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For those who know something of Sabatos El tunel and the large body of
critical work concerned with it, the title of this article may raise an eyebrow
of surprise or perhaps curiosity.1 Since its publication in 1948 the novel has
constantly been written about in terms of its tragic structure, deep
pessimism and intense style of prose. Critics have highlighted, among
other things, its profound metaphysical content, its dark and arduous
imagery, the description of a hostile or indifferent Buenos Aires, and its
themes of solitude, frustration and emotional anguish that have led some
analysts to identify the novel with the existential philosophy and literature of
Europe.2 Given the overwhelming trend of this body of criticism it is perhaps
1 Ernesto Sabato, El tunel (Buenos Aires: Grupo Editorial Planeta, 2003 [1 ed. 1948]).
All quotations are from this edition.
2 From the volume of critical work written on El tunel the following studies have been
chosen because they represent the general trend of theoretical thought applied to the novel
over the last forty years. In general terms, the critical approaches can be placed under the
following two headings: the psycho-existential approach and the psychoanalytical. Critics
belonging to the former camp have read the novel as an expression of existential angst in
reference to the philosophical work of Jean-Paul Sartre and Albert Camus. Anderson Imbert,
for example, argues that Castels madness is un smbolo de una metafsica desesperada
(quoted in Fred Petersen, Sabatos El tunel: More Freud Than Sartre, Hispania [USA], 50:2
[1967], 27176 [p. 271]). Mariana Petrea from a different perspective states: consideramos que
la novela gira en torno al tema del abismo de la vida actual, sugerido ademas por la imagen del
ttulo. En este sentido, la soledad y la incomunicacion representan las caras de la Nada, las
consecuencias del quebrantamiento de la civilizacion moderna (Mariana D. Petrea, Ernesto
Sabato: la nada y la metafsica de la esperanza [Madrid: Ediciones Jose Porrua, 1986], 102).
Hugo Mendez Ramez meanwhile, in his article on El tunel and Onettis El pozo, asserts that
El tunel y El pozo se convierten en la metafora de ese mundo soterrado, alienante y
deshumanizado, mientras que Castel y Eladio son la metafora o encarnacion del hombre
moderno y su angustia existencial ante la inanidad de la vida (Hugo Mendez, El narrador
alienado en dos obras claves de la narrativa latinoamericana moderna, Hispanic Journal, 16
[1995], 8393 [p. 91]).
The following list is a sample of other critical works that consider the novel along similar
lines: Beverly J. Gibbs, El tunel: Portrayal of Isolation, Hispania (USA), 48:3 (1965), 22963;
Norberto M. Kasner, Metafsica y soledad: un estudio de la novelstica de Ernesto Sabato,
ISSN 1475-3820 print/ISSN 1478-3428 online/09/02/000227-25
# Bulletin of Spanish Studies. DOI 10.1080/14753820902783993
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difficult to imagine that Sabatos work contains even the slightest trace of
humour. However, at the risk of contradicting conventional and
contemporary wisdom, I intend to demonstrate in this study that El tunel
displays different modes of humour and, moreover, the literary phenomena
often associated with humorous texts: satire and irony.
There are, of course, possible pitfalls and dangers in reading a generally
accepted Latin-American tragic novel in such a way. Firstly, it opens the
English critic to the accusation of looking at the novel with a conspicuously
Anglo-Saxon eye. The English novel, after all, apart from a number of obvious
examples (Thomas Hardy, Emily Bronte, Graham Greene at a pinch), is rarely
devoid of humour or a sprinkling of comedy in one form or another, and, of
course, the history of the comic novel is such that it might be seen as a national
institution. The danger, then, is that to an English reader a full-blown, ultraserious Latin-American tragedy might seem ironic or amusing because it lies
outside their sensibility or they read it out of context. Indeed this position may
be symptomatic of all readings of past texts from our own inescapable
postmodern perspective, let alone when we read those from another
culture. Given that this study also falls on the side of the existential
argument, it is also placed in a double-bind (since both the psychoanalytical
and existential readings could also be accused of doing the same thing, of
applying universal themes, that are in reality only European theories, to a
non-European text). However, the pervasiveness of psychoanalysis in
Argentina (and specifically Buenos Aires) and the popularity of the fiction
and essays of the French existentialists, Sartre and Camus, in the country and
Revista Iberoamericana, 58 (1992), 91103; William Nelson, Sabatos El tunel and the
Existential Novel, Modern Fiction Studies, 32 (1986), 45967; Albert Fuss, El tunel, universo
de incomunicacion, Cuadernos Hispanoamericanas, 39193 (1983), 32439; Gustav
Siebenmann, Ernesto Sa bato y su postulado de una novela metafsica, Revista
Iberoamericana, 48 (1982), 289302; Marcelo Coddou, La estructura y la problematica
existencial de El tunel de Ernesto Sabato, Atenea, 43 (1966), 14168.
