Ecuadorian Literary War over Juan Montalvo

Author(s): Edmund Stephen Urbanski

Source: Hispania, Vol. 52, No. 1 (Mar., 1969), pp. 102-109
Published by: American Association of Teachers of Spanish and Portuguese
Stable URL: http://www.jstor.org/stable/337735 .
Accessed: 31/10/2014 16:17

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact [email protected].

American Association of Teachers of Spanish and Portuguese is collaborating with JSTOR to digitize, preserve
and extend access to Hispania.

http://www.jstor.org

This content downloaded from 128.223.86.31 on Fri, 31 Oct 2014 16:17:49 PM

All use subject to JSTOR Terms and Conditions
102 HISPANIA

nosotros;y si nos libramos de tal angustia, los visada (New York: Holt, Rinehartand Winston,
verin seguramentelas pr6ximasgeneraciones... 1963), 11, 218-19.
iTantas cosas como podrian evitar los hombres sMadrid: A. Pueyo, 1928.
si dedicasena ello una buena voluntad! 4Vicente Blasco Ibifiez, Lo que sera' la Re-
Estas batallas entrevistas por Blasco--el piblica Espafiola (Paris, abril 1925), pp. 18-20;
Chicago Tribune Magazine (May 21, 1967), p.
Pacifico, la China, la India, quien sabe si 49.
Egipto-ya se han dado o estin dindose. 5Azorin,"Valencia"en Obras completas(Ma-
Su visi6n, una vez mis, fue prof6tica. drid: Aguilar) tomo vI, cap. XXXV, 95-96.
Cierra el phrrafo la nota optimista de las 6Francisco de Cossio, Confesiones (Madrid:
dos palabrasfinales, "buenavoluntad,"pero Espasa-Calpe, S.A., 1959), XXXI, 257-60.
sobre ellas cuelga, como nueva espada de V6ase tambidn Martin Dominguez Barberai,El
tradicionalismo de un republicano (Sevilla: Edi-
Damocles, todo el misterioso horror de la ciones Montejurra, 1961), I, 184-196.
inc6gnita de Oriente, saturadade angustia. 7Eugeniod'Ors, "Fin de Siglo y Novecientos"
Pasado el centenario del nacimiento de en Arriba (Madrid: Nuimero almanaque de
Vicente Blasco Ibaifiez,y ante la evidente 1950). Citado en Emilio Gasc6 Contell, Genio y
figura de Vicente Blasco Ibdaiez (Madrid: Afro-
injusticia con que ha sido tratado,?podre- disio Aguado, 1957), pp. 210-11.
mos negarle una revisi6n objetiva de su sAzorin, pp. 96-97.
obra, una reevaluaci6n de su novelistica 9"-Los mejores narradores (y repite), 'na-
sin actitudes preconcebidas, que en con- rradores,'de las letras universalesson Tolstoi y
ciencia merece? Vicente Blasco Ibifiez. Ese viaje de Rafael Brull,
desde su escafio del Congreso hasta la 'casita
azul' de Alcira, donde le espera el amor de
NOTAS Leonora,es un verdaderoprodigio. Y asi ocurre
con el Blasco de Arroz y tartana, de La barraca,
1Walter T. Pattison, RepresentativeSpanish de Flor de Mayo . . ." Azorin, citado en E.
authors (New York: Oxford University Press, Gasc6 Contell, pp. 208-09.
1942 y 1963), II, pp. 338 y 384, respectivamente. lOFedericode Onis, en la introducci6n a La
2El subrayado es nuestro. Angel del Rio, batalla del Marne (Boston: D. C. Heath & Co.,
Historia de la literatura espaiola, edici6n re- 1920), pp. viii-ix.

