The
hunchback
observed that his mother's form suddenly grew
stiff and rigid as a bar of iron.
stiff and rigid as a bar of iron.
Warner - World's Best Literature - v19 - Oli to Phi
J.
, in Colburn's New Monthly Magazine, 1865.
## p. 11025 (#237) ##########################################
11025
EMILIA PARDO-BAZÁN
(1852-)
MONG European defendants and exponents of the modern real-
istic school, Emilia Pardo-Bazán is conspicuous. She is not
only a strong and subtle advocate of the methods of Zola,
Turgénieff, and other French and Russian realists, she is true to
their creed in her own novels to the point of masculinity. As a rule
the disciples of realism are booted and spurred. The quality itself
implies a total absence of feminine evasions of the actual and the
inevitable. There is no hint in it of the oblique vision of gentle
blue eyes.
It is therefore all the more sur-
prising that Señora Pardo-Bazán, a woman,
with veins full of romantic Spanish blood,
should prove a singularly perfect exponent
of her chosen creed.
She was born in 1852, in Coruña, Spain,
of a noble and ancient family. At a very
early age she was brought into friendly
relations with books, by being allowed to
browse at will in her father's library. Her
marriage in 1868 to Don José Quiroga put
an end to her systematic education under
tutors; but she was to receive later the
more liberal education of travel and inde-
pendent study. The political exile of her
father enabled her to travel through France and Italy, perfecting
her knowledge of the French and Italian language and literature.
After her return to Spain, she devoted herself to the study of Ger-
man, and of philosophy and history; thus preparing herself for the
cosmopolitan office of critic, and laying the foundations of the culture
necessary for the novelist. Her artistic creed had not been formu-
lated when she was attracted by the writings of her own country-
men,- Valera, Galdós, and Alarcón. These novelists were realists in
so far as they depicted the life and manners with which they were
most familiar. The idea came to the young Señora that she also
might write a novel which did not require romantic grandiloquence
and lofty flights of the imagination, but merely fidelity to facts.
Shortly after the publication of her first novel, her new-born recogni-
tion of the requirements of realism was enlarged by acquaintance with
XIX-690
EMILIA PARDO-BAZÁN
## p. 11026 (#238) ##########################################
11026
EMILIA PARDO-BAZÁN
In
the works of Balzac, Flaubert, Goncourt, and Daudet. Henceforth her
conceptions of her art were well defined; and she became unwavering
in her obedience to them. Of her novels, The Swan of Vilamorta
is perhaps the most perfect expression of her artistic tenets. It is
difficult to believe that it could have been written by a woman.
its merciless adherence to facts, in its pitiless logic, in its conscien-
tious portrayal of unlovely types of character, it might have come
from the brain of a clever man of the world, turned novelist for
truth's sake. The hero of the book, the Swan, is a young would-be
poet of the sentimental type, who is inclined in the cause of romance
to make love to other men's wives. The tragedy of the book, if the
arid reproduction of ugly happenings can be called tragedy, centres
itself less about the callow hero than about a woman who loves him
with an abandonment of passion,- a schoolmistress of thirty-six, pit-
ted with small-pox, hampered with a deformed child. Until the boy-
poet comes into her life, she is content to teach, that she may provide
this child with comforts. Afterwards all is changed. Her little hoard
of money dwindles away to give dainty suppers to the man she
loves; to keep him in the proper clothes, of which his unappreciative
father deprives him; to enable him to visit a Spanish grandee, to-
wards whose wife he cherishes a Werther-like devotion. Finally she
mortgages her fresh little cottage, and puts her crippled child out
to work, that she may provide him with the funds necessary for the
publication of his poems. These are not only a drug in the market,
but they fail to win for him the love of the grandee's lady, now
a marriageable widow. He sails to America, leaving behind him the
schoolmistress, destitute both of love and money. Neither her ome-
lets, her anisette cordials, nor her little loans, can compel his grati-
tude. She takes poison, and dies.
Pardo-Bazán's other novels-The Angular Stone,' 'A Christian
Woman,' 'Morrina,' 'A Wedding Journey'—are written in the same
uncompromising spirit of faithfulness to the actualities of life. Their
scenes are laid in Spain: their characters are those with which their
author is familiar. Evidences of her imaginative faculty, and of
her capacity for poetry, are not wanting in them; but she keeps her
latent romanticism strictly in check. She continually sacrifices her
sex to her art. The result is worth the sacrifice.
The same qualities which give to her distinction as a novelist,
make of her a luminous and sympathetic critic. Moreover, the reader
finds in her criticisms the charm which is sometimes lacking in her
novels, where the strength has driven out the sweetness. Her work
on 'Russia: Its People and Its Literature' is written with a certain
easy brilliancy, which almost disguises its solid merits. Pardo-Bazán
brings to her critical tasks a rare equipment, philosophical breadth of
## p. 11027 (#239) ##########################################
EMILIA PARDO-BAZÁN
11027
thought, the ability to understand the interdependence of national life
and national literature, the power of feeling the pulse of the times
in the stray novel or poem. In her life of St. Francis of Assisi she
studies the age which produced him, after the manner of the mod-
ern biographer. Whatever the nature of her work, whether history,
biography, or pure criticism, she is always conscious of that ethereal
atmosphere about persons and things, those emanations from a mill-
ion lives, which collectively are called the time-spirit. Her defense
of realism, in her essay The Burning Question,' springs as much
from her intuition concerning the nature of the zeitgeist as from her
intellectual appreciation of the reasonableness of the realistic school.
Aside from the worth of her contribution to the literature of mod-
ern Europe, Emilia Pardo-Bazán merits distinction as being a Spanish
woman who has demonstrated to her countrymen, in the face of na-
tional tradition, the most significant fact uncovered in this century,-
the power of women to learn, to understand, and to create.
THE REIGN OF TERROR
From Russia: Its People and Its Literature.
McClurg & Co.
-
Copyright 1890, by A. C.
THE
HE reign of terror was short but tragic. We have seen
that the active Nihilists were a few hundred inexperienced
youths without position or social influence, armed only with
leaflets and tracts. This handful of boys furiously threw down
the gauntlet of defiance at the government, when they saw them-
selves pursued. Resolved to risk their heads (and with such sin-
cerity that almost all the associates who bound themselves to
execute what they called "the people's will" have died in prison
or on the scaffold), they adopted as their watchword "man for
man. " When the sanguinary reprisals fell upon Russia from one
end to the other, the frightened people imagined an immense
army of terrorists-rich, strong, and in command of untold re-
sources covering the empire. In reality, the twenty offenses
committed from 1878 to 1882, the mines discovered under the two
capitals, the explosions in the station at Moscow and in the pal-
ace at St. Petersburg, the many assassinations, and the marvelous
organization which could get them performed with circumstances
so dramatic, and create a mysterious terror against which the
power of the government was broken in pieces, all this was
the work of a few dozens of men and women seemingly endowed
_______
## p. 11028 (#240) ##########################################
11028
EMILIA PARDO-BAZÁN
with ubiquitousness, so rapid and unceasing their journeys, and
so varied the disguises, names, and stratagems they made use of
to bewilder and confound the police. It was whispered that mill-
ions of money were sent in from abroad; that there were mem-
bers of the Czar's family implicated in the conspiracy; that there
was an unknown chief, living in a distant country, who managed
the threads of a terrible executive committee, which passed judg-
ment in the dark, and whose decrees were carried out instantly.
Yet there were only a few enthusiastic students,- a few young
girls ready to perform any service, like the heroine of Turgé-
nieff's 'Shadows'; a few thousand rubles, each contributing his
share; and after all, a handful of determined people, who, to use
the words of Leroy-Beaulieu, had made a covenant with death.
For a strong will, like intelligence or inspiration, is the patrimony
of a few; and so, just as ten or twelve artist heads can modify
the æsthetic tendency of an age, six or eight intrepid conspira-
tors are enough to stir up an immense empire.
After Karakozof's attempt upon the life of the Czar (the
first spark of discontent), the government augmented the police
and endowed Muravief, who was nicknamed "the Hangman," with
dictatorial powers. In 1871 the first notable political trial was
held upon persons affiliated with a secret society. Persecutions
for political offenses are a great mistake. Maltreatment only
inspires sympathy. After a few such trials the doors had to be
closed; the public had become deeply interested in the accused,
who declared their doctrines in a style only comparable to the
acts of the early Christian martyrs. Who could fail to be moved
at the sight of a young woman like Sophia Bardina, rising mod-
estly and explaining, before an audience tremulous with com-
passion, her revolutionary ideas concerning society, the family,
anarchy, property, and law? Power is almost always blind and
stupid in the first moments of revolutionary disturbances. In
Russia, men risked life and security as often by acts of charity
toward conspirators as by conspiracy itself. In Odessa, which
was commanded by General Todleben, the little blond heads of
two children appeared between the prison bars; they were the
children of a poor wretch who had dropped five rubles into a
collection for political exiles, and these two little ones were sen-
tenced to the deserts of Siberia with their father. And the poet
Mikailof chides the revolutionaries with the words: "Why not
let your indignation speak, my brothers? Why is love silent? Is
## p. 11029 (#241) ##########################################
EMILIA PARDO-BAZÁN
11029
our horrible misfortune worthy of nothing more than a vain
tribute of tears? Has your hatred no power to threaten and to
wound? "
The party then armed itself, ready to vindicate its political
rights by means of terror. The executive committee of the rev-
olutionary Socialists—if in truth such a committee existed or was
anything more than a triumvirate-favored this idea. Spies and
fugitives were quickly executed. The era of sanguinary Nihilism
was opened by a woman, the Charlotte Corday of Nihilism,—
Vera Zasulitch. She read in a newspaper that a political pris-
oner had been whipped, contrary to law,- for corporal punish-
ment had been already abolished, and for no worse cause than
a refusal to salute General Trepof; she immediately went and
fired a revolver at his accuser. The jury acquitted her, and her
friends seized her as she was coming out of court, and spirited
her away lest she should fall into the hands of the police; the
Emperor thereupon decreed that henceforth political prisoners
should not be tried by jury. Shortly after this the substitute of
the imperial deputy at Kief was fired upon in the street; suspi-
cion fell upon a student; all the others mutinied; sixteen of them.
were sent into exile. As they were passing through Moscow,
their fellow-students there broke from the lecture halls and came
to blows with the police. Some days later the rector of the Uni-
versity of Kief, who had endeavored to keep clear of the affair,
was found dead upon the stairs; and again later, Heyking, an
officer of the gendarmerie, was mortally stabbed in a crowded
street. The clandestine press declared this to have been done by
order of the executive committee; and it was not long before
the chief of secret police of St. Petersburg received a very polite
notice of his death sentence, which was accomplished by another
dagger; and the clandestine paper, Land and Liberty, said by
way of comment, "The measure is filled, and we gave warning
of it. "
Months passed without any new assassinations; but in Feb-
ruary 1879, Prince Krapotkine, governor of Karkof, fell by the
hand of a masked man, who fired two shots and fled; and no
trace of him was to be found, though sentence of death against
him was announced upon the walls of all the large towns of
Russia. The brother of Prince Krapotkine was a furious revolu-
tionary, and conducted a Socialist paper in Geneva at that time.