As far as the psychoanalytical approach is concerned, Fred Petersen (article cited above)
attempts to explain the novels themes of isolation and madness through Freuds Oedipus
complex, dream work and the aggressive impetus of Castels sexual drive. Other critics explore
Castels manias in light of more specific mental illnesses: Augustn Segui, concentrating on
the four dreams of the novel, suggests that Castel suffers from various psychoses (Augustn F.
Segui, Los cuatro suenos de Castel en El tunel de Ernesto Sabato, Revista Iberoamericana, 58
[1992], 6880). James R. Predmores diagnosis for Castel is schizophrenia (Un estudio crtico
de las novelas de Ernesto Sabato [Madrid: Ediciones Jose Porrua, 1981]). Susan Stein, in turn,
detects evidence of hysteria in the novel, while Ana Ferreira applies Lacans notion of the
mirror stage to Castel and traces su falso ascenso al orden simbolico que remite Juan Pablo a
un sustituto del anhelado utero maternosu prision (Susan Isabel Stein, Polysemous
Perversity and Male Hysteria in El tunel, BHS [Liverpool], LXXIII [1996], 42745 [p. 445]).
For further psychoanalytical interpretations see also Ana Paula Ferreiras El tunel de
Ernesto Sabato en busca del origen, Revista Iberoamericana, 58 (1992), 91103. To my
knowledge, the only article that broaches the subject of humour in El tunel is Encarna Abe
llas study of parody in the novel. Abellas principal aim, however, is to show how the novel
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not a frivolous one. El tunel, let us remember, has often been compared to
Metamorphosis and Notes from Underground and, even without the critics
confirmation, the influence of these texts on Sabatos is quite clear.4 It can be
detected in his use of imagery, in the themes, the structure, the narrative
style, the characterization, and, as we shall see, the humour of the novel. The
very nature of which, in a similar way to the aforementioned novels, is
expressed in conjunction with El tunels own tragic vision.
But what do I mean by the term humour? And, to be more exact, what
kind of humour do Kafkas Metamorphosis, Dostoevskys Notes from
Underground and Sabatos El tunel share? Perhaps, given the complexity
of the concept as both extra-literary and literary phenomena and the
difficulties that some of the most famous thinkers have had in defining it,
it would be better to begin by referring to what I do not mean by the term.
First of all there is the definition of the noun given in the Oxford English
Dictionary: the ability to say or perceive things that are amusing and/or a
twinning of the comic and the sentimental.5 The second of which stands as
the generally accepted literary definition of humour: the subtle combination
of the sentimental (human sympathy or empathy) with the comic (the
ridiculous or egregious) usually associated with the humorous works of
Shakespeare, Dickens, Cervantes, Thackeray and others.6 My definition of
humour is at once less exact and more extensive and, due to the Janus-faced
4 La similaridad con Kafka es visible. Tal como el protagonista de La metamorfosis,
Pablo esta diciendo: no soy humano, soy distinto, soy dos personas, nadie me entiende (Angela
B. Dellephiane, Ernesto Sabato: el hombre y su obra [New York: Las Americas Publishing
Company, 1968], 99). Other critics who have identified similarities between Sabatos work and
that of Dostoevsky and Kafka are the following: Hannelore Hann, La metamorfosis de Franz
Kafka y El tunel de Ernesto Sabato, Revista de Cultura, 24 (1995), 8085; Tamara Holzapfel,
Dostoevskys Notes from the Underground and Sabatos El tunel, Hispania (USA), 53:3
(1968), 44046.
5 The full definition given by the OED is as follows: 7. That quality of action, speech, or
writing which excites amusement, oddity, jocularity, facetiousness, comicality, fun. 7a. The
quality of action, speech or writing which excites amusement; oddity, jocularity, facetiousness,
comicality, fun. b. The faculty of perceiving what is ludicrous or amusing, or of expressing it in
speech, writing, or other composition; jocose imagination or treatment of subject.
Distinguished from wit as being less purely intellectual, and as having a sympathetic
quality in virtue of which it often becomes allied to pathos (OED, 20 vols [Oxford: Clarendon
Press, 1989], 486).
6 William Makepeace Thackeray, in his first essay on the subject defines humour in
this way: If humour only meant laughter, you would scarcely feel more interest in and about
humorous writers than the private life of poor Harlequin just mentioned who possesses in
common with these the power of making you laugh. But the men whose lives and stories for
which your kind presence here shows you have curiosity and sympathy, appeal to a growing
number of other faculties, besides our mere sense of ridicule. The humorous writer professes to
awaken and direct your love, your pity, your kindness*your scorn for untruth, pretension,
imposture*your tenderness for the weak, the poor, the oppressed, the unhappy (Lecture the
First. Swift, in The English Humorists of the Eighteenth Century [London: Smith & Elder,
1867], 159 [p. 2]).
