Miguel de Unamuno

According to the British historian Hugh Thomas in his magnum opus The Spanish Civil War (1961), the evening began with an impassioned speech by the Falangist writer José María Pemán. After this, Professor Francisco Maldonado decried Catalonia and the Basque Country as "cancers on the body of the nation," adding that "Fascism, the healer of Spain, will know how to exterminate them, cutting into the live flesh, like a determined surgeon free from false sentimentalism."

From somewhere in the auditorium, someone cried out the Spanish Legion's motto "¡Viva la Muerte!" [Long live death!]. As was his habit, Millán Astray, the founder and first commander of the Spanish Legion, responded with "¡España!" [Spain!]; the crowd replied with "¡Una!" [One!]. He repeated "¡España!"; the crowd then replied "¡Grande!" [Great!]. A third time, Millán Astray shouted "¡España!"; the crowd responded "Libre!" [Free!] This—Spain, one, great, and free—was a common Falangist cheer and would become a francoist motto thereafter. Later, a group of uniformed Falangists entered, saluting the portrait of Franco that hung on the wall.

Unamuno, who was presiding over the meeting, rose up slowly and addressed the crowd:

You are waiting for my words. You know me well, and know I cannot remain silent for long. Sometimes, to remain silent is to lie, since silence can be interpreted as assent. I want to comment on the so-called speech of Professor Maldonado, who is with us here. I will ignore the personal offence to the Basques and Catalans. I myself, as you know, was born in Bilbao. The Bishop,

Unamuno gestured to the Archbishop of Salamanca,

whether you like it or not, is Catalan, born in Barcelona. But now I have heard this insensitive and necrophilous oath, "¡Viva la Muerte!", and I, having spent my life writing paradoxes that have provoked the ire of those who do not understand what I have written, and being an expert in this matter, find this ridiculous paradox repellent. General Millán Astray is a cripple. There is no need for us to say this with whispered tones. He is a war cripple. So was Cervantes. But unfortunately, Spain today has too many cripples. And, if God does not help us, soon it will have very many more. It torments me to think that General Millán Astray could dictate the norms of the psychology of the masses. A cripple, who lacks the spiritual greatness of Cervantes, hopes to find relief by adding to the number of cripples around him.

Millán Astray responded: "Death to intelligence! Long live death!" provoking applause from the Falangists. Pemán, in an effort to calm the crowd, exclaimed "No! Long live intelligence! Death to the bad intellectuals!"

Unamuno continued: "This is the temple of intelligence, and I am its high priest. You are profaning its sacred domain. You will win [venceréis], because you have enough brute force. But you will not convince [pero no convenceréis]. In order to convince it is necessary to persuade, and to persuade you will need something that you lack: reason and right in the struggle. I see it is useless to ask you to think of Spain. I have spoken." Millán Astray, controlling himself, shouted "Take the lady's arm!" Unamuno took Carmen Polo by the arm and left under her protection.

In 2018, the details of Unamuno's speech were disputed by the historian Severiano Delgado, who argued that the account in a 1941 article by Luis Gabriel Portillo (who was not present at Salamanca) in the British magazine Horizon may not have been an accurate representation of events.

Severiano Delgado, a historian and librarian at the University of Salamanca, asserts that Unamuno's words were put in his mouth by Luis Portillo, in 1941, possibly with some help from George Orwell, in a piece in the literary magazine Horizon, entitled Unamuno's Last Lecture. Portillo had not witnessed the event.[26]

Severiano Delgado's book, titled "Archeology of a Myth: The act of October 12, 1936 in the auditorium of the University of Salamanca," shows how the propaganda myth arose regarding the confrontation that took place that day between Miguel de Unamuno and the general Millán Astray.

Delgado agrees that a "very fierce and violent verbal confrontation" between Unamuno and Millán Astray definitely occurred, which led to Unamuno being removed from his rectorship, but he thinks that the famous speech attributed to Unamuno was invented and written by Luis Portillo."[27][28]

Delgado says that:

What Portillo did was to come up with a kind of liturgical drama, where you have an angel and a devil confronting one another. What he wanted to do above all was symbolise evil—fascism, militarism, brutality—through Millán Astray, and set it against the democratic values of the republicans—liberalism and goodness—represented by Unamuno. Portillo had no intention of misleading anyone; it was simply a literary evocation.

Unamuno took the floor, not to confront Millán Astray, but to answer a previous speech by Professor of Literature Francisco Maldonado who had identified Catalonia and the Basque Country with the "antiespaña" (Antispain). Unamuno himself was Basque and was revolted with Francisco Maldonado's speech, but when addressing the audience, Unamuno used the example of what had happened with José Rizal (a Filipino nationalist and polymath during the tail end of the Spanish colonial period of the Philippines, executed by the Spanish colonial government for the crime of rebellion after the Philippine Revolution). Millán Astray had fought in the Philippines and it was the reference to José Rizal that annoyed Millán Astray, who shouted "The traitoring intellectuals die".

