Ramon Maria del Valle-Inclan

Ramón María Valle Peña (Villanueva de Arosa, Pontevedra, October 28, 1866-Santiago de Compostela, La Coruña, January 5, 1936), also known as Ramón del Valle -Inclán or Ramón María del Valle-Inclán, was a Spanish playwright, poet and novelist who was part of the literary current of modernism. He is considered one of the key authors of Spanish literature of the XX century.

Spanish novelist, poet and playwright, as well as a short story writer, essayist and journalist. He excelled in all the genres that he cultivated and was an early modernist who bitterly satirized the Spanish society of his time. He studied Law in Santiago de Compostela, but interrupted his studies to travel to Mexico, where he worked as a journalist at El Correo Español and El Universal . Upon his return to Madrid he led a literary life, adopting an image that seems to embody some of his characters. An actor himself, he professed an authentic cult of literature, for which he sacrificed everything, leading a bohemian life of which many anecdotes ran. He lost an arm during a fight. In 1916 he visited the French front in World War I, and in 1922 he again traveled to Mexico.

Regarding his public and literary name, Ramón del Valle-Inclán is the one that appears in most of the publications of his works, as well as in the appointments and dismissals of the institutional administrative positions he held in his life. The name "Ramón José Simón Valle Peña" only appears in the documents of the baptismal certificate and the marriage certificate. Like Ramón del Valle de la Peña, he only signed the first collaborations that he made in his time as a university student in Santiago de Compostela for Café con gotas. Illustrated satirical weekly . Under the name of Ramón María del Valle-Inclán, he is found in some editions of certain works from his modernist period, as well as in a text also from his modernist period, which responds to a particular "autobiography". Not only himself sometimes takes this name during this literary period, but also Rubén Darío likewise declaims him in the "Laudatory Ballad sent to the Author by the High Poet Rubén" (1912). On the other hand, both in the holographic signature that appears on all its handwritten texts, as in the letterhead of the stamped paper that it uses, only indicates Valle-Inclán, to dry.

Biography

The biography of Valle-Inclán has awakened the interest of various biographers, as well as researchers or literary critics, as well as writers and writers themselves, such as Ramón Gómez de la Serna, Melchor Fernández Almagro, Francisco Umbral or Manuel Alberca.

Birth

Valle-Inclán was born in an old house called "El Cantillo", located on Calle de San Mauro, in the Pontevedra town of Villanueva de Arosa, on the edge of the estuary and opposite the island of Arosa, a fishing village and peasants. He was the second son of a family with Carlist roots, the sailor and writer (journalist and poet) by taste Ramón del Valle Bermúdez de Castro (1823-1890, friend of Manuel Murguía - husband of Rosalía de Castro - and Andrés Muruáis) and of Dolores de la Peña and Montenegro, both of noble descent, owners of ancestral homes and old privileges, but come to less. Ramón was baptized three days after his birth in the church of San Cibrán de Cálago with three names: Ramón José Simón with the surnames Valle and Peña . He took his artistic name from the surname of one of his paternal ancestors, Francisco del Valle-Inclán (1736-1804). The name Ramón was given in honor of his father, that of José for being the patron of the godmother and grandmother mother of the baptized and Simon for being the saint of the day he was born. The baptism was not celebrated because the delivery was complex and his mother was very weak. Two populations dispute the birth of him, Villanueva de Arosa and Puebla del Caramiñal. He affirmed that he was born on a ship that made the crossing between the two of them through the estuary. Birth. This stay of her mother confused some biographers.

Training and literary beginnings

The family fortune inherited by the father gradually squandered, forcing the family to lead a more modest life. It is very possible that Valle-Inclán and his brothers were raised as señoritos de pueblo. bichuquino and name Carlos Pérez Noal) with whom he studied Latin grammar. At the age of nine, he entered the Secondary Education Institute first in Santiago and later in an Institute in Pontevedra until 1885. During this period the baccalaureate was completed without the slightest interest on his part. At that time he exercised a great Jesús Muruáis influenced him, being decisive in his subsequent literary training. He read Cervantes, Quevedo and the Viscount of Chateaubriand, as well as military works and Galician history. On April 29, 1885 he finished his high school studies, he was nineteen years old. The whole family had moved a few years before to the capital of the province where his father had managed to be appointed Secretary of the Civil Government.

In September 1885, without convictions and following the direct imposition of his father, he began to study Law at the University of Santiago de Compostela with equally irregular results. Valle-Inclán does not have a preference for any race, all of them being the same. From the first university moments he requested to examine himself for some subjects. With little money available, he gave private Latin classes and frequented cafes more than classrooms, and he was also a regular at the university library. He could be seen at the Ateneo Compostelano and frequenting literary spaces. In those years he became friends with those who would later become relevant figures in the world of Galician culture and politics. He also became friends with the Florentine Attilio Pontanari from whom he would learn fencing and notions of Italian. In 1888 he enrolled in Figure Drawing and Ornament at the School of Arts and Crafts. Valle-Inclán soon became one of the most popular students at the University.

At this time he published his first literary works in the Santiago de Compostela magazine Café con gotas, and in 1889 his short story "At midnight", in the Barcelona-based La Ilustración Iberian; actively participating, along with his brother Carlos de él, in the journalistic life of the city. José Zorrilla's visit to Santiago de Compostela to give a lecture at the university attended by Valle-Inclán, left a deep impression on him, and he was seduced by the figure of the established writer. It is in these years that his literary vocation began to take root in him.

On October 14, 1890, with the death of his father in Villanueva, and at the age of twenty-four he was released from his father's commitment, he abandoned the Law course for which he felt no interest, and returned to Pontevedra. He has been at the Compostela university for five years and has not passed the third year of his Law degree. He thinks about going to Madrid and starting a new life in that city. His father's inheritance has not been very large and he does not give him enough to live on.

First stay in Madrid

After a hypothetical stay in Italy that has yet to be documented, he traveled to Madrid at the end of 1890. The political situation in Spain is bad and in public places in Madrid people shout, conflicting ideas are exposed and solutions are requested. The first stay in Madrid represents two years in the life of Valle-Inclán. In Madrid he frequents the abundant cafes in Puerta del Sol, a regular gathering place, in which he participates expressively and makes himself known (it's funny with his accent and his particular lisp). He is irreducible in his opinions. In these first visits to the cafes, he shapes his personality, his world, which would end up making him famous in Madrid's societies and gatherings.

He collaborates in newspapers such as El Globo, directed by his friend and important mentor Alfredo Vicenti, who publishes some of his articles and short stories, and La Ilustración Ibérica, and dedicates much of his free time to attend representations of the genre chico. He is not yet publicly considered a writer, the journalistic collaborations he does are to earn some money, considering little interest in the journalistic profession. Attendance at clubs and gatherings of the time begins to establish itself, he becomes famous in them for his ingenuity. Despite his efforts, he leaves the capital without achieving a stable livelihood, the decision seems to be made immediately.

