Poetry

Analyze the theme of a poem, using poetic devices, etc.

Poetic devices:

hiperbole: exaggeration

personificación: giving inanimate object human qualities

símil: comparison with like or as

antithesis: having two words with opposite meanings close to each other

sinestesia: the mixing of different senses (to hear colors, etc.)

ánafora: repetition at the beginning various verses

estribillo: a refrain, repeated between stanzas

aliteración: repetition of a sound in a line

hipérbaton: intentional mixing of the syntax (order) of a sentence

metáfora: comparison without like or as

metonimia: when something is called something that is related to it; reference by close relation

sinécdoque: when something is called something that makes it up; part for the whole

alegoría: symbolic narrative

símbolo: when something represents something else

Syllables:

arte mayor: more than 8 syllables; has a heavier tone

arte menor: less than 8 syllables

llanos: counted number of syllables is the same as poetic syllables

agudos: stress on last syllable; +1 to poetic syllables

esdrújula: stress on antipenultimate syllable; -1 to poetic syllables

Rhyme:

asonante: when the ending vowels of two lines are the same

consonante: when the ending vowels and consonants of two lines are the same

libre: no rhyme scheme

Types of poems:

romance: origins from the pueblos; written by Christians who adopted a Muslim point of view; can be recited or sung very easily (not written down); written to entertain

soneto: made up of 3 cuartetos and 2 tercetos; usually, el autor planta la idea en los primeros cuartetos and has a conclusion in the tercetos; Italian sonnet has abba abba cde cde rhyme scheme; English sonnet has abba cddc efg efg rhyme scheme; 16 syllables, 14 lines; "perfection"

redondillo: short lines possibly with rhyming; characterized by the sing-songy tone

Other terms:

pares: even (as in lines)

impares: odd (as in lines)

San Manuel Bueno, mártir

written by Miguel de Unamuno y Jugo

[II] 438 - 487

Summary:

Told by Ángela Carballino. Raised in a religious household and town, a firm believer in the Catholic religion. She lives in a village Valverde de Lucerna, situated between a beautiful lake and a solitary mountain.

 

Her brother Lazaro wants her to be educated in a big city, away from the crude town so she is sent outside of the village to a larger city. Everyone here knows about Don Manuel. His presence draws her back to her village where she becomes a personal assistant of sort for him. He is all about caring for his people, and they cling to him, and his magnificent voice, as an anchor, especially Blasillo, a mentally disabled man who hangs on his every word, representing the blind faith of the town. Don Manuel greatly disliked being idle, alone with his own thoughts.

Lázaro returns from the Americas rich and with strong feelings of progressivism: he is dismissive of religion and anything associated with it. He is determined to move his family to a larger and more progressive city. However, when his mother dies, her greatest wish is for him to convert for her, and just before she dies he promises to pray for her. This brings him into greater contact with Don Manuel and Lázaro realizes he is not like other priests. He eventually decides to convert to Christianity, or at least that is what he tells the town, and enters into the orbit of Don Manuel. He never misses a mass, and becomes a disciple of sorts to Don Manuel. The day of his baptizing however he confronts Angela with the fact that neither he nor Don Manuel believe in resurrection,and both are unsure as to what happens after death, although Don Manuel claims at times to believe that a person dies completely, he is fairly uncertain and vague at others. Don Manuel does know that his religion is the consoling of others, and nurturing the belief in an afterlife in his followers brings them consolation, which is why he will never tell them the truth.

 

Don Manuel is tormented by the possibility, and indeed as he sees it the probability, that there is no life after death, and lives in constant conflict with himself and with the prospect of suicide. The philosophy he follows, to which Lázaro has been converted, is that the non-existence of an afterlife must be hidden to others at all costs so that they may live a happy life. Lázaro argues that Don Manuel is a saint not because of his unwavering belief in Christianity, an organization Lázaro continues to see as outdated, but because he sacrifices his life for the happiness of others (there are continual allusions to Don Manuel's Jesus-like qualities).

 

Don Manuel’s physical health gradually worsens; on the day of his death he admits that God exists, but because he has seen God's face he cannot be admitted to the promise land (allusion to Moses). He wants Angela to continue praying for all people, and to keep her faith, which she is able to do even though her spiritual advisor can not. Then he is taken to the church where he gives one final sermon, begging that the people continue to live a peaceful and happy life, and continue on with their faith. Then they begin to pray, and as the reach the point in the Creed that talks about resurrection and life after death, Don Manuel passes, with Blasillo at his side.