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nature of the novel, more relevant to describing humour within it. Humour,
as I define it in relation to the novel, is in fact the result of a combination of
diverse literary modes, which induce the general effect of laughter,
amusement or a smile in the reader. Because of the general risible tone of
literary humour, the combination of literary modes will have to include at
least one of the following: the comic, the grotesque, the absurd, the
ridiculous, satire, irony, parody, farce, travesty, the burlesque, the
carnivalesque, the festive, and so on. At the same time, since the make-up
or ingredients of the modes mentioned are generally complex, that is to say,
as a product of their own distinct registers or styles of language, the
humorous text is also bound to involve a wide variation and combination of
non-comic modes: the poetic, the tragic, the sentimental, the romantic, the
mundane, legalese, journalese, street jargon and just about any other
register that exists.7 Thus any particular combination of these modes that
produces laughter, amusement or a smile in the reader (and presumably the
author) can be defined as humorous. The flexibility of this theory allows the
analyst of humorous texts an important advantage: to detect and explore the
different types of humour that make up a comic or humorous text, which,
unless it is peculiarly monologic (a feature alien to the modern novel
according to Bakhtin and Kristeva) will usually include a tapestry of humour
types.8 A comic or humorous novel, in other words, does not normally feature
only one type of humour; it is made up of a wide range of humour/s. Thus the
definition of humour given above, the twinning of the sentimental and the
comic, is not incorrect; it is simply one possible definition of many; or, in
other words, one type of humour. To give an example, Cervantes Don
Quixote is generally regarded as the paragon of sentimental humour in the
Hispanic canon, if not world literature, and from a certain point of view it
would be churlish to contradict such a view. A great deal of the Knight of the
Sad Countenances adventures are invested with this delightful mixture of
the sentimental and the comic. At the same time, however, there is a good
7 Interestingly, in his treatise on the dialogic nature of the novel, Bakhtin argues that
one of the most striking features of the comic novel is the continual use of and change between
distinct registers or as he defines them, speech genres. The comic style, insists
Bakhtin,demands of the author a lively to-and-fro movement in his relationship to
language, it demands a continual shifting of the distance between author and language, so
that first some, then the other aspects of language are thrown into relief (M. M. Bakhtin,
Discourse in the Novel, in The Dialogic Imagination: Four Essays by M. M. Bakhtin, ed.
Michael Holquist, trans. Caryl Emerson and Michael Holquist [Texas: Univ. of Texas Press,
1981], 302).
8 In her essay on Bakhtins theory of the novel Kristeva observes that the way in which
European thought transgresses its constituent characteristics appears clearly in the words
and narrative structures of the twentieth-century novel. Identity, substance, causality and
definition are transgressed so that others may be adopted: analogy, relation, opposition, and
therefore, dialogism and Menippean ambivalence (Julia Kristeva, Word Dialogue and the
Novel, in The Kristeva Reader, ed. Toril Moi [Oxford: Blackwells, 1986], 3461 [p. 56]).
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deal of satire and burlesque in Cervantes work in which the sentimental and
the sympathetic are conspicuously absent. The episode in which Sancho
Panza is forced to cling for his life to the side of a ravine for the entire night
only to find out in the morning that the mortal drop he feared to be beneath
him is in fact nothing more than a shallow ditch is hardly sentimental. If
from anywhere, the comedy stems from the farcical and foolish behaviour of
Quixotes rotund manservant and the cruel eye of the author and the reader.
There are a great many more similar and different examples that do not
involve the sentimental in Cervantes novel, which along with Garca
Marquezs Cien anos de soledad is probably the most imaginative and
innovative humorous text in the Hispanic-speaking world, at least as far as
its authors use of humour modes is concerned.
However, the fact that the humour in a comic or humorous text is
constructed out of many different strands or types of humour does not
necessarily mean that any one text lacks an overall tone of humour; that one
type of humour does not predominate over the others, lending the text its
general character. The works of Dickens, Cervantes, Smollet, Fielding, Stern
and others are woven with many different strands of humour, but*apart
from perhaps The Life and Times of Tristram Shandy*from an overall
perspective the preponderant image projected upon their individual
tapestries is one that seems to be made out of the sentimental and the
comic. The works of Swift, Quevedo, Nabokov and in general the picaresque
tradition again contain many types of humour, but the predominant tone of
their humour is that of satire. Sabatos El tunel while involving a subtle,
though by no means extensive, blend of humour modes, also contains three or
four predominant types of humour. The types, their characteristics, their
various sources (the constructs and situations from which the humour stems),
and their relationship to the novels delineation and profound exploration of
the existential condition will be the principal focus of this article.
