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I sat, several years ago, at the Welsh National Eisteddfod, under the vast tent in which the Bard of Wales was being crowned. After the small golden crown had been placed in unsteady equilibrium on the head of a clever-looking pressman, several Welsh bards came on the platform and recited little epigrams. A Welsh bard is, if young, a pressman, and if of maturer years, a divine. In this case, as England was at war, they were all of the maturer kind, and, while I listened to the music of their ditties—the sense thereof being, alas! beyond my reach—I was struck by the fact that all of them, though different, closely resembled Don Miguel de Unamuno. It is not my purpose to enter into the wasp-nest of racial disquisitions. If there is a race in the world over which more sense and more nonsense can be freely said for lack of definite information than the Welsh, it is surely this ancient Basque people, whose greatest contemporary figure is perhaps Don Miguel de Unamuno. I am merely setting down that intuitional fact for what it may be worth, though I do not hide my opinion that such promptings of the inner, untutored man are worth more than cavefuls of bones and tombfuls of undecipherable papers.

This reminiscence, moreover, which springs up into the light of my memory every time I think of Don Miguel de Unamuno, has to my mind a further value in that in it the image of Don Miguel does not appear as evoked by one man, but by many, though many of one species, many who in depth are but one man, one type, the Welsh divine. Now, this unity underlying a multiplicity, these many faces, moods, and movements, traceable to one only type, I find deeply connected in my mind with Unamuno's person and with what he signifies in Spanish life and letters. And when I further delve into my impression, I first realize an undoubtedly physical relation between the many-one Welsh divines and the many-one Unamuno. A tall, broad-shouldered, bony man, with high cheeks, a beak-like nose, pointed grey beard, and a complexion the colour of the red hematites on which Bilbao, his native town, is built, and which Bilbao ruthlessly plucks from its very body to exchange for gold in the markets of England—and in the deep sockets under the high aggressive forehead prolonged by short iron-grey hair, two eyes like gimlets eagerly watching the world through spectacles which seem to be purposely pointed at the object like microscopes; a fighting expression, but of noble fighting, above the prizes of the passing world, the contempt for which is shown in a peculiar attire whose blackness invades even that little triangle of white which worldly men leave on their breast for the necktie of frivolity and the decorations of vanity, and, blinding it, leaves but the thinnest rim of white collar to emphasize, rather than relieve, the priestly effect of the whole. Such is Don Miguel de Unamuno.

Such is, rather, his photograph. For Unamuno himself is ever changing. A talker, as all good Spaniards are nowadays, but a talker in earnest and with his heart in it, he is varied, like the subjects of his conversation, and, still more, like the passions which they awake in him. And here I find an unsought reason in intellectual support of that intuitional observation which I noted down in starting—that Unamuno resembles the Welsh in that he is not ashamed of showing his passions—a thing which he has often to do, for he is very much alive and feels therefore plenty of them. But a word of caution may here be necessary, since that term, "passion," having been diminished—that is, made meaner—by the world, an erroneous impression might be conveyed by what precedes, of the life and ways of Unamuno. So that it may not be superfluous to say that Don Miguel de Unamuno is a Professor of Greek in the University of Salamanca, an ex-Rector of it who left behind the reputation of being a strong ruler; a father of a numerous family, and a man who has sung the quiet and deep joys of married life with a restraint, a vigour, and a nobility which it would be difficult to match in any literature. Yet a passionate man—or, as he would perhaps prefer to say, therefore a passionate man. But in a major, not in a minor key; of strong, not of weak passions.