First Transatlantic Voyage: Mexico

In 1892, after a brief stay in Pontevedra, Valle-Inclán embarked on his first trip to America on March 12, specifically to Mexico. The Galician newspapers announce a trip motivated by being chosen for the direction of a newspaper. days later he was already staying in the capital of Mexico. During his Mexican stay he wrote for the newspapers: El Correo Español, El Universal (his series of articles called Galician letters) and El Independent from Veracruz. His work goes through being a mere translator into Spanish of Italian and French texts, despite the fact that he has slight knowledge of both languages. He spends a period of less than a year on Mexican soil, divided between the cities of Veracruz and Mexico City. During that time Porfirio Díaz was president of Mexico, his power imposes severe censorship on him. Life from now on in American lands will be an adventure for Valle-Inclán, the Mexican political situation excites him and this leads him to star in certain incidents.

It seems that his stay on American soil was not without problems, as there is information that he participated in a threatened duel with the editor of El Tiempo, and in a notorious fight in Veracruz. From this first trip to Mexico, Ramón obtained his first experiences as a writer. During this time he meets Sóstenes Rocha, who reveals the secrets of Mexican politics to him. Sóstenes is a character who sums up the Mexican situation at the time. From this first stay in Mexico, Valle-Inclán foresees his destiny as a writer, he will begin the stories that will later be grouped into Feminine . He finally leaves Mexico, exhausting his stay of just under a year. From Mexican lands he went to Cuba where he spent several weeks, stayed for a few days in the now demolished Santa Gertrudis sugar mill, in the province of Matanzas, staying at the home of some friends: the González de Mendoza family, owners at that time. of said mill. In the spring of 1893 he was back in Spain, where he stayed in Pontevedra. His physical appearance is transformed, he has a beard and long hair. Valle would return to Mexican lands on a second trip in 1921.

Back to Spain

Back to Spain, in 1893, he settled in Pontevedra, a place chosen by him in order to alleviate his nostalgia. It is in this place where he became friends with Jesús Muruáis, bibliographer and Latin teacher at the city institute, in whose library he was able to read the most important European authors of the time (Muruais Library: French and English works of literature and art of the 19th century). Valle-Inclán is a young writer recently arrived from America, serving an image of a dandy, he frequently appears at the Café Moderno in Pontevedra and exhibits his peculiar dialectic that would later make him famous. It is during this time when the Italian poet Gabriele D'Annunzio exerts a strong influence on him and from him he takes the formula of European decadence. During this time in Pontevedra, Valle-Inclán also met the French poet René Ghil. During his stay in Pontevedra, which would last until 1895 (about three years), he published his first book, the collection of love stories in 1894 entitled Femeninas (Six love stories ). This first work appears with the support of his father's friend Manuel Murguía. Valle-Inclán already feels like a writer, he already knows from this moment the future dedication of his life.

It is at this time when Valle-Inclán began to cultivate his particular clothing: cape (at first a Mexican poncho), scarf, hat, white leggings, and above all, his long and characteristic beards, the "goatee beards". » that Rubén Darío talks about in a poem dedicated to the author. He collaborates from Pontevedra in the magazine Blanco y Negro . It is at this stage in Pontevedra that he already appears under his name Ramón de Valle Inclán, that is how he names himself on the cover of his first book. Concluded this stage, he has little left to do in the provinces, he heads to Madrid in what will be his second trip to the capital.

Second stage in Madrid: gatherings

Caricatured in Madrid (1897) by Cilla

In 1895 he returned to settle in Madrid for the second time, this time as a State official, in the Ministry of Public Instruction and Fine Arts, earning 2000 pesetas a year, a year before having another duel with saber, in which he was injured by his opponent, the writer Julio López del Castillo. According to Joaquín María del Valle-Inclán Alsina, this "mummy" lasted until at least 1899 and he did not even bother to publish it, since he had no financial need to do so. Soon he attended various gatherings in Madrid leading the bohemian life of the time, in which he met many prominent figures of the time, such as Gómez Carrillo, Pío and Ricardo Baroja, Azorín, Jacinto Benavente, González Blanco, Villaespesa, Mariano Miguel de Val, Alejandro Sawa, among others. Go to the innumerable Madrid cafes of the time: the one in Fornos, the Suizo, the Café del Príncipe, the Café de Madrid, the Café de El Gato Negro, the terrace of Café Gijón, Lhardy in Carrera de San Jerónimo, and the Café Nuevo de la Montaña, at Puerta del Sol. With its own social gathering in the “La Cacharrería room” of the Ateneo de Madrid, in the Granja El Henar café. In them, with his lisping verb, he becomes famous for his ability to monopolize conversations, for destroying reputations, and for his lack of patience when it comes to enduring interruptions from listeners and interlocutors.

His outfit becomes peculiar, and the beard lengthens in what will be his usual aesthetic. She lives with little money bordering on penury and the solitary coffee of him in the gathering rooms. In this second stage in Madrid, she dedicates herself to the bohemian life in body and soul, he lives the time: he enjoys it and suffers it. He lives the modernist literary bohemia with economic hardships that even force him to go hungry. He lives in a courtyard at 4 Calvo Asensio street, in the Argüelles neighborhood, then a suburb of Madrid, in a rented attic with two dark little rooms with a chair, a table and a bed as the only furniture.

From this early period in Madrid, an anecdote is narrated about Valle-Inclán in which, walking along Madrid's Carrera de San Jerónimo, he meets Miguel de Unamuno and Pío Baroja, the three of them hostile to each other in terms of theories literary, not recognizing any merit between them. Despite introducing Pío Baroja to Valle-Inclán and Miguel de Unamuno, not even eighty steps go by without them ending up insulting each other, yelling at each other and finally separating before finishing the walk down the street. The three were representatives of the generation of '98, the three left their mark of their independence. In 1897 his second book, Epitalamio (Love Stories) , was published without much success among readers; the book is selling poorly. During these years, he participated as an actor in plays such as La comedia de las fieras , by Jacinto Benavente, or Los reyes en el destierro , adaptation by Alejandro Sawa of a novel by Alphonse Daudet. During the Spanish-American War, sentimental affinities made Valle-Inclán take sides with Cuban aspirations for independence from Spain.

