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]
Sunday, April 5, 2009
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]
[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]
[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]
Sunday, March 29, 2009
Dos palabras
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
[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
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
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