It is most distinctively a poem in a major key, in a group with
_Paradise Lost_ and _The Excursion_, but in a tone halfway between the
two; and, as coming from the most Northern-minded and substantial poet
that Spain ever had, wholly free from that tendency towards
grandiloquence and Ciceronian drapery which blighted previous similar
efforts in Spain. Its weakness lies in a certain monotony due to the
interplay of Unamuno's two main limitations as an artist: the absolute
surrender to one dominant thought and a certain deficiency of form
bordering here on contempt. The plan is but a loose sequence of
meditations on successive aspects of Christ as suggested by images or
advocations of His divine person, or even of parts of His human body:
Lion, Bull, Lily, Sword, Crown, Head, Knees. Each meditation is treated
in a period of blank verse, usually of a beautiful texture, the
splendour of which is due less to actual images than to the inner vigour
of ideas and the eagerness with which even the simplest facts are
interpreted into significant symbols. Yet, sometimes, this blank verse
becomes hard and stony under the stubborn hammering of a too insistent
mind, and the device of ending each meditation with a line accented on
its last syllable tends but to increase the monotony of the whole.
Blank verse is never the best medium for poets of a strong masculine
inspiration, for it does not sufficiently correct their usual deficiency
in form.
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