ECUADORIAN LITERARY WAR OVER JUAN MONTALVO

EDMUND STEPHEN URBANSKI
Howard University
Gonzalo Humberto Mata has been l'en- tional values of the Ecuadorianpast are in-
fant terrible of Ecuadorian literature for volved, may be comparedwith the political
about forty years. His poetry, novels, es- tensions caused by the theocratic dictator-
says, biographic works and literary criti- ship of Garcia Moreno (1859-75). With
cism, because of their polemic character vehement polemics against the cruelty of
and intensity of feeling, excite Ecuador that regime, Juan Montalvo (1832-89), a
and other Spanish American countries political pamphleteer, occasioned his own
more than the books of other authors. This rise to a literary glory which remained un-
is mainly due to Mata's quixotism and his disputed for over half a century. It was
radical approach to literary criticism. Right Mata who, with another Ecuadorianwriter,
or wrong, Mata has always been known Gabriel Cevallos Garcia, and the Argen-
for his intellectual integrity and refusal to tine literary critic, Enrique Anderson Im-
compromiseon issues which he believes to bert, seriously challenged the value of
be just and humane. His recent book Montalvo's writings, accusing him of
Zaldumbide y Montalvo (Cuenca, 1966), vainglory and excessive imitation of Cer-
with its extremely pungent comments on vantes. Montalvo apparently could not
these well-known Ecuadorian writers, pro- resist verbosity and flamboyant rhetoric,
voked a heated controversy all over traits which have notably been character-
Ecuador. istic of some Ecuadorianwriters. Mata par-
This atmosphere, in which some tradi- ticularly noted the disparitybetween Mon-

This content downloaded from 128.223.86.31 on Fri, 31 Oct 2014 16:17:49 PM

All use subject to JSTOR Terms and Conditions
 FACT AND OPINION 103

talvo's ideological aims and his insatiable suggested a parallel between Montalvo's
yearning for fame. Gonzalo Zaldumbide famous reference to President Garcia Mo-
(1884-1966), a noted Ecuadorian author, reno's death, "mi pluma lo mat6,"and what
literary critic, and enthusiastic propagan- Mata's essay in effect does: "mi libro lo
dist for Montalvo's works in Ecuador and mat6." This literary controversysometimes
abroad, was not spared in Mata's icono- assumed unexpected, almost humorous
clastic campaign. Mata believes that Zal- twists. Guayaquil's El Universo (August
dumbide grossly exaggerated Montalvo's 7, 1966) reviewing Mata's book, inserted
literary stature and thus misrepresented pictures of the three protagonists of this
Ecuador'scultural values. literary war with a clever caption: "Zal-
The most devastating attacks against dumbide Mata Montalvo."
Mata came from the intelligentsia of Am- The background of the literary contro-
bato where Montalvo was born. Its chief versy has its interest. Montalvo was a friend
spokesman was Pablo Balareza Moncayo, of the poet Julio Zaldumbide (1833-87)
director of the Casa de Montalvo, whose whom he once defended against the dic-
"Protestaen Ambato por el libro de G. H. tator Garcia Moreno. The latter censured
Mata" was published in Quito's El Comer- the democraticideas expressed in Zaldum-
cio (October 3, 1966). The authorcensures bide's pamphlet La Reptiblica.2 Montalvo's
Mata's derogatory comments about Mon- defense, in Mata's opinion, was more or
talvo, whose reputation he believes to be less political propaganda, because both
"indiscutible,"and by the same token he writers were united in opposing the pre-
bitterly mentions that in "las tres illtimas vailing tyranny. Julio's son, Gonzalo Zal-
d&cadasse ha publicado mais de un libro dumbide, repaying this favor, later de-
en contra de Montalvo, y hasta se premi6 fended his father's defender in a favorable
con medalla de oro y pergamino de honor prologue to the Parisian edition of Mon-
a uno de los detractores."'Considering the talvo's El Cosmopolita(Paris: Edition Gar-
present literary controversyunpatriotic, he nier, 1927, vol. ii). Mata, revising certain
is disgusted with the softness and rather paragraphsof the Montalvo text dedicated
friendly spirit with which Mata's book was to Julio Zaldumbide, finds several gram-
received in Ecuador. He is even more un- matical errorswhich do not speak favorably
happy with a review on Mata's work pub- of Montalvo's literary style. Mata also cen-
lished in Ambato's El Heraldo (October sures Montalvo's unethical attitude and
2, 1966), whose author, though rather poor taste in delving into his poet friend's
critical of the book, nevertheless, suggested private affairs. Incidentally, in the above
that Mata's already announced next book, mentioned paragraph,Montalvo in a men-
Apeo y deslinde de San Don Montalvo, acing way tries to dissuade Julio Zaldum-
should receive Ambato's literary prize! bide from his friendship with Juan Le6n
In the several clippings available to us Mera (1832-94), author of the romantic,
from the Quito and Guayaquil periodicals, indigenous novel Cumnandd(1871). Mon-
a rather unfriendly attitude towards Mata talvo and Mera, both natives of Ambato,
is in evidence. Some of these polemical were not friends. Montalvo envied the
articles were mostly concerned with the literary reputation enjoyed by Mera, not
defense of Montalvo as a political fighter only as a novelist and painter, but above
and because they lacked substance as liter- all as a critic of Ecuadorian poetry. It
ary criticism, they hardly refuted Mata's should be understood that Mera's dedica-
unorthodox arguments.On the other hand, tion to the social and literary problems of
more favorable comments appeared in the Ecuador differed diametrically from Mon-
press of Cuenca, with whose university talvo's vehement interest in political affairs
Mata has been connected for many years and his only partial concern for purely
and where he enjoys a good reputation. literarymatters.
Thus, Gonzalo James Gez's giving Mata's Many Ecuadorian and foreign critics
Zaldumbide y Montalvo a positive review seem to agree that Montalvo's reputation
in Cuenca's El Tiempo (August 11, 1966) rests on his polemic writings which ap-

