The intrinsic value of such work either as thought or as æsthetic form is very slight. Interest in Unamuno hinges on interest in Spain. The power of this soul, one feels, approaches that of Whitman or Dostoievski. But the substance in which it has clothed itself is less negotiable. Like Don Quixote, Unamuno fails to realize that the modern world can be defeated only with modern weapons. Our multiverse, our chaos of sterile facts, is the result of an abuse of analytic methods. The true savior will have to understand and accept this analytic world, ere he can transform it. Unamuno, believing that he preaches to the world a new Salvation, is merely rousing Spain from her old ordered sleep.[40] _c. The Sleepless Spirit_ In this new stir of Spain, it is not wonderful that the land which created Córdoba, Cádiz, Seville, which perfected the Dance and the cante hondo, which gave birth to Gabírol, to Góngora, should lead in the fresh emergence of Spain’s perennial spirit. For Andalús achieved the Spanish Balance without the Castilian rigor; obeyed like every part of Spain the will of Castile to make Spain’s chaos into One and yet contrived to keep that Oneness green. A painter and a poet of modern Andalusia voice so clearly the spirit of the land, that they speak again for the world. They are Pablo Picasso and Juan Ramón Jiménez.[41] Picasso is a man of Málaga who came to Paris, and by the strategy of time and place conquered the plastic world. To the French, he appeared the Heaven-sent inheritor of Cézanne. Cézanne, naturalistic mystic and lover of El Greco, made of each stroke of his brush a preachment of the sanctity of form. Pure form, in his work, had its ritual of sacrament in its intrinsic stuffs. The Body and the Blood of life were to Cézanne the volumes and the movements palpable to the eye. El Greco, in a devout Catholic Age, was able to retain the legendary forms of Christianity as at least subsidiary means to express his vision. Cézanne was driven back on what seemed to him “primary” matter: the hills and the haystacks and the human body. His work implicitly rejects the concepts of European culture by its refusal of them all, as aids to revelation. Not religion, not ethics, not “beauty” shall be syllables for Cézanne, as for his predecessors, in the spelling of his Word. In this sense, Cézanne aspires to the primitivism which accepts the essences of previous culture and rejects its forms. Ideationally, he created and bequeathed a void: but an expectant and a fertile one. The successor of Cézanne was bound to be a man with concepts to fill in his abstract wording.