Why did Unamuno write Sombras de Sueño?

NOTES

• The novel is in Obras Completas, ed. M. García Blanco, 16 vols (Madrid: Afrodisio Aguado, 1958, IX, 381–409; the play in Obras completas, X, 734–99. All references are to this edition. See G. de Torre, ‘Unamuno y su teatro’, Papeles de Son Armadans, XXXVI (1965), 13–44; at pp. 39–43, and A. Franco, El teatro de Unamuno (Madrid: Insula, 1971), 297.
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• See J. Paulino Ayuso, ‘La venda: aproximación a un texto dramático’, in Actas del Congreso Internacional Cincuentenario de Unamuno, ed. D. Gómez Molleda (Salamanca: Universidad, 1989), 391–94; E. K. Paucker, ‘Unamuno's La venda: Short Story and Drama’, Hispania, XXXIX (1956), 309–12; I. M. Zavala, Unamuno y su teatro de conciencia (Salamanca: Acta Salmanticensia, 1963); A. Armas Ayala, ‘Unamuno y Canarias’, Cuadernos de la Cátedra Miguel de Unamuno, X (1956), 69–99; at pp. 90–91.
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• See Zavala, op. cit., 28.
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• ‘Soliloquio’, Obras completas, IV, 585–91.
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• See Franco, op. cit., 85.
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• On the semantics of Sentimiento trágico de la vida, see my articles: ‘La estructura semántica de la razón en el Sentimiento trágico de la vida?, Cuadernos de la Cátedra Miguel de Unamuno, XXIV (1976, 69–103; ‘La estructura semántica de la “conciencia” en el Sentimiento trágico de la vida’, Bulletin Hispanique, LXXXVII (1985), 485–501; ‘Unamuno “bilingüe” (1897–1913)’, Actas del Congreso Internacional Cincuentenario de Unamuno, 633—35; and ‘Fact and Fiction in Language and Literature’, Liverpool Papers in Language and Discourse, III (1990), 1–37; at pp. 28–29.
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• R. L. Nicholas, Unamuno, narrador (Madrid: Castalia, 1987), 85.
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• See ‘La traza cervantesca’, discussed by Franco, op. cit., 274.
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• See ‘Impresiones de teatro’, Obras completas, XI, 517–24; and cf. Zavala, op. cit., 127.
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• See ‘De pequeneces literario-mercantiles’, Obras completas, X, 525–28.
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• See ‘Teatro y cine’, Obras completas, XI, 525–30.
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• See ‘La literatura y el cine’, 1923, Obras completas, XI, 531–35.
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• A comment recently discussed by D. W. Gagen, ‘Unamuno and the Regeneration of the Spanish Theatre’, in Re-reading Unamuno, ed. Nicholas G. Round (Glasgow: Dept of Hispanic Studies, University of Glasgow, 1989), 53–80; at p. 54.
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• See ‘Hablemos de teatro’, Obras completas, XI, 536–40.
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• See Franco, op. cit., 278.
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• F. Wyers, Miguel de Unamuno: The Contrary Self (London: Tamesis, 1976), at p. 49; J. J. Granja, ‘El problema de la personalidad a través del teatro de Unamuno’, Letras de Deusto, VII (1977), 105–28; at pp. 109, 126; I. Elizalde, ‘La metáfora senequista “theatrum mundi” en Unamuno y Calderón’, Letras de Deusto, VII (1977), 23–42; at p. 33; S. G. Roberts, ‘Unamuno contra Primo de Rivera: 10 artículos de 1923–24’, Sistema, LXXV (1986), 83–112, and ‘Unamuno's Opposition to Primo de Rivera and his Sense of Mission (1923–24)’, in Re-reading Unamuno, 81–99.
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• D. G. Turner, Unamuno's Webs of Fatality (London: Tamesis, 1974), at pp. 107, 120.
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• Solórzano calls her ‘Quijotesa’, Sombras de sueño, 746.
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• R. Gullón, Autobiografías de Unamuno (Madrid: Gredos, 1974), at p. 163; E. Sarmiento, ‘Considerations towards a Revaluation of Unamuno: III, the Novels and Plays’, Bulletin of Spanish Studies, XX (1943), 84–105; at p. 98; M. Nozick, Unamuno (New York: Twayne, 1971), 32. For different opinions see Zavala, op. cit., 82; Granja, op. cit., 110; E. H. Friedman, ‘From Concept to Drama: The Other Unamuno’, Hispanófila, XXIII (1980), 29–38; at p. 31; V. Ouimette, Reason Aflame (New Haven: Yale U.P., 1974), 185–87.
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• See Franco, op. cit., 31.
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• See Gagen, op. cit., 77.
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• Mentioned by Franco, op. cit., 240.
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• See Gagen, op. cit., 54.
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• See Torre, op. cit., 19.
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• C. Morón Arroyo, ‘Las ideas estéticas de Unamuno’, Letras de Deusto, VII (1977), 5–22; at pp. 5–6.
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• D. L. Shaw, ‘Three Plays of Unamuno: A Survey of his Dramatic Technique’, Forum for Modern Language Studies, XIII (1977), 253–64; G. W. Ribbans, ‘La obra de Unamuno en la perspectiva de hoy’, Cuadernos de la Cátedra Miguel de Unamuno, XXVII–XXVIII (1983), 7–29; at pp. 13–14; F. Lázaro Carreter, ‘El teatro de Unamuno’, Cuadernos de la Cátedra Miguel de Unamuno, VII (1956), 5–29; at p. 12.
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• I am grateful to Victor Ouimette and Stephen Roberts for their advice.
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