This content downloaded from 128.223.86.31 on Fri, 31 Oct 2014 16:17:49 PM

All use subject to JSTOR Terms and Conditions
104 HISPANIA

pealed so much to the spirit of politically minishes Zaldumbide's literary reputation

excitable Ecuadorians. Even Mata admits achieved with over twenty published works.
Montalvo's polemic power, saying that He wrote some novels, but his work con-
"Montalvonecesit6 del clima garciano para sists mainly of literary criticism on out-
el ejercicio de su gran fuerza polemica; sin standing European, Spanish American and
Garcia Moreno no hubiera alcanzado su Ecuadorianauthors. Zaldumbide'spredilec-
famoseria abigarrada"(Defensa de mi Zal- tion for Montalvo was notorious, for he not
dumbide y Montalvo, Cuenca, 1966, p. only collaboratedin editing his Obras com-
69). Owing to this spirit of political agita- pletas in Paris (Edition Garnier) at the be-
tion and partisan interplay, Montalvo re- ginning of this century, but also dedicated
ceived financial aid for his publications many pages to him either separately or in
from liberal-minded politicians such as conjunction with other writers. Well-
General Eloy Alfaro and negotiated with known is his book Cuatro grandes cldsicos
others such as General Ignacio de Veinti- americanos. (Buenos Aires, 1947; Madrid,
milla, who succeeded Garcia Moreno. 1951) in which he discusses Juan Mon-
Veintimilla, once he understoodthat Mon- talvo, Jose Enrique Rod6, Fray Gaspar de
talvo's politics were self-serving,exiled him Villarroel, and Juan Bautista de Aguirre.
as had his predecessor. All this seems to Mata recognizes Zaldumbide as a great
prove that Montalvo's revolutionary ide- writer in his own right, unquestionably
ology mixed quite easily with the political superior to Montalvo, but does not share
opportunism of which Mata accuses him. his opinion on the literary value and stylis-
According to an encyclopedic study by tic greatnessof the latter. Even Zaldumbide
Alejandro Carri6n, Zaldumbide's essay on himself has some reservations in this re-
Montalvo in his last book Pdginas de spect, though he does not spell it out. On
Gonzalo Zaldumbide (Quito, 1960-61) is one occasion, Zaldumbide, referring to
the most important one.3 It appeared with Montalvo and Mera, says that "no se de-
a preface by Miguel Sanchez Astudillo, tenian a sopesar si lo que van a decir vale
S.J., perpetual secretaryof the Ecuadorian le pena [. . .] Como esos conversadoresde
Academy of Language. This publication oficio, para quienes no hay diferencia entre
is one of Mata's principal targets in his un amigo y otro, con tal de que haya quien
revaluation of Montalvo's writings. Mata's les oiga y les d&cuerda" (P4iginasde Gon-
polemical-critical method in Zaldumbide zalo Zaldumbide, p. 82).
y Montalvo is unique. A great part of this It seems, however, that Montalvo'sdyna-
work is a monologue directed to Zaldum- mism and rhetoric, which were his most
bide, deceased in 1966, whom in a friendly effective assets, exercised a magic power
way he calls "don Gonzalo," interjecting over some Ecuadorian intellectuals, especi-
bold questions also to Padre Sanchez with ally over Zaldumbide. Through his efforts
whom he takes sharp issue. Zaldumbide Montalvo became a literary figure known
and Sanchez as Montalvo's literary apolo- outside of Ecuador; otherwise he might
gists, are both part of Mata's iconoclastic have been forgotten as were many other
design to destroy Montalvo's image. Ecuadorian writers, including Gonzalo
The main issue which Mata takes with Zaldumbide'sfather, Julio, a distinguished
Gonzalo Zaldumbide is that the latter did romantic poet-philosopher. Zaldumbide
not make a rigid and detailed literary (the son) published an essay on Montalvo
critique of Montalvo's writings and yet which ran four editions in four Spanish-
quite freely called him "gran escritor"and speaking countries. Inconsistent as he
"precursor."On the other hand, while ren- might have been, Zaldumbide nevertheless
dering a tribute to the famous pamphleteer had some doubts about the greatness of
in a speech delivered in 1963, he appears his compatriot, because he once confessed
to have qualified his opinion: "Mi Mon- that Montalvo was "acerbo polemista y
talvo [. . .] a quien dediqu6 tributo de hombre injusto, "while on other occasions
panegirista, no de critico . . ." (Discurso, pointed out the contradictorytraits of his
1963, p. 19). Of course, none of this di- character. Zaldumbide, whatever the rea-

