HE publication during the last fifteen years of important segments of Miguel de Unamuno's private correspondence1 has opened the way for the study of that congenialidad with the English poets of the nineteenth century of which there are unquestionable traces in his writings. Antonio Sanchez Barbudo's remark2 that the English poets, together with a number of other European writers, find an echo in Unamuno's works after 1900 invites clarification. Nemesio Gonzalez Caminero claims that Unamuno's enthusiasm and familiarity with English poets, philosophers, and churchmen came after he abandoned orthodox thought and attributes his marked interest in these writers to "una oculta y maravillosa afinidad entre su franqueza y primitivismo vascongados y el realismo practico, aun en literatura, de los ingleses."3 Carlos Claveria has made a basic contribution to the subject in several chapters of his Temas de Unamuno (1953). He points out convincingly that Unamuno's sympathetic reading of Sartor Resartus influenced the conception of the first of his "nivolas," Amnor y pedagogia, and that some years later he drew on Byron's Cain for his Abel Sdnchez. Claveria opens up another important aspect of the question when he suggests that "posiblemente la lectura de poetas ingleses tuvo gran parte en la estructuracion y estilo de sus poemas."4 It has been my conviction for some time that arresting points of contact are to be noted between the author of Del sentimiento tragico de la vida and the Victorian poet whom T. S. Eliot has called "the saddest of all English poets, among the Great in Limbo, the most instinctive rebel against the society in which he was the most perfect conformist," Lord Tennyson.5 In the following pages I shall