hence in both a certain proclivity towards ploughing a solitary furrow and becoming self-centred. There are no doubt important differences. The Englishman's sense of nature is both keener and more concrete; while the Spaniard's knowledge of human nature is not barred by the subtle inhibitions and innate limitations which tend to blind its more unpleasant aspects to the eye of the Englishman. There is more courage and passion in the Spaniard; more harmony and goodwill in the Englishman; the one is more like fire, the other like light. For Wordsworth, a poem is above all an essay, a means for conveying a lesson in forcible and easily remembered terms to those who are in need of improvement. For Unamuno, a poem or a novel (and he holds that a novel is but a poem) is the outpouring of a man's passion, the overflow of the heart which cannot help itself and lets go. And it may be that the essential difference between the two is to be found in this difference between their respective purposes: Unamuno's purpose is more intimately personal and individual; Wordsworth's is more social and objective. Thus both miss the temperate zone, where emotion takes shape into the moulds of art; but while Wordsworth is driven by his ideal of social service this side of it, into the cold light of both moral and intellectual self-control, Unamuno remains beyond, where the molten metal is too near the fire of passion, and cannot cool down into shape. Unamuno is therefore not unlike Wordsworth in the insufficiency of his sense of form. We have just seen the essential cause of this insufficiency to lie in the nonesthetical attitude of his mind, and we have tried to show one of the roots of such an attitude in the very loftiness and earnestness of his purpose. Yet, there are others, for living nature is many-rooted as it is many-branched. It cannot be doubted that a certain refractoriness to form is a typical feature of the Basque character. The sense of form is closely in sympathy with the feminine element in human nature, and the Basque race is strongly masculine. The predominance of the masculine element--strength without grace--is as typical of Unamuno as it is of Wordsworth. The literary gifts which might for the sake of synthesis be symbolized in a smile are absent in both. There is as little humour in the one as in the other. Humour, however, sometimes occurs in Unamuno, but only in his ill-humoured moments, and then with a curious bite of its own which adds an unconscious element to its comic effect. 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. This feature is particularly pronounced in Unamuno, for while Wordsworth is painstaking, all-observant, and too good a "teacher" to underestimate the importance