This content downloaded from 128.223.86.31 on Fri, 31 Oct 2014 16:17:49 PM

All use subject to JSTOR Terms and Conditions
 FACT AND OPINION 105

sons, never presented Montalvo's whole o antid6to contra el montalvismo (Guaya-

story. This was done in part by others, and quil, 1886).' Miguel Antonio Caro, an-
now with extraordinary frankness and other Colombian writer, was not less
brutal rigidity by Mata, who based himself astonished that Montalvo, the renowned
not only on his research but also on Zal- "Cervantes americano," featured in his
dumbide's various statements. pages a certain construction of the verb
Mata in analyzing Montalvo's writings ser with the particle que. (El Cosmo-
and behavior calls him "charlatan" and polita, Quito, 1894, p. 1894, p. 489).
says: "Todo en Montalvo es morcilla de Among Montalvo's other idiomatic peculi-
aserrin, basto amasarde embuste elaborado arities Mata indicates such expressions as:
sin sublime artesania alguna. Trapaceria "hacen dos dias,""hacen veinte afios,""suc-
de acomplejadoprovinciano que pugna por cesiva," and "fietos"for nietos, etc., which
crearse, como fuese, su nombre y famo- most likely would not entitle the pam-
seria: en gula inextirpable" (Zaldumbide phleteer from Ambato to a seat at the
y Montalvo, p. 55). Mata is quite con- Academy of Language! Even a pro-Mon-
vinced that Zaldumbide could not have talvo critic such as the EcuadorianAugusto
believed Montalvo was either a writer or a Arias, while praising his "flexibilidad de
la prosa en la que oraciones se marcan en
stylist of stature. Mata reminds us of a color o en mfisica," does not hesitate to
letter that Montalvo once wrote to Garcia
Moreno censuring his tyrannical govern- charaterize Montalvo's style as "un tanto
ment. Montalvo's only motive was to gain fatigoso por lo amplio y circular, por lo
sostenido y entrabado de sus tirminos que
popularity, which indeed he achieved.
Similarly, Mata says: "Lo mismo que hizo ponen a prueba la sabiduria de la sintaxis;
con Garcia Moreno, lo ejecut6 con Cer- la resistencia [. . .] de la concordancia,
vantes: arrimarsea la sombra de un buen etc." (Mundo Nuevo, Paris, Nr. 7, 1967,
arbol y, luego, desechando la sombrapropi- p. 81).5 These linguistic and grammatical
cia, treparse a d1 para manotear desde su irregularitieswere known to Montalvo'sfel-
low writers, some of whom Montalvo, pre-
copa: a que todos caigan en cuenta de ese
extrafio ser malogrando la natural com- sumably in self-defense, even insulted. Ac-
postura de las ramas"(Zaldumbide y Mon- cording to Mata, such was the case with
talvo, p. 56). Therefore, Mata not only Mera, Merchan, Julio Zaldumbide, and
denies Montalvo's prose as possessing the others, who dared reveal to him these basic
casticismo so generously bestowed upon defects.
him by Zaldumbide, but even brands As we have indicated, Montalvo's intel-
Montalvo with the strong, critical adjective lectual tragedy was his insatiable ambition
"seudocervantista," a characterizationwhich and vaingloriousness, as well as his ina-
turned many Ecuadorian intellectuals bility, in the last analysis, to take full ad-
against Mata. vantage of the lexical richness of the Cas-
Mata comes to such a conclusion after a tilian language which he explored insuffici-
careful screening of Montalvo's writings, ently. Mata describes his lingustic manipu-
especially his El Cosmopolita, and com- lation: "Montalvo, saqueando la mina del
paring it with Cervantes' style. He states lenguaje castellano, que e1 supuso clisico
that Montalvo was not a grammaticaltech- o neoclasico, tom6 el oro de desecho, lo
nician, but simply an imitator of certain plate6, di6lo como legal y, entonces, ya
archaicforms, and as such created a pseudo- pudo ampararse en su m6vil tendencioso
classical style which did not pass unnoticed de lucir los artefactos de su prosa
by other authors. Thus, the Colombian gerundial, pululada de bastardias idiomai-
literary critic Juan Bautista Perez y Soto ticas para quienes sepan ver, pero de des-
who read Montalvo's publications thor- lumbrancia falaz ante los caballeros de la
oughly was so shocked by their linguistic sacha aristocracia, etc." (Zaldumbide y
incongruities and thematic inconsistency Montalvo, pp. 68-69). Deeply convinced
that he published his critical remarksin a of his linguistic omnipotence, Montalvo,
study with the significant title La Curarina according to Mata, ignored Cervantes' ex-