Perhaps it is because the humour of El tunel does not, at first sight, at
least, fit in to the generally accepted definition of humorismo that the novel
has never been discussed in relation to the term by Hispanic critics. As we all
know, humorismo and its derivative humorstico can be employed to denote
two distinct meanings. It can mean, depending on the context, the blend of the
sentimental and the comic, and/or may simply refer to something that is
purely comic (lo comico) or amusing (gracioso). The confusion and hybrid
denotations of the term (the same confusion that exists in the English
language) has led a handful of Hispanic critics, writers and academics to
attempt to define it, all of which would exclude the types of humour or
humorismo in El tunel. (I equate the two terms here deliberately since my
definition of humour [in literature] can easily be applied to the term
humorismo: humour as I have defined it, therefore, equals humorismo.) In
his essay Para una teora de la humorstica, Macedonio Fernandez,
repudiating theorists who include irony, sarcasm and satire in definitions,
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claims that [todos] no han visto que el signo afectivo constante de la tematica
de la risa es que la esencia de lo sucedido sea alusion a felicidad.9 Humorismo,
according to Fernandez, has two faces: lo comico realstico [sic] and the
conceptual, which is superior to the latter but has one essential thing in
common with it, la referencia hedonstica that can be associated with a
utopian moment or the sentiment (or illusion) of happiness in the reader.10
Interestingly, the Chilean well known for writing humorous novels, Enrique
Araya, is another writer who associates humorismo with una sugestion
optimista.11 On the other hand, Alfredo Bioy Casares, Florencio Escardo,
Alfredo Bryce Echenique, Marcos Victoria, and Arturo Torres-Rioseco define
humorismo, from their relative perspectives, in the conventional way: a blend
of the sentimental and the comic or of the serious and the comic.12 Finally a
large body of work too diverse and extensive to cite here has suggested that
9 Macedonio Fernandez, Una teora para la humorstica, in Teoras (Buenos Aires:
Ediciones Corregidor, 1997), 260305 (p. 261).
10 Fernandez, Una teora, 305.
11 Enrique Araya, Humor y literatura: conferencia (Santiago: Ediciones Ateneo, 1993),
13.
12 Aldolfo Bioy Casares, while he avoids giving a strict definition, suggests that
humorismo es una forma de cortesa, but the majority of the examples he gives are humorous
anecdotes involving scenes of death, linking his notion of humour loosely to that of Freud
(Alfredo Bioy Casares, El humor en la literatura y en la vida, La Gaceta, 232 [abril de 1990],
26). Florencio Escardo, who denies a place for laughter, irony, satire and it would seem
comedy in his definition, says this of humour: el humorismo, pues, es una seriedad mucho mas
seria que la seriedad. Se puede ser serio en serie [ . . .] De ah tambien que la amarga sea uno de
sus componentes mas reconditos; tiene la tristura de todos los caminos de regreso y la
melancola es uno de los integrantes mas escondidos pero mas logicos de humor. Humorismo,
according to Escardo, is also invested with a corrective quality but above all entails una
actitud optimista (Florencio Escardo, El humor y humorismo, La Nacion, 20 de febrero de
1989, p. 7). Alfredo Bryce Echenique, in his inaugural speech to the Julio Cortazar conference
in 2002, distinguishes between the humorist and the satirist: En estos dos no se origina el
sentimiento de lo contrario. Si se originara, se volvera amarga la risa provocada en el primero
al advertir cualquier anormalidad; y la contradiccion que en el segundo es unicamente verbal
se volvera efectiva, sustancial, y por tanto dejara de ser ironica; y desaparecera la
indignacion, o cuando menos la aversion que esta en toda la satira. Humour and irony, both
associated with ambiguity and the irresolute, also consiste en el sentimiento de lo contrario,
suscitado por la especial actividad de la reflexion que no se oculta, que no se convierte [ . . .] en
una forma del sentimiento, sino en su opuesto, aun siguiendo paso a paso a ese sentimiento
como la sombra sigue el cuerpo (Alfredo Bryce Echenique, Sobre el humor y la irona, La
Nacion: Cultura, 14 de mayo de 2000, pp. 14 [p. 3]). Marcos Victoria argues more
conventionally that the important ingredients of humour are comedy and el amor o la
simpata (Marcos Victoria, El humorismo en la literatura argentina actual, in Variaciones
sobre lo sentimental [Buenos Aires: Editorial Sudamericana, 1944], 23055 [p. 230]). Arturo
Torres-Rioseco is of the same opinion. For him cuando el artista ve lo ridculo y
simultaneamente demuestra un sentimiento de comprension y piedad por la especie
humana, estamos en presencia del humorismo superior (Arturo Torres-Rioseco, El
humorismo en la literatura hispanoamericana, in Ensayos sobre literatura latinoamericana
[Mexico: Tezontle, 1953], 15071 [p. 150]).
