written by Isabel Allende
[I] pp. 230 – 245
Summary:
Belisa Crepusculario is literally a self-made woman: she chose her own name and makes a living selling words. (She travels around selling everything from verses from memory to simple stories to secret words. Everyone knows and respects her.) Her fame, however, is a result of her fortitude: as a youth, hunger, heat, and exhaustion of centuries ate at her and killed four siblings; she decided to trick death by dragging herself to the sea’s water.
Belisa accidently discovers writing when a newspaper blows at her feet. She picks it up, curiously asking a stranger what it is. When she learns of the infinite power of the word, she realizes she can make a decente (234) profession of it, the alternative to being a prostitute or servant. She pays a priest to teach her, then, with her little remaining money, buys a dictionary. She reads then memorizes it, from A to Z, then throws it into the ocean; she doesn’t want to sell her clients packaged words.
One morning, the Colonel’s men, led by the feared giant El Mulato, come into town and kidnap Belisa. She is taken to el Coronel, el hombre más temido del país (237) (who, according to Belisa, is also be the loneliest man in the world). He says he wants to be president, to be loved and cheered. His appearance as colonel puts terror in people’s eyes, abortaban de susto las mujeres (238). He wants to win the peoples’ hearts for the elections, so asks her to write him a speech.
She begins to work. Descartó las palabras ásperas y secas, las demasiados floridas, las que estaban desteñidas (discolored) por el abuso, las que ofrecían promesas improbable, las carentes de (lacking) veradad y las confuses, para quedarse solo con aquéllas capaces de tocar con certeza el pensamiento de los hombres y la intuición de las mujeres (239). When she read it aloud, thrice, the soldiers’ and Colonel’s eyes glittered with enthusiasm.
Because of the speech’s cost, Belisa gives the Colonel two secret words. While giving him the words, Belisa exudes sexual richness, clearly turning the Colonel on.
The Colonel gives his speech with incredible effectiveness: the townspeople estaban deslumbrados por la claridad de sus proposiciones y la lucidez poética de sus argumentos, contagiados de su deseo tremendo de corregir los errors de la historia y alegres por primera vez en sus vidas (242). Despite the success, the Colonel becomes extremely obsessed with the secret words; the Mulato is forced to find Belisa to undo her witchcraft. She had been waiting. And, upon arrival, all the men knew the witchcraft would not be undone porque todos pudieron ver los ojos carnívoros del puma tornarse mansos (soften) cuando ella avanzó y le tomó la mano (244).
Translation:
http://der-lowe.newgrounds.com/news/post/27881
Themes:
-el machismo, la lucha por el poder entre los sexos
-ganar y perder en el juego del amor: la passion entre el hombre y la mujer
-el cuento fantástico del siglo XIX y del siglo XX
Sunday, March 29, 2009
El Sur
written by Jorge Luis Borges
[I] pp. 143 - 154
Summary:
Juan Dahlmann is a man of two heritages, his parents heralding from Argentina and Germany, and that he is a bookkeeper. But this really isn't that important. What is important, though, is that Dahlmann has a farm in the South of Argentina that he wants to settle in.
One day in February 1939, something hit Dahlmann on the head while he was walking with the book One Thousand and One Nights. He walks back to his room, where a fever and some nightmares overtake him. He is taken to the hospital, un sanatorio, where he has surgery and endures great pain, both physically and psychologically. All he wants to do is go to his farm.
After noticing symmetries between his time before and after his hospital stay, Dahlmann takes a trip to the South of Buenos Aires. He sees a cat, and realizes that he doesn't know where he is: aquel contacto era ilusorio (147).
He goes to the train station where he boards the train, happy to be alive after his ordeal. He observes nature, eats, lives, and feels. He takes a nap, and dreams, before again realizing that perhaps he is not going to his farm: la soledad era perfecta y tal vez hostil, y Dahlmann pudo sospechar que viajaba al pasado y o sólo al Sur (149). Dahlmann then gets kicked off the train.
A series of parallels between the two worlds then emerge: the loud cafeteria, the customer who looks like a hopsital employee, a light brush on his face. He then decides to read his book, but others laugh at him. Then a compadrito from the rowdy crowd approaches him with a large dagger, and they are about to fight. Perhaps this is a way for Dahlmann to come to terms with his pain: Era como si el Sur hubiera resuelto que Dahlmann aceptara el duelo (153). He wants to fight, but is unable. Fortunately, the compadrito leaves, and Dahlmann leaves towards his farm, towards El Sur.