In March it fell to the turn of Colonel Knoup of the gendarmerie,
## p. 11030 (#242) ##########################################
EMILIA PARDO-BAZÁN
11030
who was assassinated in his own house; and beside him was
found a paper with these words: "By order of the Executive
Committee. So will we do to all tyrants and their accomplices. "
A pretty Nihilist girl killed a man at a ball: it was at first
thought to be a love affair, but it was afterward found out that
the murderess did the deed by order of the executive committee,
or whatever the hidden power was which inspired such acts.
On the 25th of this same March a plot against the life of the
new chief of police, General Drenteln, was frustrated; and the
walls of the town then flamed with a notice that revolutionary
justice was about to fall upon one hundred and eighty persons.
It rained crimes,- against the governor of Kief; against Cap-
tain Hubbenet; against Pietrowsky, chief of police, who was
riddled with wounds in his own room; and lastly, on the 14th
of April, Solovief attempted the life of the Czar, firing five
shots, none of which took effect. On being caught, the would-be
assassin swallowed a dose of poison; but his suicide was also
unsuccessful.
Solovief, however, had reached the heights of Nihilism: he
had dared to touch the sacred person of the Czar. He was the
ideal Nihilist: he had renounced his profession, determined to
"go with the people," and became a locksmith, wearing the arti-
san's dress; he was married "mystically," and by "free grace" or
"free will," and it was said that he was a member of the terrible
executive committee. He suffered death on the gallows with
serenity and composure, and without naming his accomplices.
Land and Liberty approved his acts by saying, "We should be
as ready to kill as to die; the day has come when assassination
must be counted as a political motor. " From that day Alexan-
der II. was a doomed man; and his fatal moment was not far
off. The revolutionaries were determined to strike the govern-
ment with terror, and to prove to the people that the sacred
Emperor was a man like any other, and that no supernatura)
charm shielded his life. At the end of 1879 and the beginning
of 1880 two lugubrious warnings were forced upon the Emperor:
first the mine which wrecked the imperial train, and then the
explosion which threw the dining-room of the palace in ruins,-
which catastrophe he saw with his own eyes. About this time
the office of a surreptitious paper was attacked, the editors and
printers of which defended themselves desperately: alarmed by
this significant event, the Emperor intrusted to Loris Melikof,
## p. 11031 (#243) ##########################################
EMILIA PARDO-BAZÁN
11031
who was a Liberal, an almost omnipotent dictatorship. The con-
ciliatory measures of Melikof somewhat calmed the public mind;
but just as the Czar had convened a meeting for the considera-
tion of reforms solicited by the general opinion, his own sentence
was carried out by bombs.
It is worthy of note that both parties (the conservative and
the revolutionary) cast in each other's face the accusation of hav-
ing been the first to inflict the death penalty, which was contrary
to Russian custom and law. If Russia does not deserve quite so
appropriately as Spain to be called the country of vice versas, it
is nevertheless worth while to note how she long ago solved the
great juridical problem upon which we are still employing tongue
and pen so busily. Not only is capital punishment unknown to
the Russian penal code, but since 1872 even perpetual confine-
ment has been abolished,-twenty years being the maximum of
imprisonment; and this even to-day is only inflicted upon politi-
cal criminals, who are always treated there with greater severity
than other delinquents. Before the celebrated Italian criminalist
lawyer, Beccaria, ever wrote on the subject, the Czarina Elisa-
beth Petrowna had issued an edict suppressing capital punish-
ment. The terrible Muscovite whip probably equaled the gibbet;
but aside from the fact that it had been seldom used, it was
abolished by Nicholas I. If we judge of a country by its penal
laws, Russia stands at the head of European civilization. The
Russians were so unaccustomed to the sight of the scaffold, that
when the first one for the conspirators was to be built, there
were no workmen to be found who knew how to construct it.
Translated from the Spanish by Fanny Hale Gardiner.
THE SCHOOLMISTRESS AT HOME
From The Swan of Vilamorta. Copyright 1891, by the Cassell
Publishing Co.
WHE
>>
HILE she distributed their tasks among the children, say-
ing to one, "Take care to make this hem straight; to
another, "Make this seam even, the stitch smaller; " to
a third, "Use your handkerchief instead of your dress;" and to
still another, "Sit still, child; don't move your feet," Leocadia
cast a glance from time to time toward the plaza, in the hope of
seeing Segundo pass by. But no Segundo was to be seen. The
flies settled themselves to sleep, buzzing, on the ceiling; the heat
-
## p. 11032 (#244) ##########################################
EMILIA PARDO-BAZÁN
11032
abated; the afternoon came, and the children went away. Leo-
cadia felt a profound sadness take possession of her; and without
waiting to put the house in order, she went to her room and
threw herself on the bed.
The glass door was pushed gently open, and some one entered
softly.
"Mamma," said the intruder in a low voice. .
The schoolmistress did not answer.
"Mamma, mamma," repeated the hunchback in a louder
voice.
"Mamma! " he shouted at last.
"Is that you? What do you want? "
"Are you ill? »
"No, child. "
"As you went to bed-"
"I have a slight headache. There, leave me in peace. ”
Minguitos turned round and walked in silence toward the
door. As her eyes fell on the protuberance of his back, a sharp
pang pierced the heart of the schoolmistress. How many tears
that hump had cost her in other days! She raised herself on her
elbow.
"Minguitos! " she called.
"What is it, mamma? "
-
"Don't go away.
pain ? »
"I feel pretty well, mamma. Only my chest hurts me. ”
"Let me see; come here. "
How do you feel to-day? Have you any
Leocadia sat up in the bed, and taking the child's head be-
tween her hands, looked at him with a mother's hungry look.
Minguitos's face was long and of a melancholy cast; the promi
nent lower jaw was in keeping with the twisted and misshapen
body, that reminded one of a building shaken out of shape by
an earthquake or a tree twisted by a hurricane. Minguitos's
deformity was not congenital. He had always been sickly, in-
deed; and it had always been remarked that his head seemed
too heavy for his body, and that his legs seemed too frail to
support him.
Leocadia recalled one by one the incidents of his
childhood. At five years old the boy had met with an accident,
a fall down the stairs: from that day he lost all his liveliness;
he walked little, and never ran. He contracted a habit of sit-
ting Turkish fashion, playing marbles, for hours at a time. If
he rose, his legs soon warned him to sit down again. When he
stood, his movements were vacillating and awkward. When he
## p. 11033 (#245) ##########################################
EMILIA PARDO-BAZÁN
11033
was quiet he felt no pain; but when he turned any part of his
body, he experienced slight pains in the spinal column. The
trouble increased with time; the boy complained of a feeling as
if an iron band were compressing his chest. Then his mother,
now thoroughly alarmed, consulted a famous physician, the best
in Orense. He prescribed frictions with iodine, large doses of
phosphates of lime, and sea-bathing. Leocadia hastened with the
boy to a little seaport. After taking two or three baths, the
trouble increased: he could not bend his body; his spinal column.
was rigid, and it was only when he was in a horizontal posi-
tion that he felt any relief from his now severe pains. Sores
appeared on his skin; and one morning when Leocadia begged
him with tears to straighten himself, and tried to lift him up by
the arms, he uttered a horrible cry.
"I am broken in two, mamma I am broken in two," he
repeated with anguish; while his mother with trembling fingers
sought to find what had caused his cry.
It was true! The backbone had bent outward, forming an
angle on a level with his shoulder-blades; the softened vertebræ
had sunk; and cifosis, the hump,-the indelible mark of irreme-
diable calamity,-was to deform henceforth this child who was
dearer to her than her life. The schoolmistress had had a mo-
ment of animal and supreme anguish, the anguish of the wild
beast that sees its young mutilated. She had uttered shriek after
shriek, cursing the doctor, cursing herself, tearing her hair and
digging her nails into her flesh. Afterward tears had come, and
she had showered kisses, delirious but soothing and sweet, on the
boy; and her grief took a resigned form. During nine years
Leocadia had had no other thought than to watch over her little
cripple by night and by day; sheltering him in her love, amusing
with ingenious inventions the idle hours of his sedentary child-
hood.
ory.
A thousand incidents of this time recurred to Leocadia's mem-
The boy suffered from obstinate dyspnoea, due to the pres-
sure of the sunken vertebræ on the respiratory organs; and his
mother would get up in the middle of the night, and go in her
bare feet to listen to his breathing and to raise his pillows. As
these recollections came to her mind, Leocadia felt her heart
melt, and something stir within her like the remains of a great
love, the warm ashes of an immense fire, and she experienced.
P
## p. 11034 (#246) ##########################################
EMILIA PARDO-BAZÁN
11034
the unconscious reaction of maternity; the irresistible impulse
which makes a mother see in her grown-up son only the infant
she has nursed and protected, to whom she would have given
her blood, if it had been necessary, instead of milk. And uttering
a cry of love, pressing her feverish lips passionately to the pallid
temples of the hunchback, she said, falling back naturally into
the caressing expressions of the dialect:-
"Malpocadiño, who loves you? Say, who loves you dearly?
Who? "
"You don't love me, mamma. You don't love me," the boy
returned, half smiling, leaning his head with delight on the bosom
that had sheltered his sad childhood. The mother, meantime,
wildly kissed his hair, his neck, his eyes, as if to make up for
lost time; lavishing upon him the honeyed words with which
infants are beguiled,-words profaned in hours of passion,-
which overflowed in the pure channel of maternal love.
"My treasure-my king-my glory. "
At last the hunchback felt a tear fall on his cheek. Delicious
assuagement! At first the tears were large and round, scorching
almost; but soon they came in a gentle shower, and then ceased
altogether; and there remained where they had fallen only a
grateful sense of coolness. Passionate phrases rushed simulta-
neously from the lips of mother and son.
"Do you love me dearly, dearly, dearly? As much as your
whole life? "
"As much, my life, my treasure. "
"Will you always love me? "
"Always, always, my joy. "
"Will you do something to please me, mamma? I want to
ask you—”
"What? >>
"A favor.
>>
Don't turn your face away!
The hunchback observed that his mother's form suddenly grew
stiff and rigid as a bar of iron. He no longer felt the sweet
warmth of her moist eyelids, and the gentle contact of her wet
lashes on his cheek. In a voice that had a metallic sound Leo-
cadia asked her son,
"And what is the favor you want? Let me hear it. "
Minguitos murmured without bitterness, with resignation: -
"Nothing, mamma, nothing. I was only in jest. "
-
## p. 11035 (#247) ##########################################
EMILIA PARDO-BAZÁN
11035
"But what was the favor you were going to ask me? "
"Nothing, nothing, indeed. "
"No, you wanted to ask something," persisted the schoolmis.
tress, seizing the pretext to give vent to her anger. "Otherwise
you are very deceitful and very sly. You keep everything hidden
in your breast. Those are the lessons Flores teaches you: do
you think I don't notice it? "
Saying this, she pushed the boy away from her, and sprang
from the bed. In the hall outside, almost at the same moment,
was heard a firm and youthful step. Leocadia trembled, and
turning to Minguitos, stammered:-
"Go, go to Flores. Leave me alone. I do not feel well, and
you make me worse. "
Segundo's brow was clouded; and as soon as the joy of seeing
him had subsided, Leocadia was seized with the desire to restore
him to good-humor. She waited patiently for a fitting opportu-
nity, however, and when this came, throwing her arms around his
neck, she began with the complaint: Where had he kept him-
self? Why had he stayed away so long? The poet unburdened
himself of his grievances. It was intolerable to follow in the
train of a great man. And allowing himself to be carried away
by the pleasure of speaking of what occupied his mind, he de-
scribed Don Victoriano and the radicals; satirized Agonde's recep-
tion of his guests, and his manner of entertaining them; spoke
of the hopes he founded in the protection of the ex-minister,
giving them as a reason for the necessity of paying court to Don
Victoriano. Leocadia fixed her dog-like look on Segundo's counte-
nance.
