Romantic Spain: A Record of Personal Experiences (Vol. I) — Background and Themes
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Which, being non-essential, treats partly of Spain, but principally of the Writer 1-23
The Old-Fashioned Invocation--"Them 'ere Spanish Kings!"--Candidates for a Throne--_En Voyage_--Bordeaux and the Back-ache--An Unmannerly Alsatian--The Patriot gets a Roland for his Oliver--Small Change for a Hot Bath--Plan for Universal Coinage--Daughters of Israel--The Jews Diagnosed--Across the Border--The Writer is Saluted "Caballero"--Bugaboo Santa Cruz--Over a Brasero 24-42
A Make-Believe Spain--The Mountain Convoy--A Tough Road to Travel--Spanish Superiority in Blasphemy--Short Essay on Oaths--The Basque Peasants--Carlism under a Cloak--How Guerilla-Fighting is Conducted--A Hyperborean Landscape--A Mysterious Grandee--An Adventurous Frenchman--The Shebeen on the Summit--Armed Alsasua--Base Coin 43-60
Madrid--The Fonda and its Porter--The Puerta del Sol--Postal Irregularities--Tribute to the Madrileños--The Barber's Pronunciamiento--Anecdotes of King Amadeus--Checkmating the Grand Dames--Queen Isabella--The Embarrassed Mr. Layard of Nineveh--The Great Powers Hesitate--America Goes Ahead--General Sickles--Mahomet and the Mountain--Republicanism among the Troops--A Peculiar Pennsylvanian Dentist--Castelar under Torture--The Writer meets one of his Sept--Politicians by Trade--Honour among Insurgents--Alonso the Reckless 61-91
A Late Capital--The Gambling Mania--A French Rendezvous--The Duke de Fitzpepper--The Morality of Passing Bad Money--Spanish Compliments--Men in Pickle--A Licentious Ballet--Federal Manners--Prim's Artifice--Nouvilas Goes North--A Carlist Proclamation--Don Alfonso--Midnight Oil--Castelar's Circular 92-112
Warning to Ladies--The Hotel Parliament--An Anglo-Spanish Mentor--The Evil Genii of the Monarchy--The Curses of Spain--Government and Religion Affairs of Climate--The Carlists, Norwegians, and English, all Republicans!--Notions on Heredity--The Five Spanish Parties--The Army the Lever of Power--The Student-Cæsar--Order _versus_ Republic--The Chained Colours--Dorregaray's Appeal to the Soldiers--Influence of the Church--Wanted: a Benevolent Despot 113-131
The Carnival--About Kissing Feet--Mummers and Masquers--The Paseo de Recoletos--The Writer is taken for Cluseret--Incongruity in Costume--Shrove Tuesday--Panic on the Prado--A Fancy Ball--The "Entierro de la Sardina"--Lenten Amusements--A Spanish Mystery--"Pasion y Muerte de Jesus"--Of the Stage Stagey--Critical Remarks 132-160
Another Chat with Mentor--A Startling Solution of the Spanish Question--The Penalties of Popularity--The Republic another Saturn--The New Civil Governor--The Government Bill--Outside the Palace of the Congress--Providential Rain--Wild Rumours--Federal Threats--The Five Civil Guards--Inside the Chamber--The Great Debate--The Two Reports--Compromise--Minor Speechmakers--A Pickwickian Contention--The Division--Victory for the Ministry--The Five Civil Guards Trot to Stables 161-182
The Inventions of Don Fulano de Tal--Stopping a Train--"A Ver Fine Blaggar"--The Legend of Santa Cruz--Dodging a Warrant--Outlawed--Chased by Gendarmes--A Jack Sheppard Escape--The Cura becomes Cabecilla--Sleeping with an Eye Open--Exploits and Atrocities--Dilettante Carlists in London--The Combat of Monreal--Ibarreta's Relics--A Tale for the Marines--The Carlists Looking-up 183-200
Barbarism of Tauromachy--A Surreptitious Ticket--The Novillos--Islington _not_ Madrid--Apology for Cock-Fighting--Maudlin Humanity--The Espada a Popular Idol--In the Bull-Ring--A Precious "Ster-oh"--The Trumpets Speak--The Procession--Play of the Quadrille--The Defiance--"Bravo, Cucharra!"--"Bravo, Toro!"--The Blemish of the Sport--An Indignant English Lassie 201-224
The Shamrock of Erin and Olive of Spain--Hispano-Hibernian Regiments--The Spanish Soldier--An Unpopular Hidalgo--Flaw in the Harness--The Organization of the Army--The Guardia Civil--The Cavalry, Engineers, and Infantry--General Cordova--The Disorganization of the Army--Mutiny in Pampeluna--Officers Out of Work--Turbulent Barcelona--Irresolute Contreras--Pistolet Discharges Himself--The Madrid Garrison 225-248
Luring the Reader into a Stony Desert--A Duel on the Carpet--Disappointment of the Special Correspondents--The People Amuses Itself--How the Ballot Works--A Historic Sitting of the Congress--Castelar's Great Oration--The Glory of Spain--About Negro Manumission--Distrust of "Uncle Sam"--Return of Figueras--The Permanent Committee--A Love-Feast of Politicians--The Writer Orders Wings 249-265
The Writer Turns Churlish and Quits Madrid--Sleep under Difficulties--A Bad Dream--Santa Cruz again--Off St. Helena!--Dissertation on Stomach Matters--A Hint to British Railway Directors--"Odds, Hilts and Blades"--A Delicate Little Gentleman is Curious--The "Tierra Deleitosa"--That Butcher again 266-281
Delectable Seville--Don Juan Scapegrace--The Women in Black--In the Triana Suburb--The City of the Seven Sleepers--Guide-Book Boredom--Romance and Reality--The Prosaic Manchester Man--King Ferdinand Puzzling the Judges--Mortification by Proxy--Some Notable Treasures--Papers and Politics--The Porcelain Factory--"The Lazy Andalusiennes"--About Cigars--The Gipsy Dance 282-311
Which, being non-essential, treats partly of Spain, but principally of the Writer.