The loss of the arm and the meeting of Rubén Darío

On July 24, 1899, in a discussion at the Café Nuevo de la Montaña, located on the ground floor of the Hotel París, located at number 2 of Puerta del Sol, the journalist Manuel Bueno Bengoechea caused a wound in a forearm that ends up gangrene and its amputation is necessary. Valle-Inclán and his friend Manuel Bueno were discussing the legality of a duel that was going to be held due to the minority of one of the duelists. They came to attack each other, Valle-Inclán with a glass bottle and Manuel Bueno with a cane, with such bad luck in the events for Valle-Inclán that a twin was nailed to his left wrist, resulting in a comminuted fracture of the bones of his left forearm. The wound became gangrenous and on August 12, 1899, the doctor and surgeon Manuel Barragán y Bonet amputated said arm. Ramón Gómez de la Serna, who was not a witness to the scene, would later turn the episode into picturesque literary material. In a similar way, it would include the Tomás Orts Ramos event in a more journalistic version. This amputation put an end to his acting career.

According to what they say, Valle-Inclán's integrity was such that during Dr. Barragán's operation, he was awake and fainted only once; It is known that almost at the end of the operation he suggests to the assistants that they wish to smoke, and during the last moments he smokes a cigar, making large volutes of smoke rise to the ceiling. Valle-Inclan was then thirty-three years old. From now on the image of manco becomes mythical. Some friends decide to organize a festival and raise funds to buy him a prosthetic arm, premiering at the Teatro Lara, on December 19 of that year, 1899, his play Ashes: Drama in three acts, directed by himself. Valle-Inclan. The next time he meets Manuel Bueno he shakes his hand. After the incident, he returns to shouting at the cafes, while his one-armedness makes him forget about his claims to be a theater actor.

At the same time, he collaborated in various literary magazines, such as La Vida Literaria, directed by Benavente, Revista Nueva, directed by Luis Ruiz Contreras, Germinal directed by Joaquín Dicenta or New Life directed by Eusebio Blasco. The year of his disability is the year in which he began his friendship with Rubén Darío, who had recently arrived in Madrid and whom he met when he attended the literary gathering at the Café de Madrid, which he directed together with Jacinto Benavente.

Modernist writer and commentator

In 1900, Valle-Inclán participated in a story contest sponsored by the newspaper El Liberal. Although he did not manage to win the prize (the winner was the journalist José Nogales), his story Satan was highly praised by Juan Valera, one of the members of the jury, in a press article. It seems that the jury did not want to risk rewarding such an innovative story. In the following years, he continued to collaborate in various publications, such as La Ilustración Artística , La Ilustración Española y Americana or La España Moderna . In Spanish Soul he published, in December 1903, a famous “autobiography”. In Los Lunes del Imparcial he begins to publish Autumn Sonata , in which his character, the Marquis of Bradomín, makes his first appearance. He began to be a regular at the Nuevo Café de Levante, where almost the entire intellectual life of Madrid would be concentrated for a decade. He translates Eça de Queirós.

The Sonatas: Memorias del Marqués de Bradomín, which the author announces as fragments of the autobiographical «Friendly Memories» of his «noble uncle» the Marqués de Bradomín (a character inspired by the Carlist general Carlos Calderón), constitute the most prominent example of modernist prose in Spanish literature. The first of them, Autumn Sonata (1902), was written during the three months of convalescence from an involuntary shot in the foot with a pistol belonging to him. This was followed by Summer Sonata (1903), Spring Sonata (1904) and Winter Sonata (1905). In these narrations, being independent of each other, he plays a matching game with the titles of the annual seasonal cycle and the successive stages of the protagonist's life cycle, presenting Xavier, the Marquis of Bradomín, in four different environments and places, narrating four stories. love affairs that correspond, following the plot logic of the tetralogy —not the order of writing and publication—, to youth in Italy —spring—, to early maturity in Mexico —summer—, to full maturity in Galicia —autumn—, and to old age in Navarre —winter—. The four sonatas are beginning to sell well and for some of them there are translations in other languages such as French. In the same year of 1905, Valle published a collection of short stories entitled Jardín novelesco; Stories of souls in pain, goblins and thieves. The following year he premiered at the Teatro de la Princesa a theatrical adaptation based on the protagonist of the Sonatas , The Marquis of Bradomín: Romantic Colloquiums. She is part of the cast of the work Josefa María Ángela Blanco Tejerina, to whom months before she has dedicated the Winter Sonata in this way: «... For some sad and velvety eyes...», Valle's future wife, with whom he will later marry, although, most likely, they could have started cohabiting earlier.

At this time, some members of the generation of '98 worked in a coordinated manner in various creative activities, and each one of its components met and exchanged ideas in their meetings in different cafes, such as the Nuevo Café de Levante; and café-concerts, such as the popular music-hall Central Kursaal, located in the Plaza del Carmen. A young cuppletista named Anita Delgado performed there, with whom the Maharaja of Kapurthala fell in love, an event that was commented on in great detail in cafes and newspapers and weeklies of the time, Valle-Inclán himself being one of the intermediaries of a story that ended in a wedding.

In 1907 he published several books, such as Águilas de blasón (premiered the same year in Barcelona), Aromas of legend, Verses in praise of a hermit saint and The Marquis of Bradomín. Romantic conversations. In installments, in the newspaper El Mundo , he publishes Romance de Lobos . In 1908 he began publishing his series of novels «The Carlist War»: The Crusaders of the Cause , The Glow of the Bonfire and Gyrfalcons of Yesterday . In 1909 he wrote My sister Antonia, which narrates the revenge of the student Máximo Bretal, in love with Antonia and rejected by his mother. His sympathies for Carlism were not only literary: in 1910 he was counting on his candidacy for deputy with the Jaimista party, but he did not run.

On March 3, 1909, the writer Alejandro Sawa died at his home in Madrid, blind and in painful physical condition. Valle-Inclán, who years later, will give life to his alter ego Max Estrella in the play Luces de bohemia, greatly regrets his loss, and he makes it known in a letter to Rubén Darío, the which has been reproduced profusely since it was released.

Marriage, theatrical tour of Latin America and settlement in Galicia

José Ramón María del Valle-Inclán poses for the Chilean magazine Sucesos (1910).

Valle-Inclán married Josefina Blanco Tejerina on the morning of August 24, 1907 in the Madrid church of San Sebastián. He is forty years old and she is twenty-eight. After the wedding, she leaves the theater profession, with the exception of a tour of Latin America. The first daughter, María de la Concepción (1908), was born immediately, out of a total of six children born over the following fifteen years. Valle-Inclán publishes Perverse Stories; what will be his first work of poetry, Aromas de leyenda. Verses in praise of a hermit saint (1907); and begins with the writing of his series of plays Las farsas.

His wife Josefina Blanco started working as a theater actress in 1910 and the couple traveled on tour with the Francisco García Ortega theater company. Valle-Inclán accompanies his wife as artistic director and has the opportunity to give some lectures on Spanish literature in the countries they visit on tour, Argentina, Chile, Paraguay, Uruguay and Bolivia. In Buenos Aires he talks about his experience with a drug, hashish or "indian hemp":

I confess that I have taken it abundantly, without knowing its consequences, and by medical prescription... My individuality came to break down into two different ones. I began to see in things new conditions: how a disharmony was created and sometimes a chimerical affinity... The most frightening of these hallucinations was the memory of all the dead people, who paraded by my memory as a film tape. And this phenomenon was the one who decided to leave the haschisch.