—
"And the Señora and the girl - what are they like? "
Segundo half closed his eyes, the better to contemplate an
attractive and charming image that presented itself to his mental
vision, and to reflect that in the existence of Nieves he played
no part whatsoever,-it being manifest folly for him to think
of Señora de Comba, who did not think of him. This reflec-
tion, natural and simple enough, aroused his anger. There was
awakened within him a keen longing for the unattainable, — that
insensate and unbridled desire with which the likeness of a beau-
tiful woman dead for centuries may inspire some dreamer in a
museum.
"But answer me are those ladies handsome? " the schoolmis-
tress asked again.
## p. 11036 (#248) ##########################################
11036
EMILIA PARDO-BAZÁN
"The mother, yes," answered Segundo, speaking with the
careless frankness of one who is secure of his auditor. "Her
hair is fair, and her eyes are blue-a light blue that makes one
think of the verses of Becquer. "
And he began to recite:-
―
«Tu pupila es azul, y cuando ries
Su claridad suave me recuerda -> »
Leocadia listened to him at first with eyes cast down; after-
ward with her face turned away from him. When he had
finished the poem she said in an altered voice, with feigned
calmness:
"They will invite you to go there. "
"Where? "
"To Las Vides, of course. I hear they intend to have a great
deal of company. "
་་
"Yes; they have given me a pressing invitation, but I shall
not go.
Uncle Clodio insists upon it that I ought to cultivate
the friendship of Don Victoriano, so that he may be of use to
me in Madrid, and help me to get a position there. But, child,
to go and play a sorry part is not to my liking. This suit is the
best I have, and it is in last year's fashion. If they play tresillo
or give tips to the servants—and it is impossible to make my
father understand this- and I shall not try to do so; God forbid.
So that they shall not catch a sight of me in Las Vides. "
When she heard what his intentions were, Leocadia's counte-
nance cleared up, and rising, radiant with happiness, she ran to
the kitchen. Flores was washing plates and cups and saucers by
the light of a lamp, knocking them angerly together, and rubbing
savagely.
"The coffee-pot-did you clean it? "
"Presently, presently," responded the old woman. "Any one
would think that one was made of wood, that one is never to get
tired that one can do things flying. "
"Give it to me;. I will clean it. Put more wood on the fire:
it is going out and the beefsteak will be spoiled. " And so say-
ing, Leocadia washed the coffee-pot, cleaning the filter with a
knitting-needle, and put some fresh water down to boil in a new
saucepan, throwing more wood on the fire.
"Yes, heap on wood," growled Flores, "as we get it for
nothing! "
## p. 11037 (#249) ##########################################
EMILIA PARDO-BAZÁN
11037
Leocadia, who was slicing some potatoes for the beefsteak,
paid no attention to her. When she had cut up as many as she
judged necessary, she washed her hands hastily in the jar of the
drain, full of dirty water, on whose surface floated large patches
of grease. She then hurried to the parlor where Segundo was
waiting for her, and soon afterward Flores brought in the sup-
per, which they ate, seated at a small side-table. By the time
they had got to the coffee Segundo began to be more communi-
cative. This coffee was what Leocadia most prided herself on.
She had bought a set of English china, an imitation lacquer-box,
a vermeil sugar-tongs, and two small silver spoons; and she
always placed on the table with the coffee a liquor-stand, sup-
plied with cumin, rum, and anisette. At the third glass of cumin,
seeing the poet amiable and propitious, Leocadia put her arm
around his neck. He drew back brusquely, noticing with strong
repulsion the odor of cooking and of parsley with which the gar-
ments of the schoolmistress were impregnated.
At this moment precisely, Minguitos, after letting his shoes
drop on the floor, was drawing the coverlet around him with a
sigh. Flores, seated on a low chair, began to recite the rosary.
The sick child required, to put him to sleep, the monotonous
murmur of the husky voice which had lulled him to rest, ever
since his mother had ceased to keep him company at bedtime.
The Ave Marias and Gloria Patris, mumbled rather than pro-
nounced, little by little dulled thought; and by the time the litany
was reached, sleep had stolen over him, and half-unconscious,
it was with difficulty he made the responses to the barbarous
phrases of the old woman: "Juana celi-Ora pro nobis - Sal-es-
enfermorum nobis - Refajos pecadorum -bis-- Consolate flito-
_____
>>
rum-sss-
The only response was the labored, restless, uneven breath-
ing that came through the sleeping boy's half-closed lips. Flores
softly put out the tallow candle, took off her shoes in order to
make no noise, and stole out gently, feeling her way along the
dining-room wall. From the moment in which Minguitos fell
asleep there was no more rattling of dishes in the kitchen.
Translated from the Spanish by Mary J. Serrano.
## p. 11038 (#250) ##########################################
11038
EMILIA PARDO-BAZÁN
RUSSIAN NIHILISM: «GOING TO THE PEOPLE»
From Russia: Its People and Its Literature. Copyright 1890, by A. C.
McClurg & Co.
I
T REQUIRES more courage to do what Russians call going to
the people, than to bear exile or the gallows. In our soci-
ety, which boasts of its democracy, the very equalization of
classes has strengthened the individual instinct of difference;
and especially the aristocrats of mind-the writers and thinkers
-have become terribly nervous, finicky, and inimical to the ple-
beian smell, to the extent that even novels which describe the
common people with sincerity and truth displease the public
taste. Yet the Nihilists, a select company from the point of
view of intellectual culture, go, like apostles, in search of the
poor in spirit, the ignorant and the humble. The sons of fami-
lies belonging to the highest classes, alumni of universities, leave
fine clothes and books, dress like peasants, and mix with factory
hands, so as to know them and to teach them; young ladies of
fine education return from a foreign tour, and accept with the
utmost contentment situations as cooks in manufacturers' houses,
so as to be able to study the labor question in their workshops.
We find very curious instances of this in Turgénief's novel
'Virgin Soil. The heroine Mariana, a Nihilist, in order to learn
how the people live, and to simplify herself (this is a sacramental
term), helps a poor peasant woman in her domestic duties. Here
we have the way of the world reversed: the educated learns of
the ignorant, and in all that the peasant woman does or says, the
young lady finds a crumb of grace and wisdom. "We do not
wish to teach the people," she explains: "we wish to serve them. "
"To serve them? " replies the woman, with hard practicality;
"well, the best way to serve them is to teach them. " Equally
fruitless are the efforts of Mariana's "fictitious husband," or
"husband by free grace," as the peasant woman calls him,—the
poet and dreamer Nedjanof, who thinks himself a Nihilist, but in
the bottom of his soul has the aristocratic instincts of the artist.
Here is the passage where he presents himself to Mariana dressed
in workmen's clothes:-
"Mariana uttered an exclamation of surprise. At first she did not
know him. He wore an old caftan of yellowish drill, short-waisted,
and buttoned with small buttons; his hair was combed in the Russian
## p. 11039 (#251) ##########################################
EMILIA PARDO-BAZÁN
11039
style, with the part in the middle; a blue kerchief was tied around
his neck; he held in his hand an old cap with a torn visor, and his
feet were shod with undressed calfskin. "
Mariana's first act on seeing him in this guise is to tell him.
that he is indeed ugly; after which disagreeable piece of infor-
mation, and a shudder of repugnance at the smell of his greasy
cap and dirty sleeves, they provide themselves with pamphlets
and socialist proclamations, and start out on their Odyssey among
the people, hoping to meet with ineffable sufferings. He would
be no less glad than she of a heroic sacrifice, but he is not
content with a grotesque farce; and the girl is indignant when
Solomine, her professor in nihilism, tells her that her duty act-
ually compels her to wash the children of the poor, to teach
them the alphabet, and to give medicine to the sick. "That is
for Sisters of Charity," she exclaims, inadvertently recognizing a
truth: the Catholic faith contains all ways of loving one's neigh-
bor, and none can ever be invented that it has not foreseen.
But the human type of the novel is Nedjanof, although the Ni-
hilists have sought to deny it. There is one very sad and real
scene in which he returns drunk from one of his propagandist
excursions, because the peasants whom he was haranguing com-
pelled him to drink as much as they. The poor fellow drinks.
and drinks, but he might as well have thrown himself upon a
file of bayonets. He comes home befuddled with vodka, or per-
haps more so with the disgust and nausea which the brutish and
malodorous people produced in him. He had never fully be-
lieved in the work to which he had consecrated himself: now it
is no longer skepticism, it is invincible disgust that takes hold
upon his soul, urging him to despair and suicide. The lament of
his lost revolutionary faith is contained in the little poem entitled
'Dreaming,' which I give literally as follows:-
"It was long since I had seen my birthplace, but I found it not
at all changed. The deathlike sleep, intellectual inertia, roofless
houses, ruined walls, mire and stench, scarcity and misery, the inso-
lent looks of the oppressed peasants, all the same! Only in sleep-
ing, we have outstripped Europe, Asia, and the whole world. Never
did my dear compatriots sleep a sleep so terrible!
"Everything sleeps: wherever I turn, in the fields, in the cities, in
carriages, in sleighs, day and night, sitting or walking; the merchant
and the functionary, and the watchman in the tower, all sleep in the
## p. 11040 (#252) ##########################################
11040
EMILIA PARDO-BAZÁN
cold or in the heat! The accused snores and the judge dozes; the
peasants sleep the sleep of death; asleep they sow and reap and
grind the corn; father, mother, and children sleep! The oppressed
and the oppressor sleep equally well!
"Only the gin-shop is awake, with eyes ever open!
"And hugging to her breast a jug of fire-water, her face to the
Pole, her feet to the Caucasus, thus sleeps and dreams on forever
our Mother, Holy Russia! "
To all Nihilist intents and purposes, particularly to those of a
political character, the masses are apparently asleep. Many elo-
quent anecdotes refer to their indifference. A young lady propa-
gandist, who served as cook on a farm, confesses that the peasants
spitefully accused her of taking bread from the poor. In order
to get them to take their pamphlets and leaflets the Nihilists
present them as religious tracts, adorning the covers with texts
of Scripture and pious mottoes and signs. Only by making good
use of the antiquated idea of distribution (of goods) have they
any chance of success; it is of no use to talk of autonomous fed-
erations, or to attack the Emperor, who has the people on his
side.