The difference between the two lies perhaps in that the man with strong passions lives them, while the man with weak passions is lived by them, so that while weak passions paralyze the will, strong passions urge man to action. It is such an urge towards life, such a vitality ever awake, which inspires Unamuno's multifarious activities in the realm of the mind. The duties of his chair of Greek are the first claim upon his time. But then, his reading is prodigious, as any reader of this book will realize for himself. Not only is he familiar with the stock-in-trade of every intellectual worker—the Biblical, Greek, Roman, and Italian cultures—but there is hardly anything worth reading in Europe and America which he has not read, and, but for the Slav languages, in the original. Though never out of Spain, and seldom out of Salamanca, he has succeeded in establishing direct connections with most of the intellectual leaders of the world, and in gathering an astonishingly accurate knowledge of the spirit and literature of foreign peoples. It was in his library at Salamanca that he once explained to an Englishman the meaning of a particular Scotticism in Robert Burns; and it was there that he congratulated another Englishman on his having read Rural Rides, "the hall-mark," he said, "of the man of letters who is no mere man of letters, but also a man." From that corner of Castile, he has poured out his spirit in essays, poetry, criticism, novels, philosophy, lectures, and public meetings, and that daily toil of press article writing which is the duty rather than the privilege of most present-day writers in Spain. Such are the many faces, moods, and movements in which Unamuno appears before Spain and the world. And yet, despite this multiplicity and this dispersion, the dominant impression which his personality leaves behind is that of a vigorous unity, an unswerving concentration both of mind and purpose. Bagaria, the national caricaturist, a genius of rhythm and character which the war revealed, but who was too good not to be overshadowed by the facile art of Raemaekers (imagine Goya overshadowed by Reynolds!), once represented Unamuno as an owl. A marvellous thrust at the heart of Unamuno's character. For all this vitality and ever-moving activity of mind is shot through by the absolute immobility of two owlish eyes piercing the darkness of spiritual night. And this intense gaze into the mystery is the steel axis round which his spirit revolves and revolves in desperation; the unity under his multiplicity; the one fire under his passions and the inspiration of his whole work and life.

It was Unamuno himself who once said that the Basque is the alkaloid of the Spaniard. The saying is true, so far as it goes. But it would be more accurate to say "one of the two alkaloids." It is probable that if the Spanish character were analyzed—always provided that the Mediterranean aspect of it be left aside as a thing apart—two main principles would be recognized in it—i.e., the Basque, richer in concentration, substance, strength; and the Andalusian, more given to observation, grace, form. The two types are to this day socially opposed. The Andalusian is a people which has lived down many civilizations, and in which even illiterate peasants possess a kind of innate education. The Basques are a primitive people of mountaineers and fishermen, in which even scholars have a peasant-like roughness not unlike the roughness of Scotch tweeds—or character. It is the even balancing of these two elements—the force of the Northerner with the grace of the Southerner—which gives the Castilian his admirable poise and explains the graceful virility of men such as Fray Luis de León and the feminine strength of women such as Queen Isabel and Santa Teresa. We are therefore led to expect in so forcible a representative of the Basque race as Unamuno the more substantial and earnest features of the Spanish spirit.

Our expectation is not disappointed. And to begin with it appears in that very concentration of his mind and soul on the mystery of man's destiny on earth. Unamuno is in earnest, in dead earnest, as to this matter. This earnestness is a distinct Spanish, nay, Basque feature in him. There is something of the stern attitude of Loyola about his "tragic sense of life," and on this subject—under one form or another, his only subject—he admits no joke, no flippancy, no subterfuge. A true heir of those great Spanish saints and mystics whose lifework was devoted to the exploration of the kingdoms of faith, he is more human than they in that he has lost hold of the firm ground where they had stuck their anchor. Yet, though loose in the modern world, he refuses to be drawn away from the main business of the Christian, the saving of his soul, which, in his interpretation, means the conquest of his immortality, his own immortality.

An individualist. Certainly. And he proudly claims the title. Nothing more refreshing in these days of hoggish communistic cant than this great voice asserting the divine, the eternal rights of the individual. But it is not with political rights that he is concerned. Political individualism, when not a mere blind for the unlimited freedom of civil privateering, is but the outcome of that abstract idea of man which he so energetically condemns as pedantic—that is, inhuman. His opposition of the individual to society is not that of a puerile anarchist to a no less puerile socialist. There is nothing childish about Unamuno. His assertion that society is for the individual, not the individual for society, is made on a transcendental plane. It is not the argument of liberty against authority—which can be easily answered on the rationalistic plane by showing that authority is in its turn the liberty of the social or collective being, a higher, more complex, and longer-living "individual" than the individual pure and simple. It is rather the unanswerable argument of eternity against duration. Now that argument must rest on a religious basis. And it is on a religious basis that Unamuno founds his individualism. Hence the true Spanish flavour of his social theory, which will not allow itself to be set down and analyzed into principles of ethics and politics, with their inevitable tendency to degenerate into mere economics, but remains free and fluid and absolute, like the spirit.

