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