The active Nihilists are always young people; and this is rea-
son enough why they are not completely discouraged by the ste-
rility of their efforts. Old age abhors fruitless endeavors; and,
better appreciating the value of life, will not waste it in tiresome
experiments. And this contrast between the ages, like that be-
tween the seasons, is nowhere so sharp as in Russia; nowhere
else is the difference of opinions and feelings between two gen-
erations so marked. Some one has called nihilism a disease of
childhood, like measles or diphtheria; perhaps this is not alto-
gether erroneous, not only as regards individuals, but also as
regards society, for vehemence and furious radicalism are the
fruit of historical inexperience,- of the political youth of a nation.
The precursor of nihilism, Herzen, said, with his brilliant imagery
and vigor of expression, that the Russia of the future lay with a
few insignificant and obscure young folks, who could easily hide
between the earth and the soles of the autocrat's boots; and the
poet Mikailof, who was sentenced to hard labor in 1861, and sub-
sequently died under the lash, exclaimed to the students: "Even
in the darkness of the dungeon I shall preserve sacredly in my
heart of hearts the incomparable faith that I have ingrafted upon
the new generation. "
## p. 11041 (#253) ##########################################
EMILIA PARDO-BAZÁN
11041
It is sad to see youth decrepit and weary from birth, without
enthusiasm or ambition for anything. It is more natural that the
sap should overflow; that a longing for strife and sacrifice, even
though foolish and vain, should arise in its heart. This truth
cannot be too often repeated: to be enthusiastic, to be full of
life, is not ridiculous; but our pusillanimous doctrine of disap-
proval is ridiculous indeed, especially in life's early years,-
ridiculous as baldness at twenty, or wrinkles and palsy at thirty.
Besides, we must recognize something more than youthful ardor
in nihilism, and that is, sympathetic disinterestedness. The path
of nihilism does not lead to brilliant position or destiny: it may
lead to Siberia or to the gibbet.
XIX-691
――――――
Translation of Fanny Hale Gardiner.
as
## p. 11042 (#254) ##########################################
11042
GIUSEPPE PARINI
(1729-1799)
ETTEMBRINI, in his history of Italian literature, chooses Parini
as the purest type of the satirist which his country has.
Giuseppe G ti, whose field is the same as that of Parini,
and who is hardly his inferior, has written his eulogy in a glowing
biography.
Parini was born in 1729, at Bosisio on the Lake of Pusiano. His
parents had a small farm; but observing Giuseppe's abilities, they
sent him to Milan to study under the Barnabites in the Accademia
Arcimboldi. Here he was obliged to support himself by copying
manuscripts. In 1752 he published under the pseudonym "Ripano
Eupilino a volume of poems, which procured his election to the
Accademia dei Transformati at Milan, and to that of the Arcadi at
Rome. He became a tutor in the family of the Borromei and in
that of the Serbelloni, and attained still further prominence through
success in two controversies,-one with Alessandro Bandiera, the
other with Onofrio Branda. He now began to utilize in the compo-
sition of a satire the knowledge which he had gained of aristocratic
life. 'Il Matino (Morning) and 'Il Meriggio' (Noon), which were
published in 1763 and 1765, mark a distinct advance in the form of
blank verse in Italy, and consist in ironical instructions to a young
nobleman as to the way to spend his mornings and middays. This
satire established Parini's popularity and influence. Count Firmian,
the Austrian plenipotentiary, who had been one of his patrons in the
publication of the first volume of poems, now secured his appoint-
ment as professor of belles-lettres in the academy of Brera. Here with
ardent enthusiasm he set forth the beauties of the classics, and was
little by little recognized as the most powerful living exponent of
letters and arts. At the time of the French occupation of Milan,
Parini was appointed by Napoleon municipal magistrate of that city.
The poet, however, soon retired to his literary pursuits, aware that
the much-vaunted liberty of the day was made a means for secur-
ing private ends rather than for the public advancement. On the
return of the Austrians he found his well-being threatened; but he
was then seventy years of age, blind and infirm, and in 1799, before
dangers could mature, he died. Despite the success of his career, he
died as poor as at its commencement. He exerted a distinct influ-
ence for good, however, on a generation prostrated by the corruptions
## p. 11043 (#255) ##########################################
GIUSEPPE PARINI
11043
of the past, but in which there could yet be felt a restless discon-
tent with itself.
He brought his satire 'Il Giorno' (Day) to a close
by 'Il Vespro' (Evening) and 'Il Notte' (Night); but these were not
yet published at the time of his death. 'Il Notte,' indeed, remained
unfinished; and so many and such varying draughts did he leave of
this poem, that one scarcely knows what the ultimate result of his
labors would have been.
The motive of Parini's satires was not to ridicule the idiosyncra-
sies of his contemporaries: he attacked the whole corruption of his
times. It was not to the mere theories of an individual conscience
that he gave voice: he proclaimed the principles held by the whole
moral world. His temperament was that of the student rather than
of the genius; his productions the result of thought rather than of
inspiration. He was a tireless reviser; and his form both of satire
and of lyric is elegant and elaborate, but lacking in the charm of
spontaneity. He is, for a satirist, peculiarly deficient in sparkle and
in humor; but the high moral purpose of his work is strengthened by
a grim pride and by uncompromising scorn.
[The following translations are from Modern Italian Poets,' copyright
1887, by William D. Howells; and are reprinted by permission of Harper &
Brothers, publishers. ]
THE TOILET OF AN EXQUISITE
From The Day'
Α'
T LAST the labor of the learned comb
Is finished, and the elegant artist strews
With lightly shaken hand a powdery mist
To whiten ere their time thy youthful locks.
Now take heart,
And in the bosom of that whirling cloud
Plunge fearlessly. O brave! O mighty! Thus
Appeared thine ancestor through smoke and fire
Of battle, when his country's trembling gods
His sword avenged, and shattered the fierce foe
And put to flight. But he, his visage stained
With dust and smoke, and smirched with gore and sweat,
His hair torn and tossed wild, came from the strife
A terrible vision, even to compatriots
His hand had rescued; milder thou by far,
## p. 11044 (#256) ##########################################
11044
GIUSEPPE PARINI
And fairer to behold, in white array
Shalt issue presently to bless the eyes
Of thy fond country, which the mighty arm
Of thy forefather and thy heavenly smile
Equally keep content and prosperous.
Let purple gaiters clasp thine ankles fine
In noble leather, that no dust or mire
Blemish thy foot; down from thy shoulders flow
Loosely a tunic fair, thy shapely arms
Cased in its closely fitting sleeves, whose borders
Of crimson or of azure velvet let
The heliotrope's color tinge. Thy slender throat
Encircle with a soft and gauzy band.
Thy watch already
Bids thee haste to go. Oh me, how fair
The arsenal of tiny charms that hang
With a harmonious tinkling from its chain!
What hangs not there of fairy carriages
And fairy steeds so marvelously feigned
In gold that every charger seems alive?
Let thy right hand be pressed against thy side
Beneath thy waistcoat, and the other hand
Upon thy snowy linen rest, and hide
Next to thy heart; let the breast rise sublime,
The shoulders broaden both, and bend toward her
Thy pliant neck, then at the corners close
Thy lips a little, pointed in the middle
Somewhat; and from thy mouth thus set exhale
A murmur inaudible. Meanwhile her right
Let her have given, and now softly drop
On the warm ivory a double kiss.
Seat thyself then, and with one hand draw closer
Thy chair to hers, while every tongue is stilled.
Thou only, bending slightly over, with her
Exchange in whisper secret nothings, which
Ye both accompany with mutual smiles
And covert glances that betray- or seem
At least your tender passion to betray.
## p. 11045 (#257) ##########################################
GIUSEPPE PARINI
11045
SHE
THE LADY'S LAP-DOG
From The Day'
HE recalls the day-
Alas, the cruel day! - what time her lap-dog,
Her beauteous lap-dog, darling of the Graces,
Sporting in youthful gayety, impressed
The light mark of her ivory tooth upon
The rude foot of a menial; he, with bold
And sacrilegious toe, flung her away.
Over and over thrice she rolled, and thrice
Rumpled her silken coat, and thrice inhaled
With tender nostril the thick, choking dust.
Then raised imploring cries, and "Help, help, help! "
She seemed to call, while from the gilded vaults
Compassionate Echo answered her again,
And from their cloistral basements in dismay
The servants rushed, and from the upper rooms
The pallid maidens trembling flew all came.
Thy lady's face was with reviving essence
Sprinkled, and she awakened from her swoon.
Anger and grief convulsed her still; she cast
A lightning glance upon the guilty menial,
And thrice with languid voice she called her pet,
Who rushed to her embrace and seemed to invoke
Vengeance with her shrill tenor. And revenge
Thou hadst, fair poodle, darling of the Graces.
The guilty menial trembled, and with eyes
Downcast received his doom. Naught him availed
His twenty years' desert; naught him availed
His zeal in secret services; for him
In vain were prayer and promise: forth he went,
Spoiled of the livery that till now had made him
Enviable with the vulgar. And in vain
He hoped another lord: the tender dames
Were horror-struck at his atrocious crime,
And loathed the author. The false wretch succumbed
With all his squalid brood, and in the streets,
With his lean wife in tatters at his side,
Vainly lamented to the passer-by.
## p. 11046 (#258) ##########################################
11046
GIUSEPPE PARINI
THE AFTERNOON CALL
From The Day'
ND now the ardent friends to greet each other
A Impatient fly, and pressing breast to breast
They tenderly embrace, and with alternate kisses
Their cheeks resound; then clasping hands, they drop
Plummet-like down upon the sofa, both
Together. Seated thus, one flings a phrase,
Subtle and pointed, at the other's heart,
Hinting of certain things that rumor tells,
And in her turn the other with a sting
Assails. The lovely face of one is flushed
With beauteous anger, and the other bites
Her pretty lips a little; evermore
At every instant waxes violent
The anxious agitation of the fans.
So in the age of Turpin, if two knights
Illustrious and well cased in mail encountered
Upon the way, each cavalier aspired
To prove the valor of the other in arms,
And after greetings courteous and fair,
They lowered their lances and their chargers dashed
Ferociously together; then they flung
The splintered fragments of their spears aside,
And, fired with generous fury, drew their huge
Two-handed swords and rushed upon each other!
But in the distance through a savage wood
The clamor of a messenger is heard,
Who comes full gallop to recall the one
Unto King Charles, and th' other to the camp
Of the young Agramante. Dare thou, too,
Dare thou, invincible youth, to expose the curls
And the toupet, so exquisitely dressed
This very morning, to the deadly shock
Of the infuriate fans; to new emprises
Thy fair invite, and thus the extreme effects
Of their periculous enmity suspend.
## p. 11047 (#259) ##########################################
11047
GILBERT PARKER
(1861-)
ILBERT PARKER belongs to the rising generation of novelists
who seem inclined to depart from the morbid realism of
certain jaundiced schools of modern writers, and to revive
the tenets of Scott and Thackeray, of Cooper and Dickens. Through
them the historical romance is being brought again into prominence.
This form of fiction is well adapted for the exercise of Mr. Parker's
literary talent, which is objective and impersonal; and for the mani-
festation of his belief that men are primarily lovers and fighters, and
that life itself revolves about the pivots of love and war. In all of
his tales, whether historical or not, there is the element of strife, and
the element of the strong human affections. He perceives that the
dramatic possibilities of these two elements are endless.