The story is somewhat autobiographical, and is a good example of desdoblamiento. The reader is left with a large degree of ambiguity in what is real and what is fake.
Translation:
http://www.akirarabelais.com/borges/elsur.html
Themes:
-el desdoblamiento y la dualidad de ser
-la tenue línea entre lo real y lo ilusorio
-el cuento fantástico del siglo XIX y del siglo XX
[I] pp. 143 - 154
Summary:
Juan Dahlmann is a man of two heritages, his parents heralding from Argentina and Germany, and that he is a bookkeeper. But this really isn't that important. What is important, though, is that Dahlmann has a farm in the South of Argentina that he wants to settle in.
One day in February 1939, something hit Dahlmann on the head while he was walking with the book One Thousand and One Nights. He walks back to his room, where a fever and some nightmares overtake him. He is taken to the hospital, un sanatorio, where he has surgery and endures great pain, both physically and psychologically. All he wants to do is go to his farm.
After noticing symmetries between his time before and after his hospital stay, Dahlmann takes a trip to the South of Buenos Aires. He sees a cat, and realizes that he doesn't know where he is: aquel contacto era ilusorio (147).
He goes to the train station where he boards the train, happy to be alive after his ordeal. He observes nature, eats, lives, and feels. He takes a nap, and dreams, before again realizing that perhaps he is not going to his farm: la soledad era perfecta y tal vez hostil, y Dahlmann pudo sospechar que viajaba al pasado y o sólo al Sur (149). Dahlmann then gets kicked off the train.
A series of parallels between the two worlds then emerge: the loud cafeteria, the customer who looks like a hopsital employee, a light brush on his face. He then decides to read his book, but others laugh at him. Then a compadrito from the rowdy crowd approaches him with a large dagger, and they are about to fight. Perhaps this is a way for Dahlmann to come to terms with his pain: Era como si el Sur hubiera resuelto que Dahlmann aceptara el duelo (153). He wants to fight, but is unable. Fortunately, the compadrito leaves, and Dahlmann leaves towards his farm, towards El Sur.
The story is somewhat autobiographical, and is a good example of desdoblamiento. The reader is left with a large degree of ambiguity in what is real and what is fake.
Translation:
http://www.akirarabelais.com/borges/elsur.html
Themes:
-el desdoblamiento y la dualidad de ser
-la tenue línea entre lo real y lo ilusorio
-el cuento fantástico del siglo XIX y del siglo XX
Friday, March 27, 2009
Chac Mool
written by Carlos Fuentes
[I] 190 – 205
Summary:
The narrator begins: Filiberto murió ahogado en Acapulco (191). He seems to know why he drowned – he was tempted to go, then swam too much for his age. Filiberto is to be transferred in his coffin via truck, and the narrator is going to deliver him. The narrator looks through Filiberto’s briefcase and finds his journal …
“Filiberto’s journal begins normally: he meets with a lawyer about his pension and dines in a café. He talks with his friend Pepe about religion and work, where someone died the water red.
“He also has an affinity for certain forms of indigenous Mexican art. He’s been looking for a reasonable replica of Chac Mool, the Mayan god of rain, which he finds in la Lagunilla. He is very skeptical of its originality – although it looks so elegant, it has tomato sauce smeared on it to sell its authenticity. He puts Chac Mool in his basement.
“The plumbing broke, putting water in the basement. Chac Mool becomes covered with moss. That night, Filiberto begins to hear moans from the basement; the night they stop, more rain water inundates the basement. Scraping off the moss was difficult – it seemed to have become part of the stone already. Also, the figure grew softer; the skeptical Filiberto thinks the statue was actually plaster. Later, though, he notices the figure is the texture of flesh, of rubber, and that Chac Mool has hair on its arms. Of this impossibility, Filiberto writes, “Tendré que ver a un médico, saber si es imaginación, o delirio, o qué, y deshacerme de ese maldito Chac Mool” (198).”
Filiberto’s handwriting deteriorates to that of a child here.
“What is real and what is imaginary? … the line between the two is indistinguishable. The Chac Mool has become smooth, elegant, and golden, almost as if indicating he is a God. He begins to awaken; one night, Filiberto opens his eyes to see a grotesque, noisome creature at his bed; entonces empezó a llover (200).”
