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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.

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. 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.

And that he is great enough to bear this incarnation is a sufficient measure of his greatness. Vida de Don Quijote y Sancho, explicada y comentada, por M. de Unamuno: Madrid, Fernando , 1905. These three novels appeared together as Tres Novelas y un Prólogo Calpe, Madrid, 1921. "Me va interesando ese Dean Inge," he wrote to me last year.

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.

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, taken great care to point out that a work of art is, for each of us, all that we see in it.

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.

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.

'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.

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.

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.

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