As proof that the incident was nothing more than a crossroads of hard words, the photograph reproduced on the cover of his book shows Millán Astray and Miguel de Unamuno calmly saying goodbye in the presence of Bishop Plà, with no tension between them. The photo was discovered in 2018 in the National Library and was part of the chronicle of the act that the newspaper "The Advancement of Salamanca" published the following day, 13 October 1936.[28]

According to Delgado, Portillo's account of the speech became famous when a then very young British historian Hugh Thomas, aged 30, came across it in a Horizon anthology while researching his seminal book, The Spanish Civil War, and mistakenly took it as a primary source.[28]

• Paz en la guerra (Peace in War) (1897) – a novel that explores the relationship of self and world through familiarity with death. It is based on his experiences as a child during the Carlist siege of Bilbao in the Third Carlist War.
• Amor y pedagogía (Love and Pedagogy) (1902) – a novel uniting comedy and tragedy in an absurd parody of positivist sociology.
• El espejo de la muerte (The Mirror of Death) (1913) – a collection of stories.

Balcón de Unamuno, Artenara, Spain

• Niebla (Mist) (1914) – one of Unamuno's key works, which he called a nivola to distinguish it from the supposedly fixed form of the novel (novela in Spanish).
• Vida de Don Quijote y Sancho (usually translated into English as Our Lord Don Quixote) (1914) – another key work of Unamuno, often perceived as one of the earliest works applying existential elements to Don Quixote. The book, on Unamuno's own admission, is of mixed genre with elements of personal essay, philosophy, and fiction. Unamuno felt that Miguel de Cervantes had not told the story of Don Quijote very well, cluttering it with unrelated tales. Unamuno intended this work to present Cervantes' story the way it should have been written. He felt that as a quijotista (a fan or student of Don Quixote) he was superior to Cervantes. The work is primarily of interest to those studying Unamuno, not Cervantes.
• Abel Sánchez (1917) – a novel that uses the story of Cain and Abel to explore envy.
• Tulio Montalbán (1920) – a short novel on the threat of a man's public image undoing his true personality, a problem familiar to the famous Unamuno.
• Tres novelas ejemplares y un prólogo (Three Exemplary Novels and a Prologue) (1920) – a much-studied work with a famous prologue. The title deliberately recalls the famous Novelas ejemplares of Miguel de Cervantes.
• La tía Tula (Aunt Tula) (1921) – his final large-scale novel, a work about maternity, a theme that he had already examined in Amor y pedagogía and Dos madres.
• Teresa (1924) – a narrative work that contains romantic poetry, achieving an ideal through the re-creation of the beloved.
• Cómo se hace una novela (How to Make a Novel) (1927) – the autopsy of an Unamuno novel.
• Don Sandalio, jugador de ajedrez (Don Sandalio, Chess Player) (1930).
• San Manuel Bueno, mártir (Saint Emmanuel the Good, Martyr) (1930) – a brief novella that synthesizes virtually all of Unamuno's thought. The novella centres on a heroic priest who has lost his faith in immortality, yet says nothing of his doubts to his parishioners, not wanting to disturb their faith, which he recognizes is a necessary support for their lives.

Unamuno seen by Ramon Casas (MNAC).

Unamuno's philosophy was not systematic but rather a negation of all systems and an affirmation of faith "in itself." He developed intellectually under the influence of rationalism and positivism, but during his youth he wrote articles that clearly show his sympathy for socialism and his great concern for the situation in which he found Spain at the time. An important concept for Unamuno was intrahistoria. He thought that history could best be understood by looking at the small histories of anonymous people, rather than by focusing on major events such as wars and political pacts. Some authors relativize the importance of intrahistoria in his thinking. Those authors say that more than a clear concept is an ambiguous metaphor. The term first appears in the essay En torno al casticismo (1895), but Unamuno leaves it soon.[32]

In the late nineteenth century Unamuno suffered a religious crisis and left the positivist philosophy. Then, in the early twentieth century, he developed his own thinking influenced by existentialism.[34] Life was tragic, according to Unamuno, because of the knowledge that we are to die. He explains much of human activity as an attempt to survive, in some form, after our death. Unamuno summarized his personal creed thus: "My religion is to seek for truth in life and for life in truth, even knowing that I shall not find them while I live."[35] He said, "Among men of flesh and bone there have been typical examples of those who possess this tragic sense of life. I recall now Marcus Aurelius, St. Augustine, Pascal, Rousseau, René, Obermann, Thomson, Leopardi, Vigny, Lenau, Kleist, Amiel, Quental, Kierkegaard—men burdened with wisdom rather than with knowledge."[36] He provides a stimulating discussion of the differences between faith and reason in his most famous work: Del sentimiento trágico de la vida (The Tragic Sense of Life, 1912).