This content downloaded from 128.223.86.31 on Fri, 31 Oct 2014 16:17:49 PM

All use subject to JSTOR Terms and Conditions
106 HISPANIA

ample and censured the master'slinguistic a fact which did not diminish his prolific
affectation while he himself created sen- writing. He employed a flashy craftsman-
tences worthy of caricature.He even criti- ship instead of cultivating his writing tech-
cized Lope de Vega, who, in Montalvo's nique as an art. Strangelyenough, his repu-
opinion "habia convertidose en tuno de tation went unchallenged by not a few
playa en sus comedias" (El Cosmopolita, literary critics. Among contemporary ex-
Edition Garnier, 1927, n,p. 273). This perts not deceived by his pseudo-artistic
patronizing attitude apparently prompted mode is Anderson Imbert who some time
Montalvo to write a book Capitulos que se ago called attention to the fact that Mon-
olvidaron a Cervantes (Besanz6n, 1895), talvo "hacia literatura con la politica; y la
in which he mixed Hispanic linguistics literatura la hacia con una lengua artifici-
with essay-like meditations on folly as a osa" (Historia de la literaturahispanoamer-
source of both adventures and Ecuadorian icana, Mexico, 1954, p. 150).
politics! To show off his wisdom, Montalvo Though Montalvo was not an orator,his
frequently quoted ancient philosophers to writings have definitely a pompous rhetori-
such an extent and with such familiarity cal tendency, which, laced with flashy slo-
that he sometimes even forgot to use quo-
tation marks. gans and verbosity, may be still mistaken
by some readersfor literary genius. In this
Mata's criticism of Montalvo's linguistic regard, Arias, who like Mata, scrutinized
artificialityis shared by other literarycritics Montalvo's writings closely, made the fol-
who voiced their views on the same topic lowing observation: "Montalvo escribe con
later, after the publication of his Zaldum- mayor naturalidadcuando se deshace de la
bide y Montalvo. Mata's compatriot, Au- mania oratoria que le anda por dentro,
gusto Arias, in his study "El Cosmopolita" [. . .] y asi los mais ficiles y directos
de Juan Montalvo (Paris, 1967) believes articulos de El Cosmopolita se parecen a
that Montalvo, exposed to the Spanish los podados de 6nfasis, precursoresdel en-
classics of the Siglo de Oro and later, and sayo y la cr6nica moderna, de las entregas
attractedby the gracefulness of the French de El Espectador"(Mundo Nuevo, Paris,
style, ambitiously tried to establish his own 1967, p. 84). According to Arias, El Cos-
mode of writing. Arias characterizesas "ba- mopolita has a singular place in Montalvo's
rroco montalvino" the style in which most overall production, not only because it was
of Montalvo's articles in El Cosmopolita his first major intellectual effort, but also
were written. This would confirm the ob- because it contains principal topics which
vious that Montalvo did indeed affect a he later expanded in other writings. Mata,
baroque style, which, although in disuse however, believes that the thematic content
and even ridiculed two centuries before, he of El Cosmopolita is rather pompous and
possibly believed to be his own contribution superficial. In view of this, one may there-
to renovating the language of Castile, fore argue whether El Cosmopolita should
Montalvo was undoubtedly imbued with be classifiedat the same level as Montalvo's
admiration for the virility and expressive- more serious works such as Siete tratados
ness of the Castilian tongue, for which (1882), Geometria moral (1902), and El
reason he disdained "esa jerga americana." Espectador (1886-88). It appears that El
Mata observes that Montalvo never Cosmopolita (1886-69), because of its un-
became as did Bello and Cuervo a even value and preponderantly polemical
linguistic authority. The Ecuadorianpoliti- character, should rather be added to Mon-
cal pamphleteer penetrated the etymology talvo's pamphlet literature along with his
of few words; he never perceived the violent Catalinarias (1880), the corrosive
functionalism of a living language. And Mercurial eclesidstica (1884) and El
yet, he profusely mixed colloquial Ecua- regenerador (1876).
dorian expressions with chosen words of The aim of Montalvo's political ideology
Castilian vocabulary, creating thus a sui was liberty, the regeneration of which he
generis linguistic cocktail. Also Montalvo's sought by various, mainly revolutionary
knowledge of Spanish syntax was limited, means. Surprisingly enough, he was con-

