Nobody writes like him, so when he returns to the Iberian arena his sharp prose explodes, the impetus of the dialogues shines, the forgotten words that only he uses are reborn. To this baroque altarpiece that Ramón María del Valle-Inclán (1866-1936) imagined and could not conclude about Spanish society are now added unpublished texts published by the Renaissance publishing house, analyzed by the professor of the University of Córdoba Diego Martínez Torrón. The 381 pages with the new texts have been bequeathed by the grandson of the Marquis de Bradomín, Joaquín del Valle-Inclán Alsina, and are published under the title Unpublished manuscripts of 'The Iberian arena' .

The Marquis de Bradomín built a portrait, both of the court and of the most popular classes , full of very lively conversations, with acid descriptions; pure sarcasm, all very alive.

The Iberian arena begins with the revolutionary events prior to the Revolution of 1868 - the Glorious one - which ended the reign of Isabel II, and intended to reach the period of Alfonso XII.

Until now, The Iberian arena was constituted by The Court of Miracles , published in 1927, Viva mi owner , from 1928, and Baza de Espadas , which appears as a posthumous book in 1958, although it had been published before in the press with which Valle collaborated. In addition, the texts related to the work: End of a revolutionary , Golden Thunder and Diplomatic Mail .

What is now contributed are unpublished texts «that Valle links with other small parts of text that he previously published. It seems to me that it is as if I did not have the strength at this time of 1932 -perhaps for me of 1934 ...- to rewrite the prolonged Iberian arena with the usual amount of historical data that he collected, and then closes in a circle, as if he liked it: he takes up the anecdote of the police officer defenestrated by the gentlemen on a night of revelry, a topic that obsesses him and that perhaps he could read in the press - although I have not yet been able to find it in it - and links with the characters of the scene Summit of the final work, Baza de Espadas , with the characters of the anarchist Fermín Salvochea, the Sofi -prostitute of great heart- and Indalecio Meruéndano, his pimp, to whom the young men want to blame the death of the guard ”, explains La Esfera Diego Martinez Torrón. The book includes the reproduction of part of the unpublished manuscripts in facsimile.

According to a letter from Joaquín del Valle-Inclán dated January 27 of this year to Martínez Torrón, " The Iberian arena could begin to be written in 1920 and would stop working on the work in 1933" . The Valle-Inclán that writes these unpublished texts is a man in his twilight, recently divorced (December 1932), with both health and economic problems, far from the one who traveled to Mexico for the first time there in 1892, who was from He toured Buenos Aires, Paraguay, Uruguay and Chile (1909-1910), very different from the one he had lost his left arm in 1899 in a dispute with Manuel Bueno, «who sticks a wrist twin with a cane, a wound it infects him, ”according to Martínez Torrón. Nor was he who was imprisoned 15 days in April 1929 for opposing Primo de Rivera.

What did Valle propose when writing El ruedo Iberico ? «Probably consider the validity or not of the revolution , based on the concrete portrait of the historical universe of characters of the Glorious Revolution. Societies evolve from revolutionary events, even if they are peaceful. And here Valle portrays those who want to prevent her, and those who star in her, including anarchist characters . These anarchist characters, who also appear in the unpublished ones that are published now, are the ones who personally sympathize with him more in this last period of his life, ”says Martínez Torrón, author of the edition of The Iberian Ring in Cátedra and Valle-Inclán and its legend. In line with 'El ruedo Iberico' (Comares) . «What is published now is Valle's literary testament. Surely the last thing he wrote, ”adds Martínez Torrón .

The opinion that Alfonsina Valley of Spain had, according to a letter sent to the critic Eduardo Gómez Baquero when he finished the first part of the Iberian arena , seems similar to that of the Elizabethan court: «It is a well full of fetid rats » , according to Manuel Alberca in The sword and the word. Life of Valle-Inclán (Tusquets). Hence, of course, his acidic, caustic and at the same time amused look appears from what he sees, from what he imagines.

«Azorín said that literature is in the adjective. Also in unexpected and broken syntax. Valle is unpredictable until its last page, ”wrote Francisco Umbral , one of the greatest defenders of the Galician writer, in Valle-Inclán. The white booties of piqué (Austral). He added: «Gimferrer argues that Valle, cultivating acceleration, self-parody and excess comes to the founder of modernity. All these are avant-garde features. Valle never acts as a professional avant-garde or payroll, but he is more than anyone else, with the repeated ramonian exception [Ramón Gómez de la Serna] ».

The book that is now published ends with a vertiginous flow of enumerations, so typical of Valle:

«-Ole my child!

Jerez Casino! Compass of tasters! Almadraba of young gentlemen! Senate of Tresillistas! Valentines Lie! Tahú cat! Tinelo umbrella. Vatican of jokes! Insula of camelistas and pelmas. Casino de Jerez, hanging on flags, happy with tears, hoarse with cheers, raises the heart and the flat!

-Live Migué!

- Long live the voice of the castizos!

-Vivaaa ...! ».

According to the criteria of The Trust Project

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