Such an individualism has therefore none of the features of that childish half-thinking which inspires most anarchists. It is, on the contrary, based on high thinking, the highest of all, that which refuses to dwell on anything less than man's origin and destination. We are here confronted with that humanistic tendency of the Spanish mind which can be observed as the dominant feature of her arts and literature. All races are of course predominantly concerned with man. But they all manifest their concern with a difference. Man is in Spain a concrete being, the man of flesh and bones, and the whole man. He is neither subtilized into an idea by pure thinking nor civilized into a gentleman by social laws and prejudices. Spanish art and letters deal with concrete, tangible persons. Now, there is no more concrete, no more tangible person for every one of us than ourself. Unamuno is therefore right in the line of Spanish tradition in dealing predominantly—one might almost say always—with his own person. The feeling of the awareness of one's own personality has seldom been more forcibly expressed than by Unamuno. This is primarily due to the fact that he is himself obsessed by it. But in his expression of it Unamuno derives also some strength from his own sense of matter and the material—again a typically Spanish element of his character. Thus his human beings are as much body as soul, or rather body and soul all in one, a union which he admirably renders by bold mixtures of physical and spiritual metaphors, as in gozarse uno la carne del alma (to enjoy the flesh of one's own soul).

In fact, Unamuno, as a true Spaniard which he is, refuses to surrender life to ideas, and that is why he runs shy of abstractions, in which he sees but shrouds wherewith we cover dead thoughts. He is solely concerned with his own life, nothing but his life, and the whole of his life. An egotistical position? Perhaps. Unamuno, however, can and does answer the charge. We can only know and feel humanity in the one human being which we have at hand. It is by penetrating deep into ourselves that we find our brothers in us—branches of the same trunk which can only touch each other by seeking their common origin. This searching within, Unamuno has undertaken with a sincerity, a fearlessness which cannot be excelled. Nowhere will the reader find the inner contradictions of a modern human being, who is at the same time healthy and capable of thought set down with a greater respect for truth. Here the uncompromising tendency of the Spanish race, whose eyes never turn away from nature, however unwelcome the sight, is strengthened by that passion for life which burns in Unamuno. The suppression of the slightest thought or feeling for the sake of intellectual order would appear to him as a despicable worldly trick. Thus it is precisely because he does sincerely feel a passionate love of his own life that he thinks out with such scrupulous accuracy every argument which he finds in his mind—his own mind, a part of his life—against the possibility of life after death; but it is also because he feels that, despite such conclusive arguments, his will to live perseveres, that he refuses to his intellect the power to kill his faith. A knight-errant of the spirit, as he himself calls the Spanish mystics, he starts for his adventures after having, like Hernán Cortés, burnt his ships. But, is it necessary to enhance his figure by literary comparison? He is what he wants to be, a man—in the striking expression which he chose as a title for one of his short stories, nothing less than a whole man. Not a mere thinking machine, set to prove a theory, nor an actor on the world stage, singing a well-built poem, well built at the price of many a compromise; but a whole man, with all his affirmations and all his negations, all the pitiless thoughts of a penetrating mind that denies, and all the desperate self-assertions of a soul that yearns for eternal life.

This strife between enemy truths, the truth thought and the truth felt, or, as he himself puts it, between veracity and sincerity, is Unamuno's raison d'être. And it is because the "Tragic Sense of Life" is the most direct expression of it that this book is his masterpiece. The conflict is here seen as reflected in the person of the author. The book opens by a definition of the Spanish man, the "man of flesh and bones," illustrated by the consideration of the real living men who stood behind the bookish figures of great philosophers and consciously or unconsciously shaped and misshaped their doctrines in order to satisfy their own vital yearnings. This is followed by the statement of the will to live or hunger for immortality, in the course of which the usual subterfuges with which this all-important issue is evaded in philosophy, theology, or mystic literature, are exposed and the real, concrete, "flesh and bones" character of the immortality which men desire is reaffirmed. The Catholic position is then explained as the vital attitude in the matter, summed up in Tertullian's Credo quia absurdum, and this is opposed to the critical attitude which denies the possibility of individual survival in the sense previously defined. Thus Unamuno leads us to his inner deadlock: his reason can rise no higher than scepticism, and, unable to become vital, dies sterile; his faith, exacting anti-rational affirmations and unable therefore to be apprehended by the logical mind, remains incommunicable. From the bottom of this abyss Unamuno builds up his theory of life. But is it a theory? Unamuno does not claim for it such an intellectual dignity. He knows too well that in the constructive part of his book his vital self takes the leading part and repeatedly warns his reader of the fact, lest critical objections might be raised against this or that assumption or self-contradiction. It is on the survival of his will to live, after all the onslaughts of his critical intellect, that he finds the basis for his belief—or rather for his effort to believe. Self-compassion leads to self-love, and this self-love, founded as it is on a universal conflict, widens into love of all that lives and therefore wants to survive. So, by an act of love, springing from our own hunger for immortality, we are led to give a conscience to the Universe—that is, to create God.