## p. 11025 (#237) ##########################################
11025
EMILIA PARDO-BAZÁN
(1852-)
MONG European defendants and exponents of the modern real-
istic school, Emilia Pardo-Bazán is conspicuous. She is not
only a strong and subtle advocate of the methods of Zola,
Turgénieff, and other French and Russian realists, she is true to
their creed in her own novels to the point of masculinity. As a rule
the disciples of realism are booted and spurred. The quality itself
implies a total absence of feminine evasions of the actual and the
inevitable. There is no hint in it of the oblique vision of gentle
blue eyes.
It is therefore all the more sur-
prising that Señora Pardo-Bazán, a woman,
with veins full of romantic Spanish blood,
should prove a singularly perfect exponent
of her chosen creed.
She was born in 1852, in Coruña, Spain,
of a noble and ancient family. At a very
early age she was brought into friendly
relations with books, by being allowed to
browse at will in her father's library. Her
marriage in 1868 to Don José Quiroga put
an end to her systematic education under
tutors; but she was to receive later the
more liberal education of travel and inde-
pendent study. The political exile of her
father enabled her to travel through France and Italy, perfecting
her knowledge of the French and Italian language and literature.
After her return to Spain, she devoted herself to the study of Ger-
man, and of philosophy and history; thus preparing herself for the
cosmopolitan office of critic, and laying the foundations of the culture
necessary for the novelist. Her artistic creed had not been formu-
lated when she was attracted by the writings of her own country-
men,- Valera, Galdós, and Alarcón. These novelists were realists in
so far as they depicted the life and manners with which they were
most familiar. The idea came to the young Señora that she also
might write a novel which did not require romantic grandiloquence
and lofty flights of the imagination, but merely fidelity to facts.
Shortly after the publication of her first novel, her new-born recogni-
tion of the requirements of realism was enlarged by acquaintance with
XIX-690
EMILIA PARDO-BAZÁN
## p. 11026 (#238) ##########################################
11026
EMILIA PARDO-BAZÁN
In
the works of Balzac, Flaubert, Goncourt, and Daudet. Henceforth her
conceptions of her art were well defined; and she became unwavering
in her obedience to them. Of her novels, The Swan of Vilamorta
is perhaps the most perfect expression of her artistic tenets. It is
difficult to believe that it could have been written by a woman.
its merciless adherence to facts, in its pitiless logic, in its conscien-
tious portrayal of unlovely types of character, it might have come
from the brain of a clever man of the world, turned novelist for
truth's sake. The hero of the book, the Swan, is a young would-be
poet of the sentimental type, who is inclined in the cause of romance
to make love to other men's wives. The tragedy of the book, if the
arid reproduction of ugly happenings can be called tragedy, centres
itself less about the callow hero than about a woman who loves him
with an abandonment of passion,- a schoolmistress of thirty-six, pit-
ted with small-pox, hampered with a deformed child. Until the boy-
poet comes into her life, she is content to teach, that she may provide
this child with comforts. Afterwards all is changed. Her little hoard
of money dwindles away to give dainty suppers to the man she
loves; to keep him in the proper clothes, of which his unappreciative
father deprives him; to enable him to visit a Spanish grandee, to-
wards whose wife he cherishes a Werther-like devotion. Finally she
mortgages her fresh little cottage, and puts her crippled child out
to work, that she may provide him with the funds necessary for the
publication of his poems. These are not only a drug in the market,
but they fail to win for him the love of the grandee's lady, now
a marriageable widow. He sails to America, leaving behind him the
schoolmistress, destitute both of love and money. Neither her ome-
lets, her anisette cordials, nor her little loans, can compel his grati-
tude. She takes poison, and dies.
Pardo-Bazán's other novels-The Angular Stone,' 'A Christian
Woman,' 'Morrina,' 'A Wedding Journey'—are written in the same
uncompromising spirit of faithfulness to the actualities of life. Their
scenes are laid in Spain: their characters are those with which their
author is familiar. Evidences of her imaginative faculty, and of
her capacity for poetry, are not wanting in them; but she keeps her
latent romanticism strictly in check. She continually sacrifices her
sex to her art. The result is worth the sacrifice.
The same qualities which give to her distinction as a novelist,
make of her a luminous and sympathetic critic. Moreover, the reader
finds in her criticisms the charm which is sometimes lacking in her
novels, where the strength has driven out the sweetness. Her work
on 'Russia: Its People and Its Literature' is written with a certain
easy brilliancy, which almost disguises its solid merits. Pardo-Bazán
brings to her critical tasks a rare equipment, philosophical breadth of
## p. 11027 (#239) ##########################################
EMILIA PARDO-BAZÁN
11027
thought, the ability to understand the interdependence of national life
and national literature, the power of feeling the pulse of the times
in the stray novel or poem. In her life of St. Francis of Assisi she
studies the age which produced him, after the manner of the mod-
ern biographer. Whatever the nature of her work, whether history,
biography, or pure criticism, she is always conscious of that ethereal
atmosphere about persons and things, those emanations from a mill-
ion lives, which collectively are called the time-spirit. Her defense
of realism, in her essay The Burning Question,' springs as much
from her intuition concerning the nature of the zeitgeist as from her
intellectual appreciation of the reasonableness of the realistic school.
Aside from the worth of her contribution to the literature of mod-
ern Europe, Emilia Pardo-Bazán merits distinction as being a Spanish
woman who has demonstrated to her countrymen, in the face of na-
tional tradition, the most significant fact uncovered in this century,-
the power of women to learn, to understand, and to create.
THE REIGN OF TERROR
From Russia: Its People and Its Literature.
McClurg & Co.
-
Copyright 1890, by A. C.
THE
HE reign of terror was short but tragic. We have seen
that the active Nihilists were a few hundred inexperienced
youths without position or social influence, armed only with
leaflets and tracts. This handful of boys furiously threw down
the gauntlet of defiance at the government, when they saw them-
selves pursued. Resolved to risk their heads (and with such sin-
cerity that almost all the associates who bound themselves to
execute what they called "the people's will" have died in prison
or on the scaffold), they adopted as their watchword "man for
man. " When the sanguinary reprisals fell upon Russia from one
end to the other, the frightened people imagined an immense
army of terrorists-rich, strong, and in command of untold re-
sources covering the empire. In reality, the twenty offenses
committed from 1878 to 1882, the mines discovered under the two
capitals, the explosions in the station at Moscow and in the pal-
ace at St. Petersburg, the many assassinations, and the marvelous
organization which could get them performed with circumstances
so dramatic, and create a mysterious terror against which the
power of the government was broken in pieces, all this was
the work of a few dozens of men and women seemingly endowed
_______
## p. 11028 (#240) ##########################################
11028
EMILIA PARDO-BAZÁN
with ubiquitousness, so rapid and unceasing their journeys, and
so varied the disguises, names, and stratagems they made use of
to bewilder and confound the police. It was whispered that mill-
ions of money were sent in from abroad; that there were mem-
bers of the Czar's family implicated in the conspiracy; that there
was an unknown chief, living in a distant country, who managed
the threads of a terrible executive committee, which passed judg-
ment in the dark, and whose decrees were carried out instantly.
Yet there were only a few enthusiastic students,- a few young
girls ready to perform any service, like the heroine of Turgé-
nieff's 'Shadows'; a few thousand rubles, each contributing his
share; and after all, a handful of determined people, who, to use
the words of Leroy-Beaulieu, had made a covenant with death.
For a strong will, like intelligence or inspiration, is the patrimony
of a few; and so, just as ten or twelve artist heads can modify
the æsthetic tendency of an age, six or eight intrepid conspira-
tors are enough to stir up an immense empire.
After Karakozof's attempt upon the life of the Czar (the
first spark of discontent), the government augmented the police
and endowed Muravief, who was nicknamed "the Hangman," with
dictatorial powers. In 1871 the first notable political trial was
held upon persons affiliated with a secret society. Persecutions
for political offenses are a great mistake. Maltreatment only
inspires sympathy. After a few such trials the doors had to be
closed; the public had become deeply interested in the accused,
who declared their doctrines in a style only comparable to the
acts of the early Christian martyrs. Who could fail to be moved
at the sight of a young woman like Sophia Bardina, rising mod-
estly and explaining, before an audience tremulous with com-
passion, her revolutionary ideas concerning society, the family,
anarchy, property, and law? Power is almost always blind and
stupid in the first moments of revolutionary disturbances. In
Russia, men risked life and security as often by acts of charity
toward conspirators as by conspiracy itself. In Odessa, which
was commanded by General Todleben, the little blond heads of
two children appeared between the prison bars; they were the
children of a poor wretch who had dropped five rubles into a
collection for political exiles, and these two little ones were sen-
tenced to the deserts of Siberia with their father. And the poet
Mikailof chides the revolutionaries with the words: "Why not
let your indignation speak, my brothers? Why is love silent? Is
## p. 11029 (#241) ##########################################
EMILIA PARDO-BAZÁN
11029
our horrible misfortune worthy of nothing more than a vain
tribute of tears? Has your hatred no power to threaten and to
wound? "
The party then armed itself, ready to vindicate its political
rights by means of terror. The executive committee of the rev-
olutionary Socialists—if in truth such a committee existed or was
anything more than a triumvirate-favored this idea. Spies and
fugitives were quickly executed. The era of sanguinary Nihilism
was opened by a woman, the Charlotte Corday of Nihilism,—
Vera Zasulitch. She read in a newspaper that a political pris-
oner had been whipped, contrary to law,- for corporal punish-
ment had been already abolished, and for no worse cause than
a refusal to salute General Trepof; she immediately went and
fired a revolver at his accuser. The jury acquitted her, and her
friends seized her as she was coming out of court, and spirited
her away lest she should fall into the hands of the police; the
Emperor thereupon decreed that henceforth political prisoners
should not be tried by jury. Shortly after this the substitute of
the imperial deputy at Kief was fired upon in the street; suspi-
cion fell upon a student; all the others mutinied; sixteen of them.
were sent into exile. As they were passing through Moscow,
their fellow-students there broke from the lecture halls and came
to blows with the police. Some days later the rector of the Uni-
versity of Kief, who had endeavored to keep clear of the affair,
was found dead upon the stairs; and again later, Heyking, an
officer of the gendarmerie, was mortally stabbed in a crowded
street. The clandestine press declared this to have been done by
order of the executive committee; and it was not long before
the chief of secret police of St. Petersburg received a very polite
notice of his death sentence, which was accomplished by another
dagger; and the clandestine paper, Land and Liberty, said by
way of comment, "The measure is filled, and we gave warning
of it. "
Months passed without any new assassinations; but in Feb-
ruary 1879, Prince Krapotkine, governor of Karkof, fell by the
hand of a masked man, who fired two shots and fled; and no
trace of him was to be found, though sentence of death against
him was announced upon the walls of all the large towns of
Russia. The brother of Prince Krapotkine was a furious revolu-
tionary, and conducted a Socialist paper in Geneva at that time.
