Galdos' Conception of Beauty, Truth, and Reality in Art

Abstract

Most of what Gald6s had to say about literary art is to be found in prologues, articles, and public speeches. Frequently the material is fragmentary and at times Gald6s is confused and vague; nonetheless, there does exist a certain consistency in his conception of literary art, and an examination of his comments reveals, if not an art theory proper, at least the fundamental elements of such a theory. We can clearly discern three central concepts-beauty, reality, and Although Gald6s does not define these terms, it is possible for us to determine their meaning with considerable accuracy. In order to do this it is necessary, first, to demonstrate the relationship and interdependence of these three primary concepts; next, to show how their relationship gives rise to subsequent art concepts, and finally, to indicate how these subsequent concepts shed light upon the meaning of beauty, reality, and truth as they are conceived by Gald6s. The relationship of beauty and reality is expressed in the statement hay cosa alguna mas hermosa que la realidad.'' This statement suggests that the artist may profit by utilizing reality in the creation of art, for beauty is one of the desired results of artistic effort (an attitude found throughout Gald6s' writings). We discover elsewhere that reality is intimately linked, not only with beauty, but also with Gald6s explains, siendo real, [el escritor] no dejara de ser poeta. Descendiendo de la serena regi6n del idealismo, no se vera obligado a ser grosero. Su inspiraci6n, lejos de padecer extravio, adquirira robustez: porque alimentandose las puras emanaciones de la verdad, se completara ella, esa verdad que los poetas temen pero que es indispensable mitad de la poesia.2 Reality is, in fact, the pure emanations of truth. Truth is perceived in reality and is expressed through artistic reproduction of materials taken from reality by the artist. The essential and necessary presence of truth i art is expressed in the phrase, con esa verdad ... que es indispensable mitad d la poesia. The assumption that art may well profit from the portrayal of reality leads Gald6s to the conclusion that art and ociety are very closely linked. On the basis of this relationship he embraced the principle commonly known as relaivity of taste (corresponding to historical period, not to the individual). Society, he points out, is a dynamic entity which is continually changing and modifying itself; therefore, if art draws upon social reality, art, too, must be dynamic and subject to change in form and intent. He explains, Y asi, en brevisimo tiempo, saltamos del idealismo nebuloso a los extremos de la naturalidad: hoy amamos el detalle menudo, mafiana las lineas amplias y vigorosas; tan pronto vemos fuente de belleza en la sequedad filosofica mal aprendida, como en las ardientes creencias heredadas.3 Art, in effect, should reflect accurately the society in which it is produced. The artist should collect his materials from living people, real places, and contemporary history. Characteristic language, dress, and customs should be used nd personifications of abstract ideas avoided. Although Gald6s encourages the artist to be faithful to reality, he points out that the treatment or handling of the materials cannot be completely objective: Por mas que se diga, el artista podra estar mas o menos oculto, pero no desaparece nunca, ni acaban de esconderle