well as in the past, always ready for violent repressions; enemy of progress and innovations’.1 What Juderías had in mind were definitions of Spain such as that by Sir John Perrot, Elizabeth I’s Lord Deputy of Ireland (1584–6), who observed: ‘This semi-Morisco nation … is sprung from the filth and slime of Africa, the base Ottomans and the rejected Jews.’2 The stereotypes which caused greatest outrage to Spaniards, however, were fundamentally the product of the romantic era. From 1820 to 1850, British and French travellers were drawn to Spain by what they saw as the picturesque savagery of both its landscapes and its inhabitants. Rugged mountains infested by brigands, their paths travelled by convoys of well-armed smugglers, the bloody rituals of the bullfight, the ruins of Moorish palaces and castles, and erotic encounters (probably imagined) with languid olive-skinned beauties became the clichés of romantic literature about Spain. The stereotypes would be maintained even in the 1920s when bar owners in the sleazy Raval district of Barcelona exploited the reputation of the ‘Barrio Chino’ for the benefit of foreign tourists. They would stage ‘spontaneous’ incidents in which ‘gypsies’, apparently inflamed with jealousy by the sight of their women (the waitresses) flirting with the tourists, waved knives, the incidents being settled with rounds of expensive drinks.3
Bizet’s Carmen remains perhaps the most famous ‘Spanish’ opera, largely because of its deployment of most of these Spanish stereotypes. Carmen presents the archetypes of the passionate Andalusian woman, the knife-wielding murderer and the bullfighter set in a context of smugglers, bandits, sex and violence. The notion that the Spaniards were sex-crazed underlay the fact that syphilis was known in France as le mal espagnol. The German writer August Fischer also wrote of the frantic, indeed fanatical, sexuality of Andalusian women – a view shared by Lord Byron, who visited Andalusia in 1809. The French diplomat Jean-François Bourgoing, in his Nouveau voyage en Espagne (1788; expanded in 1803 into the three-volume Tableau de l’Espagne moderne), complained about the open sensuality of flamenco dancing and excoriated the vice-ridden daily life of gypsies.4 Rather more wistfully, Giacomo Casanova, the Venetian sexual athlete, praised the fandango thus: ‘Everything is represented, from the sigh of desire to the final ecstasy; it is a very history of love. I could not conceive a woman refusing her partner anything after this dance, for it seemed made to stir up the senses.’5
It was Washington Irving’s Tales of the Alhambra (1832) that really put Spain on the map for romantics. A decade later, he was outdone by Théophile Gautier whose Un Voyage en Espagne (1843) described the dusky, flashing-eyed Andalusian beauties who warmed his blood with their flamenco dancing and the blood-chilling gypsy knife fighters and their fancy cutlery.6 English writers like George Borrow (The Bible in Spain, 1843) and Richard Ford (Handbook for Spain, 1845, and Gatherings in Spain, 1846) portrayed Spaniards’ alleged obsession with honour, their religious fanaticism, their extremes of love and hate, and the proliferation of lawless cut-throats. This was intensified even more by Alexandre Dumas. Massively famous as a result of the success of The Three Musketeers and The Count of Monte Cristo, Dumas had been invited by the Duc de Montpensier to attend his wedding on 10 October 1846 to the Infanta Luisa Fernanda, daughter of King Fernando VII. Dumas spent two months in Spain on the basis of which he wrote his massive four-volume De Paris à Cadix. Here he described his disgust at Spanish food and at what he saw as the licentiousness and depravity of gypsy dancers in Granada. Yet, in Seville, he was delighted by the voluptuousness of professional flamenco dancers and rejoiced in the flirtations between young army officers and the pretty girls who worked in the great Fábrica de Tabaco.7 Prosper Mérimée’s novella Carmen (1845) concentrated all the romantic clichés about Seville in one personage. A cigarette factory worker, Carmen was also a flamenco dancer, lover of a bullfighter, accomplice of smugglers and bandits, voluptuous, independent, untamed – just the thing to titillate the Parisian bourgeois who seemed to view Spain as a kind of human zoo.8 Mérimée’s patronizingly anthropological attitude to his characters was popularized even further by Bizet’s opera.