John Augustus O'Shea opens his account with a preface that sets the tone for the entire volume: he is not an impartial observer but a self-confessed partisan, 'passionately fond of Spain and her people.' The narrative, he insists, aims chiefly to amuse, though he hopes to 'convey knowledge and dispel illusions' along the way. This blend of personal experience and political commentary defines the work, as O'Shea moves from the abdication of King Amadeus to the entry of Don Carlos, threading his own mishaps and encounters through the larger upheavals.
The voice is conversational and often wry. In the opening chapters, he describes the discomforts of travel—a back-ache in Bordeaux, an unmannerly Alsatian—with a self-deprecating humor that contrasts sharply with the gravity of the political events he later recounts. This shift in register, from light anecdote to tense debate, is one of the book's most notable structural features.
A Self-Conscious Narrator and His Audience
O'Shea repeatedly acknowledges the reader's presence, framing his choices as responses to friends who urged him to 'bother history' and focus on personal experiences. This meta-narrative thread gives the book an intimate, almost epistolary feel. He warns that his individualism is intentional, and the reader is never allowed to forget that the account is filtered through a specific, opinionated lens. The preface's direct address—'I warn the reader I am not an unprejudiced witness'—establishes a contract of candor that O'Shea maintains throughout.
The narrative voice is also marked by its range of registers. In one passage, he can shift from a mock-heroic description of a 'tough road to travel' to a serious analysis of Carlist guerilla tactics. This flexibility keeps the prose lively but can also disorient: the reader must adjust quickly to changes in tone. O'Shea's use of dialogue, particularly with his 'Anglo-Spanish Mentor,' introduces a second perspective that complicates his own views, as when the Mentor proposes selling Spain to England—a suggestion O'Shea meets with 'derisive laughter.'
Pace and the Rhythm of Political Crisis
The book's pace is uneven, mirroring the unpredictability of the political events it describes. Early chapters amble through travel anecdotes—a hot bath, a dispute over coinage, a Basque peasant encounter—at a leisurely, almost picaresque tempo. But as O'Shea reaches Madrid, the narrative tightens. The chapters become structured around specific dates and debates, such as the 'Great Debate' in the Congress on March 8th. The prose itself accelerates: sentences grow shorter, dialogue becomes more clipped, and the focus narrows to the chamber's proceedings.
This acceleration is most evident in Chapter VIII, where O'Shea's Mentor delivers a rapid-fire analysis of the Republic's fragility. The exchange moves from a discussion of street demonstrations to a prediction of 'a spell of chaos' in a few paragraphs, compressing weeks of political maneuvering into a single conversation. O'Shea then cuts to the chamber, where the 'great debate' unfolds with a theatrical quality—'providential rain,' 'wild rumours,' 'the five civil guards trot to stables.' The effect is cinematic, a montage of crisis that contrasts with the earlier, more ruminative sections.
Recurring Details and the Texture of Place
O'Shea anchors his narrative in small, sensory details that evoke Spain's physical and social landscape. The brasero (a brazier) appears as a recurring motif, a symbol of domestic warmth in a politically cold climate. He notes the 'base coin' in circulation, the 'unmannerly' Alsatian at the border, and the 'armed Alsasua' where Carlist sympathies simmer under cloaks. These details are not merely decorative; they ground the political abstractions in tangible experience.
The author's eye for the absurd is sharp. He recounts a barber's pronunciamiento and the 'embarrassed Mr. Layard of Nineveh' with a dry humor that undercuts the gravity of the events. Yet he also records moments of genuine tension, such as the 'five civil guards' who 'trot to stables' after a failed demonstration. The juxtaposition of the trivial and the consequential is a deliberate technique, one that O'Shea signals in his preface: he aims to 'administer a pill under a coating of jam.' The reader is left to decide which is which.
O'Shea's account is best approached as a personal document rather than a systematic history. The reader should attend to the shifts in pace—from the leisurely travelogue of the opening chapters to the breathless political reportage of the later ones—as clues to the author's own engagement with his material. The recurring dialogue with the Mentor offers a counterpoint to O'Shea's own views, but the narrator's voice remains dominant, opinionated, and deliberately partial. For those interested in the texture of political life in 1870s Spain, seen through the eyes of a sympathetic but critical outsider, this volume provides a vivid, if idiosyncratic, record.
I found myself thinking about O'Shea wandering through a Spain he adored despite its chaos, loving the place without needing it to make sense. It reminded me of another traveler, someone equally swept up in a country’s raw character, recording moments rather than judgments. That same lingering warmth lives in An Australian in China — Context and Discussion, like a quiet photograph kept long after the trip ended.
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