In the real world, Filiberto is pinned with rumores de locura y aun robo (200).
“Chac Mool has fantastic stories about myths and his birth, but has an inhuman stench that emanates from flesh that isn’t flesh. He desires soap and sleeps in Filiberto’s bed.
“When the dry season begins, Chac Mool demands water; says Filiberto, debo reconcerlo: soy su prisionero (202). Chac Mool wears his clothes and is used to being obeyed. Filiberto discovers Chac Mool leaves the house at night to hunt for dogs, rats, and cats for food; later in the dry season, Filiberto is forced to order out rice with chicken. He also has to run trips to get water; if he tries to flee, he will be struck down by Chac Mool, also god of lightening. Filiberto also notices that Chac Mool eventually has to turn back into stone, that he is getting more irritable, and that he is falling into human temptations. Also, Chac Mool wouldn’t die and leave Filiberto alive; Filiberto thus must flee.
“He decides to flee to Acapulco at night; he plans to swim away with his little remaining money. He is sick of Chac Mool: a ver cuánto dura sin mis baldes (buckets) de agua (204).”
The diary of Filiberto ends, and the narrator arrives at the terminal. When he gets there, the door opens; a yellow Indian appears; his appearance is repulsive, his face is covered in powder, he reeks of cheap lotion, his lips are smeared with lipstick. This man (Chac Mool?) says: “Lo sé todo. Dígales a los hombres que lleven el cadaver al sótano” (205).
Translation:
http://web.mit.edu/jikatz/www/ChacMool.pdf
Themes:
-la decadencia del orden establecido y el descontrol
-la tenue línea entre lo real y lo ilusorio
-el cuento fantástico del siglo XIX y del siglo XX
[I] 190 – 205
Summary:
The narrator begins: Filiberto murió ahogado en Acapulco (191). He seems to know why he drowned – he was tempted to go, then swam too much for his age. Filiberto is to be transferred in his coffin via truck, and the narrator is going to deliver him. The narrator looks through Filiberto’s briefcase and finds his journal …
“Filiberto’s journal begins normally: he meets with a lawyer about his pension and dines in a café. He talks with his friend Pepe about religion and work, where someone died the water red.
“He also has an affinity for certain forms of indigenous Mexican art. He’s been looking for a reasonable replica of Chac Mool, the Mayan god of rain, which he finds in la Lagunilla. He is very skeptical of its originality – although it looks so elegant, it has tomato sauce smeared on it to sell its authenticity. He puts Chac Mool in his basement.
“The plumbing broke, putting water in the basement. Chac Mool becomes covered with moss. That night, Filiberto begins to hear moans from the basement; the night they stop, more rain water inundates the basement. Scraping off the moss was difficult – it seemed to have become part of the stone already. Also, the figure grew softer; the skeptical Filiberto thinks the statue was actually plaster. Later, though, he notices the figure is the texture of flesh, of rubber, and that Chac Mool has hair on its arms. Of this impossibility, Filiberto writes, “Tendré que ver a un médico, saber si es imaginación, o delirio, o qué, y deshacerme de ese maldito Chac Mool” (198).”
Filiberto’s handwriting deteriorates to that of a child here.
“What is real and what is imaginary? … the line between the two is indistinguishable. The Chac Mool has become smooth, elegant, and golden, almost as if indicating he is a God. He begins to awaken; one night, Filiberto opens his eyes to see a grotesque, noisome creature at his bed; entonces empezó a llover (200).”
In the real world, Filiberto is pinned with rumores de locura y aun robo (200).
“Chac Mool has fantastic stories about myths and his birth, but has an inhuman stench that emanates from flesh that isn’t flesh. He desires soap and sleeps in Filiberto’s bed.
“When the dry season begins, Chac Mool demands water; says Filiberto, debo reconcerlo: soy su prisionero (202). Chac Mool wears his clothes and is used to being obeyed. Filiberto discovers Chac Mool leaves the house at night to hunt for dogs, rats, and cats for food; later in the dry season, Filiberto is forced to order out rice with chicken. He also has to run trips to get water; if he tries to flee, he will be struck down by Chac Mool, also god of lightening. Filiberto also notices that Chac Mool eventually has to turn back into stone, that he is getting more irritable, and that he is falling into human temptations. Also, Chac Mool wouldn’t die and leave Filiberto alive; Filiberto thus must flee.
