341
The concept of time in La sala de espera is dealt with by Vicente Barbieri in «Eduardo Mallea, La sala de espera», Sur, no. 228 (1954), 97-100.
342
La ciudad junto al río inmóvil, pp. 58, 191, 193, 197; Todo verdor perecerá, p. 41.
343
Lloyd Mallan, Kenyon Review, VI, no. 3 (1944), 477, suggests that the idea of the novel within the novel was borrowed by Mallea from Gide, and that it serves no purpose in La bahía de silencio. I should say that the purpose is a very definite and illustrative one, and that there is no need to use Gide as a source for this procedure when we can find it in the myths of Plato.
344
Dudgeon, op. cit., pp. 27-28.
345
Los enemigos del alma, p. 256.
346
In the opinion of Dudgeon, loc. cit., the rose represents something which, like the Rembrandts, cannot be attained, because of human inertia. While this may be true, the flower in «La rosa de Cernobbio» certainly plays a far more active part than do the paintings.
347
Las Águilas, pp. 252, 26.
348
Los enemigos del alma, p. 26. See also pp. 16, 25, 33, 35-43, 48.
349
Ibid., pp. 224-225. In La sala de espera, p. 187, Isolina Navarro speaks of «la casa con la que me había quedado a solas, mi prisión pero mi semejante. Como yo, esa casa no sabía más que de soledad y adversidad, de silencio, de vacío, de grandeza y orgullo en su amplitud ornada. Me quedé en ella, con ella, de ella y contra ella». The personification of the house as a malignant force and a trap is reminiscent of Nathaniel Hawthorne's The House of the Seven Gables. See my forthcoming article in Revista Hispánica Moderna.
350
Meditación en la costa, p. 44; La bahía de silencio, p. 51.