Such is the process by which Unamuno, from the transcendental pessimism of his inner contradiction, extracts an everyday optimism founded on love. His symbol of this attitude is the figure of Don Quixote, of whom he truly says that his creed "can hardly be called idealism, since he did not fight for ideas: it was spiritualism, for he fought for the spirit." Thus he opposes a synthetical to an analytical attitude; a religious to an ethico-scientific ideal; Spain, his Spain—i.e., the spiritual manifestation of the Spanish race—to Europe, his Europe—i.e., the intellectual manifestation of the white race, which he sees in Franco-Germany; and heroic love, even when comically unpractical, to culture, which, in this book, written in 1912, is already prophetically spelt Kultura.

This courageous work is written in a style which is the man—for Buffon's saying, seldom true, applies here to the letter. It is written as Carlyle wrote, not merely with the brain, but with the whole soul and the whole body of the man, and in such a vivid manner that one can without much effort imagine the eager gesticulation which now and then underlines, interprets, despises, argues, denies, and above all asserts. In his absolute subservience to the matter in hand this manner of writing has its great precedent in Santa Teresa. The differences, and they are considerable, are not of art, absent in either case, but of nature. They are such deep and obvious differences as obtain between the devout, ignorant, graceful nun of sixteenth-century Avila and the free-thinking, learned, wilful professor of twentieth-century Salamanca. In the one case, as in the other, the language is the most direct and simple required. It is also the least literary and the most popular. Unamuno, who lives in close touch with the people, has enriched the Spanish literary language by returning to it many a popular term. His vocabulary abounds in racy words of the soil, and his writings gain from them an almost peasant-like pith and directness which suits his own Basque primitive nature. His expression occurs simultaneously with the thoughts and feelings to be expressed, the flow of which, but loosely controlled by the critical mind, often breaks through the meshes of established diction and gives birth to new forms created under the pressure of the moment. This feature Unamuno has also in common with Santa Teresa, but what in the Saint was a self-ignorant charm becomes in Unamuno a deliberate manner inspired, partly by an acute sense of the symbolical and psychological value of word-connections, partly by that genuine need for expansion of the language which all true original thinkers or "feelers" must experience, but partly also by an acquired habit of juggling with words which is but natural in a philologist endowed with a vigorous imagination. Unamuno revels in words. He positively enjoys stretching them beyond their usual meaning, twisting them, composing, opposing, and transposing them in all sorts of possible ways. This game—not wholly unrewarded now and then by striking intellectual finds—seems to be the only relaxation which he allows his usually austere mind. It certainly is the only light feature of a style the merit of which lies in its being the close-fitting expression of a great mind earnestly concentrated on a great idea.

The earnestness, the intensity, and the oneness of his predominant passion are the main cause of the strength of Unamuno's philosophic work. They remain his main asset, yet become also the principal cause of his weakness, as a creative artist. Great art can only flourish in the temperate zone of the passions, on the return journey from the torrid. Unamuno, as a creator, has none of the failings of those artists who have never felt deeply. But he does show the limitations of those artists who cannot cool down. And the most striking of them is that at bottom he is seldom able to put himself in a purely esthetical mood. In this, as in many other features, Unamuno curiously resembles Wordsworth—whom, by the way, he is one of the few Spaniards to read and appreciate.[1] Like him, Unamuno is an essentially purposeful and utilitarian mind. Of the two qualities which the work of art requires for its inception—earnestness and detachment—both Unamuno and Wordsworth possess the first; both are deficient in the second. Their interest in their respective leading thought—survival in the first, virtue in the second—is too direct, too pressing, to allow them the "distance" necessary for artistic work. Both are urged to work by a lofty utilitarianism—the search for God through the individual soul in Unamuno, the search for God through the social soul in Wordsworth—so that their thoughts and sensations are polarized and their spirit loses that impartial transparence for nature's lights without which no great art is possible. Once suggested, this parallel is too rich in sidelights to be lightly dropped. This single-mindedness which distinguishes them explains that both should have consciously or unconsciously chosen a life of semi-seclusion, for Unamuno lives in Salamanca very much as Wordsworth lived in the Lake District—

