Through the dialogue between Max Estrella and Latino de Hispalis in Luces de bohemia, Valle-Inclán discerns that the Spanish tragedy is only understood under the deformed prism of the sperpenthus. However, it must be recognized that, in these months of confusion and delirium, the national reality far exceeds the imagination of the best Spanish playwright of the twentieth century. Without need, for the rest, of the concave mirror of yesteryear in Madrid's Callejón del Gato. A few steps from this passage of the Barrio de las
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