A context of readily familiar assumptions about Spain had long since been established by Marie-Catherine Le Jumel de Barneville, Baronne d’Aulnoy. Her Mémoire de la cour d’Espagne (1690), published in English as Memories of the Court of Spain written by an ingenious French lady, was a prurient account of the allegedly syphilis-ridden royal court in Madrid. Uninhibited by the fact that she had almost certainly never visited Spain at all, this armchair fantasist then quickly produced her immensely influential Rélation du voyage d’Espagne, which was first published in 1691 and was regularly reprinted in several languages well into the nineteenth century. Despite claiming to relate ‘nothing but what I have seen’, Madame d’Aulnoy described a country full of exotic animals including monkeys and parrots. Her cast of invented characters was based on other travel books, diplomatic memoirs and the plays of Calderón and other Spanish dramatists. Her wild exaggerations presented corrupt officials, aristocratic men ever ready to kill or die for questions of honour and promiscuous women invariably in the throes of passion.9 Nevertheless, the caricatures created by Madame d’Aulnoy, including the notion that virtually the entire population was afflicted with venereal disease, allowed Bizet to present the insolent and primeval sexuality of Carmen as somehow typically Spanish.10
In Britain, the image of an exotic, semi-oriental Spain of crumbling cathedrals and mosques, castles and bridges, inhabited by colourful, passionate and sensual people, drew on the exquisite paintings and drawings of David Roberts and John Frederick Lewis in the 1830s and of Charles Clifford in the 1850s. Many of their most characteristic works became immensely popular through collections of best-selling lithographs. Their views of Spain were confirmed by many Spanish painters of the romantic era, particularly Genaro Pérez de Villaamil, whose work was exhibited and published in Paris.11 Nothing symbolized the Spain of the romantic era more than Andalusian beauties and bandit-infested sierras. Foreign travellers returned home to dine out on stories of the risks they claimed that they had undergone.12 Virtually all travellers to Spain, whatever their nationality and whatever they thought of the sex, the bandits, the bulls and the Inquisition, complained about the rutted tracks which passed for roads. They often declared confidently that Spain would never be penetrated by railways.13 In fact, it was the introduction of railways from the late 1850s onwards that dramatically changed the stereotypes. As Spain enjoyed an extremely uneven industrial revolution, foreign investment increased. Thereafter, observers and travellers were concerned less with romantic stereotypes than with political instability, corruption and social violence.
In fact, the fundamentals of Spanish society had little to do with the steamy erotic stereotypes beloved of foreign travellers. The reality was altogether more mundane, its central characteristics the linked factors of social inequality and violence and political incompetence and corruption. In 1883, the Tribunal Supremo entitled part of its annual report on criminality ‘On the Violent Customs of the Spanish People’.14 It was symptomatic of Spain’s dysfunctional society that, between 1814 and 1981, there were more than fifty pronunciamientos, or military coups. That crude statistic provides a graphic indication not just of the divorce between soldiers and civilians but of the extent to which the Spanish state did not adequately serve its citizens. A tradition of mutual misunderstanding and mistrust between the army and civil society developed to a point at which soldiers considered themselves more Spanish than civilians. The year 1833 saw the outbreak of the first of four civil wars with the battlefield hostilities of the last coming to a close in 1939. In fact, to some extent, the civil war of 1936–9 is the war that never ended. Indeed, in some respects, Spain still suffers today from some of the divisions of 1936.
The early 1830s experienced both the loss of the bulk of the once great Spanish empire and the beginning of dynastic conflict. The death in 1833 of Fernando VII, succeeded as queen by his infant daughter, Isabel, and the attempt by his brother Carlos to seize power provided the spark that ignited what came to be called the first Carlist War, which raged until 1840. Carlos sought support among deeply reactionary landowners and extreme ultramontane Catholics and was opposed by modernizing liberals led symbolically at least by Isabel’s mother, the Queen-Regent María Cristina. Carlist forces were commanded, even more symbolically, by the Vírgen de los Dolores, a commitment to theocracy that guaranteed the support of the Church hierarchy. A second, rather more sporadic, Carlist war was fought from 1846 to 1849 and a third from