In March it fell to the turn of Colonel Knoup of the gendarmerie,
## p. 11030 (#242) ##########################################
EMILIA PARDO-BAZÁN
11030
who was assassinated in his own house; and beside him was
found a paper with these words: "By order of the Executive
Committee. So will we do to all tyrants and their accomplices. "
A pretty Nihilist girl killed a man at a ball: it was at first
thought to be a love affair, but it was afterward found out that
the murderess did the deed by order of the executive committee,
or whatever the hidden power was which inspired such acts.
On the 25th of this same March a plot against the life of the
new chief of police, General Drenteln, was frustrated; and the
walls of the town then flamed with a notice that revolutionary
justice was about to fall upon one hundred and eighty persons.
It rained crimes,- against the governor of Kief; against Cap-
tain Hubbenet; against Pietrowsky, chief of police, who was
riddled with wounds in his own room; and lastly, on the 14th
of April, Solovief attempted the life of the Czar, firing five
shots, none of which took effect. On being caught, the would-be
assassin swallowed a dose of poison; but his suicide was also
unsuccessful.
Solovief, however, had reached the heights of Nihilism: he
had dared to touch the sacred person of the Czar. He was the
ideal Nihilist: he had renounced his profession, determined to
"go with the people," and became a locksmith, wearing the arti-
san's dress; he was married "mystically," and by "free grace" or
"free will," and it was said that he was a member of the terrible
executive committee. He suffered death on the gallows with
serenity and composure, and without naming his accomplices.
Land and Liberty approved his acts by saying, "We should be
as ready to kill as to die; the day has come when assassination
must be counted as a political motor. " From that day Alexan-
der II. was a doomed man; and his fatal moment was not far
off. The revolutionaries were determined to strike the govern-
ment with terror, and to prove to the people that the sacred
Emperor was a man like any other, and that no supernatura)
charm shielded his life. At the end of 1879 and the beginning
of 1880 two lugubrious warnings were forced upon the Emperor:
first the mine which wrecked the imperial train, and then the
explosion which threw the dining-room of the palace in ruins,-
which catastrophe he saw with his own eyes. About this time
the office of a surreptitious paper was attacked, the editors and
printers of which defended themselves desperately: alarmed by
this significant event, the Emperor intrusted to Loris Melikof,
## p. 11031 (#243) ##########################################
EMILIA PARDO-BAZÁN
11031
who was a Liberal, an almost omnipotent dictatorship. The con-
ciliatory measures of Melikof somewhat calmed the public mind;
but just as the Czar had convened a meeting for the considera-
tion of reforms solicited by the general opinion, his own sentence
was carried out by bombs.
It is worthy of note that both parties (the conservative and
the revolutionary) cast in each other's face the accusation of hav-
ing been the first to inflict the death penalty, which was contrary
to Russian custom and law. If Russia does not deserve quite so
appropriately as Spain to be called the country of vice versas, it
is nevertheless worth while to note how she long ago solved the
great juridical problem upon which we are still employing tongue
and pen so busily. Not only is capital punishment unknown to
the Russian penal code, but since 1872 even perpetual confine-
ment has been abolished,-twenty years being the maximum of
imprisonment; and this even to-day is only inflicted upon politi-
cal criminals, who are always treated there with greater severity
than other delinquents. Before the celebrated Italian criminalist
lawyer, Beccaria, ever wrote on the subject, the Czarina Elisa-
beth Petrowna had issued an edict suppressing capital punish-
ment. The terrible Muscovite whip probably equaled the gibbet;
but aside from the fact that it had been seldom used, it was
abolished by Nicholas I. If we judge of a country by its penal
laws, Russia stands at the head of European civilization. The
Russians were so unaccustomed to the sight of the scaffold, that
when the first one for the conspirators was to be built, there
were no workmen to be found who knew how to construct it.
Translated from the Spanish by Fanny Hale Gardiner.
THE SCHOOLMISTRESS AT HOME
From The Swan of Vilamorta. Copyright 1891, by the Cassell
Publishing Co.
WHE
>>
HILE she distributed their tasks among the children, say-
ing to one, "Take care to make this hem straight; to
another, "Make this seam even, the stitch smaller; " to
a third, "Use your handkerchief instead of your dress;" and to
still another, "Sit still, child; don't move your feet," Leocadia
cast a glance from time to time toward the plaza, in the hope of
seeing Segundo pass by. But no Segundo was to be seen. The
flies settled themselves to sleep, buzzing, on the ceiling; the heat
-
## p. 11032 (#244) ##########################################
EMILIA PARDO-BAZÁN
11032
abated; the afternoon came, and the children went away. Leo-
cadia felt a profound sadness take possession of her; and without
waiting to put the house in order, she went to her room and
threw herself on the bed.
The glass door was pushed gently open, and some one entered
softly.
"Mamma," said the intruder in a low voice. .
The schoolmistress did not answer.
"Mamma, mamma," repeated the hunchback in a louder
voice.
"Mamma! " he shouted at last.
"Is that you? What do you want? "
"Are you ill? »
"No, child. "
"As you went to bed-"
"I have a slight headache. There, leave me in peace. ”
Minguitos turned round and walked in silence toward the
door. As her eyes fell on the protuberance of his back, a sharp
pang pierced the heart of the schoolmistress. How many tears
that hump had cost her in other days! She raised herself on her
elbow.
"Minguitos! " she called.
"What is it, mamma? "
-
"Don't go away.
pain ? »
"I feel pretty well, mamma. Only my chest hurts me. ”
"Let me see; come here. "
How do you feel to-day? Have you any
Leocadia sat up in the bed, and taking the child's head be-
tween her hands, looked at him with a mother's hungry look.
Minguitos's face was long and of a melancholy cast; the promi
nent lower jaw was in keeping with the twisted and misshapen
body, that reminded one of a building shaken out of shape by
an earthquake or a tree twisted by a hurricane. Minguitos's
deformity was not congenital. He had always been sickly, in-
deed; and it had always been remarked that his head seemed
too heavy for his body, and that his legs seemed too frail to
support him.
Leocadia recalled one by one the incidents of his
childhood. At five years old the boy had met with an accident,
a fall down the stairs: from that day he lost all his liveliness;
he walked little, and never ran. He contracted a habit of sit-
ting Turkish fashion, playing marbles, for hours at a time. If
he rose, his legs soon warned him to sit down again. When he
stood, his movements were vacillating and awkward. When he
## p. 11033 (#245) ##########################################
EMILIA PARDO-BAZÁN
11033
was quiet he felt no pain; but when he turned any part of his
body, he experienced slight pains in the spinal column. The
trouble increased with time; the boy complained of a feeling as
if an iron band were compressing his chest. Then his mother,
now thoroughly alarmed, consulted a famous physician, the best
in Orense. He prescribed frictions with iodine, large doses of
phosphates of lime, and sea-bathing. Leocadia hastened with the
boy to a little seaport. After taking two or three baths, the
trouble increased: he could not bend his body; his spinal column.
was rigid, and it was only when he was in a horizontal posi-
tion that he felt any relief from his now severe pains. Sores
appeared on his skin; and one morning when Leocadia begged
him with tears to straighten himself, and tried to lift him up by
the arms, he uttered a horrible cry.
"I am broken in two, mamma I am broken in two," he
repeated with anguish; while his mother with trembling fingers
sought to find what had caused his cry.
It was true! The backbone had bent outward, forming an
angle on a level with his shoulder-blades; the softened vertebræ
had sunk; and cifosis, the hump,-the indelible mark of irreme-
diable calamity,-was to deform henceforth this child who was
dearer to her than her life. The schoolmistress had had a mo-
ment of animal and supreme anguish, the anguish of the wild
beast that sees its young mutilated. She had uttered shriek after
shriek, cursing the doctor, cursing herself, tearing her hair and
digging her nails into her flesh. Afterward tears had come, and
she had showered kisses, delirious but soothing and sweet, on the
boy; and her grief took a resigned form. During nine years
Leocadia had had no other thought than to watch over her little
cripple by night and by day; sheltering him in her love, amusing
with ingenious inventions the idle hours of his sedentary child-
hood.
ory.
A thousand incidents of this time recurred to Leocadia's mem-
The boy suffered from obstinate dyspnoea, due to the pres-
sure of the sunken vertebræ on the respiratory organs; and his
mother would get up in the middle of the night, and go in her
bare feet to listen to his breathing and to raise his pillows. As
these recollections came to her mind, Leocadia felt her heart
melt, and something stir within her like the remains of a great
love, the warm ashes of an immense fire, and she experienced.
P
## p. 11034 (#246) ##########################################
EMILIA PARDO-BAZÁN
11034
the unconscious reaction of maternity; the irresistible impulse
which makes a mother see in her grown-up son only the infant
she has nursed and protected, to whom she would have given
her blood, if it had been necessary, instead of milk. And uttering
a cry of love, pressing her feverish lips passionately to the pallid
temples of the hunchback, she said, falling back naturally into
the caressing expressions of the dialect:-
"Malpocadiño, who loves you? Say, who loves you dearly?
Who? "
"You don't love me, mamma. You don't love me," the boy
returned, half smiling, leaning his head with delight on the bosom
that had sheltered his sad childhood. The mother, meantime,
wildly kissed his hair, his neck, his eyes, as if to make up for
lost time; lavishing upon him the honeyed words with which
infants are beguiled,-words profaned in hours of passion,-
which overflowed in the pure channel of maternal love.
"My treasure-my king-my glory. "
At last the hunchback felt a tear fall on his cheek. Delicious
assuagement! At first the tears were large and round, scorching
almost; but soon they came in a gentle shower, and then ceased
altogether; and there remained where they had fallen only a
grateful sense of coolness. Passionate phrases rushed simulta-
neously from the lips of mother and son.
"Do you love me dearly, dearly, dearly? As much as your
whole life? "
"As much, my life, my treasure. "
"Will you always love me? "
"Always, always, my joy. "
"Will you do something to please me, mamma? I want to
ask you—”
"What? >>
"A favor.
>>
Don't turn your face away!
The hunchback observed that his mother's form suddenly grew
stiff and rigid as a bar of iron. He no longer felt the sweet
warmth of her moist eyelids, and the gentle contact of her wet
lashes on his cheek. In a voice that had a metallic sound Leo-
cadia asked her son,
"And what is the favor you want? Let me hear it. "
Minguitos murmured without bitterness, with resignation: -
"Nothing, mamma, nothing. I was only in jest. "
-
## p. 11035 (#247) ##########################################
EMILIA PARDO-BAZÁN
11035
"But what was the favor you were going to ask me? "
"Nothing, nothing, indeed. "
"No, you wanted to ask something," persisted the schoolmis.
tress, seizing the pretext to give vent to her anger. "Otherwise
you are very deceitful and very sly. You keep everything hidden
in your breast. Those are the lessons Flores teaches you: do
you think I don't notice it? "
Saying this, she pushed the boy away from her, and sprang
from the bed. In the hall outside, almost at the same moment,
was heard a firm and youthful step. Leocadia trembled, and
turning to Minguitos, stammered:-
"Go, go to Flores. Leave me alone. I do not feel well, and
you make me worse. "
Segundo's brow was clouded; and as soon as the joy of seeing
him had subsided, Leocadia was seized with the desire to restore
him to good-humor. She waited patiently for a fitting opportu-
nity, however, and when this came, throwing her arms around his
neck, she began with the complaint: Where had he kept him-
self? Why had he stayed away so long? The poet unburdened
himself of his grievances. It was intolerable to follow in the
train of a great man. And allowing himself to be carried away
by the pleasure of speaking of what occupied his mind, he de-
scribed Don Victoriano and the radicals; satirized Agonde's recep-
tion of his guests, and his manner of entertaining them; spoke
of the hopes he founded in the protection of the ex-minister,
giving them as a reason for the necessity of paying court to Don
Victoriano. Leocadia fixed her dog-like look on Segundo's counte-
nance.
