{"id":16029,"date":"2024-05-07T17:57:12","date_gmt":"2024-05-07T15:57:12","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=16029"},"modified":"2024-05-07T17:56:49","modified_gmt":"2024-05-07T15:56:49","slug":"stories-by-unamuno-2-batracofilos-y-batracofobos-1-1917","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/en\/stories-by-unamuno-2-batracofilos-y-batracofobos-1-1917\/","title":{"rendered":"Stories by Unamuno (2): Batrac\u00f3filos y Batrac\u00f3fobos 1 (1917)"},"content":{"rendered":"

Stories by Unamuno (2): Batrac\u00f3filos y Batrac\u00f3fobos<\/em> 1<\/sup> (1917)<\/h1>\n

The incessant croaking of the frogs presents a new problem. And at that precise moment discord arises…<\/p>\n

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Steffi Wacker. \/ Pexels<\/figcaption><\/figure>\n

License Creative Commons <\/a><\/p>\n

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 <\/p>\n

Andreu Navarra<\/strong><\/a><\/p>\n

 <\/p>\n

In August 1917<\/strong>, Miguel de Unamuno<\/strong> wrote not a dystopia, but a satire<\/strong>. It\u2019s evident that he\u2019s mocking the internal disputes within the Ateneo de Madrid, using the fictitious Casino de Ciama\u00f1a, a name that seems to derive from Ciudad Magna. His skill is such that his parable could apply to any renowned cultural institution in the country, such as Ateneu Barcelon\u00e8s or El Sitio de Bilbao, both of which he was well-acquainted with.<\/p>\n

It also seems evident that Unamuno is having fun at the expense of the heated controversy between allies<\/strong> and Germanophiles<\/strong>, a fact confirmed by both \u00d3scar Carrascosa (a scholar and compiler of Unamuno\u2019s short stories, and his editor at P\u00e1ginas de Espuma publishing house) and earlier critics. A decade ago I had the opportunity to examine this national literary and ideological schism in my book 1914. Allies and Germanophiles in Spanish culture<\/em> (Madrid: C\u00e1tedra), a struggle that reached considerable levels of virulence and absurdity. I can attest that this story by Unamuno, a leading figure among the allies, was written during the harshest period of the First World War<\/strong>. At a time when Spain, under the protection of the Count of Romanones, faced a real risk of joining the conflict, this story captures the divided and murky atmosphere like no other.<\/p>\n

Unamuno\u2019s skill lies in his ability to combine the controversy of that moment with many others that a minimally informed reader could recall. For instance, the one that divided classics and romantics around 1820, the clash between the followers of the positivist Azc\u00e1rate and the traditionalist Marcelino Men\u00e9ndez Pelayo in the \u2018Controversy about Spanish Science\u2019<\/strong> from 1876, or the division between supporters of Naturalism and moralizing idealists. The Unamuno controversy, led by the practical Don Restituto and the poet Don Herminio most closely resembles, for its exterior design, the two crises of the second half of the 19th century since supporters of batracophobia<\/strong> uphold the ideal of science, while the batrachophiles defend that of Art. It is a typically post-romantic confrontation<\/strong>, without the focus on technological issues or the futurisms that came to star in the discourses of the early 20th century.<\/p>\n

In the story he avoids taking an explicit side, despite his relentless and harsh attacks on Eduardo Dato<\/strong>, the neutralist Head of Government whom he accused of being cunning and a sellout to the Germans (although it was revealed a decade ago that Dato had secretly managed to serve the French government commercially), and wielded the whip over and over again against the Germanophiles. Deep down, like the socialist Araquist\u00e1in<\/strong>, what they condemned was the inertia of Spanish civil society, which they believed to be nonexistent. Both Ortega and Araquist\u00e1in, along with Unamuno, expressed their despair at a country that refused to engage with the major processes of Modernity, instead indulging in revelries, festivities, distractions, and siestas.<\/p>\n

Indeed, the controversy between batrachophiles and batrachophobes marks yet another ignorant crisis in our national life, resembling a senseless Casino fight with a traditional flavour<\/strong>.<\/p>\n

Unamuno\u2019s narrative, like all his stories, is schematic and simple. They are tales of ideas and not of adventures: the courtyard of the Casino de Ciama\u00f1a is decorated with a charming pond, and the consequence is that the readers of the library begin to be bothered by clouds of untimely mosquitoes. Let\u2019s stop here. This is the first symbol of the text: this artificial swamp and the insects that no longer let the \u201creaders\u201d read or study, disturbed by an external element that does not allow concentration or patient work. From the political marsh emerges an annoying press, full of screams and stings. Today\u2019s mosquitoes could be, for example, mobile phones, or the continuous dripping of hyperactive headlines.<\/p>\n

The proposed solution is to fill the pond with frogs to eat the mosquitoes. However, the incessant croaking of the frogs presents a new problem. And at that precise moment discord arises: the poets and the readers want to read and write but they cannot<\/strong>; and the practical-minded scientists can\u2019t take a nap. Let\u2019s stop again: Unamuno theoretically should be located in the romantic band, the one that ruminates and works, but he offers a Nietzschean solution we\u2019ll discuss later. It is curious that the idle, those who sleep, are the scientists. As an adversary of the mechanistic Kultur, whose maximum symbol is the Germany of the Kaiser, it is not surprising that the author views the positivists as spiritually dormant and alienated, unable to delve into and dream within the national Intrahistory<\/em>, the true eternal essence of Castilian identity.<\/p>\n

Those who read are those who know how to dream, those who sleep are those who have abandoned themselves to some pseudoprogressive clich\u00e9s. But, after months of bitter debate between supporters and detractors of the batrachians, a third option emerges: a philosopher named Don Socrates<\/strong> proposes a compromise solution: eliminate the pond<\/strong>. In national terms, that would be equivalent to tearing out and silencing public opinion, and imposing censorship<\/strong>. The compromise is accepted and the pond is drained and removed, ending the controversy between batrachophiles and batrachophobes. However, everyone misses the political pond, for man cannot live without struggle and intellectual progress, which involves conflict per se<\/em>. In our current pedagogical debate, the solution of this Socrates would be competency pedagogy: \u201cYou don\u2019t know how to educate better, do you? So, give up educating, and that\u2019s it<\/strong>\u201d. The resolution to such a heated controversy is pure and simple nothingness<\/em>.<\/p>\n

How much has the country advanced morally? Isn\u2019t the current polarization ridiculous and aren\u2019t minor issues, mere distractions from our real concerns, being blown out of proportion in the hysterical and histrionic media? The tiresome discord between \u2018teachersaurians\u2019 and innovators<\/strong>, for example, would be a typically batrachian uncivil civil war: without nuances, utility or reference to any practical solution. In short, a farce<\/strong>. Our hyper-partisanship, our totally batrachian social networks, and the stupid croaking that form our daily choral accompaniment, aren\u2019t they chapters and processes worthy of laughter like the confrontation between frog-lovers and mosquito-lovers coming to blows in cultural institutions?<\/p>\n

___<\/p>\n

1 <\/sup>These names appear to be derived from the Greek word \u201cb\u00e1trachos\u201d, which means “frog”. The words could be translated as \u201cbatrachophiles\u201d and \u201cbatrachophobes,\u201d respectively. The first mention of \u201cbatrac\u00f3filos\u201d in the original is followed by the clarification \u201cfrog-lovers\u201d.<\/p>\n

\n

Source:\u00a0educational EVIDENCE<\/strong><\/p>\n

Rights:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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