of it direct and skilful, there is no propaganda to interfere with the characters, who are few, interesting, and admirably drawn. The contrast between the lion of Albrit (so often compared to King Lear) and the playful children is a master-stroke. Free from effectism, dealing only with inner values of the heart and morals, El abuelo can properly rank as one of the masterpieces of modern drama. Its theme is diametrically opposed to the traditional Spanish conception

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