herself with equal passion to the love she feels for her cousin Pepe, and to the love she feels for her mother, Dona Perfecta. She is ready to fly with him, and yet she betrays him to her mother’s pitiless hate.
But it is Dona Perfecta herself who is the transcendent figure, the most powerful creation of the book. In her, bigotry and its fellow-vice, hypocrisy, have done their perfect work, until she comes near to being a devil, and really does some devil’s deeds. Yet even she is not without some extenuating traits. Her bigotry springs from her conscience, and she is truly devoted to her daughter’s eternal welfare; she is of such a native frankness that at a certain point she tears aside her mask of dissimulation and lets Pepe see all the ugliness of her perverted soul. She is wonderfully managed. At what moment does she begin to hate him, and to wish to undo her own work in making a match between him and her daughter? I could defy anyone to say. All one knows is that at one moment she adores her brother’s son, and at another she abhors him, and has already subtly entered upon her efforts to thwart the affection she has invited in him for her daughter.
Caballuco, what shall I say of Caballuco? He seems altogether bad, but the author lets one imagine that this cruel, this ruthless brute must have somewhere about him traits of lovableness, of leniency, though he never lets one see them. His gratitude to Dona Perfecta, even his murderous devotion, is not altogether bad; and he is certainly worse than nature made him, when wrought upon by her fury and the suggestion of Don Inocencio. The scene where they work him up to rebellion and assassination is a compendium of the history of intolerance; as the mean little conceited city of Orbajosas is the microcosm of bigoted and reactionary Spain.
I have called, or half-called, this book tendencious; but in a certain larger view it is not so. It is the eternal interest of passion working upon passion, not the temporary interest of condition antagonizing condition, which renders “Dona Perfecta” so poignantly interesting, and which makes its tragedy immense. But there is hope as well as despair in such a tragedy. There is the strange support of a bereavement in it, the consolation of feeling that for those who have suffered unto death, nothing can harm them more; that even for those who have inflicted their suffering this peace will soon come.
“Is Perez Galdos a pessimist?” asks the critic Clarin. “No, certainly; but if he is not, why does he paint us sorrows that seem inconsolable? Is it from love of paradox? Is it to show that his genius, which can do so much, can paint the shadow lovelier than the light? Nothing of this. Nothing that is not serious, honest, and noble, is to be found in this novelist. Are they pessimistic, those ballads of the North, that always end with vague resonances of woe? Are they pessimists, those singers of our own land, who surprise us with tears in the midst of laughter? Is Nature pessimistic, who is so sad at nightfall that it seems as if day were dying forever? . . . The sadness of art, like that of nature, is a form of hope. Why is Christianity so artistic? Because it is the religion of sadness.”
CHAPTER I
VILLAHORRENDA! FIVE MINUTES!
When the down train No. 65—of what line it is unnecessary to say—stopped at the little station between kilometres 171 and 172, almost all the second-and third-class passengers remained in the cars, yawning or asleep, for the penetrating cold of the early morning did not invite to a walk on the unsheltered platform. The only first-class passenger on the train alighted quickly, and addressing a group of the employes asked them if this was the Villahorrenda station.
“We are in Villahorrenda,” answered the conductor whose voice was drowned by the cackling of the hens which were at that moment being lifted into the freight car. “I forgot to call you, Senor de Rey. I think they are waiting for you at the station with the beasts.”
“Why, how terribly cold it is here!” said the traveller, drawing his cloak more closely about him. “Is there no place in the station where I could rest for a while, and get warm, before undertaking a journey on horseback through this frozen country?”
Before he had finished speaking the conductor, called away by the urgent duties of his position, went off, leaving our unknown cavalier’s question unanswered. The latter saw that another employe was coming toward him, holding a lantern in his right hand, that swung back and forth as he walked, casting the light on the platform of the station in a series of zigzags, like those described by the shower from a watering-pot.
“Is there a restaurant or a bedroom in the station of Villahorrenda?” said the traveller to the man with the lantern.
“There is nothing here,” answered the latter brusquely, running toward the men who were putting the freight on board the cars, and assuaging them with such a volley of oaths, blasphemies, and abusive epithets that the very chickens, scandalized by his brutality, protested against it from their baskets.
“The best thing I can do is to get away from this place as quickly as possible,” said the gentlemen to himself. “The conductor said that the beasts were here.”
Just as he had come to this conclusion he felt a thin hand pulling him gently and respectfully by the cloak. He turned round and saw a figure enveloped in a gray cloak, and out of whose voluminous folds peeped the shrivelled and astute countenance of a Castilian peasant. He looked at the ungainly figure, which reminded one of the black poplar among trees; he observed the shrewd eyes that shone from beneath the wide brim of the old velvet hat; the sinewy brown hand that grasped a green switch, and the broad foot that, with every movement, made the iron spur jingle.
“Are you Senor Don Jose de Rey?” asked the peasant, raising his hand to his hat.
“Yes; and you, I take it,” answered the traveller joyfully, “are Dona Perfecta’s servant, who have come to the station to meet me and show me the way to Orbajosa?”
“The same. Whenever you are ready to start. The pony runs like the wind. And Senor Don Jose, I am sure, is a good rider. For what comes by race—”
“Which is the way out?” asked the traveller, with impatience. “Come, let us start, senor—What is your name?”
“My name is Pedro Lucas,” answered the man of the gray cloak, again making a motion to take off his hat; “but they call me Uncle Licurgo. Where is the young gentleman’s baggage?”
“There it is—there under the cloak. There are three pieces—two portmanteaus and a box of books for Senor Don Cayetano. Here is the check.”
A moment later cavalier and squire found themselves behind the barracks called a depot, and facing a road which, starting at this point, disappeared among the neighboring hills, on whose naked slopes could be vaguely distinguished the miserable hamlet of Villahorrenda. There were three animals to carry the men and the luggage. A not ill-looking nag was destined for the cavalier; Uncle Licurgo was to ride a venerable hack, somewhat loose in the joints, but sure-footed; and the mule, which was to be led by a stout country boy of active limbs and fiery blood, was to carry the luggage.
Before the caravan had put itself in motion the train had started, and was now creeping along the road with the lazy deliberation of a way train, awakening, as it receded in the distance, deep subterranean echoes. As it entered the tunnel at kilometre 172, the steam issued from the steam whistle with a shriek that resounded through the air. From the dark mouth of the tunnel came volumes of whitish smoke, a succession of shrill screams like the blasts of a trumpet followed, and at the sound of its stentorian voice villages, towns, the whole surrounding country awoke. Here a cock began to crow, further on another. Day was beginning to dawn.
CHAPTER II
A JOURNEY IN THE HEART OF SPAIN
When they had proceeded some distance on their way and had left behind