Back in Spain, after six months of an American tour, he returns to Madrid, where the Carlists offer him lunch, and he sits at the table with Vázquez de Mella, Manuel Bofarull, the Marquis of Cerralbo, etc. Valle-Inclán continues to premiere plays: Voces de gesta, in 1911 (at the Novedades theater in Barcelona), and La marquesa Rosalinda. Sentimental and grotesque farce, in 1912. Incidents are also added to the premieres; his theatrical work entitled El embrujado was rejected by the Teatro Español, directed by the writer Benito Pérez Galdós, and the incident ended in a tumultuous act that included a reading of the play at the Ateneo de Madrid. In the effort to complain about him, he does not stop attending coffee gatherings. With the money obtained from the publication of his complete works by the General Library Society, Valle-Inclán began a trip to Galicia with his family in order to live in his native land together with his children. This stay in Galicia is frequently interrupted by trips to Madrid, where the sculptor Sebastián Miranda gave him his house, where he stayed for long periods to attend to literary affairs, such as rehearsals and the premiere of La marquesa Rosalinda. Sentimental and grotesque farce (January 5, 1912), or the beginning of the publication of his Opera Omnia, by the Rivadeneyra press, which began in 1913 with this play as third volume, or later The Wonderful Lamp. Spiritual Exercises (1916), which he put at the head of his «Opera Omnia» as its first volume. But in 1914 Julio Casares published Profane Criticism , where he denounced many and diverse literary plagiarisms by Valle-Inclán. This one, embarrassed, took a long time to answer, but he did:

If I took a few pages of the Memories of the knight Casanova in me Spring SonataIt was to test the atmosphere of my work. Because if I hadn't gotten this, the interpretation would detonate terribly. Shakespeare put in the mouth of Coriolano speeches that he took from antiquity historians, and the success of tragedy is verified that, far from rejecting such other texts, he demands them... The Spanish intellectuals are identical to that of Gypsies: to live persecuted by the Guardia Civil

Photograph by Ramón María del Valle-Inclán in his passage through Chile (1910).

In 1915, he wrote to the king requesting the rehabilitation of the titles of Marquisate of Valle, Vizcounty of Vieixin and Señorío del Caramiñal. His requests are not met. The years surrounding the publication of the Wonderful Lamp. Spiritual exercises are especially hard for Valle-Inclán. In 1914, his friend Rubén Darío made what would be his final return trip to Nicaragua, where he died in 1916. On the other hand, the news of the incipient European war surrounded him little by little, and the struggle reached the streets of Madrid dividing opinions. Valle-Inclán took part from the beginning on the allied side, heading a "Manifesto of adhesion to the allied nations". This situation means that during World War I, he was invited by the French government to visit the war fronts in the Vosges, Alsace, Flanders and Verdun. Between April 27 and June 28, 1916, Valle-Inclán traveled as a correspondent for the newspaper El Imparcial, also writing letters where he attested and provided descriptions of what he was seeing in those two months. In Paris he related to Spanish authors such as Pedro Salinas, Manuel Ciges Aparicio and Corpus Barga. The result of his visit to the front were the texts published in El Imparcial, Stellar vision of midnight , between October and December 1916, and In the light of day , between January and February 1917.

Mariquiña de Valle-Inclán, portrayed by Juan de Echevarría, ca. 1928.

In 1912 he settled in Cambados with his family, welcomed by Mrs. Lucinda Fernández Soler in the Fefiñáns neighborhood, and one summer in the house on Carreira street, of his friend José González Fraga. The second of his children was born there sons, Joaquín María Baltasar (May 1914, Cambados-September 1914, Cambados), who tragically died at the age of four months, on September 29, due to an accident on Pombal beach, in Fefiñáns. This event made him move to Puebla del Caramiñal in 1916 and he began to exploit the lands of the "pazo priorato de la Merced" that he had rented, with the aim of becoming a landowner in the Salnés region, an activity to which he dedicated for a while without obtaining good results. There the third and fourth of his children, Carlos Luis Baltasar (1917, Puebla del Caramiñal) and María de la Encarnación Beatriz Baltasara & # 39; Mariquiña & # 39; (September 5, 1919, Puebla del Caramiñal). These tasks are compatible with his position in Madrid, for two academic years, in the Chair of Aesthetics of Fine Arts. In 1921, when possession of the pazo slipped out of his hands, he moved to Villa Eugenia, located in the urban center of Puebla del Caramiñal, residing until 1925, where the fifth and sixth and last of his children, Jaime, were born. Baltasar Clemente (January 29, 1922, Puebla del Caramiñal) and Ana María Antonia Baltasara (August 1924, Puebla del Caramiñal). Due to his links with Carlism in 1923 he was knighted in the Order of Proscribed Legitimacy by Jaime de Borbón y Borbón-Parma. In 1925 he returned with his family permanently to Madrid.

The “grocery” and the Iberian arena

In July 1916, the subject of Aesthetics of Fine Arts was created at the Special School of Painting, Sculpture and Engraving with specific characteristics for the performance of said teaching position, for which he was appointed a special professor of the same, and he was confirmed in the position a year later as tenured professor of said subject. In the same year of 1916 he published La lámpara maravillosa. Ejercicios espirituals, a meditation on the literary fact in which he summarizes his ethics and aesthetics, strongly influenced by occult, Gnostic and esoteric, hermetic, alchemical and theosophical knowledge, and from a Pythagorean and Neoplatonic background, of authors such as Mario Roso de Luna and Helena Blavatsky, dedicating it to Joaquín Argamasilla de la Cerda y Bayona.

Retreated by Juan de Echevarría in 1922

In November 1919, he resigned from the teaching position and the chair was amortized. Valle-Inclán's health began to fail and he frequently had to stay in bed. The treatment of old Carlists is habitual. In 1920 he underwent surgery with the consequent stay in a sanatorium. In 1920 it is the first time that Ramón uses the word "gross" in relation to his work: "This modality consists of looking for the comic side in the tragic of life", he would express in 1921. His way of dressing attracts attention: " fantocheril» in the manner of his grotesque, dressed in black and very skinny, with a long beard, denying everything.

In mid-September 1921, he made a new trip to Mexico, at the personal invitation of the president of the republic, Álvaro Obregón and through the mediation of the writer Alfonso Reyes Ochoa, on the occasion of the celebration of the centenary of its independence. His reception was an event with enormous repercussions in which the whole country participated. During his stay in the Aztec capital he settles in the Hotel Regis. This second trip to Mexico was full of cultural activities. On his return he spends two weeks in Havana and another two in New York, arriving in Galicia in the last days of the year. In 1922 he settled again in Madrid, participating frantically again in the gatherings of the capital: at La Granja del Henar, at Café Regina, at Café de El Gato Negro.

