351
Historia de una pasión argentina, p. 80; La bahía de silencio, p. 34; La torre, pp. 169-170.
352
La bahía de silencio, p. 357; «El vínculo», p. 137.
353
The epigraph of Los enemigos del alma lists the three enemies of the soul as Mundo, Demonio, and Carne. They are represented respectively by Mario, Débora, and Cora Guillén, born in that order (pp. 39-40).
354
Los enemigos del alma, p. 222. This recurrence of the character is pointed out by Arnold Chapman, in «Sherwood Anderson and Eduardo Mallea», PMLA, LXIX (1954), 42 n. 16.
355
La torre, p. 92.
356
La bahía de silencio, pp. 268, 565-566.
357
In La torre, p. 399, Roberto says: «De mí no admiro nada, y sólo creo en los hombres que construyeron con sacrificio una torre ideal...» Earlier (p. 311), Mallea referred to «la torre de la vida». The image of the tower, as well as the wording of the passage cited, might well have come from Saint Augustine's Confessions (Book VIII, chap. vi): «Et ambo iam tui aedificabant turrem sumptu idoneo reliquendi omnia sus et sequendi te». The image of the tower has been connected with Pascal («Nous brûlons de désir de trouver une assiette ferme, et une dernière base constante pour y édifier une tour qui s'élève à l'infini...») by Arnold Chapman, «Terms of Spiritual Isolation in Eduardo Mallea», Modern Language Forum, XXXVII, nos. 1-2 (1952), 26.
358
Notas de un novelista, p. 11.
359
One Gallicism which does not appear to be the result of purpose or conscious intent is «desalterar», in Todo verdor perecerá, p. 46. Mallea has adopted the Italian method of designating centuries, though not always correctly. When he speaks of a «dama septuagenaria... cubierta de sortijas y camafeos del 900» (ibid., p. 43), he almost certainly means the «800». The same is true of «el cuerpo aprisionado a medias de una Afrodita del novecientos». La bahía de silencio, p. 221.
360
El sayal y la púrpura, pp.148-149; José Hernández, Martín Fierro (8th ed.; Buenos Aires: Espasa-Calpe Argentina, 1949), p. 9 (Part I, canto i, lines 1-6).