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We cannot hope to do more than give here some of the most important of Adolfo Bonilla's publications:

Concepto y Teoría del Derecho (Estudio de metafísica jurídica). 1897
Estudios Jurídicos. 1898-1901

La Hostería de Cantillana (Novela del Tiempo de Felipe IV). 1902

El Diablo Cojuelo, por Luis Vélez de Guevara. Reproducción de la Edición Príncipe de Madrid, 1641. 1910

Luis Vives y La Filosofía del Renacimiento (obra premiada en público certamen por la Real Academia de Ciencias Morales y Políticas, con premio ordinario y recompensa extraordinaria). 1903

Anales de la Literatura Española. 1904

Don Quijote y el Pensamiento Español. 1905
Archivo de Historia de la Filosofía. 1905-1907

Biblioteca Jurídica Española anterior al Siglo XIX (en colaboración). Tomo I:
Fuero de Usagre (siglo XIII). 1907

Libros de Caballerías (Nueva Biblioteca de Autores Españoles). 1907 ff.
Erasmo en España (Episodio de la Historia del Renacimiento). 1907
Historia de la Filosofía Española. 1908 ff.

Epistolario inédito de Ayala. 1912

El Código de Hammurabi y otros Estudios de Historia y Filosofía Jurídicas. 1909

Colección de Filósofos Españoles y Extranjeros. 1910 ff.

Códigos de Comercio Españoles y Extranjeros y Leyes Modificativas y Complementarias de los Mismos, comentados, concordados y anotados, ó Estudios fundamentales de Derecho Mercantil Universal. (En colaboración.) 6 vols. 1909 ff.

Fernando de Córdoba (1425-1486?) y los origenes del Renacimiento filosófico en España. 1911

La Tía fingida. 1911

Gestas de Rodrigo el Campeador. 1911

Cinco Obras dramáticas anteriores á Lope de Vega. 1912

Marcelino Menéndez y Pelayo (1856-1912). 1914

Obras completas de Miguel de Cervantes Saavedra. (En colaboración.) 1914 ff. Clásicos de la Literatura Española. 12 vols. 1915 ff.

Cervantes y su Obra. 1916

De Crítica Cervantina. 1917

Las Bacantes, ó del origen del teatro. 1921

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De Madrid viene a sorprendernos dolorosamente una tristísima noticia: la del fallecimiento, en plena juventud y en pleno vigor intelectual, del que fué nuestro amigo y compañero, don Felipe Morales de Setién.

Don Felipe Morales de Setién, Licenciado en Filosofía y Letras de la d. Universidad de Madrid, Professor del Centro de Estudios Históricos y Archivero Bibliotecario del Archivo Municipal de Madrid, era una personalidad pbien conocida entre los profesores y maestros de español de los Estados Unidos. Al llegar a este país, procedente de España, en 1917, ejerció la enseñanza entre nosotros, en Stanford University primero, y en la University of Southern California después, hasta el otoño de 1922, época en que regresó a su país natal. Por su cultura, inteligencia y caballerosidad, dejó Morales de Setién gratísima y perdurable memoria entre sus compañeros y alumnos. Y cuando acariciábamos todavía la esperanza de verle de nuevo en América, recibimos la noticia de su muerte.

HISPANIA, que le contó entre sus colaboradores, se asocia al dolor de los familiares y amigos de quien fué en vida un hombre de gran cultura, un maestro excelente y un caballero sin tacha.




Spain: A Short History of Its Politics, Literature, and Art from Earliest Times to the Present, by Henry Dwight Sedgwick. With a Preface by J. D. M. Ford, Ph.D. With illustrations. Boston: Little, Brown, and Company, 1925. xix + 400 pages.

Until quite recently there has been no history of Spanish literature written in English which could adequately orient the beginner without at the same time overwhelming him with a mass of detailed information. The readable little book by Butler Clarke has become antiquated, Ticknor is too extensive, Fitzmaurice-Kelley too erudite, and Ford too much concerned with tracing the development of the different genres to give a comprehensive view of the whole field. Now, within a comparatively short time, two books have appeared which are intended to serve just this purpose. They are Professor Northup's An Introduction to Spanish Literature, which was reviewed in HISPANIA in December, 1925, and Mr. Sedgwick's Spain.

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This latter work is not a history of literature alone. It deals also with politics, painting, architecture, and sculpture. In fact, it attempts to present in bold outline a grand panorama of human effort on the Iberian peninsula. But the major portion of its 400 pages is concerned with literature, in which field, according to the author's introduction, "it is meant to be a guidebook for beginners."

In reality, it is a guidebook only in the sense that The Innocents Abroad is one. Its primary purpose is not to instruct, but to entertain. It is not the result of long, delving research. Mr. Sedgwick repeatedly states that he is himself a "beginner" who has "dipped" with some frequency into the works of Spanish literature and into the pages of its historians and is reporting his discoveries and his personal reactions for the benefit of the "unscholarly reader." These reactions are fresh and original; sometimes they are provocative and stimulating, sometimes merely provincial. They are, however, always presented with an ease, a grace, and a deft humor that are too often lacking on more scholarly pages.

