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.
FOOTNOTES:
[1] In what follows, I confess to refer not so much to the generally admitted opinion on Wordsworth as to my own views on him and his poetry, which I tried to explain in my essay: "The Case of Wordsworth" (Shelley and Calderón, and other Essays, Constable and Co., 1920).
[2] Vida de Don Quijote y Sancho, explicada y comentada, por M. de Unamuno: Madrid, Fernando Fé, 1905.
[3] These three novels appeared together as Tres Novelas y un Prólogo Calpe, Madrid, 1921.
[4] "Me va interesando ese Dean Inge," he wrote to me last year.
AUTHOR'S PREFACE
I intended at first to write a short Prologue to this English translation of my Del Sentimiento Trágico de la Vida, which has been undertaken by my friend Mr. J.E. Crawford Flitch. But upon further consideration I have abandoned the idea, for I reflected that after all I wrote this book not for Spaniards only, but for all civilized and Christian men—Christian in particular, whether consciously so or not—of whatever country they may be.
Furthermore, if I were to set about writing an Introduction in the light of all that we see and feel now, after the Great War, and, still more, of what we foresee and forefeel, I should be led into writing yet another book. And that is a thing to be done with deliberation and only after having better digested this terrible peace, which is nothing else but the war's painful convalescence.
As for many years my spirit has been nourished upon the very core of English literature—evidence of which the reader may discover in the following pages—the translator, in putting my Sentimiento Trágico into English, has merely converted not a few of the thoughts and feelings therein expressed back into their original form of expression. Or retranslated them, perhaps. Whereby they emerge other than they originally were, for an idea does not pass from one language to another without change.
The fact that this English translation has been carefully revised here, in my house in this ancient city of Salamanca, by the