—
"And the Señora and the girl - what are they like? "
Segundo half closed his eyes, the better to contemplate an
attractive and charming image that presented itself to his mental
vision, and to reflect that in the existence of Nieves he played
no part whatsoever,-it being manifest folly for him to think
of Señora de Comba, who did not think of him. This reflec-
tion, natural and simple enough, aroused his anger. There was
awakened within him a keen longing for the unattainable, — that
insensate and unbridled desire with which the likeness of a beau-
tiful woman dead for centuries may inspire some dreamer in a
museum.
"But answer me are those ladies handsome? " the schoolmis-
tress asked again.
## p. 11036 (#248) ##########################################
11036
EMILIA PARDO-BAZÁN
"The mother, yes," answered Segundo, speaking with the
careless frankness of one who is secure of his auditor. "Her
hair is fair, and her eyes are blue-a light blue that makes one
think of the verses of Becquer. "
And he began to recite:-
―
«Tu pupila es azul, y cuando ries
Su claridad suave me recuerda -> »
Leocadia listened to him at first with eyes cast down; after-
ward with her face turned away from him. When he had
finished the poem she said in an altered voice, with feigned
calmness:
"They will invite you to go there. "
"Where? "
"To Las Vides, of course. I hear they intend to have a great
deal of company. "
་་
"Yes; they have given me a pressing invitation, but I shall
not go.
Uncle Clodio insists upon it that I ought to cultivate
the friendship of Don Victoriano, so that he may be of use to
me in Madrid, and help me to get a position there. But, child,
to go and play a sorry part is not to my liking. This suit is the
best I have, and it is in last year's fashion. If they play tresillo
or give tips to the servants—and it is impossible to make my
father understand this- and I shall not try to do so; God forbid.
So that they shall not catch a sight of me in Las Vides. "
When she heard what his intentions were, Leocadia's counte-
nance cleared up, and rising, radiant with happiness, she ran to
the kitchen. Flores was washing plates and cups and saucers by
the light of a lamp, knocking them angerly together, and rubbing
savagely.
"The coffee-pot-did you clean it? "
"Presently, presently," responded the old woman. "Any one
would think that one was made of wood, that one is never to get
tired that one can do things flying. "
"Give it to me;. I will clean it. Put more wood on the fire:
it is going out and the beefsteak will be spoiled. " And so say-
ing, Leocadia washed the coffee-pot, cleaning the filter with a
knitting-needle, and put some fresh water down to boil in a new
saucepan, throwing more wood on the fire.
"Yes, heap on wood," growled Flores, "as we get it for
nothing! "
## p. 11037 (#249) ##########################################
EMILIA PARDO-BAZÁN
11037
Leocadia, who was slicing some potatoes for the beefsteak,
paid no attention to her. When she had cut up as many as she
judged necessary, she washed her hands hastily in the jar of the
drain, full of dirty water, on whose surface floated large patches
of grease. She then hurried to the parlor where Segundo was
waiting for her, and soon afterward Flores brought in the sup-
per, which they ate, seated at a small side-table. By the time
they had got to the coffee Segundo began to be more communi-
cative. This coffee was what Leocadia most prided herself on.
She had bought a set of English china, an imitation lacquer-box,
a vermeil sugar-tongs, and two small silver spoons; and she
always placed on the table with the coffee a liquor-stand, sup-
plied with cumin, rum, and anisette. At the third glass of cumin,
seeing the poet amiable and propitious, Leocadia put her arm
around his neck. He drew back brusquely, noticing with strong
repulsion the odor of cooking and of parsley with which the gar-
ments of the schoolmistress were impregnated.
At this moment precisely, Minguitos, after letting his shoes
drop on the floor, was drawing the coverlet around him with a
sigh. Flores, seated on a low chair, began to recite the rosary.
The sick child required, to put him to sleep, the monotonous
murmur of the husky voice which had lulled him to rest, ever
since his mother had ceased to keep him company at bedtime.
The Ave Marias and Gloria Patris, mumbled rather than pro-
nounced, little by little dulled thought; and by the time the litany
was reached, sleep had stolen over him, and half-unconscious,
it was with difficulty he made the responses to the barbarous
phrases of the old woman: "Juana celi-Ora pro nobis - Sal-es-
enfermorum nobis - Refajos pecadorum -bis-- Consolate flito-
_____
>>
rum-sss-
The only response was the labored, restless, uneven breath-
ing that came through the sleeping boy's half-closed lips. Flores
softly put out the tallow candle, took off her shoes in order to
make no noise, and stole out gently, feeling her way along the
dining-room wall. From the moment in which Minguitos fell
asleep there was no more rattling of dishes in the kitchen.
Translated from the Spanish by Mary J. Serrano.
## p. 11038 (#250) ##########################################
11038
EMILIA PARDO-BAZÁN
RUSSIAN NIHILISM: «GOING TO THE PEOPLE»
From Russia: Its People and Its Literature. Copyright 1890, by A. C.
McClurg & Co.
I
T REQUIRES more courage to do what Russians call going to
the people, than to bear exile or the gallows. In our soci-
ety, which boasts of its democracy, the very equalization of
classes has strengthened the individual instinct of difference;
and especially the aristocrats of mind-the writers and thinkers
-have become terribly nervous, finicky, and inimical to the ple-
beian smell, to the extent that even novels which describe the
common people with sincerity and truth displease the public
taste. Yet the Nihilists, a select company from the point of
view of intellectual culture, go, like apostles, in search of the
poor in spirit, the ignorant and the humble. The sons of fami-
lies belonging to the highest classes, alumni of universities, leave
fine clothes and books, dress like peasants, and mix with factory
hands, so as to know them and to teach them; young ladies of
fine education return from a foreign tour, and accept with the
utmost contentment situations as cooks in manufacturers' houses,
so as to be able to study the labor question in their workshops.
We find very curious instances of this in Turgénief's novel
'Virgin Soil. The heroine Mariana, a Nihilist, in order to learn
how the people live, and to simplify herself (this is a sacramental
term), helps a poor peasant woman in her domestic duties. Here
we have the way of the world reversed: the educated learns of
the ignorant, and in all that the peasant woman does or says, the
young lady finds a crumb of grace and wisdom. "We do not
wish to teach the people," she explains: "we wish to serve them. "
"To serve them? " replies the woman, with hard practicality;
"well, the best way to serve them is to teach them. " Equally
fruitless are the efforts of Mariana's "fictitious husband," or
"husband by free grace," as the peasant woman calls him,—the
poet and dreamer Nedjanof, who thinks himself a Nihilist, but in
the bottom of his soul has the aristocratic instincts of the artist.
Here is the passage where he presents himself to Mariana dressed
in workmen's clothes:-
"Mariana uttered an exclamation of surprise. At first she did not
know him. He wore an old caftan of yellowish drill, short-waisted,
and buttoned with small buttons; his hair was combed in the Russian
## p. 11039 (#251) ##########################################
EMILIA PARDO-BAZÁN
11039
style, with the part in the middle; a blue kerchief was tied around
his neck; he held in his hand an old cap with a torn visor, and his
feet were shod with undressed calfskin. "
Mariana's first act on seeing him in this guise is to tell him.
that he is indeed ugly; after which disagreeable piece of infor-
mation, and a shudder of repugnance at the smell of his greasy
cap and dirty sleeves, they provide themselves with pamphlets
and socialist proclamations, and start out on their Odyssey among
the people, hoping to meet with ineffable sufferings. He would
be no less glad than she of a heroic sacrifice, but he is not
content with a grotesque farce; and the girl is indignant when
Solomine, her professor in nihilism, tells her that her duty act-
ually compels her to wash the children of the poor, to teach
them the alphabet, and to give medicine to the sick. "That is
for Sisters of Charity," she exclaims, inadvertently recognizing a
truth: the Catholic faith contains all ways of loving one's neigh-
bor, and none can ever be invented that it has not foreseen.
But the human type of the novel is Nedjanof, although the Ni-
hilists have sought to deny it. There is one very sad and real
scene in which he returns drunk from one of his propagandist
excursions, because the peasants whom he was haranguing com-
pelled him to drink as much as they. The poor fellow drinks.
and drinks, but he might as well have thrown himself upon a
file of bayonets. He comes home befuddled with vodka, or per-
haps more so with the disgust and nausea which the brutish and
malodorous people produced in him. He had never fully be-
lieved in the work to which he had consecrated himself: now it
is no longer skepticism, it is invincible disgust that takes hold
upon his soul, urging him to despair and suicide. The lament of
his lost revolutionary faith is contained in the little poem entitled
'Dreaming,' which I give literally as follows:-
"It was long since I had seen my birthplace, but I found it not
at all changed. The deathlike sleep, intellectual inertia, roofless
houses, ruined walls, mire and stench, scarcity and misery, the inso-
lent looks of the oppressed peasants, all the same! Only in sleep-
ing, we have outstripped Europe, Asia, and the whole world. Never
did my dear compatriots sleep a sleep so terrible!
"Everything sleeps: wherever I turn, in the fields, in the cities, in
carriages, in sleighs, day and night, sitting or walking; the merchant
and the functionary, and the watchman in the tower, all sleep in the
## p. 11040 (#252) ##########################################
11040
EMILIA PARDO-BAZÁN
cold or in the heat! The accused snores and the judge dozes; the
peasants sleep the sleep of death; asleep they sow and reap and
grind the corn; father, mother, and children sleep! The oppressed
and the oppressor sleep equally well!
"Only the gin-shop is awake, with eyes ever open!
"And hugging to her breast a jug of fire-water, her face to the
Pole, her feet to the Caucasus, thus sleeps and dreams on forever
our Mother, Holy Russia! "
To all Nihilist intents and purposes, particularly to those of a
political character, the masses are apparently asleep. Many elo-
quent anecdotes refer to their indifference. A young lady propa-
gandist, who served as cook on a farm, confesses that the peasants
spitefully accused her of taking bread from the poor. In order
to get them to take their pamphlets and leaflets the Nihilists
present them as religious tracts, adorning the covers with texts
of Scripture and pious mottoes and signs. Only by making good
use of the antiquated idea of distribution (of goods) have they
any chance of success; it is of no use to talk of autonomous fed-
erations, or to attack the Emperor, who has the people on his
side.