“He decides to flee to Acapulco at night; he plans to swim away with his little remaining money. He is sick of Chac Mool: a ver cuánto dura sin mis baldes (buckets) de agua (204).”
The diary of Filiberto ends, and the narrator arrives at the terminal. When he gets there, the door opens; a yellow Indian appears; his appearance is repulsive, his face is covered in powder, he reeks of cheap lotion, his lips are smeared with lipstick. This man (Chac Mool?) says: “Lo sé todo. Dígales a los hombres que lleven el cadaver al sótano” (205).
Translation:
http://web.mit.edu/jikatz/www/ChacMool.pdf
Themes:
-la decadencia del orden establecido y el descontrol
-la tenue línea entre lo real y lo ilusorio
-el cuento fantástico del siglo XIX y del siglo XX
Thursday, March 26, 2009
Rima LIII: “Volverán las oscuras golondrinas”
written by Gustavo Adolfo Bécquer
[I] pp. 359 - 360
Summary:
Swallows will always return, but the familiar ones won’t. The ivy will always creep and bloom, but the familiar ones covered in dew won’t. Likewise, the woman will always return words, but will never return passion or mutual adoration. The broad events will always happen, so it’s those fleeting, specific moments that matter. So appreciate what you have had and what you do have.
Devices:
Bécquer uses anaphora in “Volverán” and the estribillo “ésas … ¡no volverán!” to get the main idea of the poem in the reader’s head. He also uses personification, hyperbaton, a simile (“como lágrimas del día…”), and, at the end, an apostrophe.
Themes:
-carpe diem y memento mori: el tiempo y sus mudanzas
-ganar y perder en el juego de amor: la passion entre el hombre y la mujer
-poesía romantic y modernista del siglo XIX
[I] pp. 359 - 360
Summary:
Swallows will always return, but the familiar ones won’t. The ivy will always creep and bloom, but the familiar ones covered in dew won’t. Likewise, the woman will always return words, but will never return passion or mutual adoration. The broad events will always happen, so it’s those fleeting, specific moments that matter. So appreciate what you have had and what you do have.
Devices:
Bécquer uses anaphora in “Volverán” and the estribillo “ésas … ¡no volverán!” to get the main idea of the poem in the reader’s head. He also uses personification, hyperbaton, a simile (“como lágrimas del día…”), and, at the end, an apostrophe.
Themes:
-carpe diem y memento mori: el tiempo y sus mudanzas
-ganar y perder en el juego de amor: la passion entre el hombre y la mujer
-poesía romantic y modernista del siglo XIX
Rima XI: “Yo soy ardiente, yo soy morena”
written by Gustavo Adolfo Bécquer
[I] pp. 358
Summary:
Bécquer’s poem talks about the tragic search for love. The poet rejects the first woman, la morena, then la rubia in favor of una fantasma, an impossible love. He chases a love he cannot have and rejects the ones he can.
Devices:
He uses an estribillo of “¿A mí me __? – No __.” and anaphora of “yo soy.” He also uses a metaphor in “yo soy un sueño” and hyperbaton. It has rima consonante in los versos impares and is written in first person. It has four voices.
Themes:
-poesía romántica y modernista del siglo XIX
[I] pp. 358
Summary:
Bécquer’s poem talks about the tragic search for love. The poet rejects the first woman, la morena, then la rubia in favor of una fantasma, an impossible love. He chases a love he cannot have and rejects the ones he can.
Devices:
He uses an estribillo of “¿A mí me __? – No __.” and anaphora of “yo soy.” He also uses a metaphor in “yo soy un sueño” and hyperbaton. It has rima consonante in los versos impares and is written in first person. It has four voices.
Themes:
-poesía romántica y modernista del siglo XIX
Rima IV: “No digáis que agotado su tesoro” (habrá poesía)
written by Gustavo Adolfo Bécquer
[I] pp. 356 - 358
Summary:
Bécquer talks about the eternity of poetry. As long as there is nature (waves, clouds, springtime, etc.), sciences (the sea’s abysses, more mysteries, etc.), human emotions (happiness, clashing minds, etc.), and love (kissing, beautiful women, etc.), habrá poesía. As long has humanity exists, poetry will, too – poetry lives within humanity. Poetry is immortal.