In 1920 he collaborated with the Teatro de la Escuela Nueva, directed by his friend Cipriano Rivas Cherif, which would try to premiere the Farsa y licencia de la reina castiza, which is prevented by the police. That same year, Rivas Cherif tried to found the Teatro de los Amigos de Valle-Inclán, a frustrated project whose objective was to stage the European playwrights considered to be the most advanced and whose artistic direction the writer himself had to take charge of. Some years later, in 1926, the two friends actively participated in the sessions of El Mirlo Blanco, the chamber theater that the Barojas had in the living room of their house, in the Madrid neighborhood of Argüelles, where the prologue and epilogue of Los cuernos de don Friolera and Ligazón will be released. That same year they both founded El Cántaro Roto, with the aim of taking the private experience of El Mirlo Blanco to the commercial sphere, programming works at the Círculo de Bellas Artes in Madrid. by Anatole France and Bernard Shaw, among others, in addition to his own, but it failed shortly after being created, due to the limited success of the public and the lack of confidence on the part of the programmer.

At the end of 1926, he published what some consider his narrative masterpiece, the novel Tirano Banderas, where the traces of his recent trip to revolutionary Mexico are clear. In 1927 he began the publication of an ambitious narrative project, El ruedo ibérico, which, in a similar way to the Episodes nacionales by Benito Pérez Galdós, aims to narrate the history of Spain from the reign of his detested Isabel II until contemporary times to the author and the colonial loss with the war in Cuba, Puerto Rico and the Philippines. He only wrote three novels of this project: The Court of Miracles (1927), Long live my owner (1928) and Baza de espadas (1932).

The Iberian arena is a reflection on the virtues and miseries of the theme of the revolution regarding the revolution of September 1868 in Spain, although the characters that best come out of the review of all the social classes are the revolutionary Fernández Vallín and the anarchist Fermín Salvochea.

Since 1924, he has shown his opposition to the Primo de Rivera dictatorship, vociferously in cafes and does not hesitate to make himself heard. On some occasion he was detained on public roads for complaints to the regime. Valle-Inclán was an uncomfortable countryman, despite this he struggled to improve his economic situation and that of his family. In 1927 he participated in the creation of the Republican Alliance. In 1928 Valle-Inclán obtained the most important editorial contract of his life, with the Compañía Ibero-Americana de Publicaciones (CIAP), which offered him a large sum on account of the exploitation of literary rights, payable in monthly installments. Installed in his family home in a flat on Calle del General Oraá, 9, he began to write with a certain calm. He becomes aristocratic and becomes more select in his close circle of friends. In 1929, he was locked up for fifteen days in the Modelo prison in Madrid, for refusing to pay a fine imposed due to some incidents that occurred in the Palacio de la Música at the premiere of El hijo del diablo, a play of Montaner. The bankruptcy of the CIAP in 1931 led to the exhaustion of the money obtained and splendidly spent, when the Primo de Rivera regime was also giving its last hours. The economic situation makes the Valle-Inclán Blanco couple think about the marital separation.

The Republic: institutional positions and their last days

Statue in Bouzas, Vigo.

The social and political situation made him abandon his artistic pursuits and support the Spanish republic, he even ran for deputy for La Coruña on the lists of Alejandro Lerroux's Radical Republican Party, although he was not elected. That same year, a week after the proclamation of the Republic and in an attempt to attract him to his ranks, the Carlist pretender, Jaime de Borbón y Borbón-Parma (Jaime III), named him a knight of the Order of Proscribed Legitimacy.

He is in his mid-sixties. Knowing publicly his intention to go to Mexico in search of improvement for himself and his family, Manuel Azaña, then still Minister of War, following a survey of the person concerned, makes representations to the Council of Ministers to enable him a position that allows him to subsist with dignity On September 2, 1931, the government of the Republic appointed him General Conservator of the National Artistic Heritage, followed five months later by the direction of the Museum of Aranjuez, "entrusting him with the realization, as a Museum, of what was the Royal Site of Aranjuez", but a few months later, in June 1932, he resigned due to disagreements with the Director General of Fine Arts in relation to the management of the new Museum of Aranjuez and for not having been informed of the preparation of the draft law for the protection of the Artistic Heritage.

That same year, 1932, he presented himself for the Fastenrath Award corresponding to 1931, convened by the Royal Spanish Academy, which ended up being declared void. After the null satisfaction with the verdict, diatribes were launched against the Royal Academia Española, as well as against all the academics who voted, when interpreting the decision in political terms and not strictly literary ones. In compensation for this ruling, a public tribute of reparation was made, in which a large part of the intellectuals and writers of the moment participated.

On May 30, 1932, after the verdict of the 1931 Fastenrath Prize was already known, Valle-Inclán was elected to the presidency of the Madrid Scientific, Literary, and Artistic Athenaeum, succeeding Manuel Azaña in office, and installed with his family at the address designated for this purpose, on Calle de Santa Catalina. The time in which he will remain in office is seven and a half months, being relieved of office on December 14 by Augusto Barcia Trelles. Valle-Inclán was already a prominent gathering in the "room of La Cacharrería", founding his own gathering. During his presidency, he introduced notorious changes, and at his initiative, in 1933 the first Congress of the Association of Revolutionary Writers and Artists was organized at his headquarters. He is also a co-founder, on February 11, 1933, of the Association of Friends of the Soviet Union, actions developed in a clear revulsion to the anti-socialist government policy of the time, which maintained a condemnatory tone in relation to the stories about the conquests and the problems of socialism in the USSR.

As for the family, in the same year of 1932, his wife requested a divorce from the marriage union, beginning the legal proceedings to obtain custody of the children and compensatory claims, considered very high by Valle- inclán. As the eldest daughter was already married, Valle-Inclán would remain in the care of the three middle children, still minors, while the youngest daughter would be guarded by her mother.