The active Nihilists are always young people; and this is rea-
son enough why they are not completely discouraged by the ste-
rility of their efforts. Old age abhors fruitless endeavors; and,
better appreciating the value of life, will not waste it in tiresome
experiments. And this contrast between the ages, like that be-
tween the seasons, is nowhere so sharp as in Russia; nowhere
else is the difference of opinions and feelings between two gen-
erations so marked. Some one has called nihilism a disease of
childhood, like measles or diphtheria; perhaps this is not alto-
gether erroneous, not only as regards individuals, but also as
regards society, for vehemence and furious radicalism are the
fruit of historical inexperience,- of the political youth of a nation.
The precursor of nihilism, Herzen, said, with his brilliant imagery
and vigor of expression, that the Russia of the future lay with a
few insignificant and obscure young folks, who could easily hide
between the earth and the soles of the autocrat's boots; and the
poet Mikailof, who was sentenced to hard labor in 1861, and sub-
sequently died under the lash, exclaimed to the students: "Even
in the darkness of the dungeon I shall preserve sacredly in my
heart of hearts the incomparable faith that I have ingrafted upon
the new generation. "
## p. 11041 (#253) ##########################################
EMILIA PARDO-BAZÁN
11041
It is sad to see youth decrepit and weary from birth, without
enthusiasm or ambition for anything. It is more natural that the
sap should overflow; that a longing for strife and sacrifice, even
though foolish and vain, should arise in its heart. This truth
cannot be too often repeated: to be enthusiastic, to be full of
life, is not ridiculous; but our pusillanimous doctrine of disap-
proval is ridiculous indeed, especially in life's early years,-
ridiculous as baldness at twenty, or wrinkles and palsy at thirty.
Besides, we must recognize something more than youthful ardor
in nihilism, and that is, sympathetic disinterestedness. The path
of nihilism does not lead to brilliant position or destiny: it may
lead to Siberia or to the gibbet.
XIX-691
――――――
Translation of Fanny Hale Gardiner.
as
## p. 11042 (#254) ##########################################
11042
GIUSEPPE PARINI
(1729-1799)
ETTEMBRINI, in his history of Italian literature, chooses Parini
as the purest type of the satirist which his country has.
Giuseppe G ti, whose field is the same as that of Parini,
and who is hardly his inferior, has written his eulogy in a glowing
biography.
Parini was born in 1729, at Bosisio on the Lake of Pusiano. His
parents had a small farm; but observing Giuseppe's abilities, they
sent him to Milan to study under the Barnabites in the Accademia
Arcimboldi. Here he was obliged to support himself by copying
manuscripts. In 1752 he published under the pseudonym "Ripano
Eupilino a volume of poems, which procured his election to the
Accademia dei Transformati at Milan, and to that of the Arcadi at
Rome. He became a tutor in the family of the Borromei and in
that of the Serbelloni, and attained still further prominence through
success in two controversies,-one with Alessandro Bandiera, the
other with Onofrio Branda. He now began to utilize in the compo-
sition of a satire the knowledge which he had gained of aristocratic
life. 'Il Matino (Morning) and 'Il Meriggio' (Noon), which were
published in 1763 and 1765, mark a distinct advance in the form of
blank verse in Italy, and consist in ironical instructions to a young
nobleman as to the way to spend his mornings and middays. This
satire established Parini's popularity and influence. Count Firmian,
the Austrian plenipotentiary, who had been one of his patrons in the
publication of the first volume of poems, now secured his appoint-
ment as professor of belles-lettres in the academy of Brera. Here with
ardent enthusiasm he set forth the beauties of the classics, and was
little by little recognized as the most powerful living exponent of
letters and arts. At the time of the French occupation of Milan,
Parini was appointed by Napoleon municipal magistrate of that city.
The poet, however, soon retired to his literary pursuits, aware that
the much-vaunted liberty of the day was made a means for secur-
ing private ends rather than for the public advancement. On the
return of the Austrians he found his well-being threatened; but he
was then seventy years of age, blind and infirm, and in 1799, before
dangers could mature, he died. Despite the success of his career, he
died as poor as at its commencement. He exerted a distinct influ-
ence for good, however, on a generation prostrated by the corruptions
## p. 11043 (#255) ##########################################
GIUSEPPE PARINI
11043
of the past, but in which there could yet be felt a restless discon-
tent with itself.
He brought his satire 'Il Giorno' (Day) to a close
by 'Il Vespro' (Evening) and 'Il Notte' (Night); but these were not
yet published at the time of his death. 'Il Notte,' indeed, remained
unfinished; and so many and such varying draughts did he leave of
this poem, that one scarcely knows what the ultimate result of his
labors would have been.
The motive of Parini's satires was not to ridicule the idiosyncra-
sies of his contemporaries: he attacked the whole corruption of his
times. It was not to the mere theories of an individual conscience
that he gave voice: he proclaimed the principles held by the whole
moral world. His temperament was that of the student rather than
of the genius; his productions the result of thought rather than of
inspiration. He was a tireless reviser; and his form both of satire
and of lyric is elegant and elaborate, but lacking in the charm of
spontaneity. He is, for a satirist, peculiarly deficient in sparkle and
in humor; but the high moral purpose of his work is strengthened by
a grim pride and by uncompromising scorn.
[The following translations are from Modern Italian Poets,' copyright
1887, by William D. Howells; and are reprinted by permission of Harper &
Brothers, publishers. ]
THE TOILET OF AN EXQUISITE
From The Day'
Α'
T LAST the labor of the learned comb
Is finished, and the elegant artist strews
With lightly shaken hand a powdery mist
To whiten ere their time thy youthful locks.
Now take heart,
And in the bosom of that whirling cloud
Plunge fearlessly. O brave! O mighty! Thus
Appeared thine ancestor through smoke and fire
Of battle, when his country's trembling gods
His sword avenged, and shattered the fierce foe
And put to flight. But he, his visage stained
With dust and smoke, and smirched with gore and sweat,
His hair torn and tossed wild, came from the strife
A terrible vision, even to compatriots
His hand had rescued; milder thou by far,
## p. 11044 (#256) ##########################################
11044
GIUSEPPE PARINI
And fairer to behold, in white array
Shalt issue presently to bless the eyes
Of thy fond country, which the mighty arm
Of thy forefather and thy heavenly smile
Equally keep content and prosperous.
Let purple gaiters clasp thine ankles fine
In noble leather, that no dust or mire
Blemish thy foot; down from thy shoulders flow
Loosely a tunic fair, thy shapely arms
Cased in its closely fitting sleeves, whose borders
Of crimson or of azure velvet let
The heliotrope's color tinge. Thy slender throat
Encircle with a soft and gauzy band.
Thy watch already
Bids thee haste to go. Oh me, how fair
The arsenal of tiny charms that hang
With a harmonious tinkling from its chain!
What hangs not there of fairy carriages
And fairy steeds so marvelously feigned
In gold that every charger seems alive?
Let thy right hand be pressed against thy side
Beneath thy waistcoat, and the other hand
Upon thy snowy linen rest, and hide
Next to thy heart; let the breast rise sublime,
The shoulders broaden both, and bend toward her
Thy pliant neck, then at the corners close
Thy lips a little, pointed in the middle
Somewhat; and from thy mouth thus set exhale
A murmur inaudible. Meanwhile her right
Let her have given, and now softly drop
On the warm ivory a double kiss.
Seat thyself then, and with one hand draw closer
Thy chair to hers, while every tongue is stilled.
Thou only, bending slightly over, with her
Exchange in whisper secret nothings, which
Ye both accompany with mutual smiles
And covert glances that betray- or seem
At least your tender passion to betray.
## p. 11045 (#257) ##########################################
GIUSEPPE PARINI
11045
SHE
THE LADY'S LAP-DOG
From The Day'
HE recalls the day-
Alas, the cruel day! - what time her lap-dog,
Her beauteous lap-dog, darling of the Graces,
Sporting in youthful gayety, impressed
The light mark of her ivory tooth upon
The rude foot of a menial; he, with bold
And sacrilegious toe, flung her away.
Over and over thrice she rolled, and thrice
Rumpled her silken coat, and thrice inhaled
With tender nostril the thick, choking dust.
Then raised imploring cries, and "Help, help, help! "
She seemed to call, while from the gilded vaults
Compassionate Echo answered her again,
And from their cloistral basements in dismay
The servants rushed, and from the upper rooms
The pallid maidens trembling flew all came.
Thy lady's face was with reviving essence
Sprinkled, and she awakened from her swoon.
Anger and grief convulsed her still; she cast
A lightning glance upon the guilty menial,
And thrice with languid voice she called her pet,
Who rushed to her embrace and seemed to invoke
Vengeance with her shrill tenor. And revenge
Thou hadst, fair poodle, darling of the Graces.
The guilty menial trembled, and with eyes
Downcast received his doom. Naught him availed
His twenty years' desert; naught him availed
His zeal in secret services; for him
In vain were prayer and promise: forth he went,
Spoiled of the livery that till now had made him
Enviable with the vulgar. And in vain
He hoped another lord: the tender dames
Were horror-struck at his atrocious crime,
And loathed the author. The false wretch succumbed
With all his squalid brood, and in the streets,
With his lean wife in tatters at his side,
Vainly lamented to the passer-by.
## p. 11046 (#258) ##########################################
11046
GIUSEPPE PARINI
THE AFTERNOON CALL
From The Day'
ND now the ardent friends to greet each other
A Impatient fly, and pressing breast to breast
They tenderly embrace, and with alternate kisses
Their cheeks resound; then clasping hands, they drop
Plummet-like down upon the sofa, both
Together. Seated thus, one flings a phrase,
Subtle and pointed, at the other's heart,
Hinting of certain things that rumor tells,
And in her turn the other with a sting
Assails. The lovely face of one is flushed
With beauteous anger, and the other bites
Her pretty lips a little; evermore
At every instant waxes violent
The anxious agitation of the fans.
So in the age of Turpin, if two knights
Illustrious and well cased in mail encountered
Upon the way, each cavalier aspired
To prove the valor of the other in arms,
And after greetings courteous and fair,
They lowered their lances and their chargers dashed
Ferociously together; then they flung
The splintered fragments of their spears aside,
And, fired with generous fury, drew their huge
Two-handed swords and rushed upon each other!
But in the distance through a savage wood
The clamor of a messenger is heard,
Who comes full gallop to recall the one
Unto King Charles, and th' other to the camp
Of the young Agramante. Dare thou, too,
Dare thou, invincible youth, to expose the curls
And the toupet, so exquisitely dressed
This very morning, to the deadly shock
Of the infuriate fans; to new emprises
Thy fair invite, and thus the extreme effects
Of their periculous enmity suspend.
## p. 11047 (#259) ##########################################
11047
GILBERT PARKER
(1861-)
ILBERT PARKER belongs to the rising generation of novelists
who seem inclined to depart from the morbid realism of
certain jaundiced schools of modern writers, and to revive
the tenets of Scott and Thackeray, of Cooper and Dickens. Through
them the historical romance is being brought again into prominence.
This form of fiction is well adapted for the exercise of Mr. Parker's
literary talent, which is objective and impersonal; and for the mani-
festation of his belief that men are primarily lovers and fighters, and
that life itself revolves about the pivots of love and war. In all of
his tales, whether historical or not, there is the element of strife, and
the element of the strong human affections. He perceives that the
dramatic possibilities of these two elements are endless.