This content downloaded from 128.223.86.31 on Fri, 31 Oct 2014 16:17:49 PM

All use subject to JSTOR Terms and Conditions
 FACTANDOPINION 107

servative in regardto the social structureof Zaldumbide with the dean of Ecuadorian
Ecuador which was in contradiction to his letters, Benjamin Carri6n. The unusual
revolutionaryspirit. He was involved in the feature of this book is that it contains an
turmoil of power struggle as a theoretician essay by the latter, "G. h. Mata, el com-
rather than a practicing politictian. How- prendedor apasionado."For unknown rea-
ever, Montalvo sometimes considered him- sons, on the cover of this publication which
self "conductorde las masas"in too literal bear the names of Carri6n and Mata, there
sense. When Ecuador'sdictatorshipchanged is a bright red star which divides the titles
hands, Montalvo hoped to secure a public of their respective essays. It is assumed that
office but he failed. This intensified his the star plays a role of graphic diversion
rebellious attitude and his censure of all rather than one of political significance,
despotic systems. An opportunist,Montalvo since neither of these writers, as far as we
did not always follow a determined political know, has a communist affiliation,although
group or caudillo. He had dealings, as we each of them undoubtedly represents dif-
have seen, with Generals Urbina and ferent socio-cultural ideology. Carri6n's
Veintimilla of Ecuador and politicians of general opinion on Montalvo's literary-
other countries, at whose service he did political works is favorable, but neverthe-
not hesitate to put his sharp revolutionary less he concedes imperfections: "gran
pen or to whom he offered appropriate escritor sin duda y hombre con muchas
manuscripts. In view of his behavior (sup- debilidades, igualmente sin duda-es una
ported by Mata's documentation), one may significaci6n de rebeldia." Benjamin Ca-
doubt Montalvo's political idealism and rri6n, while not subscribing to Mata's
sincerity. The polemics in which Montalvo critical evaluation of Montalvo, does not
was engaged were almost always accom- deny him the right to criticize Montalvo.
anied by insults and slander to which In fact, Carri6n, himself makes a friendly
is pen was certainly no stranger, even if and impartial analysis of Mata's own
he tried to cover them with an umbrella literary and intellectual achievements in
of moral principles, whether in his Las Ecuador. In view of the clash of opinions
Catalinariasor Siete tratados. over Montalvo, or in spite of it, this evalu-
It is perhaps owing to this background ation is very significant since Mata became
that Cevallos Garcia, impatient with the at least as controversial in contemporary
Ecuador as Montalvo was in the last
unjustified literary idolatry of Montalvo
in the past, said in his introduction to quarter of the nineteenth century.
Mata's Zaldumbidey Montalvo: "Ojali que Carri6n describes Mata as
Mata nos d& margen a una gran pol6mica. uno de los escritores con mayor cultura. Su
Es urgente decir muchas cosas que nos obra de poeta y novelista es vigorosa y potente.
comen por dentro. No necesitamos seguir Polemista en verso, en novela, en critica e historia
escuchando la misma salmodia de adula- literaria, en biografia. La poldmica vocaci6n y
substancia de la literatura nacional, en sus prim-
ciones y compromisos."He also expressed eras etapas y hasta hoy, es la inspiraci6n temaitica
his hope that Mata "con su obra levante el y la forma expresiva de casi toda su obra, abund-
polvo que inmoviliza nuestro pasado y que, ante e intensa, de G. h. Mata. En tal forma que,
levantando el polvo, levante asimismo, la hasta la manera de firmar, por aquello de la h
miniuscula de segundo de sus nombres de pila-
polvareda."This is exactly what provoked que es el nombre principal, por el cual se le
the great controversy over Montalvo in conoce-se nos antoja polkmica. Y polemica en
Ecuador. la cual, Mata como siempre se pone junto al
d6bil, contra el fuerte. Su obra de ensayista es
The increasing heat of this literary war dura, implacable, pero siempre documentada, etc.
over Montalvo turned Ecuadorian public (G. h. Mata, el comprendedor apasionado,
opinion against Mata to such an extent Cuenca, 1966, passim)
that he replied with the publication of a Another literary trait of Mata which
new book Defensa de mi Zaldumbide y Carri6n singles out is his courageous origi-
Montalvo (Cuenca, 1966). Mata restates nality of language, full of neologisms and
his case in his customary polemic style, saturated with indigenous Quechua words
taking strong issue over both Montalvo and and expressions. It should be explained

