Tragic Sense Of Life. Miguel de UnamunoЧитать онлайн книгу.
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,