Freed from the Athenian presidency, and with the work carried out in an intense personal support campaign, he managed to be appointed director of the Spanish Academy of Fine Arts in Rome on March 8, 1933, traveling to Rome, together with the three children of whom he had legal custody. With intermittent stays in Rome and long periods in Madrid, he will maintain this position until his death, because although due to differences regarding the administration of the center, with attempts to resign on his part and many other dismissals by the ministerial authorities, and even leaving the institution with his definitive return to Spain on November 3, 1934, his appointment was for three years according to the current regulations and the termination was never formalized and the next director was appointed at the end of the corresponding three-year period. On his return he feels sick in the midst of a picturesque lack of the most elementary means of subsistence. On November 16 he attends the performance of his play Divinas palabras at the Teatro Español. At the beginning of 1935 he is seen again walking through the streets of Madrid downcast, but in good humor and talking about his Roman project. On March 7, 1935, he retired to Santiago de Compostela, entering the sanatorium of his friend and doctor Manuel Villar Iglesias where he received radiotherapy treatment. From time to time he escapes from the clinic and walks around the city with groups of young people sitting in the "Café del Derby", most of them Galician. He is chosen to be part of the presidency of the «I International Congress of Writers for the Defense of Culture», although he will not be able to attend the congress that was held in June 1935 in Paris. The national situation continues to worsen, the Madrid newspaper Ahora publishes on October 2, 1935 what will be its last article: “My rebellion in Barcelona (Literary Note)” on the same title as Manuel Azana.

At the initiative of Victoriano García Martí, a public subscription is opened in Galicia to give Valle-Inclán a pazo in October at the age of sixty-nine. The idea of such a gift came late, since on January 5, 1936, the eve of the Epiphany, Valle-Inclán died after refusing to receive religious aid. The report to the press says that he died: "as a result of a rapid coma, after a serious urinary bladder disease complicated by malignancy." He was buried the following day, in the Boisaca cemetery, in a civil ceremony and in a humble coffin without obituaries. Just as he arranged days before his death, in which he specified that: "I do not want at my side or discreet priest, or humble friar, or wise-cracking Jesuit." The sculptor Francisco Asorey made the death mask of his face and the painter Juan Luis drew his recumbent body. Manuel Azaña writes the day after the burial: "He would have wanted to be, not the man of today, but the day after tomorrow." From that moment on, an innumerable number of posthumous events began.

On the death of Valle-Inclán, the one who was his wife and mother of his children, who was living in Barcelona, obtains a compensatory pension from the Ministry of Public Instruction of the Government of the Popular Front, for the education of his children.

Literary activity

Valle-Inclán's literary activity began with the publication of some small texts in Santiago de Compostela. Little by little he would extend his work to various genres of narrative, from the story and the chronicles to the novel, and from the theater as well as lyrical poetry.

All of his work has been in the public domain since January 1, 2018. Until that date, it was the different heirs of Valle-Inclán who had the rights to exploit and publish his work. The rights to his work were divided among his surviving sons and daughters and then among their heirs.

Narrative

Retreated in 1922 by Juan de Echevarría

His narrative production began in modernism. Valle-Inclán began with this aesthetic with Femeninas and Epitalamio, a collection of subtle, sensual and highly musical stories. Later on, he produced a whole monument of modernism: they are the Sonatas —Sonata de otoño (1902), Sonata de estío (1903), Spring Sonata (1904) and Winter Sonata (1905). It takes three years for the four sonatas to come out. It is with them that he begins a writing career. In them he recounts, in an autobiographical way, the love affairs of the Marquis de Bradomín (a 19th century, cynical and sensual Don Juan). In these stories, Valle-Inclán represents a sensitive nostalgia typical of the disciples of Rubén Darío (father of modernism, who took him from Latin America to Spain).

It is also worth noting one of the best and most important works in all of Hispanic modernist prose: Flor de sanctidad. This work, without running away from the musical and colorful forms of modernism, focuses a little more on the popular traditions and Galician legends with which Valle became familiar in his childhood.

Due to the amount of text in direct style (dialogues), some narrative works by Valle-Inclán, such as the Comedias bárbaras cycle, could be considered dramatic. Upon reviewing them and understanding the difficulty —or impossibility— of representing them, they have been included among his novels.

Another aspect of Valle-Inclán's novels is reflected in the Relatos de la Guerra Carlista (1909), where he offers a new treatment of this theme, scratching the epic sensationalism dominant in previous works of the author and adopting a more sober, endearing and emotional style.

In the series of novels El ruedo ibérico he mocks the court of Elizabeth II and already presents the critical and grotesque orientation that predominates in his latest creations.

Tyrant Banderas. Hot Land Novel (1926) narrates the fall of the South American dictator Santos Banderas, a despotic and cruel character who maintains power thanks to terror and oppression. It is an exceptional description of South American society and one of the first examples of the so-called "dictator novel."

These novels mark a change in Valle-Inclán's aesthetic position, coming a little closer to the concerns and criticisms of the generation of '98.

Nevertheless, it is important to mention the formal position that Valle-Inclán adopted in these changes. He did not come to reveal himself as a 1990s artist at all, but instead absorbed the criticisms and concerns of this group and shuffled them into his own style.

Poetry

The poetic work of Valle-Inclán is gathered in the trilogy Lyrical Keys (1930), made up of Aromas de leyenda. Verses in praise of a holy hermit, The passenger and The kif pipe.

Legendary aromas. Verses in praise of a holy hermit (1907), receives the influence of modernism. It consists of fourteen poems of varied metrics. In them he recreates various aspects of his native Galicia: descriptions of the landscape, daily work, miraculousness, superstition, etc. Also inscribed in the modernist aesthetic.

El pasajero (1920) develops transcendental themes in thirty-three compositions: death, pain, life, passion, eternity, etc.

With La pipa de kif (1919), Valle-Inclán gives way in his poems to the grotesque, to the grotesque. This work has been defined as a collection of tragic-humorous prints.

Theater

Regarding theater and performing arts, Valle-Inclán was an actor, adapter, translator, stage designer, theater director, theater producer, and above all, playwright. He wrote numerous plays and from his literary beginnings he showed an attraction to the world of the stage. The Valle-lnclán theater is usually divided into five periods:

1. Modernist Cycle. To him belong works like The Marquis of Bradomín (1906) and The Lord of the souls (1908).
2. Mythical cycle. Starting from his native Galicia, Valle-lnclán creates a mythical and timeless world. Irrationality, violence, lust, greed and death govern the fates of the protagonists. They belong to this period the trilogy barbaric comedies and Divine words (1920).
3. Lighthouse cycle. This is a group of comedies collected in a volume entitled Table of puppets for princes education (1909, 1912, 1920). These works present a continuous contrast between the sentimental and the grotesque, and their characters, puppets of fair, announce the arrival of the sperm.
4. Spy cycle. It is formed by Bohemia lights (1920-1924) and the volume entitled Tuesday of Carnival (1930). The sperm, more than a literary genre, is a new way of seeing the world, as it deforms and distorts reality to present to us the real image that is hidden behind it. To do this, it uses parody, humanizes objects and animals, and animalizes or cosifies humans. In this way, the characters lack humanity and are presented as puppets.
5. Final cycle. In this last stage Valle-Inclán takes to its end the previous dramatic proposals: the presence of the irrational and instinctive, dehumanized, schematized and gynolized characters, and the distorting technique of the sperm. His works are collected in Retablo of greed, lust and death.