A historically influential paperfolder from childhood to his last, difficult days, in several works Unamuno ironically expressed philosophical views of Platonism, scholasticism, positivism, and the "science vs religion" issue in terms of "origami" figures, notably the traditional Spanish pajarita. Since he was also a linguist (professor of Greek), he coined the word "cocotología" ("cocotology") to describe the art of paper folding. After the conclusion of Amor y pedagogía (Love and Pedagogy, 1902), he included in the volume, attributing it to one of the characters, "Notes for a Treatise on Cocotology" ("Apuntes para un tratado de cocotología").[37]

Along with The Tragic Sense of Life, Unamuno's long-form essay La agonía del cristianismo (The Agony of Christianity, 1931) and his novella San Manuel Bueno, mártir (Saint Emmanuel the Good, Martyr, 1930) were all included on the Index Librorum Prohibitorum.[38]

After his youthful sympathy for socialism ended, Unamuno gravitated towards liberalism. Unamuno's conception of liberalism, elaborated in essays such as La esencia del liberalismo in 1909, was one that sought to reconcile a great respect for individual freedom with a more interventionist state, bringing him to a position closer to social liberalism.[39] In writing about the Church in 1932 during the second Spanish Republic, Unamuno urged the clergy to end their attacks on liberalism and instead embrace it as a way of rejuvenating the faith.[15]

Unamuno's 'pájaro sabio' (wise bird)

Unamuno was probably the best Spanish connoisseur of Portuguese culture, literature, and history of his time. He believed it was as important for a Spaniard to become familiar with the great names of Portuguese literature as with those of Catalan literature. He believed that Iberian countries should come together through the exchange of manifestations of the spirit but he was openly against any type of Iberian Federalism.[40]

In the final analysis Unamuno's significance is that he was one of a number of notable interwar intellectuals, along with Julien Benda, Karl Jaspers, Johan Huizinga, and José Ortega y Gasset, who resisted the intrusion of ideology into Western intellectual life.[41]

For Unamuno, the art of poetry was a way of expressing spiritual problems. His themes were the same in his poetry as in his other fiction: spiritual anguish, the pain provoked by the silence of God, time and death.

Unamuno was always attracted to traditional meters and, though his early poems did not rhyme, he subsequently turned to rhyme in his later works.

Among his outstanding works of poetry are:

• Poesías (Poems) (1907) – his first collection of poetry, in which he outlined the themes that would dominate his poetics: religious conflict, Spain, and domestic life
• Rosario de sonetos líricos[42] (Rosary of Lyric Sonnets) (1911)
• El Cristo de Velázquez (The Christ of Velázquez) (1920) – a religious work, divided into four parts, where Unamuno analyzes the figure of Christ from different perspectives: as a symbol of sacrifice and redemption, as a reflection on his Biblical names (Christ the myth, Christ the man on the cross, Christ, God, Christ the Eucharist), as poetic meaning, as painted by Diego Velázquez, etc.
• Andanzas y visiones españolas (1922) – something of a travel book, in which Unamuno expresses profound emotion and experiments with landscape both evocative and realistic (a theme typical of his generation of writers)
• Rimas de dentro (Rhymes from Within) (1923)
• Rimas de un poeta desconocido (Rhymes from an Unknown Poet) (1924)
• De Fuerteventura a París (From Fuerteventura to Paris) (1925)
• Romancero del destierro (Ballads of Exile) (1928)
• Cancionero (Songbook) (1953, published posthumously)

Unamuno's dramatic production presents a philosophical progression.

Questions such as individual spirituality, faith as a "vital lie", and the problem of a double personality were at the center of La esfinge (The Sphinx) (1898), and La verdad (Truth), (1899).

In 1934, he wrote El hermano Juan o El mundo es teatro (Brother Juan or The World is a Theatre).

Unamuno's theatre is schematic; he did away with artifice and focused only on the conflicts and passions that affect the characters. This austerity was influenced by classical Greek theatre. What mattered to him was the presentation of the drama going on inside of the characters, because he understood the novel as a way of gaining knowledge about life.

By symbolizing passion and creating a theatre austere both in word and presentation, Unamuno's theatre opened the way for the renaissance of Spanish theatre undertaken by Ramón del Valle-Inclán, Azorín, and Federico García Lorca.