19th Century Spanish Realism
1. Realism
Realism, the second major literary movement of the nineteenth century in Spain, emerged later than in other European countries but achieved significant development and influence. It arose within a complex socio-historical context during the mid-nineteenth century, culminating in a period of relative political and economic stability towards the end of the century—the Bourbon Restoration period, following the Revolution of ’68 and the First Republic. Krausismo and Positivism, progressive and rationalist ideological currents, were highly influential during this experimental period.
Regarding literary genres, poetry and theater were less prominent, though successful in their time.
Poetry
The most notable poet was Ramón de Campoamor, initially labeled a “realistic” poet but now reevaluated.
Theater
Tamayo y Baus, Echegaray, and Galdós were the most prominent playwrights.
Narrative
The novel, with its inherent capacity to reflect reality, became the characteristic genre of Realism. Its development began around 1870 with the publication of Galdós’s La Fontana de Oro (The Golden Fountain). The Spanish realist novel blended the influence of European realism (Stendhal, Flaubert, Dickens, and Tolstoy) with the existing Spanish realist tradition. Numerous narrators depicted the geographical and ideological conflicts of the time.
Notable authors include Juan Valera (Pepita Jiménez), Emilia Pardo Bazán (Los Pazos de Ulloa), José María de Pereda (Peñas Arriba), Vicente Blasco Ibáñez (La Barraca), and, most importantly, Benito Pérez Galdós and Leopoldo Alas “Clarín” with his work La Regenta (The Judge’s Wife), clearly influenced by Naturalism. Particularly during the 1880s, the influence of Naturalism (a movement attempting to apply the scientific method to literature, spearheaded by Émile Zola in France) became evident in themes and narrative techniques.
Formal and Thematic Characteristics
- Detailed descriptions and documentation of reality
- Language adapted to the description of settings and characters
- Recurring theme of the conflict between the individual and society
- Narration in 1st and 3rd person, employing an omniscient narrator and indirect style. Alongside these traditional techniques, dialogue, monologue, and free indirect style were also used.
Among all Spanish realist storytellers, the narrative work of Benito Pérez Galdós (also a playwright and literary critic) stands out. His extensive body of work includes:
National Episodes (1873-1912)
These 46 novels encompass the individual and collective history of Spain (within the historical novel genre, like La Fontana de Oro).
Early Novels
Often called “thesis novels” as they expose ideological conflicts and advocate a liberal stance: Doña Perfecta and Gloria belong to this group.
Contemporary Novels
Written in the 1880s, these novels reflect the social realities of Galdós’s time. They are centered in Madrid and represent the culmination of the author’s narrative technique: La Desheredada (The Disinherited), Torment, and Miau are among the most representative, with Fortunata y Jacinta being a standout. This latter novel, subtitled “Two Stories of Married Women,” explores the conflict between love and society. The character of Jacinta represents respect for social norms and the bourgeoisie, while Fortunata embodies nature and the common people.
Spiritualist Novels
Written in the 1890s, these novels reflect the author’s political disillusionment and the new European spiritualist currents. They champion moral values aligned with Christianity: goodness, charity, understanding, and so on. Nazarín and Misericordia belong to this group. In his later years, he wrote Casandra, which blends realism and fantasy. The importance of education is a recurring theme.
Leopoldo Alas “Clarín”
A critic, essayist, and novelist. In his critical works Solos de Clarín (1881) and Paliques (1893), he examines the contemporary novel. His narrative work includes short stories, such as ¡Adiós, Cordera! (Goodbye, Lamb), and two major novels: Su único hijo (His Only Son) (1891) and, most importantly, La Regenta (1885).
In La Regenta, Clarín addresses the theme of the conflict between the pursuit of ideal love and a mediocre and hostile environment. The story revolves around Ana Ozores, the judge’s wife, and the city of Vetusta (Oviedo), exploring social behaviors in a provincial town dominated by hypocrisy, greed, ignorance, and boredom. The novel begins “in media res” and is structured in two parts that narrate three days and three years of the story, respectively. The work exhibits naturalistic elements, realistic techniques, and a predominance of free indirect style, which, along with dialogues, serves to characterize the characters and their inner world.