in a still retreat

Sheltered, but not to social duties lost,

hence in both a certain proclivity towards ploughing a solitary furrow and becoming self-centred. There are no doubt important differences. The Englishman's sense of nature is both keener and more concrete; while the Spaniard's knowledge of human nature is not barred by the subtle inhibitions and innate limitations which tend to blind its more unpleasant aspects to the eye of the Englishman. There is more courage and passion in the Spaniard; more harmony and goodwill in the Englishman; the one is more like fire, the other like light. For Wordsworth, a poem is above all an essay, a means for conveying a lesson in forcible and easily remembered terms to those who are in need of improvement. For Unamuno, a poem or a novel (and he holds that a novel is but a poem) is the outpouring of a man's passion, the overflow of the heart which cannot help itself and lets go. And it may be that the essential difference between the two is to be found in this difference between their respective purposes: Unamuno's purpose is more intimately personal and individual; Wordsworth's is more social and objective. Thus both miss the temperate zone, where emotion takes shape into the moulds of art; but while Wordsworth is driven by his ideal of social service this side of it, into the cold light of both moral and intellectual self-control, Unamuno remains beyond, where the molten metal is too near the fire of passion, and cannot cool down into shape.

Unamuno is therefore not unlike Wordsworth in the insufficiency of his sense of form. We have just seen the essential cause of this insufficiency to lie in the nonesthetical attitude of his mind, and we have tried to show one of the roots of such an attitude in the very loftiness and earnestness of his purpose. Yet, there are others, for living nature is many-rooted as it is many-branched. It cannot be doubted that a certain refractoriness to form is a typical feature of the Basque character. The sense of form is closely in sympathy with the feminine element in human nature, and the Basque race is strongly masculine. The predominance of the masculine element—strength without grace—is as typical of Unamuno as it is of Wordsworth. The literary gifts which might for the sake of synthesis be symbolized in a smile are absent in both. There is as little humour in the one as in the other. Humour, however, sometimes occurs in Unamuno, but only in his ill-humoured moments, and then with a curious bite of its own which adds an unconscious element to its comic effect. Grace only visits them in moments of inspiration, and then it is of a noble character, enhanced as it is by the ever-present gift of strength. And as for the sense for rhythm and music, both Unamuno and Wordsworth seem to be limited to the most vigorous and masculine gaits. This feature is particularly pronounced in Unamuno, for while Wordsworth is painstaking, all-observant, and too good a "teacher" to underestimate the importance of pleasure in man's progress, Unamuno knows no compromise. His aim is not to please but to strike, and he deliberately seeks the naked, the forceful, even the brutal word for truth. There is in him, however, a cause of formlessness from which Wordsworth is free—namely, an eagerness for sincerity and veracity which brushes aside all preparation, ordering or planning of ideas as suspect of "dishing up," intellectual trickery, and juggling with spontaneous truths.

Such qualities—both the positive and the negative—are apparent in his poetry. In it, the appeal of force and sincerity is usually stronger than that of art. This is particularly the case in his first volume (Poesías, 1907), in which a lofty inspiration, a noble attitude of mind, a rich and racy vocabulary, a keen insight into the spirit of places, and above all the overflowing vitality of a strong man in the force of ripeness, contend against the still awkward gait of the Basque and a certain rebelliousness of rhyme. The dough of the poetic language is here seen heavily pounded by a powerful hand, bent on reducing its angularities and on improving its plasticity. Nor do we need to wait for further works in order to enjoy the reward of such efforts, for it is attained in this very volume more than once, as for instance in Muere en el mar el ave que voló del nido, a beautiful poem in which emotion and thought are happily blended into exquisite form.

In his last poem, El Cristo de Velázquez (1920), Unamuno undertakes the task of giving a poetical rendering of his tragic sense of life, in the form of a meditation on the Christ of Velázquez, the beautiful and pathetic picture in the Prado. Why Velázquez's and not Christ himself? The fact is that, though in his references to actual forms, Unamuno closely follows Velázquez's picture, the spiritual interpretation of it which he develops as the poem unfolds itself is wholly personal. It would be difficult to find two great Spaniards wider apart than Unamuno and Velázquez, for if Unamuno is the very incarnation of the masculine spirit of the North—all strength and substance—Velázquez is the image of the feminine spirit of the South—all grace and form. Velázquez is a limpid mirror, with a human depth, yet a mirror. That Unamuno has departed from the image of Christ which the great Sevillian reflected on his immortal canvas was therefore to be expected. But then Unamuno has, while speaking of Don Quixote, whom he has also freely and personally interpreted,[2] taken great care to point out that a work of art is, for each of us, all that we see in it. And, moreover, Unamuno has not so much departed from Velázquez's image of Christ as delved into its depths, expanded, enlarged it, or, if you prefer, seen in its limpid surface the immense figure of his own inner Christ. However free and unorthodox in its wide scope of images and ideas, the poem is in its form a regular meditation in the manner approved by the Catholic Church, and it is therefore meet that it should rise from a concrete, tangible object as it is recommended to the faithful. To this concrete character of its origin, the poem owes much of its suggestiveness, as witness the following passage quoted here, with a translation sadly unworthy of the original, as being the clearest link between the poetical meditation and the main thought that underlies all the work and the life of Unamuno.