The chief fault of Mr. Sedgwick's method is that it sometimes causes him to distort the picture of Spanish literature as a whole. It leads him to pass by many books which "critics seem to agree are the best" and to devote undue attention to minor works which have happened to strike his eye or his fancy. Thus, he gives over two pages to Villena's Arte Cisoria and mentions such a gem as Lazarillo de Tormes by title only. He comments upon the less known plays of Juan Ruiz de Alarcón but apparently has neglected to read Las paredes oyen or La verdad sospechosa. He knows Blasco Ibañez's Los Cuatro Jinetes del Apocalipsis, but not La Barraca.

The value of Mr. Sedgwick's reactions is somewhat modified by the fact that he derives his mental pigments from "the chilly state of mind called New England." He is quite out of sympathy with the realistic tone prevailing in Spanish literature from El Libro de Buen Amor and La Celestina to the very modern works of Ramón del Valle-Inclán. He is capable of comparing the Cid with Marmion. He is, indeed, in all things quite convinced of the

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superiority of the national group to which he happens to belong, and he is frankly satisfied with its standards and prejudices.

When Mr. Sedgwick wishes to quote

Vith a relies as a rule upon non-Spanish sources.

judgments other than his own he One wonders whether there may

Brom be any connection between this fact and such inaccuracies of language as Gañar (!) amigos, p. 230, Los (!) Dos de Mayo, pp. 299 and 308, and Calle d'Alcalá (!), p. 317. The Spanish authority whom Mr. Sedgwick most frequently cites is Cejador y Frauca.


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Spain will not fail to give pleasure to the "ignorant and the indolent," to the "passengers in steamer chairs" and to the "freshmen or sixth formers" for whom the author claims to have written it. It will be instructive as well as pleasant reading for them. But it is to be feared that when they have turned the last delightful page they will be left with the impression that Spain has produced only three works of literature-Don Quijote, La vida es sueño, and Jorge Manrique's Coplas-worth their perusal. Mr. Sedgwick's book opens the windows and lets in a wealth of fresh air and genial sunshine. Teachers will make no mistake in sending students to it for a new point of view. But if they wish to imbue them with a substantial knowledge of Spanish literature and a sympathetic understanding of its genius they will not use it as their sole text.


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El Hombre Nuevo, novela de Ricardo León, de la Real Academia Española, Madrid, 1925. 435 pages.

Ricardo León is known to readers of the Spanish novel of today chiefly because of his harmonious style, which he has hitherto carefully modeled upon classic prose. In this his latest book he seems to have gained in simplicity and directness of phrase, without sacrificing his typical qualities of loftiness of thought and emotion. Will he ever make any concessions to roughness or to baldness such as we find in the modernists? It is not likely. Sr. León is so great a devotee of el espíritu castizo in both speech and ideas that he will ever maintain the beauty of Spain's older traditions in religion and culture. This shines through El Hombre Nuevo in spite of the very modern theme of the story which, without centering about a single character, depicts our dizzying modern world. In this the active, tireless, restless man (don Juan de Monterrey) is the prominent type; this protagonist is endowed with a fine body, brains, a practical sense, and an overwhelming desire for adventure. We find in him, therefore, everything from an organizer to an aviator, but he attains happiness nowhere, if that is synonymous with contentment. Nor do the other characters of the novel. A noble old scientist and skilled surgeon, Dr. Valdés, has an only son who turns out to be a melancholy dreamer with a leaning toward metaphysics which he has inherited apparently from a grandfather; this is precisely a subject which the famous surgeon abominates. A grandson who is the hope of the family is killed in action. The chief feminine character,


Loreto Cruz, a noted woman doctor in the sanitorium of Dr. Valdés, has all the qualifications for professional success, infinite love for children above all else; but nature has endowed her with none of those qualities of feminine charm (beyond a healthy and beautiful body) which are supposed to captivate and hold men. She thus leads a lonesome, wholly unfulfilled life, with her dream of motherhood destined to remain unrealized. In a similar manner all the characters of the novel are frustrated in some way or another, and throughout the lofty philosophy of Sr. León, the poignant thought and the beauty of many a page we are led to the conclusion that our modern life is less fitted to bring us spiritual attainment than were the days of old, that few find a complete outlet for their peculiar gifts and energies, that peace of heart is a very special gift, nullified either by our own inhibitions, weaknesses, or what not, or destroyed by the growing complexity of our modern world. Le bonheur, Amiel said, n'est pas chose aisée; il est difficile de le trouver en nous et impossible de le trouver ailleurs. That was true for a simple civilization; it is incontrovertible today.

American readers may be interested to find in Sr. León's book a slight similarity to Sinclair Lewis's Arrowsmith; I refer to the theme of the incompatibility between the scientific spirit, the devotion to an unworldly cause, and the demands of our environment which do not favor solitude and meditation.



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