Pepita Ximenez Part 1

Pepita Ximenez.

by Juan Valera.

PREFACE.

_To the Messrs. Appleton._

GENTLEMEN: It was my intention to write a preface for the purpose of authorizing the edition you are about to publish in English of "Pepita Ximenez"; but, on thinking the matter over, I was deterred by the recollection of an anecdote that I heard in my young days.

A certain gallant, wis.h.i.+ng to be presented at the house of a rich man who was about to give a magnificent ball, availed himself for that purpose of the services of a friend, who boasted of his familiarity with the great man, and of the favor he enjoyed with him. They proceeded to the great man's house, and the gallant got his introduction; but the great man said to him who had introduced the other, "And you, who is to introduce you, for I am not acquainted with you?" As I entertain a profound respect and affection for this country, and have not, besides, the a.s.surance that such an occasion would require, it would not do for me to say what the _introducer_ of my story is said to have answered, "I need no one to introduce or to recommend me, for I am just now going away."

I infer from my story, as its evident moral, that I ought to refrain from addressing the public of the United States, to which I am entirely unknown as an author, notwithstanding the fact of my having maintained pleasant and friendly relations with its Government as the representative of my own.

The most judicious and prudent course I can adopt, then, is to limit myself to returning you earnest thanks for asking from me an authorization of which you did not stand in need, either by law or by treaty, for wis.h.i.+ng to make known to your countrymen the least insipid of the products of my unfruitful genius, and for your generous purpose of conceding to me author's rights.

This, however, does not preclude the fact that, in thus expressing my thanks to you publicly, I incur a responsibility which I did not a.s.sume on any other occasion, either in Germany, Italy, or any other country where my works have been translated; for then, if they failed to please the public, although the fact might pain me, I could still shrug my shoulders, and throw the blame of failure on the translator, or the publisher; but in this case I make myself your accomplice, and share, or rather receive, all the disgrace of failure, if failure there should be.

"Pepita Ximenez" has enjoyed a wide celebrity, not only in Spain, but in every other Spanish-speaking country. I am very far from thinking that we Spaniards of the present day are either more easily satisfied, less cultured than, or possessed of an inferior literary taste to, the inhabitants of any other region of the globe; but this does not suffice to dispel my misgivings that my novel may be received with indifference or with censure by a public somewhat prejudiced against Spain by fanciful and injurious preconceptions.

My novel, both in essence and form, is distinctively national and cla.s.sic. Its merit--supposing it to have such--consists in the language and the style, and not in the incidents, which are of the most commonplace, or in the plot, which, if it can be said to have any, is of the simplest.

The characters are not wanting, as I think, in individuality, or in such truth to human nature as makes them seem like living beings; but, the action being so slight, this is brought out and made manifest by means of a subtile a.n.a.lysis, and by the language chosen to express the emotions, both which may in the translation be lost. There is, besides, in my novel a certain irony, good-humored and frank, and a certain humor, resembling rather the humor of the English than the _esprit_ of the French, which qualities, although happily they do not depend upon puns, or a play upon words, but are in the subject itself, require, in order that they may appear in the translation, that this should be made with extreme care.

In conclusion, the chief cause of the extraordinary favor with which "Pepita Ximenez" was received in Spain is something that may fail to be noticed here by careless readers.

I am an advocate of art for art's sake. I think it in very bad taste, always impertinent, and often pedantic, to attempt to prove theses by writing stories. For such a purpose dissertations or books purely and severely didactic should be written. The object of a novel should be to charm, through a faithful representation of human actions and human pa.s.sions, and to create by this fidelity to nature a beautiful work. The object of art is the creation of the beautiful, and whoever applies it to any other end, of however great utility this end may be, debases it.

But it may chance, through a conjunction of favorable circ.u.mstances, by a happy inspiration, because in a given moment everything is, disposed as by enchantment, or by supernatural influences, that an author's soul may become like a clear and magic mirror wherein are reflected all the ideas and all the sentiments that animate the eclectic spirit of his country, and in which these ideas and these sentiments lose their discordance, and group and combine themselves in pleasing agreement and harmony.

Herein is the explanation of the interest of "Pepita Ximenez." It was written when Spain was agitated to its center, and everything was thrown out of its regular course by a radical revolution that at the same time shook to their foundations the throne and religions unity. It was written when everything in fusion, like molten metal, might readily amalgamate, and be molded into new forms. It was written when the strife raged fiercest between ancient and modern ideals; and, finally, it was written in all the plenitude of my powers, when my soul was sanest and most joyful in the possession of an enviable optimism and an all-embracing love and sympathy for humanity that, to my misfortune, can never again find place within my breast.

