is formed by a vivid description of Gibraltar, with its motley crowd of Spaniards and Jews and Moors and Englishmen. His prose is suited to these descriptions; it is living, coloured, tumultuous, sometimes hurried and careless--a Spanish critic speaks of his _barbarismos gramaticales_. From so voluminous and passionate a writer we should expect nothing of the polished or the exquisite, his work is in the rough; in a sense its incorrect ardour is Spanish, but its persistent energy is a refreshing note in Spain, and may well cover an occasional fault of taste or an ungrammatical sentence here and there. His works are nearly always striking and original, however hurried may have been their composition. It has been remarked that the younger Spanish novelists are rather thinkers than artists, and Pío Baroja, Martínez Ruiz (_Azorín_) and Valle-Inclán have introduced an almost alien note into Spanish literature. It is significant that two at least of these writers, _Azorín_ and Pío Baroja, are keen admirers of the essentially intellectual art of El Greco: Theotocopuli has cast over them the spell of his ascetically thin figures and cold attenuated tints. Pío Baroja is almost Russian in his pitilessly accurate descriptions, in his rebellion against the facts of life and his championship of the persecuted--outcasts, criminals, and vagabonds. In “La Ciudad de la Niebla” (1909), “The City of Fog,” he brings his clear, almost photographic, vision to bear on London, and chiefly on the dingier districts, Bloomsbury, Covent Garden, the squalid labyrinth of streets off Shaftesbury Avenue, the Docks, the Embankment. Similarly in “César ó Nada” (1910) he continues to write in a spirit of mocking reckless individualism. The narrative is but a slender thread to string together his observations of men and places.[106] _Azorín_, again, is not concerned with the form of his novels. He is a thinker, a psychological analyst, who deliberately disregards construction. Yuste, in “La Voluntad,” voices the author’s opinions; “Particularly,” he says, “the novel must have no plot; life itself has no plot: it is varied, many-sided, floating, contradictory--everything except symmetrical, geometrical, rigid, as it appears in novels.” The novel must give fragments, separate sensations. In “Las Confesiones de un pequeño filósofo” _Azorín_ gives us his original impressions, his fragmentary sensations of “figures et choses qui passaient” in a style full of poetry and charm. His “La Voluntad” is a book very modern in its restless thought and individualistic philosophy. It has that originality of which Yuste, the philosopher of the book, speaks as consisting in “something undefinable, a secret fascination of thought, a mysterious suggestiveness of ideas.” The rare charm of _Azorín’s_ style and his skill in descriptions, _emoción del paisaje, imaginatio locorum_, clothe with serenity his “obstinate questionings of sense and outward things,”