De Dioniso al Borracho, es decir: de la tragedia al esperpento: Luces de Bohemia de Ramón del Valle-Inclán

[Machine translation] If in the grotesque types of Madrid of Bohemian Lights, drunkenness refers only to a trivial aspect of their physical and moral degeneration, in Max Estrella and his doubles it is ambivalent, because the alteration produced by bachic nectar refers, in reality, to that same artistic inspiration that allows the Galician author to leave the ivory tower of Modernism to portray the deformed Spain of his time with a new theatrical genre capable of replacing tragedy. In this sense, the Drunk, who appears on rare occasions, far from being a secondary figurine, closes the play because not only is it a mask behind which the genius of Valle-Inclán manages to hide itself to mislead and surprise the reader/spectator of his avant-garde theater, but, in the last analysis, he perfectly represents the inspiring number of absurdity, as a deformation of the old dithyramb.