This content downloaded from 128.223.86.31 on Fri, 31 Oct 2014 16:17:49 PM

All use subject to JSTOR Terms and Conditions
108 HISPANIA

here that Indian folklore finds in Mata's groups. And yet, like Mencken, the antag-
novels Sumag Allpa (1940) and Sal onistic Mata has also through his frankness
(1963), probably the most honest and gained some enthusiastic followers in Ecua-
dedicated protector in Ecuador. Strangely dor and abroad.
enough, Mata, a Quito-born criollo, has The Ecuadorian literary war over Mon-
all his life been a champion of the talvo which erupted in 1966, continued
indigenous cause which he defends with during the summer of 1967 to agitate
all his heart and uncompromising convic- Mata's intellectual compatriots. It is diffi-
tion. In recognition of Mata's great hu- cult to forsee the controversy's outcome,
manity, the Instituto Interamericano of especially if it is going to extend to other
Texas elected him a Fellow (June 1,
Spanish American countries, which except
1967). for Argentina and Colombia, have so far
Mata's prose style is simple, even crude, been passive witnesses. Mata's severe criti-
but extremely expressive, and appeals to cism of Montalvo coincided with the
the South American middle class readers. hundredth anniversaryof the original pub-
Stylistically more elaborate and somewhat lication of El Cosmopolitain Quito (1866)
more refined in their folkloric simplicity and divided Ecuadorian intellectuals into
are his volumes of poetry such as Llacta two camps. Mata has publicly asked his
yuyay (1963) and Machu Picchu (1965), literary friends not to defend him, because
the latter considered by some critics to be he hopes to win this controversy single-
artisticallysuperiorto Pablo Neruda's poem handed, convinced that truth will win the
with similar title. Mata brings to his novels final victory. It seems that Mata is far from
on Indian subjects the same passion he dismayed by the war he has caused, be-
displays in his polemic literary criticism. cause, as I mentioned earlier, he already
He always fights for justice. announced another book, Apeo y deslinde
Mata's message is not esoteric, but uni- de San Don Montalvo. At this writing he
versal and noble as are his convictions is looking for a publisher for this third
which have, as I have tried to indicate, work on Montalvo!Judging from the Ecua-
frequently antagonized Ecuador's literary dorian newspapers which reached us re-
and political circles. Mata does not hesitate cently, Mata's popularity has enormously
to touch upon certain unpopular problems. increased, for he received an avalanche of
And yet, he is not without humor, as wit- invitations to deliver public lectures in
ness this suggestion to his readers: "Todos variouscultural centers in Ecuador,Bolivia,
los insultos, an6nimos, etc. deben ser and Peru.
enviados al autor." Touches like this one
characterize Mata's truly intellectual inde- NOTES
pendence and make him a colorful figure 1It is assumed that Pablo Balareza Moncayo
in Ecuadorianliterature. referred to Vida de Juan Montalvo by Oscar
The controversyover Montalvo has one Efren Reyes (Quito, 1943), which caused a
similar sensation and controversy as Mata's book
feature which does not speak too favorably on Montalvo.
of Ecuadorianprofessionalliterarycriticism. 2This pamphlet was mentioned in Montalvo's
Mata's opponents have so far been unable article "De la libertad de imprenta," published
to deny his theses with substantial argu- in El Cosmopalita, No. 1 (Quito, 1894, p. 37;
also in Garnier edition, Paris, 1927, vol. I, p.
ments, but in the best tradition of political 39).
polemics, have already tried to discredit sDiccionario de la literatura latinoamericana:
him with high sounding slogans and per- Ecuador, p. 163. (Uni6n Panamericana: Wash-
sonal invective. Mata's obvious advantage ington, D. C.), 1962.
is his good documentation and logic, in- 4The word "curarina" derives from "curare,"
destructible factors which leave him a vic- a poison used by the Ecuadorian jungle Indians,
the Jibaros, to kill animals, as well as being used
tor in the battlefield. In many ways, Mata's for treatment against snake bites. Perez y Soto's
attackson literaryor political "sacredcows" intends it to mean an antidote against Montalvo's
might be compared to H. L. Mencken, venomous writings.
who spared neither celebrities nor social 5Mundo Nuevo, Paris, in its January, 1967,

