The younger generation was drawn to this art by purely psychological motives. The Spanish character had become refined by its new environment; weakened, perhaps, but it had gained a keener intelligence and a greater wealth of fantasy. Chiaroscuro and subtle shades, such as the French delight in, delighted the Creole also, partial as he was to _finesse_, to a delicate Byzantism, and gracefully sceptical of the robust Spanish faith. Then there were hosts of half-castes, in whom the inimical heredities of two races were in painful conflict. The strangest characteristics--the sensuality of the negro and the melancholy of the Indian--gave the new race a spiritual personality full of contradictory characteristics; melancholy but not without optimism; the desires of a faun or a satyr, violent or languid; and a love of the rare and unusual, of verbal music, of complication in the matter of feeling, of {260} carefully chosen language and unfamiliar rhythms. Reading Verlaine, Samain, Laforgue, Moréas, Henri de Régnier, and not as yet forgetting Gautier and Banville; mingling all cults and asking intoxication from every flagon, the poets of America have struck the national chord. Symbolism has been of little assistance; it calls for a lofty conception of the world and a profound sense of mystery. They much prefer decadence in art, because of its musical lyric quality, its exotic images, and its melancholy rhythms. An elective affinity, to use Goethe's phrase, has enabled them to draw an individual music from the foreign instrument. So new metres and old fashions refurbished, modern images in sonorous and tortuous measures, all that in Europe was the voice of ennui, the tardy fruit of a world grown old, a Baudelairian art, the art of refined scepticism, was made to serve a young generation in love with life for the expression of its ambitions. This reform has reached Spain; the initiate has captivated the initiator, as in the drama of Renan. The recent voices of Spanish poetry follow that of the pontiff of the new school, Ruben Dario. Similarly Brazil has influenced Portuguese poetry, and, according to Theophilo Braga, surpasses it. German and French romanticism revived the old forgotten _chansons de geste_, the despised poetry of the Gothic school; they charmed by the rude naturalism of the primitive legends. Similarly the modernists of America have renewed Spanish literature by listening to the ingenuous voice of Berceo and the more melancholy accents of Manrique. The result is that they are more traditionalist than the classic writers of the seventeenth century, whose intolerance so impoverished the language.