monarchical and conservative by vocation, Sánchez Mazas thought he’d discovered in fascism the ideal instrument to cure his nostalgia for an imperial Catholicism and, especially, to forcibly mend the reliable hierarchies of the ancien régime that the old democratic egalitarianism and the vigorous, new Bolshevik egalitarianism were threatening to annihilate all over Europe. Or to put it another way: perhaps for Sánchez Mazas fascism was simply a way of realizing his poetry, of making real the world it melancholically evoked – the abolished, invented, impossible world of Paradise.
