SPANISH LITERATURE 215 



Rikka Gran (1904), Regine Norman (b. 1867) in her Krabvaag (1905), and Sigrid Undset 

 (b. 1882) in her Jenny (1911), are conspicuous in this respect. 



Norwegian memoir literature, which up to a comparatively recent date was rather 

 poor, has been greatly enriched within the last few years, the posthumous letters of 

 Bjornson (Aulestad-Brwe) to his daughter Mrs. Ibsen, and of Kielland to his daughter 

 Mrs. Krag, being among the chief contributions. Besides these may be mentioned several 

 memoirs by Professor Yngvar Nielsen, the historian, the last one being Under the Reign 

 oj Oscar II, (1912). Sigurd Ibsen (b. 1859), with his Human Quintessence (1911), 

 stands in the first rank of Norwegian essayists. Professor Gerhard Gran (b. 1856), 

 whose great work on Rousseau (Vol. I, 1910; Vol. II, 1911) has been translated into 

 English, is the leading literary critic of Norway. Hjalmar Christensen (b. 1869) formerly 

 best known in the field of criticism, has lately shown remarkable gifts as an original 

 author in A Life (1910) and Sheriff's Farm (1911). 



H. J. Haffner's Norsk Bokforlegnelse, iQOi-igioi (1912) gives a complete list of all books 

 published in Norway within the period. (S. C. HAMMER.) 



SPANISH LITERATURE 1 



Few new names of importance occur in the record of Spanish literature for the last 

 six years. In drama, poetry, fiction and literary criticism, there is abundant work 

 indicating high average talent, but only in poetry are fresh tendencies revealed. The 

 novel methods introduced by French and German poets between 1885 and 1900 were 

 tardily adopted in Spain, and owe their present vogue to Spanish poets born on the 

 other side of the Atlantic. 



Poetry. Francisco Villaespesa (b. 1877), whose literary career began before 1905, 

 has become one of the most striking personalities in modern Spanish poetry. With a 

 delicate tact he has contributed to the renovation of rhythmical forms; his verse renders 

 an exquisite vision of the world, and his unaffected diction, while judiciously assimilating 

 innovations, preserves its individuality, its vividness and rich colouring qualities 

 displayed to advantage in Bajo la Lluvia (1910) and El Espejo Encantado (1911). The 

 copious verses of Juan R. Jimenez (b. 1 88 1), reveal a sad lucidity of soul. This Andalu- 

 sian Amiel a recluse to whom the tumultuous struggle of modern life is abhorrent 

 produces effects of evocation by means of suggestive half-tones which enable him, through 

 the medium of landscape, to impart the intimate minutiae of his brooding melancholy. 

 This faculty is eminently manifest in Arias Trisles (1903) and in the triple series of 

 Elegias (1908-09-10). Prominent among the newcomers is Antonio Machado (b. 

 1875), a poet of austere imagination, placid and yet informed by the spirit of modernity, 

 as may be seen in Soledades (1903) and Campos de Castilla (1911), in the latter of which 

 certain Proverbios y Cantares recall the philosophic mood of Omar Khayyam. The 

 representative of an earlier school, Eduardo Marquina (b. 1877), is distinguished for 

 force and facility, and he handles blank verse with a ductile power rare in Spanish. The 

 works most characteristic of his talent are the Eglogas and Elegias: his latest productions 

 Dona Maria la Brava (1909), En Flandes se ha puesto el sol (1910) and El Rey Trovador 

 (1912) are dramatic poems dealing with historical themes. 



Drama. Though Jacinto Benavente (b. 1866) produces more frugally than in his 

 first period, his supremacy as a dramatist is uncontested. His fine observation and 

 mastery of scenic effect are undiminished in Los Intereses Creados (1907), wherein the 

 great game of sordid motives is portrayed with engaging fidelity, and in Se flora, Ama 

 (1908) the author has achieved a legitimate triumph. An acquisition to the theatre 

 is Gregorio Martinez Sierra .(b. 1881), who, in La Sombra del Padre (1910) has given a 

 somewhat diffuse but effective study of inadaptability; still more deservedly successful, 

 Cancion de.Cuna (1911) is an original effort which bespeaks shrewd observation of con- 

 vent life, and interprets with almost feminine insight elusive and concentrated motives. 

 Less subtle in analysis, Manuel Linares Rivas (b. 1866) fascinates his public by virtue 

 of his technical dexterity and the Gallic vivacity of his dialogue: Maria Victoria will 



^See E. B. xxv, 578 et seq. 