NUBE NEGRA

O es que una nube negra de los cielos

ese negror le dió a tu cabellera

de nazareno, cual de mustio sauce

de una noche sin luna sobre el río?

¿Es la sombra del ala sin perfiles

del ángel de la nada negadora,

de Luzbel, que en su caída inacabable

—fondo no puede dar—su eterna cuita

clava en tu frente, en tu razón? ¿Se vela,

el claro Verbo en Ti con esa nube,

negra cual de Luzbel las negras alas,

mientras brilla el Amor, todo desnudo,

con tu desnudo pecho por cendal?

BLACK CLOUD

Or was it then that a black cloud from heaven

Such blackness gave to your Nazarene's hair,

As of a languid willow o'er the river

Brooding in moonless night? Is it the shadow

Of the profileless wing of Luzbel, the Angel

Of denying nothingness, endlessly falling—

Bottom he ne'er can touch—whose grief eternal

He nails on to Thy forehead, to Thy reason?

Is the clear Word in Thee with that cloud veiled

—A cloud as black as the black wings of Luzbel—

While Love shines naked within Thy naked breast?

The poem, despite its length, easily maintains this lofty level throughout, and if he had written nothing else Unamuno would still remain as having given to Spanish letters the noblest and most sustained lyrical flight in the language. It abounds in passages of ample beauty and often strikes a note of primitive strength in the true Old Testament style. It is most distinctively a poem in a major key, in a group with Paradise Lost and The Excursion, but in a tone halfway between the two; and, as coming from the most Northern-minded and substantial poet that Spain ever had, wholly free from that tendency towards grandiloquence and Ciceronian drapery which blighted previous similar efforts in Spain. Its weakness lies in a certain monotony due to the interplay of Unamuno's two main limitations as an artist: the absolute surrender to one dominant thought and a certain deficiency of form bordering here on contempt. The plan is but a loose sequence of meditations on successive aspects of Christ as suggested by images or advocations of His divine person, or even of parts of His human body: Lion, Bull, Lily, Sword, Crown, Head, Knees. Each meditation is treated in a period of blank verse, usually of a beautiful texture, the splendour of which is due less to actual images than to the inner vigour of ideas and the eagerness with which even the simplest facts are interpreted into significant symbols. Yet, sometimes, this blank verse becomes hard and stony under the stubborn hammering of a too insistent mind, and the device of ending each meditation with a line accented on its last syllable tends but to increase the monotony of the whole.

Blank verse is never the best medium for poets of a strong masculine inspiration, for it does not sufficiently correct their usual deficiency in form. Such poets are usually at their best when they bind themselves to the discipline of existing forms and particularly when they limit the movements of their muse to the "sonnet's scanty plot of ground." Unamuno's best poetry, as Wordsworth's, is in his sonnets. His Rosario de Sonetos Líricos, published in 1911, contains some of the finest sonnets in the Spanish language. There is variety in this volume—more at least than is usual in Unamuno: from comments on events of local politics (sonnet lii.) which savour of the more prosaic side of Wordsworth, to meditations on space and time such as that sonnet xxxvii., so reminiscent of Shelley's Ozymandias of Egypt; from a suggestive homily to a "Don Juan of Ideas" whose thirst for knowledge is "not love of truth, but intellectual lust," and whose "thought is therefore sterile" (sonnet cvii.), to an exquisitely rendered moonlight love scene (sonnet civ.). The author's main theme itself, which of course occupies a prominent part in the series, appears treated under many different lights and in genuinely poetical moods which truly do justice to the inherent wealth of poetical inspiration which it contains. Many a sonnet might be quoted here, and in particular that sombre and fateful poem Nihil Novum sub Sole (cxxiii.), which defeats its own theme by the striking originality of its inspiration.