Devices:
He uses, most importantly, the estribillo “¡habrá poesía!” to continually remind the reader of the theme. The poem is also una silva, or has four line stanzas with 11, 7, 11, 7 syllables. It has anaphora of “mientras” in los versos impares, apostrophe in “no digáis,” and personification in “mientras el corazón y la cabeza batallando prosigan.” It is written in third person with rima asonante.
Themes:
-éxtasis y epifanías
-poesía romántica y modernista del siglo XIX
[I] pp. 356 - 358
Summary:
Bécquer talks about the eternity of poetry. As long as there is nature (waves, clouds, springtime, etc.), sciences (the sea’s abysses, more mysteries, etc.), human emotions (happiness, clashing minds, etc.), and love (kissing, beautiful women, etc.), habrá poesía. As long has humanity exists, poetry will, too – poetry lives within humanity. Poetry is immortal.
Devices:
He uses, most importantly, the estribillo “¡habrá poesía!” to continually remind the reader of the theme. The poem is also una silva, or has four line stanzas with 11, 7, 11, 7 syllables. It has anaphora of “mientras” in los versos impares, apostrophe in “no digáis,” and personification in “mientras el corazón y la cabeza batallando prosigan.” It is written in third person with rima asonante.
Themes:
-éxtasis y epifanías
-poesía romántica y modernista del siglo XIX
El Conde Lucanor
Ejemplo XXXV. ("Lo que sucedió a un mozo que casó con una mujer muy fuerte y muy brava”)
written by El infante don Juan Manuel
[II] pp. 268 - 275
Summary:
El conde pide a Patronio por consejos sobre su criado. El criado quiere casarse con una mujer brava y rica -- es un idea bueno? (¿Es el criado como el mancebo moro?)
El mancebo quiere casarse con una mujer rica. Quiere subir de su clase baja; no puede hacer lo que quiere sin dinero. Primero el padre de la mujer dice "no," pero después el padre del mancebo habla con el padre de la mujer. Ellos hablan ("Si casen, no podemos ser amigos"), y el mancebo y la mujer se casan. Los parientes, como dice la tradicción, los quedan en casa hasta el proximo día. El hombre les pide agua al perro, gato, y caballo -- los corta y despedeza. (El hombre está haciendo un punto a su esposa nueva.) Le pide agua a su mujer. Lo hace la mujer. Y después, los parientes lo admiran al hombre porque puede controlar su esposa brava. Despues, el suegro de la mujer trata de hacer lo mismo de matar un gallo. No tiene el mismo éxito porque ella conoce a el.
La morale? Las impresiones primeras son tan importantes.
Si al comienzo no muestras quién eres,
Nunca podrás después cuando quisieres. (275)
Translation:
http://antinous.tripod.com/mujerbrava.html
Themes:
-desafío y perseverancia: la tenacidad individual ante los retos de la vida
-el machismo, la lucha por el poder entre los sexos
-ganar y perder en el juego de amor: la passion entre el hombre y la mujer
-lecciones de la vida y el repudio del error
-la prosa peninsular desde el Medioevo hasta el siglo XX
written by El infante don Juan Manuel
[II] pp. 268 - 275
Summary:
El conde pide a Patronio por consejos sobre su criado. El criado quiere casarse con una mujer brava y rica -- es un idea bueno? (¿Es el criado como el mancebo moro?)
El mancebo quiere casarse con una mujer rica. Quiere subir de su clase baja; no puede hacer lo que quiere sin dinero. Primero el padre de la mujer dice "no," pero después el padre del mancebo habla con el padre de la mujer. Ellos hablan ("Si casen, no podemos ser amigos"), y el mancebo y la mujer se casan. Los parientes, como dice la tradicción, los quedan en casa hasta el proximo día. El hombre les pide agua al perro, gato, y caballo -- los corta y despedeza. (El hombre está haciendo un punto a su esposa nueva.) Le pide agua a su mujer. Lo hace la mujer. Y después, los parientes lo admiran al hombre porque puede controlar su esposa brava. Despues, el suegro de la mujer trata de hacer lo mismo de matar un gallo. No tiene el mismo éxito porque ella conoce a el.
La morale? Las impresiones primeras son tan importantes.