If I had endeavored by dialectics and by reasoning to conciliate opinions and beliefs, the disapprobation would have been general; but, as the conciliating and syncretic spirit manifested itself naturally in a diverting story, every one accepted and approved it, each one drawing from my book the conclusions that best suited himself. Thus it was that, from the most orthodox Jesuit father down to the most rabid revolutionist, and from the ultra-Catholic who cherishes the dream of restoring the Inquisition, to the rationalist who is the irreconcilable enemy of every religion, all were pleased with "Pepita Ximenez."

It would be curious, and not inopportune, to explain here how it came about that I succeeded in pleasing every one without intending it, without knowing it, and, as it were, by chance.

There was in Spain, some years ago, a conservative minister who had sent a G.o.dson of his to study philosophy in Germany. By rare good fortune this G.o.dson, who was called Julian Sanz del Rio, was a man of clear and profound intelligence, of unwearied application, and endowed with all the qualities necessary to make of him a sort of apostle. He studied, he formulated his system, he obtained the chair of metaphysics in the University of Madrid, and he founded a school, from which has since issued a brilliant pleiad of philosophers and statesmen, and of men ill.u.s.trious for their learning, their eloquence, and their virtues.

Chief among them are Nicolas Salmeron, Francisco Giner, Gumersindo Azcarate, Federico de Castro, and Urbano Gonzalez Serrano.

The clerical party soon began to stir up strife against the master, the scholars, and the doctrines taught by them. They accused them of mystical pantheism.

I, who had ridiculed, at times, the confused terms, the pomp of words, and the method which the new philosophers made use of, regarded these philosophers, nevertheless, with admiration, and took up their defense--an almost solitary champion--in periodicals and reviews.

I had already maintained, before this, that our great dogmatic theologians, and especially the celebrated Domingo de Soto, were more liberal than the liberal rationalists of the present day, affirming, as they do, the sovereignty of the people by divine right; for if, as St.

Paul declares, all authority proceeds from G.o.d, it does so through the medium of the people whom G.o.d inspires to found it; and because the only authority that proceeds directly from G.o.d is that of the Church.

I then set myself to demonstrate that, if Sanz del Rio and his followers were pantheists, our mystical theologians of the sixteenth and seventeenth centuries were pantheists also; and that, if the former had for predecessors Fichte, Sch.e.l.ling, Hegel, and Krause, St. Theresa, St.

John de la Cruz, and the inspired and ecstatic Father Miguel de la Fuente followed, as their model, Tauler and others of the Germans. In saying this, however, it was not my intention to deny the claims of any of these mystical writers as founders of their school in Spain, but only to recognize, in this unbroken transmission of doctrine, the progressive continuity of European civilization.

For the purpose of carrying forward my undertaking, I read and studied with ardor every Spanish book on devotion, asceticism, and mysticism that fell into my hands, growing every day more charmed with the richness of our literature in such works; with the treasures of poetry contained in them; with the boldness and independence of their authors; with the profound and delicate observation, in which they excel the Scotch school, that they display in examining the faculties of the soul; and with their power of entering into themselves, of penetrating to the very center of the mind, in order there to behold G.o.d, and to unite themselves with G.o.d, not therefore losing their own personality, or their capacity for an active life, but issuing from the ecstasies and ravishments of divine love more apt than before for every work that can benefit the human species, as the steel is more finely tempered, polished, and bright after it has burned in the fires of the forge.

Of all this, on its most poetic and easily understood side, I wished to give a specimen to the Spanish public of to-day, who had forgotten it; but, as I was a man of my epoch, a layman, not very exemplary as regards penitential practices, and had the reputation of a freethinker, I did not venture to undertake doing this in my own name, and I created a theological student who should do it in his. I then fancied that I could paint with more vividness the ideas and the feelings of this student by contrasting them with an earthly love; and this was the origin of "Pepita Ximenez." Thus, when it was farthest from my thoughts, did I become a novelist. My novel had, therefore, the freshness and the spontaneity of the unpremeditated.

The novels I wrote afterward, with premeditation, are inferior to this one.

"Pepita Ximenez" pleased the public also, as I have said, by its transcendentalism.

The rationalists supposed that I had rejected the old ideals, as my hero casts off the clerical garb. And the believers, with greater unanimity and truth, compared me to the false prophet who went forth to curse the people of Israel, and without intending it exalted and blessed them.

What is certain is that, if it be allowable to draw any conclusion from a story, the inference that may be deduced from mine is, that faith in an all-seeing and personal G.o.d, and in the lore of this G.o.d, who is present in the depths of the soul, even when we refuse to follow the higher vocation to which he would persuade and solicit us--even were we carried away by the violence of mundane pa.s.sions to commit, like Don Luis, almost all the capital sins in a single day--elevates the soul, purifies the other emotions, sustains human dignity, and lends poetry, n.o.bility, and holiness to the commonest state, condition, and manner of life.