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From a certain point of view, the existential novel has always exhibited or
contained the potential for satire. Existential angst, as propounded by the
literature and philosophy of Sartre and Camus, more often than not is
associated with a feeling of nausea which in turn is a symptom of what
Sartre terms as living in bad faith, which is to follow blindly the bourgeois
traditions of the Western world and its rules and regulations that according
to the Sartrean philosophy have no intrinsic claim to truth in relation to
mans being since mans existence precedes his essence.18 Thus man is
responsible for what he is, making the individual responsible not solely for
his own actions but those of the world, which means that man has to bear the
unimaginable burden of representing the whole of mankind through his
actions alone.19 In this sense, the author (or aesthetic existentialist to use
Sartres term) and quite often the protagonist of existential works, function
as a satirist or a tool for satire, especially in relation to the bourgeois milieu
that frequently characterizes the setting of the novels and plays. The satire
of El tunel fires its arrows at a similar target. However the satire here, and
indeed the potential for satire in all existential novels, differ from the
traditional concept and motivation of satire. It does not stem from some sort
of pre-ordained moral or ethical perspective. It is not the satire found in
Quevedos work (that Bryce Echenique has called arte con tesis)20 since such
a point of view would leave it open to accusations of bourgeois morality. The
satire of the existential novel has a higher aim and holds a loftier view point
from which it looks down to ridicule society. It criticizes society and the
characters thereof from the perspective of a philosophy that seeks to destroy
or unmask these bourgeois morals and the traditions and cultural practices
that are bound to them, and behind which man hides from his overwhelming
responsibility. It can take, then, an almost misanthropic stance when
describing the echelons of society and the members of that society who
follow blindly its false tenets and continue to act out its pre-ordained modes
of behaviour without question or thought. In this respect, as we shall see, the
satire is also representative of the deeper themes of the novel: those of
isolation and angst, since it stems not only from the novels treatment of
bourgeois customs but also the protagonist Juan Pablo Castels deep-felt
alienation from such customs.
The principal technique employed by Sabato to express this particular
misanthropic satire is the protagonist-narrator dichotomy. When we
encounter Juan Pablo Castel on the first page he is already deeply
discontented with and indeed alienated from Buenos Aires middle-class
society. From the very beginning of the novel there exist two Juan Pablo
Castels who are both equally isolated from and damning of society: the Juan
18 Jean-Paul Sartre, Existentialism and Humanism, trans. Philip Mairet (London:
Methuen, 1980), 2629.
19 Sartre, Existentialism, 29.
20 Bryce Echenique, Sobre humor y la irona, 4.
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Pablo narrating from his cell in the asylum and the Juan Pablo of the past
and subject of that narration (a typical technique of the picaresque structure
which, as we shall see, offers further moments of irony and humour). Yet it is
the protagonist, the Juan Pablo Castel who still holds onto the misplaced
hope that Mara Iribarne offers some sort of way out of his isolation, from
whom much of the satire flows. His attitude toward, his views on, and the
experiences he relates about his interaction with the society that surrounds
him combine to create several different scenes of social satire that, in varying
degrees, could have been penned by any number of the aforementioned
costumbristas.
Chapters XXIV and XXV, for example, describe the episode in which Juan
Pablo travels to the farm of Allende, the husband of Mara, in order to visit
his lover on the pretence of showing her some new paintings. On his arrival,
after a bizarre altercation with the chauffeur, to whom he first denies being
Senor Castel and then changes his mind, he is met much to his
disappointment not by Mara but by Hunter, cousin of Allende and possible
lover of Mara, and by his sister. In the first interlude Juan Pablo sets up the
tone of the meeting with a string of particularly caustic first impressions
concerning the physical attributes and personality quirks of his hosts that
call to mind the cruelly humorous caricature sketches of characters made by
Humbert Humbert in Nabokovs Lolita or one of Quevedos acerbic gems.
Mimi, for example, is depicted in the following terms:
As que usted es pintordijo la mujer miope. Mirandome con los ojos
semicerrados, como se hace cuando hay viento con tierra. Ese gesto,
provocado seguramente por su deseo de mejorar la miopa sin anteojos
(como si con anteojos pudiera ser mas fea) aumentaba su aire de
insolencia. (100)
Hunter is described as adding in reference to Juan Pablos paintings una
serie de idioteces a manera de elogio, repitiendo esas pavadas que los crticos
escriban sobre m cada vez que haba una exposicion: solido, etcetera
(100). The general acerbic tone of Chapter XXIV sharpens its teeth in the
following one. As the three sit down at the garden table, Mimi and Hunter
continue to demonstrate, without the need of Juan Pablos sarcastic asides,
the ridiculously pretentious traits of their respective personalities. Mimi,
having procured against Juan Pablos wishes his choice of preferred painters
(Van Gogh and El Greco), flies into the following monologue about her
opinion that great art is nothing more than a show of bad manners and a
demonstrative lack of decorum:
Te direprosiguio dirigiendose a Hunterque esos tipos como Miguel
ngelo o el Greco me molestan. Es tan agresiva la grandeza y el
A
dramatismo! No crees que es casi mala educacion? Yo creo que el artista
debera imponerse de no llamar jamas la atencion. Me indignan los
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of the novel (the manners, the language, the conventions of 1940s Argentina
or at least some of them) and the costumbrista techniques of portraying them
in order to criticize the very act of acting, the very act of fitting oneself into a
custom. In other words, the satire is not corrective in a social sense. Its
motivation is far more radical and existential, far more caustic and constant.
It attempts to punch through that sense of the social and to destroy through
quiet ridicule the very customs it depicts. In this sense, the satire of El tunel
is something quite strange and appears to turn the traditional direction of
satire on its head. No longer corrective (in a social context at least) it assumes
the directional powers of the burlesque (though not the techniques); that is, it
exposes the absurdity of the customs from underneath without implying the
acceptability of other ones. It invites the reader to view, not the individuals
or societys foibles, but all the customs we adopt every day to make ourselves
part of society as fraudulent and ridiculous and, above all, absurd. In this
respect, the satire both encompasses and communicates the thematics of the
novel. It expresses disquiet, an existential distaste for the cultural practices
and customs that shield us from the stark truth of existence, that, in turn,
are absurd themselves.
