Showing posts with label orden. Show all posts
Showing posts with label orden. Show all posts

Thursday, May 14, 2009

Las medias rojas

written by Emilia Pardo Bazán
[I] 69 - 74

Summary:
It is a sad story of the reality of the Spanish life. It includes realismo (la representación objective de la sociedad y costumbres y la efecta de la historia y el ambiente en las personas) and libre albedrío (de hacer lo que quiere hacer).

It begins with the the rapaza Ildara who lives with her father, tío Claudio. She is a hard worker who works as a prostitute under Claudio, but she is saving up to go to the United States. She buys red stockings – a symbol of hope – and takes pride in the beauty of her face, her means of salvation. With her beauty, she can make money for herself; her face and beauty is her dream for America. Y tanto más defendía su belleza, hoy que se acercaba el momento de fundar en ella un sueño de porvenir (72). Unfortunately, Claudio, drunk, begins to beat her. He slugs her across the face and makes a tooth fall out. She becomes a tuerta. Her life and her hope dies, because los que allá, han de ir sanos, válidos, y las mujeres, con sus ojos alumbrando y sus dentadura completa ... (74)

Themes:
-desafío y perseverancia: la tenacidad individual ante los retos de la vida
-la crítica social y política
-la decadencia del orden establecido y el descontrol
-los cuentos del siglo XX

La vida de Lazarillo de Tormes

written by anónimo
[II] 277-338

Summary:

Part One
Lazarillo de Tormes was born in the river Tormes, and his father had been accused of a crime and taken away (and died) when Lázaro was eight. His mother then began to see a new black man Zaide with whom she had a baby. The town soon finds out about the affair with Zaide; thus, he is whipped and kicked out. His mother is forced to work at a local inn, and sends her son off to a ciego.

Lázaro becomes the servant of the ciego. The ciego first tells Lázaro to draw close to the ear of a bull to hear the great din inside; the ciego hits him, causing Lázaro gores and pain, and says, “ha de saber más que el Diablo” (281). Lázaro then realizes, “Parecióme que en aquel instante desperate de la simpleza (innocence) en que, como niño, estaba dormido” (281).

The ciego prays for other people for a living and is poor and miserly. Lázaro does what he can to get food; for example, he cuts holes in, then sews back up, the ciego’s sack that has food. Later, Lázaro steals gulps of the ciego’s wine; the ciego hugs the jug. Lázaro the uses a straw to take sips of it; when the ciego gets suspicious, he makes a small hole in the jug to provide a fountain of wine for himself. The ciego feigns to notice it, but the next day slams the jug on his mouth. Lázaro bleeds and misses teeth; the ciego derives a perverted pleasure from it.

From thence forth, they treated each other poorly: the ciego pulled Lázaro’s hair, and Lázaro led the ciego down the worst paths. In another instance, the pair gets grapes. The ciego says that Lázaro takes one, then the ciego takes one, etc. until all are gone. When the ciego takes two, Lázaro quickly devours the rest. The ciego knows he has been tricked; Lázaro, if honest, would have told the ciego that he was taking two.

Later, Lázaro steals wine and sausage from the ciego, but tells him that someone else must have done it. Like a hound, the ciego smells the sausage in Lázaro’s mouth, but just in time, Lázaro throws up on the ciego. He is summarily beaten; the ciego later says, “que si un hombre en el mundo ha de ser bienaventurado (blessed) con vino, serás tú” (293).

In his final trick, Lázaro, leading the way past a puddle, makes the ciego jump with all his might into a pole. Lázaro then escapes.

Part Two
Lázaro then is paired with a clérigo who amazingly is more miserly than the ciego. The clérigo has a locked chest with food but gives Lázaro very little; meanwhile, the clérigo dines like a king. Lázaro starves so much that he cannot walk; he even prays for the death of others because funerals provide him copious food.

Lázaro, learning from the ciego, though tricks a tinkerer into giving him a key to the chest; he then takes a whole roll of bread for himself. After the clérigo notices, Lázaro makes mice nipping on the guarded bread, tricking the clérigo to give Lázaro the mouse-bitten parts. Such tricking persists until the clérigo boards up the chest; Lázaro then hammers holes in the chest, which look like a mouse’s doing. The clérigo then sets up mouse traps inside the chest; Lázaro eats the cheese and bread. The town concludes it must be a snake; the clérigo becomes paranoid about his disappearing food.

One night, though, the key hiding in Lázaro’s mouth creates a whistle (or to the clérigo, a serpent’s hiss). The clérigo smacks Lázaro, simultaneously injuring him and revealing the secret of the alleged snake. The clérigo then kicks Lázaro out, because he is such a devious miscreant.

Part Three
Lázaro is picked up by an escudero, a squire. He initially looks like a noble man, but he has no food. On the first day, Lázaro is still so hungry, but the escudero has already eaten. Lázaro, dying of hunger, finds a piece of bread in the house and shares it. Later, Lázaro is shown the escudero’s sword. He is given chores while the escudero walks around like a gentleman, looking for money and food. Lázaro himself begs for bread and tripe; the escudero eats with him. Together, they steal and beg for food to survive.

Unfortunately, all beggars are ordered to leave the city, or face the whip. They stop begging, and go hungry for days. The escudero then finds a real and tells Lázaro to use it; whenhe goes into the street, he sees a dead corpse and is scared it is headed for his house. The escudero then talks about the doffing of the hat, a ridiculous, satirized custom.

When a man and woman come to ask the escudero for the rent, he tells them to come back later. He flees. Lázaro is then taken as a prisoner before the neighbors convince the constable that he is innocent. He is let free.

Part Seven
Lastly, Lázaro works for a alguacil, a constable. He has a royal post and deals wine. He is well fed, living near the alguacil, and lives a good life. He marries a servant of an archbishop, and when rumors fly around about her prior sexual encounters, Lázaro quickly shuts them down. He loves his wife, and he is happy.

Themes:
-desafío y perseverancia: la tenacidad individual ante los retos de la vida
-el engaño y el desengaño, la honra y la deshonra
-la crítica social y política
-la decadencia del orden establecido y el descontrol
-lecciones de la vida y el repudio del error
-la prosa peninsular desde el Medioevo hasta el siglo XX

Translation:
http://www.4olin.com/index2.html

Thursday, April 16, 2009

El hijo

written by Horacio Quiroga
[I] 16-27

Summary:
On the day the father finally feels at ease letting his son go out into the woods alone, the son goes with his gun to hunt at 9 AM. He promises to return at noon. The father meanwhile continues to wander about the house; he is at ease, but not completely, as his son is his whole entire life.

He then has illusions that his son has died, but these are quickly dismissed. At around 10 AM, the father hears a shot in the forest, and thinks (hopefully) that his son has killed something. Noon arrives, then 12:30 PM …

The father leaves to look for his son. He yells out for his son, continually losing hope. He meets up with his son and talks with him …

But his son is just an illusion – the son died from a hunter’s trap. Sonríe de alucinada felicidad ... Pues ese padre va solo […] su hijo bien amado yace al sol, muerto desde las diez de la mañana (23).

The story reflects the dark, tragic life Quiroga lived. He, a pessimist, believed that we do not have control when we are fighting nature.

Themes:
-la decadencia del orden establecido y el descontrol
-la tenue línea entre lo real y lo ilusorio
-los cuentos 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