Valle-Inclán, like Miguel de Unamuno and Azorín, directly confronts the current commercial theater. These three authors show a clear opposition to the realistic, traditional and bourgeois theater that was so successful on stage, whose greatest exponents at that time were Jacinto Benavente and the Álvarez Quintero brothers, as José de Echegaray had been before, although each one of them will rehearse a particular technique.

Translations

He made numerous translations. From Portuguese: The Relic, The Crime of Father Amaro and Cousin Basilio, by Eça de Queiroz. From French: The Countess of Romani, by Alexandre Dumas and The Girls of Friend Lefèvre, by Paul Alexis. And from Italian: Passion Flower, by Matilde Serao.

Literary works

Essay

• The wonderful lamp. Spiritual exercises. (1916).

Theater

• Ashes. Drama in three acts (1899).
• The Marquis of Bradomin. Romantic colloquiums (star, 1906; edition, 1907).

[Based in the narrative series Sonatas: Memories of the Marquis of Bradomín]

Series Barbarian Comedies (1906-1922):

• Soft eagle. Bárbara comedy divided into five days (start, 1907; 1906 edition, 1907).
• Romance of wolves. Bárbara comedy divided into three days (1908).
• Silver face. Comedia barbara (1922).

• The Lord of the souls (1908) [readaptation of Ashes. Drama in three acts].
• Children's head of the dragon (star: 1910, 1909 edition, 1914).
• April story. Rimed scenes in an extravagant way (1910).
• Farsa and license of Queen Castiza (1st edition 1910).
• Voices of gestation. Pastoral tragedy (1911).
• The haunted one. Tragedy of Salnes lands (start, 1912; edition, 1913).
• Marquise Rosalinda. Sentimental and grotesque (start, 1912; edition, 1913).
• Divine words. Tragic hamlet (1919).
• Italian Farsa of the fall of the king (1920).
• Farsa and license of Queen Castiza (2nd edition 1920, final; 1931 premiere).
• Bohemian lights. Wait. (Spain. Weekly, 1920) [12 scenes].
• Bohemian lights. Wait. (2.a increased edition 1924, final; 1970 premiere) [15 scenes].
• Don Friolera's horns. Wait. (1921, 1925; partial premiere 1926).
• When are diplomatic claims? (1922).
• Paper rose. Novela macabra (1924).
• The head of the Baptist. Novela macabra (1924).
• Table of puppets for princes education (1926).

Includes:

Farsa and license of Queen Castiza.

Italian Farsa of the fall of the king.

Children's head of the dragon.

• The stunt of the deceased (1926), retitled The galas of the deceased (1930).
• Bitch. Auto for silhouettes (1926).
• Captain's daughter. Wait. (1927).
• Sacrilegio. Auto for silhouettes (1927).
• Retablo of greed, lust and death (1927).

Includes:

Bitch. Auto for silhouettes.

The rose of paper.

The head of the Baptist.

The haunted.

Sacrilegio. Auto for silhouettes.

• Carnival Tuesday. Wait. (1930).

Includes:

The galas of the deceased (The stunt of the deceased).

Don Friolera's horns. Wait..

Captain's daughter. Wait..

Novel

• God's face. Based on the famous drama of Don Carlos Arniches (1900).

Series Sonatas: Memories of the Marquis of Bradomín (1902-1905):

• Autumn sonata. Memories of the Marquis of Bradomín (1902).
• Stage sound. Memories of the Marquis of Bradomín (1903).
• Spring sound. Memories of the Marquis of Bradomín (1904).
• Winter sound. Memories of the Marquis of Bradomín (1905).

• Flower of holiness (1904).

Series The Carlist War (1908-1909) [unfinished]:

• The Crusaders of the Cause. The Carlist War (1908).
• The glow of the bonfire. Vol. II. The Carlist War (1909).
• Older Gerifaltes. Vol. III. The Carlist War (1909).
• The king's flags [on project].
• War in the mountains [on project].

• In the light of the day (The Impartial, 1917).
• Trade fairs. Islander Cromos (1925).
• You'd cut the crusade. (1926).
• Nigroman ointment (1926).
• Tirano Banderas. Hot ground novel (1926).
• Ecos of Asmodeo (1926).
• Isabelline tubes. The rose of gold (1927).
• End of a revolutionary. Aleluyas de la Gloriosa (1928).

The Iberian ring. The charms of a reign (Series 1.ª):

• The Cut of Miracles (1927).

National Aires (El Sol, 1931; incorporated in The Cut of Miracles).

• Long live my owner! (1928).
• Blow of swords. Septembrine Vespers (The Sun, 1932, incomplete; 1958)

The Iberian ring. Hallelujahs of the Glorious One (2nd Series):

• Spain with honour [on project].
• Trono at fairs [on project].
• Fueros and cantons [on project].

The Iberian ring. The Bourbon Restoration (3rd Series):

• The alphony salons [on project].
• God, Homeland and King [on project].
• The fields of Cuba [on project].

• The golden thunder (1936, fragment; posthumous).

Lyric poetry

• Aromas of Leyenda. Versos en loor a Santo Ermitaño (1907).
• The kif pipe (1919).
• The passenger. Lyric keys (1920).
• Lyric keys (1930) [final edition; it collects all its poetry].

Short stories, novellas and gallant tales

• Babel (1888).
• Half night (1889).
• The beggar (1891).
• The Great Obstacle (1892).
• Feminine. Six love stories (1895) [6 accounts].

Includes:

• The Countess of Cela [1893].
• Tula Varona [1893].
• Octavia Santino [1892].
• The Girl Chole [1893].
• The Generala [1892].
• Rosarito [1894].

• Epitalamio (History of Loves) (1897).
• Love cut. Flowering of honest and noble ladies (1.a edition 1903) [4 stories].

• Rosita.
• Eulalia.
• Augusta.
• Beatriz.

• Umbrian garden (1st edition 1903).

Includes (among others):

• Malpocado.
• The Fear.
• Dream tradition.
• The king of the mask.
• A ringleader.

• Newesque garden. Stories of saints, of souls in sorrow, of elves and of thieves (1905) [9 stories].

Includes:

• A christen (1906).
• Perverse stories (1907).
• Court of love (1908).
• Newesque garden. Stories of saints, of souls in sorrow, of elves and thieves (1908).

Includes (among others):

• It was Satan..
• The hueste.
• Egloga.
• Odorous herbs.

• A tertulia of old (1909) [carlist thematics].
• The Court of Estella (1910) [carlist thematics].
• Seat chest (1909).

Includes (among others):

• My sister Antonia (1909, 1913).

• Stories of love (1909).

Includes eight (among others):

• Wide Drama (1908).