Another, perhaps less important, mode of humour to be found in the text
is something akin to what can only be called watered-down aspects of farce
and situational comedy. This type of humour stems almost completely from
the interaction between Juan Pablos irrational mind (his strange way of
perceiving the world) and the actual world around him. In the former
paragraph, I briefly discussed an example in which, to a certain extent, Juan
Pablos psychological defamiliarization of a party gathering leaves him
seeming, on the surface at least, as foolish as the members of the gallery he
wishes to criticize. The reader is forced to read between the lines of the satire,
the strange way in which it is expressed to see that the satire is, none the
less, well addressed. The humour, therefore, wields a double-edged sword.
On the one hand, as we have seen, it criticizes those who blindly follow a
custom (in this case, the crowd of individuals that all constantly exhibit the
same facial expression). Yet, on the other, it derives from the characters
eccentric, alienated and irrational viewpoint, even though Juan Pablo claims
his antipathy is based upon razones muy profundas. Indeed his desperate
insistences that he needs to explain his reasons so that the reader does not
suspect that his opinions and actions are the result of mera mana soon
begin to smack of a manic need to explain himself. The fact that Juan Pablo is
an irrational creature, a madman of sorts sitting in his cell in a mental
asylum writing a confession is, then, woven into the very fabric of the text.
Every word he writes is imbued with a sense of the manic and the unstable
that expresses a skewed view of the world; and we should not forget that
madmen and comedy have long been bedfellows. This skewered vision, once
again, stands as a metaphor for the absurd condition of humankind: the
existential notion of the tragic yet comic meaninglessness of our existence.
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Later, having finally asked her about the painting, he is forced to pursue her
manically through the streets, all the time constantly aware of lo ridculo de
la escena, and that era grotesco que un hombre conocido corriera por la calle
detras de una muchacha (2930). The farcical tone continues as the
relationship develops, along with Juan Pablos growing jealousy of and
frustration with Mara who neither seems to understand or know how to
respond to Juan Pablos interrogations, who at times does not seem to
understand them himself. In Chapter XVI, for example, Juan Pablo meets
Mara in La Plaza San Martn where it is so dark he can hardly see her and
in his manic need to know what she feels and his mistrust of her, he is
required to strike a number of matches in order to catch her expression. In
one of these illuminating moments he thinks he sees her smiling in response
to his questions or [e]s decir, ya no sonrea, pero haba sonredo un decimo de
segundo antes (69). The suspicion then leads the two into a petty argument
about whether Mara had been smiling or not. The conversation finally
concludes with a heated discussion about their respective ages that provokes
the latter to state: Esta conversacion es absurda [ . . .] todo es una tontera.
Me asombra que te procupes de cosas as (71). Of course, underneath this
seemingly trivial and absurd conversation lies the deeply serious, existential
theme of the novel. As Juan Pablo at the end of the chapter tells us: Solo en
mi casa, horas despues, llegue a darme cuenta del significado profundo de
esta conversacion aparentemente tan trivial (72). The serious undertone of
the scene is palpable as it is in all the episodes discussed so far. Yet, at the
same time, the trivial, the absurd, and the ridiculous also constitute key
elements in the novel, or at the very least they are a recurring feature.
Embodying the principal theme of the novel, the existential notion that
human existence is simultaneously tragic and meaningless or absurd, the
serious and the ridiculous constantly combine in different guises, finding
expression in a serio-comic incongruity between theme, tone and action.
Returning to the relationship between Mara and Juan Pablo, its
dramatic content, the dialogues between the two and Juan Pablos
internal machinations on the subject that characterize and embody the
relationship for the reader, are constructed around this incongruity
between theme and action, as in the early chapters of the novel in which
the protagonist first becomes aware of Maras existence. Here his
seemingly arbitrary reason for first noticing her (because she stood and
stared at one of his paintings) and subsequent irrational pursuit of her that
shows certain signs of a quasi-adolescent tendency with its relentless
obsessive and introspective nature are rather ridiculous and, from a certain
point of view, meaningless and capricious actions. This trait of the absurd
and the trivial also haunts the dialogues between the two characters, most
of which take the form of Castels incessant and neurotic interrogations
that, on the whole, centre on seemingly unimportant and irrelevant aspects
of the relationship; something which Mara is quite aware of herself. Que
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nino sos! Que importancia puede tener eso?, she responds when Castel
insists on knowing why she allows herself to be called senorita Iribarne
and not senora (78). However, when we take into account what Mara and
Castels pursuit represents within the broader themes of the novel the
protagonists irrational and petty behaviour takes on a different meaning.
