Starting with a reassessment of the Nineteen Twenties and 30s, this article appears to be like past a attention of simply the main winning Spanish playwrights of the time, and discusses additionally the paintings of administrators, theorists, actors and architects.
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Ejercicios espirituales (Madrid: Sociedad General Española de Librería—Imprenta Helénica, 1916). See also the translation into English: The Lamp of Marvels translated by Robert Lima (West Stockbridge: Lindisfarne Press, 1986). 5English translation: The Pleasant Memoirs of the Marquis de Bradomín, translated by May Heywood Broun and Thomas Walsh (New York: Harcourt, Brace, 1924) and (London: Constable, 1925). VALLE-INCLÁN 37 between 1902 and 1905, brought his first popular success and literary notoriety due to the erotic nature of the works.
A flamboyant bohemian writer, Sawa had died in 1909 under conditions not unlike those described by Valle-Inclán in Luces de bohemia. The savagery of what was perceived as fictional in the play is revealed as a cornerstone of the reality of Alejandro Sawa’s life as a novelist cruelly ignored by the establishment and his agonizing death as a result of the syphilis he had contracted, which had first blinded him. In portraying Sawa through Max Estrella, Valle-Inclán made his bitterest dramatic statement on the savagery of society, in this case directed towards the artist.
At the time, seeking to concentrate on his art, Valle-Inclán did not write in newspapers and magazines about ‘the problem of Spain’ as did his companions,2 but his actions on the streets of Madrid evidenced his sympathy with the Cuban rebels, as when he confronted a group shouting anti-US slogans and charged at them with cane in hand berating them as cowards for not being at the front. 3 Not only was he a man-ofaction in such settings but he was especially notorious for his verbal tirades against the government, its functionaries, and the age-old policies that had led to the national disaster.