COMIC ART IN SPAIN.
As it is "Don Quixote" that has given most of us whatever insight into
Spanish life and character we possess, we should naturally expect to
find in the Spain of to-day abundant manifestations of satirical talent.
But since the great age when such men as Cervantes could be formed, the
intellect of Spain has suffered exhausting depletion, and the nation has
in consequence long lain intellectually impotent, the natural prey of
priests, dynasties, and harlots. The progress of a country depends upon
the use it makes of its best men. Since Cervantes was born, in 1547, all
the valuable men among the Moors and Jews, with a million of their
countrymen, have been banished, carrying away with them precious arts,
processes, instincts, aptitudes, and talents; to say nothing of the good
that comes to a country of having upon its soil a variety of races and
religions, each developing some excellencies of human nature which the
others overlook or undervalue. In the same generation hundreds of the
valiant men of Spain went down in the Armada, and thousands were wasted
in America.
But these were not the fatal losses. These men could have been replaced,
such is the bountiful fertility of nature. But, in those days, if a man
was reared who possessed independence or force of mind, or had much mind
of any kind, he was likely to become a Protestant; and, if he did, one
of two calamitous fates awaited him, either of which made him useless to
Spain: he either concealed his opinions, and thus stifled his nobler
life, or else the Inquisition destroyed him. Never was such successful
war waged upon the human mind as in Spain at that period, for every man
who manifested any kind of mental superiority was either slain or
neutralized. If he escaped the goldmines, the wars, and the Inquisition,
there was still the Church to take him in and convert him into a priest.
Nor need we go as far as Spain to see the fatal damage done to
communities by the absorption of promising youth into the priesthood. We
have only to go to the French parts of Canada, and mark the difference
between the torpid and hopeless villages there, and the vigorous,
handsome towns of New England, New York, and Michigan, just over the
border. The reason of this amazing contrast is that on our side of the
line the natural leaders of the people found mills, factories,
libraries, and schools; on the other side they enter convents and build
churches; and the people, thus bereft of their natural chiefs, harness
forlorn cows to crazy carts, and come down into Vermont and New
Hampshire in harvest-time to get a little money to help them through the
long Canadian winter. Thus, in Spain and Italy, the men who ought to
serve the people, prey upon them, and the direct and chief reason why
the northern nations of Europe surpass the southern is, that in the
north the superior minds are turned to account, and in the south they
have been entombed in the Church or paralyzed by titles of nobility.
[Illustration: After Sedan.
"Senor, we have brought to your Majesty this paroquet, which we found as
we were going our rounds in camp."--From _Gil Blas_, Madrid, September,
1870.]
Hence, in the country of Cervantes, in the native land of Gil Blas and
Figaro, there is now little manifestation of their comic fertility and
gayety of mind. A member of the American Legation obligingly writes from
Madrid in 1875:
"I have questioned many persons here in regard to Spanish caricature,
but have always received the same reply, namely, that pictorial
caricature, political or other, has not existed in Spain till 1868. I
have searched book-stores and book-stalls, and find nothing; nor have
the venders been able to aid me. I found in a private library some
Bibles and other religious books of the sixteenth century, in which were
caricatures of the Pope and of similar subjects, but they were printed
in Flanders, though in the Spanish language; and the art is Dutch. The
pasquinades of Italy never prevailed in Spain. It is thought at our
Legation here that there must have been caricature in Spain, from the
writings of Spaniards being so full of satire and wit; but though the
germ may have existed, I am inclined to think it was not developed till
the dethronement of Isabel II. and the proclamation of the Republic
broke down the barriers to the liberty, if not license, of the
printing-press.
"Between 1868 and 1875 various papers were published here containing
caricatures, copies of which are to be had, but at a premium. Until this
period, I fancy the Inquisition, censorship, and other causes prevented
any display of a spirit of caricature which may have existed. The real,
untraveled Spanish mind has little idea of true wit: of satire and
burlesque, yes; of inoffensive joke or pun, none. There is no Spanish
word for _pun_; that for joke is _broma_, taken from the Spanish name of
the _Teredo navalis_, or wood-borer, so fatal to vessels, and really
means an annoying, or _practical_, joke. I have some samples of
caricature, published during the period to which I refer, many of which,
to one who is familiar with the politics, manners, and customs in Spain
at the time, are equal in point, if not in execution, to any thing in
_Punch_. They were, for the greater part, designed by Ortego, but are of
the English or French style, and have little Spanish individuality."
[Illustration: To the Bull-fight.
"There they go, all resolved to yell _Bungler!_ at the picador, whether
he does his part well or ill. It's all they know how to do."--From _El
Mundo Comico_, Madrid, 1873.]