This content downloaded from 128.223.86.31 on Fri, 31 Oct 2014 16:17:49 PM

All use subject to JSTOR Terms and Conditions
 FACT AND OPINION 109
issue, publishedAugustoArias'study El Cos- Montalvo,but did not mentionit at all. It con-
mopolitade Juan Montalvo,which was well tains someobservations which agreewith those
timed with the Ecuadorianliterarywar over of Mata.

STORY THIRTY-THREE OF "EL LIBRO DE PATRONIO"

Marginal Notes on Falconry
NICHOLSON B. ADAMS FRANK M. BOND
University of Kentucky University of Illinois
The noble Prince, Don Juan Manuel, not catch the saker. After this had hap-
was, like the uncle whom he greatly ad- pened several times, the saker turned on
mired, Alfonso X, the product of a re- the eagle, with his greateragility and speed,
markable Christian-Arabic-Judaicculture. striking her until she fled. When the saker
The combination is evident in his numer- was about to kill his prey, the eagle at-
ous books, definitely including the fifty-one tacked again. Infuriated, the saker rose
stories of his masterpiece, El Conde and stooped (dove) so fast and furiously
Lucanor.' It is not our purpose here to on his enemy that he broke the eagle's
comment on the familiar sources of the wing. Then, of course, the saker killed the
tales or to discuss their literary merit, no heron.
matter how great it was for its day. We are Count Lucanor had asked his counselor
well aware that Don Juan Manuel was a whether, after he had settled other diffi-
conscious and conscientious artist. "Por culties, he should remain at leisure or
ende yo ... fiz este libro compuesto de las whether he should go and fight the Moors.
mis apuestas palabras que yo pude. ... Patronio strongly advises that he should
He tells us elsewhere that he tries to write have "guerra e contienda con los Moros,"
simply, avoiding wordiness. He tells us that because it does not become a great lord to
he has sugar-coatedthe bitter pill of profit- take his ease and be "comiendoel pan de
able doctrine so that it may be more balde." Further, "Et pues a los sefiores vos
acceptable to the spiritual and moral livers es bueno e aprovechosoaber algund mester,
of his readers. The Prince's works are all Viertoes que de los mesteres, non podedes
didactic, because he loves to teach. It is not aber ninguno tan bueno e tan honrado e
inaccurate to say that he was a noteworthy tan a pro del alma e del cuerpo e tan sin
fourteenth century textbook writer, and it dafio como la guerra de los Moros." The
does not matter that his books were funda- chronicles tell us that Don Juan Manuel
mentally addressed to a small and highly had followed his own prescription in this
aristocraticclass. regard, even though his actions in other
The Prince tells us that his storyconcern- regards at times by no means exemplified
ing a falcon and an eagle (No. 33) is the lofty moral ideals which he tried to
based on a hunting experience of his father. inculcate in others. In writing this story,
It i's entitled: De lo que contesgid a un it is evident that the Prince was in a par-
falcdn sacre del Infante Don Manuel con ticularly humble mood, because he has
un adguilae con una garia.* The story is Patronio refer three times to Count Lu-
brief (33 lines). Prince Don Manuel was canor's many sins. Had Don Juan Manuel
hunting one day near Escalona (Don Juan atoned for his errors by fighting God's
Manuel's birthplace), when he cast off his enemies on Spanish soil? The distich
saker falcon in pursuit of a heron. As the moraleja is, as in many cases, as general as
saker made contact with its prey, an eagle it is prosaic:
attacked it. The saker, afraid of the eagle, Si Dios te guisare de aber seguranqa,
left the heron in order to flee, and the puiia de ganar la conplida bien andania.2
eagle flew off when she realized she could Thirty-five years ago Alexander Haggerty
Krappe3endeavoredto find a literarysource
*The authorsof this articleare membersof for Story 33. He cites a story from an
the NorthAmericanFalconers'Association. Italian collection dated around 1390, later

This content downloaded from 128.223.86.31 on Fri, 31 Oct 2014 16:17:49 PM

All use subject to JSTOR Terms and Conditions