So active, so positive is the inspiration of this poetry that the question of outside influences does not even arise. Unamuno is probably the Spanish contemporary poet whose manner owes least, if anything at all, to modern developments of poetry such as those which take their source in Baudelaire and Verlaine. These over-sensitive and over-refined artists have no doubt enriched the sensuous, the formal, the sentimental, even the intellectual aspects of verse with an admirable variety of exquisite shades, lacking which most poetry seems old-fashioned to the fastidious palate of modern men. Unamuno is too genuine a representative of the spiritual and masculine variety of Spanish genius, ever impervious to French, and generally, to intellectual, influences, to be affected by the esthetic excellence of this art. Yet, for all his disregard of the modern resources which it adds to the poetic craft, Unamuno loses none of his modernity. He is indeed more than modern. When, as he often does, he strikes the true poetic note, he is outside time. His appeal is not in complexity but in strength. He is not refined: he is final.

In the Preface to his Tres Novelas Ejemplares y un Prólogo (1921) Unamuno says: " … novelist—that is, poet … a novel—that is, a poem." Thus, with characteristic decision, he sides with the lyrical conception of the novel. There is of course an infinite variety of types of novels. But they can probably all be reduced to two classes—i.e., the dramatic or objective, and the lyrical or subjective, according to the mood or inspiration which predominates in them. The present trend of the world points towards the dramatic or objective type. This type is more in tune with the detached and scientific character of the age. The novel is often nowadays considered as a document, a "slice of life," a piece of information, a literary photograph representing places and people which purse or time prevents us from seeing with our own eyes. It is obvious, given what we now know of him, that such a view of the novel cannot appeal to Unamuno. He is a utilitarian, but not of worldly utilities. His utilitarianism transcends our daily wants and seeks to provide for our eternal ones. He is, moreover, a mind whose workings turn in spiral form towards a central idea and therefore feels an instinctive antagonism to the dispersive habits of thought and sensation which such detailed observation of life usually entails. For at bottom the opposition between the lyrical and the dramatic novel may be reduced to that between the poet and the dramatist. Both the dramatist and the poet create in order to link up their soul and the world in one complete circle of experience, but this circle is travelled in opposite directions. The poet goes inwards first, then out to nature full of his inner experience, and back home. The dramatist goes outwards first, then comes back to himself, his harvest of wisdom gathered in reality. It is the recognition of his own lyrical inward-looking nature which makes Unamuno pronounce the identity of the novel and the poem.

Whatever we may think of it as a general theory, there is little doubt that this opinion is in the main sound in so far as it refers to Unamuno's own work. His novels are created within. They are—and their author is the first to declare it so—novels which happen in the kingdom of the spirit. Outward points of reference in time and space are sparingly given—in fact, reduced to a bare minimum. In some of them, as for instance Niebla (1914), the name of the town in which the action takes place is not given, and such scanty references to the topography and general features as are supplied would equally apply to any other provincial town of Spain. Action, in the current sense of the word, is correspondingly simplified, since the material and local elements on which it usually exerts itself are schematized, and in their turn made, as it were, spiritual. Thus a street, a river of colour for some, for others a series of accurately described shops and dwellings, becomes in Unamuno (see Niebla) a loom where the passions and desires of men and women cross and recross each other and weave the cloth of daily life. Even the physical description of characters is reduced to a standard of utmost simplicity. So that, in fine, Unamuno's novels, by eliminating all other material, appear, if the boldness of the metaphor be permitted, as the spiritual skeletons of novels, conflicts between souls.

Nor is this the last stage in his deepening and narrowing of the creative furrow. For these souls are in their turn concentrated so that the whole of their vitality burns into one passion. If a somewhat fanciful comparison from another art may throw any light on this feature of his work we might say that his characters are to those of Galdós, for instance, as counterpoint music to the complex modern symphony. Joaquín Monegro, the true hero of his Abel Sánchez (1917), is the personification of hatred. Raquel in Dos Madres[3] and Catalina in El Marqués de Lumbría are two widely different but vigorous, almost barbarous, "maternities." Alejandro, the hero of his powerful Nada Menos que Todo un Hombre, is masculine will, pure and unconquerable, save by death. Further still, in most if not all of his main characters, we can trace the dominant passion which is their whole being to a mere variety of the one and only passion which obsesses Unamuno himself, the hunger for life, a full life, here and after. Here is, for instance, Abel Sánchez, a sombre study of hatred, a modern paraphrase of the story of Cain. Joaquín Monegro, the Cain of the novel, has been reading Byron's poem, and writes in his diary: "It was when I read how Lucifer declared to Cain that he, Cain, was immortal, that I began in terror to wonder whether I also was immortal and whether in me would be also immortal my hatred. 'Have I a soul?' I said to myself then. 'Is this my hatred soul?' And I came to think that it could not be otherwise, that such a hatred cannot be the function of a body. … A corruptible organism could not hate as I hated."

