PÍo Baroja is a product of the intellectual reign of terror that went on in Spain after the catastrophe of 1898. That catastrophe, of course, was anything but unforeseen. The national literature, for a good many years before the event, had been made dismal by the croaking of Iokanaans, and there was a definite dÉfaitiste party among the intelligentsia. But among the people in general, if there was not optimism, there was at least a sort of resigned indifference, and so things went ahead in the old stupid Spanish way and the structure of society, despite a few gestures of liberalism, remained as it had been for generations. In Spain, of course, there is always a Kulturkampf, as there is in Italy, but during these years it was quiescent. The Church, in the shadow of the restored monarchy, gradually resumed its old privileges and its old pretensions. So on the political side. In Catalonia, where Spain keeps the strangest melting-pot in Europe and the old Iberian stock is almost extinct, there was a menacing seething, but elsewhere there was not much to chill the conservative spine. In the middle nineties, when the Socialist vote in Germany was already approaching the two million mark, and Belgium was rocked by great Socialist demonstrations, and the Socialist deputies in the French Chamber numbered fifty, and even England was beginning to toy gingerly with new schemes of social reform, by Bismarck out of Lassalle, the total strength of the Socialists of Spain was still not much above five thousand votes. In brief, the country seemed to be removed from the main currents of European thought. There was unrest, to be sure, but it was unrest that was largely inarticulate and that needed a new race of leaders to give it form and direction.

Then came the colossal shock of the American war and a sudden transvaluation of all the old values. Anti-clericalism got on its legs and Socialism got on its legs, and out of the two grew that great movement for the liberation of the common people, that determined and bitter struggle for a fair share in the fruits of human progress, which came to its melodramatic climax in the execution of Francisco Ferrer. Spain now began to go ahead very rapidly, if not in actual achievement, then at least in the examination and exchange of ideas, good and bad. Parties formed, split, blew up, revived and combined, each with its sure cure for all the sorrows of the land. Resignationism gave way to a harsh and searching questioning, and questioning to denunciation and demand for reform. The monarchy swayed this way and that, seeking to avoid both the peril of too much yielding and the worse peril of not yielding enough. The Church, on the defensive once more, prepared quickly for stormy weather and sent hurried calls to Rome for help. Nor was all this uproar on the political and practical side. Spanish letters, for years sunk into formalism, revived with the national spirit, and the new books in prose and verse began to deal vigorously with the here and now. Novelists, poets and essayists appeared who had never been heard of before—young men full of exciting ideas borrowed from foreign lands and even more exciting ideas of their own fashioning. The national literature, but lately so academic and remote from existence, was now furiously lively, challenging and provocative. The people found in it, not the old placid escape from life, but a new stimulation to arduous and ardent living. And out of the ruck of authors, eager, exigent, and the tremendous clash of nations, new and old, there finally emerged a prose based not upon rhetorical reminiscences, but responsive minutely to the necessities of the national life. The oratorical platitudes of Castelar and CÁnovas del Castillo gave way to the discreet analyses of AzorÍn (JosÉ MartÍnez Ruiz) and JosÉ Ortega y Gasset, to the sober sentences of the Rector of the University of Salamanca, Miguel de Unamuno, writing with a restraint which is anything but traditionally Castilian, and to the journalistic impressionism of Ramiro de Maeztu, supple and cosmopolitan from long residence abroad. The poets now jettisoned the rotundities of the romantic and emotional schools of Zorrilla and Salvador Rueda, and substituted instead the precise, pictorial line of RubÉn DarÍo, Juan RamÓn JimÉnez, and the brothers Machado, while the socialistic and republican propaganda which had invaded the theatre with PÉrez GaldÓs, JoaquÍn Dicenta, and Angel GuimerÁ, bore fruit in the psychological drama of Benavente, the social comedies of Linares Rivas, and the atmospheric canvases which the Quinteros have painted of Andalusia.

In the novel, the transformation is noticeable at once in the rapid development of the pornographic tale, whose riches might bring a blush to the cheek of Boccaccio, and provide Poggio and Aretino with a complete review; but these are stories for the barrack, venturing only now and then upon the confines of respectability in the erotic romances of Zamacois and the late enormously popular Felipe Trigo. Few Spaniards who write today but have written novels. Yet the gesture of the grand style of Valera is palsied, except, perhaps, for the conservative Quixote, Ricardo LeÓn, a functionary in the Bank of Spain, while the idyllic method lingers fitfully in such gentle writers as JosÉ MarÍa SalaverrÍa, after surviving the attacks of the northern realists under the lead of Pereda, in his novels of country life, and of the less vigorous Antonio de Trueba, and of Madrid vulgarians, headed by Mesonero Romanos and Coloma. The decadent novel, foreshadowed a few years since by Alejandro Sawa, has attained full maturity in Hoyos y Vinent, while the distinctive growth of the century is the novel of ideas, exact, penetrating, persistently suggestive in the larger sense, which does not hesitate to make demands upon the reader, and this is exemplified most distinctively, both temperamentally and intellectually, by PÍo Baroja.

