The New York herald., 1921-09-04
SHELLEY. cALDERoN AND OTHER
ESSAYS. BY Salvador Madariaga.
Oxford University Press.

| OAloFu university TFeSs.
l..C KELLEY AND?" one asks
ones self rather doubtfully
on opening this volume. Shel-
ley and Keats, yes. But this sky
inhabitant-this tenuous cloud dwelIer
Viewed in the light of spiritual kim
ship with the more robust and some
what dogmatic Spanish dramatist
is decided pull on the Imagination
OF Calderon the author says He be-
lieves, knows, asserts. No unanswered
doubt ever troubles his mind no un-
satisfied desire ever tortures his heart. .
| What leagues removed from Shelley's
way of childheart wonder--from his
anguished. tortured questioning of the
universe
Viewed more closely, however, in the
light intended, we find that 1t is a
grouping on the basis of Calderon's
influence upon Shelley and the attrac-
tion which a temperament and ont
look so entirely different from his own
naturally had for him
With Shelley and Calderon," the
other essays, English Sidelights on
Spanish Literature" Spanish Popular
Poetry" and "The Case of Words
WORTH" form a group made as small
contribution TO the movement notice.
able at present in this country in favor
of a better knowledge of Spain and the
Spanish speaking peoples, the outward
manifestation OF which is the growing
popularity of the Spanish language"
The author contends that poetry
lis a subject which lends itself better
than any other to such purpose"
and proceeds to explain his reasons.
While it is like science and religion, a
manifestation of the spirit common to
all races. II has over science the ad-
vantage that 1t Is more unified ex-
preston of being and over religion
that it includes within it's sphere this
as well as the next world
The next argument, that ut Is
one of the human activities best tuned
to the Spanish and to the English
character seems evident enough
Next. that poetry is an entirely un-
profitable occupation" one heartily
agrees. Then, ."it~ takes but little
space True enough. If out OF the
entire body of poets work a single
line lives, says William Butler Yeats,
the poet may be held fortunate. 1T
can be quietly discussed without at
tracing an undue amount of atten-
| ton Does the author not know that
the discussion Of poetry, oftener than
ment? Has he ever been present at
the lively, not to say good-naturedly
becose. meetings OF the American
Poetry Society and listened to their
delightful combat? Hardly. TT takes
but little time" The writer can never
have fallen under the spell of the god
dess to whom time is but vapor or as
the wind blowing where it listeth.
What, one wonders. can be "the
spiritual connection between Calde-
ron and Shelley-between the "de-
finer of faith living in the morosa
depth of seventeenth century Spain
and the apostle of liberty living in
the brilliant and agitated shallowness
Of nineteenth century Europe?" The
author points out that it lies in a
of atmosphere. He insists
that there is a certain internal stiff
ness hidden under a fluid external
rhythm in Shelley's poetry which cor
responds with the outward dogmatism
Of the Spanish poet. His incapaci.y
for blending comedy with tragedy is
another point of resemblance with
Calderon. Again Shelley. II is
was as dogmatic In his revo-
Iutionary creed as was Calderon in
his religious dogma. The muse Of each
poet spoke in an unfaltering voice.
With such kinship. 1t Is natural taat
the form of Shelley's verse should
have bee ninfuenced as is pointed out.
The first four stanzas OF "Ode to re
West Wind" the fourth containing
the immortal line, "Oh. lift me MS
leaf. wave, a cloud" are. IL IS
claimed. typically Calderonian in form.
Matthew Arnord's criticism of Shelley.
in which he declared him "a beautiful
and Intellectual angel. beating in the
void his luminous wings in vain" is
spiritedly refuted. The point is well