Si al comienzo no muestras quién eres,
Nunca podrás después cuando quisieres. (275)
Translation:
http://antinous.tripod.com/mujerbrava.html
Themes:
-desafío y perseverancia: la tenacidad individual ante los retos de la vida
-el machismo, la lucha por el poder entre los sexos
-ganar y perder en el juego de amor: la passion entre el hombre y la mujer
-lecciones de la vida y el repudio del error
-la prosa peninsular desde el Medioevo hasta el siglo XX
Wednesday, March 25, 2009
La muerte y la brújula
written by Jorge Luis Borges
[I] pp. 155 – 172
Borges immediately introduces detective Erik Lonnrot, the protagonist, and Red Scharlach, the criminal and antagonist. Lonnrot is un puro razonador with elements of a tahúr (gambler) and an aventurero (156). Scharlach vows to kill Lonnrot.
The first murder occurs in the Hotel du Nord on December 3. Doctor Marcel Yarmolinsky has a deep knife wound. His room is across the hall from Tetrarch of Galilee, known to have the finest sapphires, leading Insepector Treviranus (the voice of reason and practicality) to believe someone tried to steal the sapphires. Lonnrot, however, notices the possible Jewish ties; he believes the crime may belong to the history of Jewish superstition. Says Lonnrot:
Posible, pero no interesante [a la realidad de Treviranus]. Usted replicará que la realidad no tiene la menor obligación de ser interesante. Yo le replicaré que la realidad puede prescindir de (avoid) esa obligación, pero no las hipótesis. En la que usted ha improvisado, el azar (chance) interviene copiosamente […] yo preferiría una explicación puramente rabínica […] (158).
He notices the message: La primera letra del Nombre ha sideo articulada (159). He then pores through Yarmolinksy’s texts, and learns that God has a secret, Absolute name. When the editor of Yidische Zaitung, a Jewish magazine for which Yarmolinksy wrote, comes, Lonnrot is only interested in solving his puzzle.
The second murder occurs in an alley on January 3. Daniel Simon Azevedo is the victim of a deep knife wound to the chest, a man known to be a petty thief. On the wall, Lonnrot sees the message: La segunda letra del Nombre ha sideo articulada (161).
The third murder occurs at Liverpool House on February 3. Gryphius-Ginzberg, a man who spent his days in a room above the Liverpool House, is presumed to have died. The tavern owner, Black Finnegan, relays a story about Ginzberg getting drunk; Lonnrot then notices: La última de las letras del Nombre ha sido articulada (163). Treviranus proposes that everything might just be a sham, immediately dismissed by Lonnrot.
On March 1, Treviranus receives a letter saying no murder will occur on March 3, as the previous three made an equilateral triangle. Lonnrot studies them, and quickly notices that there is indeed to be a fourth murder; he immediately takes a train to Triste-le-Roy. El misterio casi le pareció cristalino (166). He goes through the iron fence to the pointlessly symmetrical house, enters, and explores it. Very soon after, two men seize him.
He sees Red Scharlach. Scharlach says that he is seeking Lonnrot (not the Secret Name of God), the man who sent his brother to jail. Scharlach also tells how he spent nine days and nights with a bullet in his stomach in Triste-le-Roy. Sentía que el mundo es un laberinto (169), a world that is impossible to flee.
He then explains his plans: they were to steal the sapphires, but Azevedo undertook the job a day early and was forced to kill Yarmolinsky. From Yarmolinsky’s Judiasm, Scharlach then plans to create a trap for Lonnrot. Azevedo was the necessary victim; he was impulsive, a traitor. Gryphius-Ginzberg was Scharlach himself, and the necessary “evidence” was planted. Scharlach led Lonnrot to una exacta muerte; todo lo he premeditado para atraerlo a [Lonnrot] a las soledades de Triste-le-Roy (171).
Lonnrot then feels sadness; he then suggests that in the next incarnation, Scharlach plan a proper labyrinth. Scharlach steps back, and shoots Lonnrot.
Translation:
http://prepcycle.com/forum/viewtopic.php?f=16&p=279
Themes:
-el desdoblamiento y la dualidad del ser
-el cuento fantástico del siglo XIX y siglo XX
[I] pp. 155 – 172
Borges immediately introduces detective Erik Lonnrot, the protagonist, and Red Scharlach, the criminal and antagonist. Lonnrot is un puro razonador with elements of a tahúr (gambler) and an aventurero (156). Scharlach vows to kill Lonnrot.