It would be difficult to find two men who, dealing with the same ideas, bring to them more antagonistic attitudes of mind than Baroja and Blasco IbÁÑez. For all his appearance of modernism, Blasco really belongs to the generation before 1898. He is of the stock of Victor Hugo—a popular rhapsodist and intellectual swashbuckler, half artist and half mob orator—a man of florid and shallow certainties, violent enthusiasms, quack remedies, vast magnetism and address, and even vaster impudence—a fellow with plain touches of the charlatan. His first solid success at home was made with La Barraca in 1899—and it was a success a good deal more political than artistic; he was hailed for his frenzy far more than for his craft. Even outside of Spain his subsequent celebrity has tended to ground itself upon agreement with his politics, and not upon anything properly describable as a critical appreciation of his talents. Had The Four Horsemen of the Apocalypse been directed against France instead of in favour of France, it goes without saying that it would have come to the United States without the imprimatur of the American Embassy at Madrid, and that there would have appeared no sudden rage for the author among the generality of novel-readers. His intrinsic merits, in sober retrospect, seem very feeble. For all his concern with current questions, his accurate news instinct, he is fundamentally a romantic of the last century, with more than one plain touch of the downright operatic.

Baroja is a man of a very different sort. A novelist undoubtedly as skilful as Blasco and a good deal more profound, he lacks the quality of enthusiasm and thus makes a more restricted appeal. In place of gaudy certainties he offers disconcerting questionings; in place of a neat and well-rounded body of doctrine he puts forward a sort of generalized contra-doctrine. Blasco is almost the typical Socialist—iconoclastic, oratorical, sentimental, theatrical—a fervent advocate of all sorts of lofty causes, eagerly responsive to the shibboleths of the hour. Baroja is the analyst, the critic, almost the cynic. If he leans toward any definite doctrine at all, it is toward the doctrine that the essential ills of man are incurable, that all the remedies proposed are as bad as the disease, that it is almost a waste of time to bother about humanity in general. This agnostic attitude, of course, is very far from merely academic, monastic. Baroja, though his career has not been as dramatic as Blasco's, has at all events taken a hand in the life of his time and country and served his day in the trenches of the new enlightenment. He is anything but a theorist. But there is surely no little significance in his final retreat to his Basque hillside, there to seek peace above the turmoil. He is, one fancies, a bit disgusted and a bit despairing. But if it is despair, it is surely not the despair of one who has shirked the trial.

The present book, Juventud, EgolatrÍa, was written at the height of the late war, and there is a preface to the original edition, omitted here, in which Baroja defends his concern with aesthetic and philosophical matters at such a time. The apologia was quite gratuitous. A book on the war, though by the first novelist of present-day Spain, would probably have been as useless as all the other books on the war. That stupendous event will be far more soundly discussed by men who have not felt its harsh appeal to the emotions. Baroja, evading this grand enemy of all ideas, sat himself down to inspect and co-ordinate the ideas that had gradually come to growth in his mind before the bands began to bray. The result is a book that is interesting, not only as the frank talking aloud of one very unusual man, but also as a representation of what is going on in the heads of a great many other Spaniards. Blasco, it seems to me, is often less Spanish than French; Valencia, after all, is next door to Catalonia, and Catalonia is anything but Castilian. But Baroja, though he is also un-Castilian and even a bit anti-Castilian, is still a thorough Spaniard. He is more interested in a literary feud in Madrid than in a holocaust beyond the Pyrenees. He gets into his discussion of every problem a definitely Spanish flavour. He is unmistakably a Spaniard even when he is trying most rigorously to be unbiased and international. He thinks out everything in Spanish terms. In him, from first to last, one observes all the peculiar qualities of the Iberian mind—its disillusion, its patient weariness, its pervasive melancholy. Spain, I take it, is the most misunderstood of countries. The world cannot get over seeing it through the pink mist of Carmen, an astounding Gallic caricature, half flattery and half libel. The actual Spaniard is surely no such grand-opera Frenchman as the immortal toreador. I prescribe the treatment that cured me, for one, of mistaking him for an Iberian. That is, I prescribe a visit to Spain in carnival time.

Baroja, then, stands for the modern Spanish mind at its most enlightened. He is the Spaniard of education and worldly wisdom, detached from the mediaeval imbecilities of the old rÉgime and yet aloof from the worse follies of the demagogues who now rage in the country. Vastly less picturesque than Blasco IbÁÑez, he is nearer the normal Spaniard—the Spaniard who, in the long run, must erect a new structure of society upon the half archaic and half Utopian chaos now reigning in the peninsula. Thus his book, though it is addressed to Spaniards, should have a certain value for English-speaking readers. And so it is presented.

H. L. MENCKEN.