Lázaro dies soon after, following his teacher. Only Ángela is left, and even she is not sure if she retains faith in Christianity. She writes a testament of the events that occurred in the town then hides them. The preceding chapters we discover are that testament. She alone knew the truth behind Don Manuel, and she feels the need to capture it in some way, but she is unsure what to do with this truth.

 

Unamuno then becomes the narrator. Angela had given him her story and he chose to publish it. He feels actions speak louder than words and the truth wouldn’t change anyone’s mind.

Symbolism:

Lake = Don Manuel, tranquil appearance but a lot of unknown turmoil beneath the surface, cannot blindly accept the idea of an afterlife like the rest of the town which is shown when the snow does not stick to the lake’s surface

Mountain = townspeople, everything is exposed, accept the idea of an afterlife which is shown when the snow sticks to the mountain

Themes:

-existentialism

-idea of reality versus dreams

-el engaño y el desengaño, la honra y la deshonra

-la fe y la razón, la justicia divina y la vida

-la prosa peninsular desde el Medioevo hasta el siglo XX

 

Translation:

http://teachers.ausd.net/classlink/getfile.ausd?fileid=56285

[erin b.]

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

Vuelva Ud. mañana

written by Mariano José de Larra
[II] 421 – 437

Summary:
In short, this story is a critique on the Spanish society of the time. It is losing its superpower status and is in a conflict between progressivism and traditionalism. Anyways, the story begins with a statement of theme: [la pereza] cerrerá las puertas del cielo a más de un critiano (422).

A stranger visits the narrator, a Spanish writer. The critique begins when the visitor says he believed all Spanish were gentlemen – something disproven by the horde of robbers he met. The visitor, Monsieur San-delai, then states his purpose: he is traveling to Madrid to prove his family identification, to claim his inheritance, to invest in Spain, and to visit Madrid. He proposes a reasonable schedule that is 15 days long. The narrator just laughs at the visitor’s naivety of Spanish life.

They go to the genealogist, and are met by their first (of many) “Vuelva Ud. mañana”s. The genealogist always has something to do: he has to take a break, he is about to leave, he as to go to the bullfight. Sin embargo, nunca encontraba momento oportuno para trabajar (427). This slowness is the way of life; everybody takes their time. The shoe maker, the ironer, the sombrero maker all need more time off.

When they bring the Monsieur’s documents to an office worker (which took a couple of days to even see him), the worker is too lazy to look for the documents. Instead, he says they were sent to another office. They travel around, only to discover that the documents were with the first office worker. The Monsieur becomes angry; the narrator just says la pereza es la verdadera intriga […] es más fácil negar las cosas que enterase de ellas (431). When the Monsiuer tries to invest money, he is declined because of Spanish arrogance: foreigners cannot invest. Out of frustration and advice from the narrator, the Monsieur departs.

The narrator then says that he is no exception! It took him many days and way too much effort, but he finally finished it, because he decided not to be so lazy. Da gracias a que llegó por fin este mañana, que no es del todo malo; pero ¡Ay de aquel mañana que no ha de llegar jamás! (436)

Translation:


Themes:
-la crítica social y política
-la prosa peninsular desde el Medioevo hasta el siglo XX

El delantal blanco

written by Sergio Vodanovic
[II] 239 - 261

Summary:
Este cuento se trata del clasismo de una mujer en la sociedad. En la play están la señora con su hijo Alvarito, y la empleada. La señora se da cuenta de que su hijo, con 4 años tiene mucho control, y es dominante en la playa. Aunque destruye el castillo de arena de una niña pequeña, la madre no hace nada. La empleada lo describe como un peleador. En la playa, la señora lleva un blusón de toalla y el traje de baño. La empleada lleva un delatal blanco como uniforme.

La señora luego explica que está cansada de estar en la playa, porque su marido no ha llegado, y todas sus amigas ya han vuelto a casa. Esto demuestra que la señora no tiene una buena realción con su marido y solo se ha casado con él por el dinero.

Luego la señora se da cuenta de que la criada esta muy blanca, y la criada explica que es de no estar en el sol. También la señora se burla de la revista porque tiene a gente famosa que hacen el ridículo. También quiere que la criada vijile a Alvarito. En un momento son amigas, y en otro a la señora solo le interesan las aparencias.