Revealed in Chapter XXXVI, Mara represents Castels existential quest for
meaning bound in his desire for human contact and, moreover, the tragic
impossibility of that quest (14951). Seen in light of this revelation, the
trivial and ridiculous aspects of Castel display a yawning incongruity with
the ultimate meaning of the search. At the same time, this incongruity is
really part and parcel of the same thing. It expresses the innate incongruity
of the existential condition: that being human is at once ridiculous and
meaningless (i.e. absurd) and tragic, and it is tragic because it is absurd
and so on.
Incongruity, in another guise, also plays a big part in the narrative style
of the novel.23 A confession, the framework of the novel, is narrated in what
has been often compared to the style of hard-boiled detective fiction. Similar
in this sense to James M. Cains The Postman Always Rings Twice (1934), the
hard-boiled detective style made famous by Raymond Chandlers Phillip
Marlow is used in order to confess a crime rather than investigate it, which in
itself is an incongruity. Yet it is in the actual process of confession where the
most telling linguistic incongruities can be found.
In the following passage, for example, Juan Pablo ruminates over the
letter he rashly sends to Mara towards the end of the novel:
Apenas sal de correo advert dos cosas: no haba dicho la carta por que
haba inferido que ella era amante de Hunter; no saba que me propona
al herirla tan despiadadamente: acaso hacerla cambiar de manera de
ser, en caso de ser ciertas mis conjeturas? Eso era evidentemente ridculo.
Hacerla correr hacia m? No era creble que lograra con esos
procedimientos. Reflexione, sin embargo, que en el fondo de mi alma
solo ansiaba que Mara volviese a m. Pero, en este caso, por que no
23 It will be of interest to note here that incongruity is regarded as one of the most
important elements of comedy. Generally referred to as the incongruity theory, Immanuel
Kant and John Moreall are exponents of this train of thought. However, it is Schopenhauer
who gives us the most specific version of the theory. He argues that humour arises from the
apprehension that a concept fails to account for an object (Arthur Schopenhauer, The World
As Will and Representation, trans. R. B. Haldane [London: Routledge and Kegan, 1950], 71
81). Furthermore, this theory can quite easily be applied to language register in the novel as
does Salvatore Atardo in his study of humour and register (Chapter VII, Register-Based
Humour, in Linguistic Theories of Humour [New York: Mouton de Gruyter, 1994], 23053).
From this perspective, humour might be said to arise when the reader apprehends that a
register is used inappropriately: for example, the act of changing a babys nappy described in
strict legalese.
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himself and others, and 2) his knowledge of the existential truth, realized
only at the very end of the novel.
On the first level, the reader detects the irony through Juan Pablos
comments about himself or others that are ostensibly at odds with the
information given or the world in which he lives. On returning from the first
meeting with Maras husband he feverishly mulls over their relationship,
asking himself, Y ese ciego, que clase de bicho era? (55). The irony here is
that there is no greater bicho raro than the protagonist himself. In fact he is
the bicho raro of all bichos raros as his behaviour and internal monologues
testify. In another episode (one to which I have already referred) Juan Pablo
sits in the garden at the farm with Hunter and his sister. He is waiting for
Mara to come down from her room and, exasperated that she has not,
suddenly hits upon the idea that it is because she probably does not wish to
socialize with the other two. But the real reason is far more likely to be that
she does not want to see him (110). He has, after all, by his own admission
treated her extremely cruelly. Even his suspicions that she is unfaithful to
him are imbued with a sense of irony when he refers the situation to that of
Othello (87). Desdemona was not unfaithful. The motive of this type of irony
is to form a distance between the reader and the narrator so that the former
views the words of the latter with a generous dose of scepticism. It places the
narrator at odds with the reader, or at least the implied reader, because he
does not seem to be aware of the true nature of the events he narrates. Such
irony also creates the illusion of a character that is being played for a fool,
who is controlled by an impersonal and external force in which an implied
author plays the role of a threatening, mocking universe.
At the same time, however, on the second level the narrator controls the
ironic discourse in respect of the protagonist. From his privileged position, he
is able to pick out the faulty or mistaken perceptions of his former self. At
times, this irony almost reaches comic proportions. At the farm again, Juan
Pablo finds himself alone with a Mara who is finally ready to tell him the
intimate and emotional details of her past. The protagonist has waited a long
time for this moment. Indeed almost all the dialogues between the two centre
on Juan Pablos attempts to make the reticent and confused Mara tell him
how she feels, what she is thinking about. However, when the moment comes
Juan Pablo falls into a rather strange stupor and ironically, comically and
tragically does not listen to a word:
De pronto o otros fragmentos de frases: hablaba de un primo, Juan o algo
as; hablo de la infancia en el campo; me parecio or algo de hechos
tormentosos y crueles, que haban pasado con ese otro primo. Me parecio
que Mara me haba estado haciendo una preciosa confesion y que yo,
como estupido, la haba perdido. (118)
Other examples of this type of irony are many. The mise-en-abme of the
situation, in which Juan Pablo dreams of watching himself ironically mocked
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tragic nature of his search, of his confession, which up until now has
remained somewhat confusing and ridiculous, is suddenly revealed. For the
first time, we are made aware that his quest is our quest, all mankinds quest
in fact. We are suddenly placed, in other words, in a more informed position
than before, which leads us to a greater understanding of the protagonist and
narrator. And, it is at this very point*through an impelled re-evaluation of
Juan Pablos narration*that the second level of irony, the irony that
underscores the futility of the protagonists search, changes into humour.