The first murder occurs in the Hotel du Nord on December 3. Doctor Marcel Yarmolinsky has a deep knife wound. His room is across the hall from Tetrarch of Galilee, known to have the finest sapphires, leading Insepector Treviranus (the voice of reason and practicality) to believe someone tried to steal the sapphires. Lonnrot, however, notices the possible Jewish ties; he believes the crime may belong to the history of Jewish superstition. Says Lonnrot:
Posible, pero no interesante [a la realidad de Treviranus]. Usted replicará que la realidad no tiene la menor obligación de ser interesante. Yo le replicaré que la realidad puede prescindir de (avoid) esa obligación, pero no las hipótesis. En la que usted ha improvisado, el azar (chance) interviene copiosamente […] yo preferiría una explicación puramente rabínica […] (158).
He notices the message: La primera letra del Nombre ha sideo articulada (159). He then pores through Yarmolinksy’s texts, and learns that God has a secret, Absolute name. When the editor of Yidische Zaitung, a Jewish magazine for which Yarmolinksy wrote, comes, Lonnrot is only interested in solving his puzzle.
The second murder occurs in an alley on January 3. Daniel Simon Azevedo is the victim of a deep knife wound to the chest, a man known to be a petty thief. On the wall, Lonnrot sees the message: La segunda letra del Nombre ha sideo articulada (161).
The third murder occurs at Liverpool House on February 3. Gryphius-Ginzberg, a man who spent his days in a room above the Liverpool House, is presumed to have died. The tavern owner, Black Finnegan, relays a story about Ginzberg getting drunk; Lonnrot then notices: La última de las letras del Nombre ha sido articulada (163). Treviranus proposes that everything might just be a sham, immediately dismissed by Lonnrot.
On March 1, Treviranus receives a letter saying no murder will occur on March 3, as the previous three made an equilateral triangle. Lonnrot studies them, and quickly notices that there is indeed to be a fourth murder; he immediately takes a train to Triste-le-Roy. El misterio casi le pareció cristalino (166). He goes through the iron fence to the pointlessly symmetrical house, enters, and explores it. Very soon after, two men seize him.
He sees Red Scharlach. Scharlach says that he is seeking Lonnrot (not the Secret Name of God), the man who sent his brother to jail. Scharlach also tells how he spent nine days and nights with a bullet in his stomach in Triste-le-Roy. Sentía que el mundo es un laberinto (169), a world that is impossible to flee.
He then explains his plans: they were to steal the sapphires, but Azevedo undertook the job a day early and was forced to kill Yarmolinsky. From Yarmolinsky’s Judiasm, Scharlach then plans to create a trap for Lonnrot. Azevedo was the necessary victim; he was impulsive, a traitor. Gryphius-Ginzberg was Scharlach himself, and the necessary “evidence” was planted. Scharlach led Lonnrot to una exacta muerte; todo lo he premeditado para atraerlo a [Lonnrot] a las soledades de Triste-le-Roy (171).
Lonnrot then feels sadness; he then suggests that in the next incarnation, Scharlach plan a proper labyrinth. Scharlach steps back, and shoots Lonnrot.
Translation:
http://prepcycle.com/forum/viewtopic.php?f=16&p=279
Themes:
-el desdoblamiento y la dualidad del ser
-el cuento fantástico del siglo XIX y siglo XX
Tuesday, March 24, 2009
La noche boca arriba
written by Julio Cortázar
[I] pp. 177 - 189
Summary:
An unnamed man is in the modern world, riding his motorcycle through town. He swerves out of the path of a woman crossing the street, but as a consequence, goes unconscious. Fue como dormirse de golpe. (178) When he comes to, he realizes he is bloody, his knee is hurt, his right arm is in pain, and his eyebrow has a large gash. He is taken to the hospital, where a hombre de blanco approaches him con algo que le brillaba en la mano (180)...
He is in a strange dream, with fragrances. Y todo era tan natural, tenía que huir de los aztecas que andaban a caza (hunt) de hombre, y su única probabilidad era la de esconderse en lo más denso de la selva […que] los motecas conocían (180). He stands there, nervous from unexpected sounds around him, clutching his stone dagger. When he smells the smell he fears most, he wakes up with a fright.