• The honeys of the rosal (1910) [anthology].
• Augusta (1913)
• Beatriz (1913)
• My sister Antonia (1913)
• Court of Love (2nd edition 1914).
• Umbrian garden (2nd edition 1914) [16 stories].

Includes (among others):

• Juan Quinto.
• My great-grandfather.
• Rosarito.
• Milon of the Arnoya.

• Umbrian garden (3rd edition 1920) [17 accounts; final version].

Includes:

• Court of Love (3rd edition 1922) [5 stories; final version]

Includes:

• Rosita.
• Eulalia.
• Augusta.
• The Countess of Cela.
• Generala.

• Flowers of almond (1936) [postuma compilation].

Chronicles of War

• Midnight. Star Vision of a Time of War (Impartial, Oct.-Dec. 1916; 1917).
• One day of war. Star Vision. Part two: In the light of the day (The Impartial, Jan.-feb. 1917).

Series of Newspaper Articles

• Miscellaneous collaborations Coffee with drops. illustrated satirical weekly(1886-1890)
• Paul and Angulo and Prim's killers. series of collaborations in Now (1935).

Unpublished and recently edited texts

Most of them belong to the “Valle-Inclán Alsina Archive”, created with the legacy of Carlos Luis Valle Inclán Blanco and Mercedes Alsina Gómez-Ulla.
The recently edited texts have been published in 2008 in a volume under editing by Javier Valle-Inclán Alsina.

• Death dancing (2008 edition)
• Seville... (2008 edition)
• Bradomin exposes a trial (2008 edition)
• La marquesa Carolina y Bradomín (2008 edition)
• Beato Estrellín. Sacramental Tragedy [dramatic work]
• The women of Sálvora [dramatic work]
• The blind king
• Ways and destinations
• Auto de Don Juan
• The Nigromante
• Earthquake
• The Soldier of Africa
• The Yerno de Gálvez
• [chuckles]Notebook of France] [ Notebook]
• [chuckles]Cuaderno de Navarra] [ Notebook]

Adaptations and works of valleinclanian inspiration

Music

Before her death, the singer Cecilia left unpublished several songs inspired by the work of Valle-Inclán, among them is "Doña Estefaldina", most of which are collected in the compilation album Canciones inéditas.

Opera

• The dragon's head. Comic opera in three acts divided into six scenes (1939, premiere: Barcelona, 1960).

Based on Children's head of the dragon.

Libreto: Ramón del Valle-Inclán. Music: Ricard Lamote de Grignon i Ribas.

• Blutbund. Oper 1 Ak. (1974; premiere: Hamburg, 1977).

Based on Bitch. Auto for silhouettes.

Libreto: Ramón del Valle-Inclán. Walter Boehlich (trad). Music: Hans-Jürgen von Bosse.

• League (1982, premiere: Cuenca, 1982).

Based on Bitch. Auto for silhouettes.

Libreto: Ramón del Valle-Inclán. Music: José Luis Turina.

• Divine words (1992, premiere: Madrid, 1997).

Based on Divine words. Tragic hamlet.

Libreto: Francisco Nieva. Music: Antón García Abril.

• Spring Sonata (2000; La Plata, Argentina, 2004).

Based on Spring Sonata.

Booklet: Alejandro Fontenla. Music: Jorge Fontenla.

• The head of the Baptist (star: Barcelona, 2009).

Based on The head of the Baptist.

Booklet: Carlos Wagner. Music: Enric Palomar.

• Patto di sangue. Operate in two parts: Patto di sangue and The rose di carte(star: Florence, 2009).

Based on Bitch. Auto for silhouettes and The rose of paper.

Booklet: Sandro Cappelletto. Maria Luisa D'Amico (trad.). Music: Matteo D'Amico.

Cinema

• Sonatas (Mexico-Spain, 1959).

Based on the series of novels Sonatas: Memories of the Marquis of Bradomín.

Adaptation: Juan Antonio Bardem, Juan de la Cebada and José Revols. Director: Juan Antonio Bardem.

• Flower of holiness (Spain, 1972).

Based on the novel Flower of holiness.

Adaptation: Pedro Carvajal and Adolfo Marsillach. Director: Adolfo Marsillach.

• Beatriz (Spain, 1976).

Based on the gallant tales Beatriz and My sister Antonia.

Adaptation: Santiago Moncada and Gonzalo Suárez. Director: Gonzalo Suárez.

• Divine words (Mexico, 1977).

Based on the theatrical work Divine words. Tragic hamlet.

Adaptation: Juan Ibáñez. Director: Juan Ibáñez.

• Bohemia lights (Spain, 1985).

Based on the theatrical work Bohemia lights. Wait..

Adaptation: Mario Camus. Director: Miguel Angel Díez.

• Divine words (Spain, 1987).

Based on the theatrical work Divine words. Tragic hamlet.

Adaptation: José Luis García Sánchez and Enrique Llovet. Director: José Luis García Sánchez.

• Tirano Banderas (Spain-Cuba-Mexico, 1993).

Based on the novel Tirano Banderas. Hot ground novel.

Adaptation: Rafael Azcona and Enrique Llovet. Director: José Luis García Sánchez.

Television

• The head of the Baptist (Spain: Official School of Cinematography, 1967).

Based on the theatrical work The head of the Baptist. Novela macabra.

Adaptation: Manuel Revol. Director: Manuel Revol.

• barbaric comedies (Spain: RTVE, 1968).

Based on the series of theatrical works barbaric comedies.

Adaptation: Luis de Castresana. Director: Pascual Cervera.

• The Infanzona of Medinica (Spain: RTVE, 19?).

Based on the "Clave IX: The Infanzona of Medinica" of the poetic work The kif pipe.

Adaptation: José Luis Font Espina. Director: José Luis Font Espina.

• Soft eagle (Spain: RTVE, 1974).

Based on the theatrical work Blason eagle. Comedia barbara.

Adaptation: José Manuel Fernández. Director: José Antonio Páramo.

• The Marquesa Rosalinda (Spain: RTVE, 1981).

Based on the theatrical work Marquise Rosalinda. Sentimental and grotesque.

Director: Francisco Montolio.

• Sonata de estío (Spain: RTVE, 1982).

Based on the novel Stage sound. Memories of the Marquis of Bradomín.

Adaptation: Enrique Llovet. Director: Fernando Méndez-Leite.

• Spring Sonata (Spain: RTVE, 1982).

Based on the novel Spring sound. Memories of the Marquis of Bradomín.

Adaptation: Enrique Llovet. Director: Enrique Llovet.

• Tuesday carnival (Spain: RTVE, 2009).

Based on the series of theatrical sperm Carnival Tuesday. Wait.including Don Friolera's horns. Wait., The galas of the deceased and Captain's daughter. Wait..

Adaptation: Rafael Azcona and José Luis García Sánchez. Director: José Luis García Sánchez.