Thus Joaquín Monegro, like every other main character in his work, appears preoccupied by the same central preoccupation of Unamuno. In one word, all Unamuno's characters are but incarnations of himself. But that is what we expected to find in a lyrical novelist.

There are critics who conclude from this observation that these characters do not exist, that they are mere arguments on legs, personified ideas. Here and there, in Unamuno's novels, there are passages which lend some colour of plausibility to this view. Yet, it is in my opinion mistaken. Unamuno's characters may be schematized, stripped of their complexities, reduced to the mainspring of their nature; they may, moreover, reveal mainsprings made of the same steel. But that they are alive no one could deny who has a sense for life. The very restraint in the use of physical details which Unamuno has made a feature of his creative work may have led his critics to forget the intensity of those—admirably chosen—which are given. It is significant that the eyes play an important part in his description of characters and in his narrative too. His sense of the interpenetration of body and soul is so deep that he does not for one moment let us forget how bodily his "souls" are, and how pregnant with spiritual significance is every one of their words and gestures. No. These characters are not arguments on legs. They truly are men and women of "flesh and bones," human, terribly human.

In thus emphasizing a particular feature in their nature, Unamuno imparts to his creations a certain deformity which savours of romantic days. Yet Unamuno is not a romanticist, mainly because Romanticism was an esthetic attitude, and his attitude is seldom purely esthetic. For all their show of passion, true Romanticists seldom gave their real selves to their art. They created a stage double of their own selves for public exhibitions. They sought the picturesque. Their form was lyrical, but their substance was dramatic. Unamuno, on the contrary, even though he often seeks expression in dramatic form, is essentially lyrical. And if he is always intense, he never is exuberant. He follows the Spanish tradition for restraint—for there is one, along its opposite tradition for grandiloquence—and, true to the spirit of it, he seeks the maximum of effect through the minimum of means. Then, he never shouts. Here is an example of his quiet method, the rhythmical beauty of which is unfortunately almost untranslatable:

"Y así pasaron días de llanto y de negrura hasta que las lágrimas fueron yéndose hacia adentro y la casa fué derritiendo los negrores" (Niebla) (And thus, days of weeping and mourning went by, till the tears began to flow inward and the blackness to melt in the home).

Miguel de Unamuno is to-day the greatest literary figure of Spain. Baroja may surpass him in variety of external experience, Azorín in delicate art, Ortega y Gasset in philosophical subtlety, Ayala in intellectual elegance, Valle Inclán in rhythmical grace. Even in vitality he may have to yield the first place to that over-whelming athlete of literature, Blasco Ibáñez. But Unamuno is head and shoulders above them all in the highness of his purpose and in the earnestness and loyalty with which, Quixote-like, he has served all through his life his unattainable Dulcinea. Then there is another and most important reason which explains his position as first, princeps, of Spanish letters, and it is that Unamuno, by the cross which he has chosen to bear, incarnates the spirit of modern Spain. His eternal conflict between faith and reason, between life and thought, between spirit and intellect, between heaven and civilization, is the conflict of Spain herself. A border country, like Russia, in which East and West mix their spiritual waters, Spain wavers between two life-philosophies and cannot rest. In Russia, this conflict emerges in literature during the nineteenth century, when Dostoievsky and Tolstoy stand for the East while Turgeniev becomes the West's advocate. In Spain, a country less articulate, and, moreover, a country in which the blending of East and West is more intimate, for both found a common solvent in centuries of Latin civilization, the conflict is less clear, less on the surface. To-day Ortega y Gasset is our Turgeniev—not without mixture. Unamuno is our Dostoievsky, but painfully aware of the strength of the other side within him, and full of misgivings. Nor is it sure that when we speak of East in this connection we really mean East. There is a third country in Europe in which the "Eastern" view is as forcibly put and as deeply understood as the "Western," a third border country—England. England, particularly in those of her racial elements conventionally named Celtic, is closely in sympathy with the "East." Ireland is almost purely "Eastern" in this respect. That is perhaps why Unamuno feels so strong an attraction for the English language and its literature, and why, even to this day, he follows so closely the movements of English thought.[4] For his own nature, of a human being astride two enemy ideals, draws him instinctively towards minds equally placed in opposition, yet a co-operating opposition, to progress. Thus Unamuno, whose literary qualities and defects make him a genuine representative of the more masculine variety of the Spanish genius, becomes in his spiritual life the true living symbol of his country and his time. And that he is great enough to bear this incarnation is a sufficient measure of his greatness.

S. DE MADARIAGA.