A great mass of the comic illustrated series and periodicals alluded to
by my attentive correspondent accompanied his letter, and justify its
statements. The "French style" is indeed most apparent in them, as the
reader shall see. The "Comic Almanac" for 1875 ("Almanaque Comico" para
1875), published at Madrid, and profusely illustrated, is entirely in
the French style. Many of the pictures have every thing of Gavarni
except his genius. Here are some that catch the eye in running over its
shabby, ill-printed pages:
Picture of an ill-favored father contemplating a worse-favored boy, aged
about six years. Father speaks: "It is very astonishing! The more this
son of mine grows, the more he looks like my friend Ramon."
[Illustration: A Delegation of Birds of Prey, presenting Thanks to the
Authors of the Bountiful Carnage provided for the Late Festival. (From
_Gil Blas_, Madrid, September, 1870.)]
Picture of a gentleman in evening dress, flirting familiarly with a
dancing-girl behind the scenes of a theatre. She says: "If only your
intentions were good!" To which he replies by asking: "And what do you
call good intentions?" She casts down her eyes and stammers: "To
promise--to keep your word."
Picture of a young lady at the desk of a public writer, to whom she
says: "Make the sweetest little verse to tell him that I hope to see him
next Sunday at the gate of the Alcala, near the first swing."
Picture of a husband and wife, both in exuberant health. _She._ "You
grow worse and worse; and sea-bathing is _so_ good for you!" _He._ "And
you?" _She._ "I am well; but I shall go with you to take care of you,
dear."
Picture of a very fashionably dressed lady and little girl, to whom
enters, hat and cane in hand, a gentleman, who says to the child: "Do
you not remember me, little Ruby?" She replies: "Ah, yes! You are the
_first_ papa that used to come to our house a good while ago, and you
always brought me caramels."
Picture of two young ladies in conversation. One of them says: "When he
looks at me, I lower my eyes. When he presses my hand, I blush. And if
he kisses me, I call to mamma, and the poor fellow believes it, and
dares go no further."
Picture of a woman in a bath-tub, to whom enters a man presenting a
bill. She says: "Take a seat, for I am about to rise from the bath, and
then we can settle that account."
[Illustration: "Child, you will take cold."
"I take cold? But how well that overcoat fits him!"--From _El Mundo
Comico_, Madrid, 1873.]
Picture of nurse, infant, and father. The father says: "Tell me, nurse;
every body says it looks like me, but I think it takes after its mother
more." The nurse replies: "When it laughs, yes; but when it frowns, it
looks like you _atrociously_."
Picture of a "fast-looking" woman and the janitor of a lodging-house. He
says: "You wish to see the landlord? I think he does not mean to have
ladies in his house who are alone." She replies: "I am never alone."
Picture of young lady in bed, to whom a servant holds up an elegant
bonnet, and says: "Tell me, since you are ill, and can not go to the
ball, will you lend this to your _affectionate and faithful servant_,
since I give you my word not to injure it?"
Picture of husband and wife at home, she taking out a note that had been
concealed in a handkerchief. He speaks: "A woman who deceives her
husband deserves no pity." She replies: "But if she does not deceive her
husband, whom is she to deceive?"
Picture of the manager of a theatre in his office, to whom enters a
dramatic author. _Author:_ "I have called to know if you have read my
play." _Manager:_ "Not yet. It is numbered, in the list of plays
received, 792; so that for this year--" _Author:_ "No, sir; nor for that
which is to come either."
This will suffice for the "Comic Almanac." The _Comic World_ (_El Mundo
Comico_), which next invites attention, is a weekly paper published at
Madrid during the last four years. This work, also, has much in common
with the wicked world of Paris, as with the wicked world of all
countries where the priest feeds the imagination and starves the
intellect. This reveling in the illicit and the indecent, which so
astonishes us in the popular literature of Catholic countries, is
merely a sign of impoverished mind, which is obliged to revolve
ceaselessly about the physical facts of our existence, because it is
acquainted with so few other facts.
The first number of the _Comic World_ presents a colored engraving of a
Spanish beauty, attired in the last extremity of the fashion,
bonnetless, fan in hand, with high-heeled boots, and a blending of
French and Spanish in her make-up, walking in the street unattended. The
picture is headed: "In Quest of the Unknown."
The next picture shows that Spain, too, has its savings-banks which do
not save. Two strolling musicians, clothed in rags, are exhibited, one
of whom says to the other: "A pretty situation! While men drive by in a
coach after robbing us of our savings deposited in their banks, we ask
alms of the robbers!"
[Illustration: Inconvenience of the New Collar.
"How, my Adela, can you ask me to whisper in your ear when you have put
that cover over it?"--From _El Mundo Comico_, Madrid, 1873.]
There is a pair of pictures, one called "The Cocks," and the other "The
Pullets." The Cocks are three very young Spanish dandies, with dawning
mustaches, extremely thin canes, and all the other puppyisms. The
Pullets are three young ladies of similar age and taste. As they pass in
the street, one of the Cocks says to his companions: "Do you see how the
tallest one blushes?" The reply is: "Yes; when she sees me." At the same
moment the Pullets exchange whispers. "How fast you go!" says one.
