The close of the 19th century witnessed Spain release the last strongholds of her overseas empire - Cuba, Puerto Rico and the Philippines - following the Spanish-American war.
The same period saw the so-called “1898 generation” emerge in the literary world - artists, writers and dramatists brimming with ideas of renewal, a common feature in the society of the time. The loss of the colonies marked the end of an epoque and the dawn of an age charged with creative enthusiasm. Jacinto Benavente was the first to introduce novelty into the field of dramaturgy. Born in Madrid in 1866, son of a famous paediatrician, after studying law his main interest became literature till he devoted himself to drama. Benavente, author of over 150 dramas, was moved by the well defined objective of making Spain acquainted with European bourgeois dramaturgy to the exclusion of the then wasted and musty Spanish drama, still deeply rooted in 19th century tradition. Among Benavente’s most important works, we would like mention El nido ajeno (1894), the comedy Los intereses creados (1907) and the tragedy La malquerida (1913), of great interest in regards to the psychological analysis of the various characters, the setting and the noticeably different style which distinguishes each of them. Thanks to the success made with critics and the public Jacinto Benavent was awarded the Nobel Prize for Literature in 1922. He died in Madrid in 1954, long past his eightieth birthday.
The protagonist of El nido ajeno is young Emanuele, who, after roaming the world to seek his fortune, returns to Madrid. He appears at his elder brother Giuseppe’s doorstep - Giuseppe is married to the gentle and patient Maria. Thirsting for affection and wishing to pick up the threads of the family link, Emanuele stays in his brother’s house where domestic peace reigns supreme. He gradually becomes the object of his sister-in-law’s kindness, which he returns with gifts and consideration. Giuseppe soon becomes aware of the warm affection between the two as by now he considers his brother an intruder. Hence, this sickly, difficult man, totally absorbed by his work, becomes increasingly jealous till he imagines that there is very much more than a simple friendship between Emanuele and Maria. Giuseppe’s wife is submissive towards her husband whom she loves and has never thought of betraying. Understanding his brother’s mood and his deep love for his wife - which he has never stated openly, Emanuele decides the time has come to leave another’s nest and he departs, thus restoring peace and calm to his brother’s home. The author’s moral message is - woman’s pure spirit must never be unsettled by suspicion especially when appearances may lead to the wrong conclusions.
The comedy Los intereses credos is a masked farce in two acts, in which Leandro and Crispino, two adventurers, reach an imaginary land. Hunted by creditors, owing to their debts, Leandro plays the knight and Crispino his servant. Leandro finds passion in this land and falls desperately in love with Silvia, who loves him too. Silvia is the daughter of Pulcinella, a self-made man. Matters could take the right course and the interests Crispino the “servant” has woven around Leandro end up by involving the characters he comes into. But Silvia’s father means to give his daughter’s hand to others, not to Leandro. The two adventurers are unmasked. However Crispino the expert manoeuvrer succeeds in making the human interest surrounding Leandro prevail and makes Pulcinella fall for it so that he gives his daughter’s hand to his friend. The two lovers marry and it almost looks like Benavente believes that love can restore honesty and draw out the better part of man - this is the author’s ethical message. Considered a fine re-elaboration of the commedia dell’arte, this work figures as an extremely fine linguistic pastiche - it is thanks to this style that Benavente gained fame not only in Spain but throughout Europe.
La malquerida is a tragedy in three acts which takes place in a rural setting. Action is moved by passion and blood. The first act opens with the marriage to be celebrated the following day between Faustino and Acacia: preparations are under way in the bride’s home. Faustino is Acacia’s second fiancè while the first, Norberto, nephew of Raimonda, Acacia’s mother, had been let down by the damsel. Evening falls. And here is the scene of the tragedy, in a moonless night - a rifle shot is heard by all, in the absolute silence. Faustino is murdered and Norberto is accused - he is the main suspect. Luckily for him he succeeds in proving his innocence thanks to many witnesses. But Faustino’s family does not believe he is innocent. Really Acacia has long been loved by Stefano, her step-father, and she has always obstinately refused him without however disclosing the matter to her mother.
Faustino’s family comes to take its revenge against Norberto, quite oblivious of the fact that it was Stefano, with his servant Rosso, who killed Faustino. But the whole village will hear the story as Rosso, after drinks, lets his tongue wag and reveals Stefano’s obsessive passion for his step-daughter. The tragedy closes with blood: Raimonda bodily opposes her husband’s flight with her daughter Acacia. At this stage Stefano looses his head and shoots her - thus Raimonda dies and Acacia is free. The morbid stepfather is handed over to the law as a murderer.
Translated by interpres sas