Such is, in my opinion, the novel you are now about to present to the American public; for I repeat that I have not the right to make the presentation.

Perhaps, independent of its transcendentalism, my novel may serve to interest and amuse your public for a couple of hours, and may obtain some favor with it; for it is a public that reads a great deal, that is indulgent, and that differs from the English public--which is eminently exclusive in its tastes--by its generous and cosmopolitan spirit.

I have always regarded as a delusion of national vanity the belief that there is, or the hope that there ever will be, anything that, with legitimate and candid independence, may be called American literature.

Greece diffused herself throughout the world in nouris.h.i.+ng colonies, and, after the conquests of Alexander, founded powerful states in Egypt, in Syria, and even in Bactriana, among peoples who, unlike the American Indians, possessed a high civilization of their own. But, notwithstanding this dispersion, and this political severance from the mother-country, the literature of Syracuse, of Antioch, and of Alexandria was as much Greek literature as was the literature of Athens.

In my opinion, then, and for the same reason, the literature of New York and Boston will continue to be as much English literature as the literature of London and Edinburgh; the literature of Mexico and Buenos Ayres will continue to be as much Spanish literature as the literature of Madrid; the literature of Rio Janeiro will be as much Portuguese literature as the literature of Lisbon. Political union may be severed, but, between peoples of the same tongue and the same race, the ties of spiritual fraternity are indissoluble, so long as their common civilization lasts. There are immortal kings or emperors who reign and rule in America by true divine right, and against whom no Was.h.i.+ngton or Bolivar shall prevail--no Franklin succeed in plucking from them their scepter. These tyrants are called Miguel de Cervantes, William Shakespeare, and Luiz de Camoens.

All this does not prevent the new nation from bringing to the common fund, and _pro indiviso_, of the culture of their race, rich elements, fine traits of character, and perhaps even higher qualities. Thus it is that I observe, in this American literature, of English origin and language, a certain largeness of views, a certain cosmopolitanism and affectionate comprehension of what is foreign, broad as the continent itself which the Americans inhabit, and which forms a contrast to the narrow exclusivism of the insular English. It is because of these qualities that I venture to hope now for a favorable reception of my little book; and it is in these qualities that I found my hope that the fruits of Spanish genius in general will, in future, be better known and more highly esteemed here than in Great Britain.

Already, to some extent, Irving, Prescott, Ticknor, Longfellow, Howells, and others have contributed, with judgment and discretion, translating, criticising, and eulogizing our authors, to the realization of this hope.

Forgive my wearying you with this long letter, and believe me to be sincerely yours,

JUAN VALERA.

NEW YORK, _April 18, 1886._

PEPITA XIMENEZ

"_Nescit labi virtus._"

The reverend Dean of the Cathedral of ------, deceased a few years since, left among his papers a bundle of ma.n.u.script, tied together, which, pa.s.sing from hand to hand, finally fell into mine, without, by some strange chance, having lost a single one of the doc.u.ments contained in it. Inscribed on this ma.n.u.script were the Latin words I use above as a motto, but without the addition of the woman's name I now prefix to it as its t.i.tle; and this inscription has probably contributed to the preservation of the papers, since, thinking them, no doubt, to be sermons, or other theological matter, no one before me had made any attempt to untie the string of the package, or to read a single page of it.

The ma.n.u.script is in three parts. The first is ent.i.tled "Letters from my Nephew"; the second, "Paralipomena"; and the third, "Epilogue--Letters from my Brother."

All three are in the same handwriting, which, it may be inferred, is that of the reverend dean; and, as taken together they form something like a novel, I at first thought that perhaps the reverend dean wished to exercise his genius in composing one in his leisure hours; but, looking at the matter more closely, and observing the natural simplicity of the style, I am inclined to think now that it is no novel at all, but that the letters are copies of genuine epistles which the reverend dean tore up, burned, or returned to their owners, and that the narrative part only, designated by the biblical t.i.tle of "Paralipomena," is the work of the reverend dean, added for the purpose of completing the story with incidents not related in the letters.

However this may be, I confess that I did not find the reading of these papers tiresome; I found them, indeed, rather interesting than otherwise; and as nowadays everything is published, I have decided to publish them too, without further investigation, changing only the proper names, so that if those who bear them be still living they may not find themselves figuring in a book without desiring or consenting to it.

The letters contained in the first part seem to have been written by a very young man, with some theoretical but no practical knowledge of the world, whose life was pa.s.sed in the house of the reverend dean, his uncle, and in the seminary, and who was imbued with an exalted religious fervor and an earnest desire to be a priest.

We shall call this young man Don Luis de Vargas.

The aforesaid ma.n.u.script, faithfully transferred to print, is as follows.