"Don't speak!" says another. "The dark-complexioned one is he whom we
saw at the theatre." "Yes, I remember; the one in the box." In these
pictures, as in most other Spanish caricatures, the men are meagre and
disagreeable-looking, but the ladies are plump and attractive.
A "domestic scene" follows, which must be peculiar to Spain, one would
think. A gay young husband, on leaving home in the evening, is addressed
by his wife, who has a hand in his waistcoat-pocket: "You carry away
twelve dollars and three shillings. We will see what extraordinary
expense you incur to-night."
At Madrid, as at other capitals of Europe, the Englishman is an object
of interest. Ladies seem to consider him a desirable match, and men make
him the hero of extravagant anecdotes. There is a _table-d'hote_ picture
in _El Mundo Comico_, presenting a row of people at an advanced stage of
dinner, when the guests become interesting to one another. "Have you
seen the colonel?" asks a chaperon of the young lady by her side. The
damsel, looking her demurest, says: "Do not distract me; the Englishman
is looking at me." Other pictures indicate that the ladies of Madrid are
accustomed to look upon Englishmen as worth posing for.
The _Comic World_ aims a vilely executed caricature at the ghost of
Hamlet's father, who is represented in the usual armor. The words
signify: "All I ask is, did that ancient race take their afternoon nap
in cuirass and helmet?" From which we may at least infer that "El
Principe Hamlet" is a familiar personage to the inhabitants of Madrid.
[Illustration: Sufferings endured by a Prisoner of War. (From _Gil
Blas_, Madrid, September, 1870.)]
Among the numerous colored engravings which reflect upon, or, rather
glorify, the frailty of women is one which can with difficulty be
understood by Protestants. A girl is about to go to bed, and is saying a
prayer beginning, "With God I lie down, with God I rise, with the Virgin
Mary and the Holy Ghost!" The joke does not appear at the first glance,
for there is no one else in the bedroom, unless there is some one in the
curtained bed. We discover, at length, lying near her feet, a pair of
man's boots!
Nothing is sacred to these savage caricaturists of the French school.
Another colored picture in _El Mundo Comico_ is called "Absence," and is
designed to exhibit the sorrow of a woman at the absence of her lover in
the wars. She says: "Poor Louis! I am here alone, forsaken, and he is
pursuing the insurgents in the mountains. Does he remember me?" The
innocent reader may well ask, What is the comedy of the situation? The
woman in this scene is sitting on the edge of her bed, nearly naked,
taking off her earrings, with other finery of her trade lying about on
the table and the floor.
After running through a volume of this periodical, we are prepared to
believe the descriptions given of society in the Spanish capital by the
correspondent of the London _Times_ during the early months of Alfonso's
"reign." Speaking of a monstrous scandal inculpating the king, he wrote:
"In a profligate, frivolous, and gossiping capital like Madrid, where
every one seems intent upon political plotting, debauchery, and
idleness, there is no scandal, no invention of malice too gross and
improbable for acceptance, provided those attacked are well known. The
higher his or her rank, the greater is the cynical satisfaction with
which the tale of depravity is retailed by the newsmongers in _cafe_,
_tertulia_, and club."
Another comic weekly published at Madrid is called _Gil Blas, Periodico
Satirico_. This is by far the least bad of the comic papers recently
attempted in Spain. Many of its subjects are drawn from the politics of
the period, and some of them appear to be very happily treated. The
sorry adventures of Louis Napoleon and his son in the war between France
and Prussia are presented with much comic effect. Queen Isabel and her
hopeful boy figure also in many sketches, which were doubtless amusing
to the people of Madrid when they appeared. The Duc de Montpensier and
other possible candidates for the throne are portrayed in situations and
circumstances not to be fully understood at this distance from the time
and scene.
The Spanish caricatures given in this chapter, whatever the reader may
think of them, were selected from about a thousand specimens; and if
they are not the very best of the thousand, they are at least the best
of those which can be appreciated by us.
Cuba had its comic periodical during the brief ascendency of liberal
ideas in 1874. A Cuban letter of that year chronicles its suspension:
"The comic weekly newspaper, _Juan Palonio_, has met its death-blow by
an order of suspension for a month, and a strong hint to the director,
Don Juan Ortega, that a trip to the Peninsula would be of benefit to his
health. The immediate cause of this order was a cartoon, representing
the arms of the captain-general wielding a broom, marked 'extraordinary
powers,' and sweeping away ignorance, the insurrection, etc. There was
nothing, in fact, to take umbrage at; but the cartoon served as a
pretext to kill the paper, which was rather too republican in tone. The
Government censor was removed from his position for the same reason, and
a new one appointed."
In those countries long debauched by superstition, comic art has little
chance; for if tyranny does not kill it, a dissolute public degrades it
into a means of pollution.