391
La ciudad junto al río inmóvil, p. 43; Chaves, p. 70. Cf. Ortega y Gasset, La rebelión de las masas, p. 37: «Estos meses pasados, empujando mi soledad por las calles de París...»
392
La bahía de silencio, p. 393. The image, I should like to think, is not original with Mallea, but is taken from Victor Hugo's «La vache».
393
The need for their employment is pointed out by Arnold Chapman, «Terms of Spiritual Isolation in Eduardo Mallea», Modern Language Forum, XXXVII, no. 1-2 (1952), 23: «For a novelist, the problem to which Mallea has set himself is very difficult, almost impossible; and he has frequently failed to solve it. It is, actually, the definition of the directly undefinable; for the realm of the pure subject is wordless, and can be apprehended only by its acts. The best that can be done is to spend the richest treasures of language in metaphorical suggestion». Chapman's article is the most complete treatment to date of Mallea's ideological metaphors.
394
Nocturno europeo, pp. 21, 153, 215; La ciudad junto al río inmóvil, p. 167; Historia de una pasión argentina, p. 130; La ciudad junto al río inmóvil, p. 123. The examples cited are merely sporadic. A complete list of Mallea's uses of these images would be much longer.
395
Nocturno europeo, p. 153.
396
La ciudad junto al río inmóvil, p. 57; La torre, pp. 131, 255; Nocturno europeo, pp. 84-85. The last passage reads: «¿Hay algo que pueda aproximar más a los humanos que la percepción del silencio en su torno, que el oír, segundo tras segundo, las cosas que no tienen son, el flujo del tremendo mar sin ruido que alrededor de cada ser marea su isla?» Cf. F. Scott Fitzgerald, The Beautiful and Damned (Garden City, New York: Permabooks, 1951), p. 223: «Then I grew up, and the beauty of succulent illusions fell away from me. The fibre of my mind coarsened and my eyes grew miserably keen. Life rose around my island like a sea, and presently I was swimming». In their futility and groping , Fitzgerald's characters are not unlike some of the personages in La bahía de silencio. The resemblances of Mallea's imagery of solitude to that of Sherwood Anderson are pointed out by Chapman in «Sherwood Anderson and Eduardo Mallea», PMLA, LXIX (1954), 35-36.
397
La bahía de silencio, p. 377; Fiesta en noviembre, p. 148.
398
La torre, pp. 123, 225; Los enemigos del alma, p. 145; Todo verdor perecerá, p. 37.
399
La bahía de silencio, pp. 462, 547; Nocturno europeo, p. 214; El sayal y la púrpura, p. 205.
400
La torre, p. 239; Fiesta en noviembre, p. 101; La bahía de silencio, pp. 388, 391. Chapman, Modern Language Forum, XXXVII, nos. 1-2 (1952), 24, connects the idea of navigation with Pascal: «Nous voguons sur un milieu vaste, toujours incertains et flottants, poussés d'un bout vers l'autre».