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