V. NOTES ON HERNANl

Ten years after the first night performance, Théophile Gautier, while traveling in Spain, happened to pass through a little village named Hernani^ and at once he came to the conclusion that it had furnished Hugo with the title for his play. As a boy Hugo had lived in Spain, and it was Gautier 's idea that this name had then pleased him and had never been forgotten. Later events proved this to be true, for it was discovered that Hugo himself had passed through the village, as Gautier had done.

With a Spanish name, there is a Spanish plot, as the scene is laid in Spain in 1519, at the time when Charles V. is ascending the throne of the Empire. The incidents of the play have no basis in fact, although Hugo's skillful use of local color, and his constant allusion to well-established historical events, and to well-known Spanish families, lend an air of reality which is often deceptive. Apart from the fact that the experiences of his youth had made a vivid impression upon his mind, he was influenced largely by his intimate acquaintance with the national ballads of Spain, and by Gorneille's Le Cidy in his choice of a subject.

The character of the hero of the play may have been suggested in a general way by the story of a pretender who appeared in 1522 during the revolt which took place

in Valencia, claiming to be the son of John, who was the oldest son of Ferdinand and Isabella, but Hugo is so indefinite in regard to Hernani^ in spite of the disclosure of his identity in the fourth act, that it is difficult to attempt a close comparison.

As Hugo's first acted play, it is interesting to observe how Hernani illustrates the various reforms which hewas advocating so strenuously. In content it presents the widened horizon and the historical background which was so fruitful a source of inspiration to all the romantic writers, while as to form, the remodelled Alexandrine, with its enjambements, or overflow verses, is often in evidence. The unity of time is disregarded, and it is practically impossible to determine the exact duration of the action, while the unity of place is respected only within the limits of each act, for the five acts represent five different scenes. As to unity of action, there may be some difference of opinion. The main question evidently is, "Will Hernani gain the hand of Dofla Sol?" and in its solution Hernani's ultimate fate is certainly concerned, considering the many forces which are opposing him, but this main idea is so covered by a mafis of detail, and sub-plot, that at times it all but disappears. The suit of the King and that of Don Ruy Gomez are but sub-plots, and they are introduced for two different reasons at least. First, the author, with his natural love for antithetical statement, desires to mark the contrasts between youth and old age, in Hernani, and Gomez, while Carlos and Hernani, brought face to face, show the difference between king and bandit, with the advantage not always on the side of royalty. Second, in the

NOTES ON HEBNANI 41

development of the character of Gomez, Hugo has a most excellent opportunity to show the haughty pride of the Spanish nobility, and the semi-feudal conditions which were still existing in Spain at this time, while in the king he finds a medium for the expression of political ideas, and so accords him an undue prominence.

While the emperor's pardon at the end of the fourth act might seem, at first sight, to form the logical ending of the play, it should be borne in mind that Her nani's fate depends upon another person, and that the spirit of Castillan Honor ^ which formed the original sub-title of the play, is first cousin to the spirit of revenge. Although it would undoubtedly have been more cheerful to allow Hernani to wed, while Euy Gomez was nursing his despair in silence without thought of revenge, the stern character of the old man and Hernani's solemn oath preclude such a possibility.

The leading action of the play is further impeded by the introduction of the conspiracy scene in the fourth act, which is dramatic and impressive even if practically irrelevant, but the whole combination, plots and subplots, local coloring and philosophical reflection, has an irresistible charm which for the moment casts its spell. The vigor of youth is there, and coming as this play did, when dramatic poetry was in a most stagnant condition as the result of a long period of servile imitation, it is easy to see why it aroused so much enthusiasm. Even now, the defects which become apparent with a careful study of the lines, fade away for the moment when Hernani is seen upon the stage, and no play in the classic repertoire is a greater favorite with the public.