He just wakes up, and finds himself thirsty and in a cast. He has la fiebre (182), allowing him to fall in and out of consciousness.
He is again in confusion, but soon realizes that la guerra florida había empezado for tres días y tres noches (183). He kills some enemies that attack him, but is eventually caught with a rope.
The patients at the hospital are convinced it is la fiebre, but it is more. The blurred line between reality and dream continues: se oía toser, respirar fuerte, a veces un diálogo en voz baja (184), ¿Quién hubiera pensado que la cosa iba a acabar así? (184). He then feels like he has been transported through time and space: tenía la sensación de que ese hueco, esa nada, había durado una eternidad. No, ni siquiera tiempo, más bien como si en ese hueco él hubiera pasado a través de algo o recorrido distancias inmensas (185).
He awakens on his back, naked and tied in ropes. He hears the rituals of the aztecas and knows he is ascending the steps of the sacrifice. He knows he will be carried to the top where he will be sacrificed. He wishes this recurring dream will end.
He sits in the hospital, glad that he is awake. Yet he cannot manage to keep his eyes open; he sleeps and returns to being tied up, about to have his heart ripped out. At this point, he realizes that his “dream” is actually his reality; when he is about to die, ahora sabía que no iba a despertarse (188). Alguien se le había acercado con un cuchillo en la mano, a él tendido boca arriba, a él boca arriba con los ojos cerrados entre las hogueras (188-9). He dies.
Translation:
http://deeblog.squarespace.com/journal/2008/5/9/la-noche-boca-arriba-part-1.html
Movie:
http://www.youtube.com/watch?v=DX+auFxEskM
Themes:
-desdoblamiento y dualidad de ser
-la tenue línea entre lo real y lo ilusorio
-el cuento fantastic del siglo XIX y siglo XX
[I] pp. 177 - 189
Summary:
An unnamed man is in the modern world, riding his motorcycle through town. He swerves out of the path of a woman crossing the street, but as a consequence, goes unconscious. Fue como dormirse de golpe. (178) When he comes to, he realizes he is bloody, his knee is hurt, his right arm is in pain, and his eyebrow has a large gash. He is taken to the hospital, where a hombre de blanco approaches him con algo que le brillaba en la mano (180)...
He is in a strange dream, with fragrances. Y todo era tan natural, tenía que huir de los aztecas que andaban a caza (hunt) de hombre, y su única probabilidad era la de esconderse en lo más denso de la selva […que] los motecas conocían (180). He stands there, nervous from unexpected sounds around him, clutching his stone dagger. When he smells the smell he fears most, he wakes up with a fright.
He just wakes up, and finds himself thirsty and in a cast. He has la fiebre (182), allowing him to fall in and out of consciousness.
He is again in confusion, but soon realizes that la guerra florida había empezado for tres días y tres noches (183). He kills some enemies that attack him, but is eventually caught with a rope.
The patients at the hospital are convinced it is la fiebre, but it is more. The blurred line between reality and dream continues: se oía toser, respirar fuerte, a veces un diálogo en voz baja (184), ¿Quién hubiera pensado que la cosa iba a acabar así? (184). He then feels like he has been transported through time and space: tenía la sensación de que ese hueco, esa nada, había durado una eternidad. No, ni siquiera tiempo, más bien como si en ese hueco él hubiera pasado a través de algo o recorrido distancias inmensas (185).
He awakens on his back, naked and tied in ropes. He hears the rituals of the aztecas and knows he is ascending the steps of the sacrifice. He knows he will be carried to the top where he will be sacrificed. He wishes this recurring dream will end.
He sits in the hospital, glad that he is awake. Yet he cannot manage to keep his eyes open; he sleeps and returns to being tied up, about to have his heart ripped out. At this point, he realizes that his “dream” is actually his reality; when he is about to die, ahora sabía que no iba a despertarse (188). Alguien se le había acercado con un cuchillo en la mano, a él tendido boca arriba, a él boca arriba con los ojos cerrados entre las hogueras (188-9). He dies.
Translation:
http://deeblog.squarespace.com/journal/2008/5/9/la-noche-boca-arriba-part-1.html
Movie:
http://www.youtube.com/watch?v=DX+auFxEskM
Themes:
-desdoblamiento y dualidad de ser
-la tenue línea entre lo real y lo ilusorio
-el cuento fantastic del siglo XIX y siglo XX
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