La señora tampoco entiende mucho de la vida del campo porque piensa que lo tenían todo muy facil. No entiende que para vivir, se ha de trabajar, y por eso se ha marchado la criada. Tiene una vista muy arrogante. Le dice que es mejor que no se case porque ahora ya tiene todo lo que necisita, menor criaturas.

La señora se burla de los de la revista porque no cree que son de aristocracia verdadera por sus aparencias. Van todos vestidos mal. La señora cree que la aristocracia viene natualmente, como su hijo con sus mandatos, y la ropa.

La señora dice que cuando se cambia de ropa, el mundo se ve de una perspectiva totalmente diferente. Le pregunta a la empleada como se siente ella en su ropa, y la criada dice que igual que la arena, o las nubes, porque todos son blancos. Luego la señora le manda que se cambien de ropa. La señora se pone el delantal blanco, y la empleada se pone el bañador con el blusón. La criada empieza a cuidarse se sus uñas y se pone gafas de sol, actuando como una señora de verdad. La señora se enfada un poco, cuando la empleada le manda que ella misma cuide de Alvarito. Luego la señora se enfada con la empleada por tratarla de esa manera, y empieza una pelea. La gente de la playa se llevan a la señora de verdad, pensando que es la empleada, y un viejo se acerca a la empleada y le dice que es la culpa del comunismo que los empleados se portan así. Al final del cuento, la empleada hace er que ahora ella es la madre de Alvarito.

Translation:

Themes:
-el desdoblamiento y la dualidad de ser
-la crítica social y política
-la libertad y la soberanía individual y colectiva
-el teatro satírico y sociopolítico hispanoamericano

Esto demuestra que las aparencias si que cambian a la persona. Cambiando de ropa hace que la empleada se transforme en la señora, y la señora en la empleada. La gente de la playa también miran a la gente por la ropa que tienen.

[sandra]

Romance de Conde Arnaldos

written by Anónimo
[I] pp. 314 - 316

Summary:
El conde Arnaldos se encuentra al lado del mar porque quiere tener una aventura. Como es el 24 de Junio, día de San Juan, el conde sabe que es el día mas largo con la noche mas corta. En este día, pueden pasar cosas muy extrañas. El conde también quiere cazar. Luego encuentra a un marinero en una barca y canta una canción que hace que los pájaros paren de volar, que los peces suban a la superficie del mar, y que el viento se disminuya. Va contra la naturaleza. El conde quiere que el marinero le enseñe la canción. El conde dice que si la quiere aprender, pue que se vaya con el. Esto puede ser un símbolo de la muerte.

Notes:
-personajes: el narrador, el conde, el marinero
-el romance tiene 8 sílabas en cada verso
-rima asonante
-versos pares
-número de versos es infinito
-origen de España
-es un romance lírico porque es misterioso, y una canción

Themes:
-la poesía: el romance

[sandra]

Romance de la pérdida de Alhama (Ay de mi Alhama)

written by Anónimo
[I] 310 - 313

Summary:
El narrador no quiere creed que su ciudad ha estado destruída. Se monta en su caballo y va al catillo para explicar al rey lo que ha pasado. Luego suena la trompeta para llamar a todo el pueblo y explicar las noticias. Cuando el narrador dice “!Ay de mi Alhama!” demuestra los sentimientos de todo el pueblo. Esta frase repite para dar énfasis y el tono de tristeza en el pueblo. La segunda voz es un moro viejo, que pregunta porque el rey ha llamado al pueblo. La tercera voz es la del rey, que explica que los cristianos han ganado la ciudad de Alhama. La cuarta voz es el alfaquí, que respeta al rey. El rey explica que han matado a una familia mora, que representa una flor, y el corazón de los moros.

Notes:
-personajes: el alfaquí, el rey, el moro, el narrador
-el moro trae noticias de que los cristianos y los moros están luchando
-es un romance fronterizo: demuestra emociones y es histórico
-el romance tiene 8 sílabas en cada verso
-rima asonante
-versos pares
-número de versos es infinito
-Origen de España
-Tiene un narrador que demusetra emociones del público y explica lo que pasa
-De a veces tiene estribillo (repite al final de cada estrofa)
-Escrito de forma lírica para que los juglares pudieran acordarse de dar las noticias.

Themes:
-éxtasis y epifanías
-la crítica social y política
-la poesía: el romance

[sandra]