Or, I should say, a type of humour: namely the type defined by Pirandello in
his treatise, On Humour. For Pirandello, humour is not simply a combination
of the comic and the serious or sentimental. Rather it is an intellectual
exercise that impels the recipient to see beyond the simple perception of the
incongruity involved and shift to a feeling of the opposite.30 Pirandello
describes the process in the following way:
I see an old lady whose hair is dyed and completely smeared with some
kind of horrible ointment; she is all made-up in a clumsy awkward
fashion and is all dolled-up like a young girl. I perceive that she is the
opposite of what a respectable old lady should be. Now I stop here at this
initial and superficial comic reaction: the comic consists precisely of this
perception of the opposite. But if, at this point, reflection interferes in me
to suggest that perhaps this old lady finds no pleasure in dressing up like
an exotic parrot, and that perhaps she is distressed by it and does it only
because she pitifully deceives herself into believing that, by making
herself up like that and by concealing her wrinkles and grey hair, she
may be able to hold the love of her much younger husband*if reflection
comes to suggest all this, then I can no longer laugh at her as I did at first,
because the inner workings of the reflection have made me go beyond, or
rather deeper than the initial stage of awareness: from the beginning of
the perception of the opposite, reflection has made me shift to a feeling of
the opposite. And herein lies the difference between the comic and
humour.31
In El tunel we perceive the incongruities in Juan Pablos irrational
behaviour, in his strange monologues and bizarre pursuit of Mara.
Admittedly, not all these incidents can be defined as comic and the ones
that elicit laughter do so in a rather macabre way due to the black tone of the
novel. But the point is that only when we know the nature of Juan Pablos
search do we know why the novel affects us in this way. At this point we
identify with his irrational, erratic behaviour and shift to a feeling of the
opposite. Furthermore, the incongruities are now seen to reside in the
opposition between Juan Pablos seemingly trivial manias and obsessions
30
31
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and his adolescent longings and jealousy, and the gaping tragic existential
void that he seeks to fill. Interestingly, according to Pirandello, humour is
also an irremediable part of the human condition:
Humour is very much related to mans thirst for truth and knowledge and
concrete identity and the realization that this thirst will never, can never,
be quenched because truth and knowledge are quite simply illusions with
which man has cloaked the disquieting meaninglessness of the
universe.32
From this universal perspective, then, Juan Pablo becomes the
everyman. He is the grotesque puppet, el ridculo hombre del tunel, who
plays a role in an abominable comedia in which we all inevitably participate.
His is a tragic figure who dances grotesquely over the stark void of the
human condition that cannot nevertheless ever be fully tragic because its
very meaninglessness makes it comic, absurd. Something that has no
meaning can no longer be tragic. His search, then, is our search or at least
it is if we enter full-heartedly into the existential drama of the novel. It is also
a search that can never end. It is the tragic existential joke that mankind has
evolved to ask the meaning of his or her meaningless existence that, if it
provokes laughter at all, can only be bitterly comic.33
To conclude, in this article I have explored Sabatos El tunel from a
formerly unexplored perspective: through its humour. As for the reading of
humour in general I have deliberately stayed away from the notion of
comedy. It would have been tempting to apply Bakhtins work on the
Menippean Satire (as he does with Notes from Underground) to the novel. At
least ten similar features can be identified: the representation of mans
psychic disorder (comic alongside the tragic), scandalous scenes and eccentric
behaviour, sharp contrasts and oxymoronic combinations, elements of social
utopia, inserted genres and the variety of style and tones, journalistic
underscore concerned with details of the day, underworld naturalism
32 Pirandello, On Humor, 130.
33 Pirandello, On Humor, 124. In his essay on the difference between Pirandellos idea
of humour and the general nature of comedy, Umberto Eco debunks the notion that comedy
and the carnivalesque are truly transgressive because their transgression in reality confirms
the transgressed rule. Rather he sees Pirandellos definition of humour as truly transgressive.
Humour, he writes, does not pretend, like the carnival, to lead us beyond our own limits. It
gives us the feeling, or better, the picture of the structure of our own limits. It is never off
limits, it undermines limits from inside. It does not fish for the impossible freedom, yet it is a
true movement towards freedom. Humour does not promise us liberation: on the contrary, it
warns us about the impossibility of global liberation reminding us of the presence of a law that
we no longer have reason to obey. In doing so it undermines the law. It makes us feel the
uneasiness of living under a lawany law (Umberto Eco, The Comic and the Rule, in Travels
in Hyper Reality [London: Picador, 1987], 26978 [p. 278]). In this respect, the dark humour of
El tunel could be seen as transgressive since it highlights both the futility, tragedy and, at the
same time, the inevitability of living under such laws and cultural codes.
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