Las Sonatas: A collection to enjoy
Sonatas are a collection of four novels written in prose, published in the years 1902-1905. The main theme of these works is Don Juan and his adventures described in the form of newspapers. However, Don Juan presented in this literary cycle differs from the original version. Not only because the authors have transformed the image of the hero for many centuries, and as the consequence at the beginning of the 20th century his image was deformed. That is why Valle-Inclán created a new hero, which would be a modernist equivalent of the original.
The new and better Don Juan is called Marqués de Xavier de Bradomín. From these stories, we learn about the life of the modernist Don Juan for many years. As it is a series about the destiny of a mythical lover, we will find love stories and its consequences on the pages of the books for our hero. The titles of each volume refer to the stations, which are again associated with the stages of life experienced by man. In these stories we find stories of the life of the Marquis.
Starting when he was a young man in advanced age and ending with the memories of an old man who already leans towards the end of his life. The first of the published Sonatas was Sonata de Auto, who saw the light in the newspapers in 1902. It is evident that the Sonatas were not published in chronological order, since autumn refers to the last years of life. In this work, our marquis must face the fading of his vital force when facing his former lover’s illness. The backdrop of the Sonata events is the feudal Galicia, the beloved land of the Marqués de Bradomín.
The hero embarks on a trip to the Brandeso Palace after receiving a dramatic letter from his lover Concha, who is close to death and, therefore, wants to see him before leaving this world. The Brandeso Palace presented as a relic directly from the Middle Ages that was once the home of the Marquis and his mother, so it is associated with the melancholy. The second Sonata takes place in Mexico, where the Marquis travels to see the family properties acquired during the Spanish conquest of New Spain in previous centuries.
He specifically wishes to recover the feelings of ‘an adventurer of time’ (Valle-Inclán). As Jesús Torrecilla pointed out, ‘The Marquis trip has a projection collect and obey an impulse to repeat old feats’. The Marquis arrives in Veracruz, his heart is filled with enthusiasm, his mind is full of glorious visions and historical memories. The soul of his noble Christian adventurer wants to get lost forever in ‘The vastness of the old Aztec empire’, a convent where he and his lover, the wild Creole Chole.
They spend one night to express nostalgia for the social structures of another era: ‘What destiny of the noble houses and what ungrateful times are our! Everywhere the enemies of religion and traditions govern, here the same as in Spain ‘(113). His relationship with Chole girl reminds that of the conquerors with the Aztec princesses: ‘Without a doubt the Chole. In Winter Sonata, he remembers his participation in the last Carlist war, his most active role in his attempt to restore the traditional pass in Spain.
As Carlist, the Marquis is in favor of the remaining wars of the Dutch political faction that fought against the liberal regime of Isabel II to maintain the political and social structures of the old regime. When he longed for a pan that perhaps only existed in books of chivalry, visit the wife of Don Carlos, Mrs. Margarita: ‘I understood then all the ingenuity feeling in the books of cavalries, and that cult for beauty and female tears thatthe throbbing under the dimension the heart of the tank the white.
It was a story of other centuries that inspires Mrs. Margarita ‘(Valle-Inclán). A reactionary and patriarchal movement countered Spanish liberalism, which was closely linked to a female monarch. However, unlike the rivals of the imperial armies of Spain in Italy and the New World at the time of Don Juan de Tris, the Marists of the Marqués and, symbolically, the Marquis loses an arm due to his last courageous effort. As his country, which is now a tired shadow of his previous self, is reduced to a useless nostalgia for what was once.
The two sonatas that tell a more youthful marquis are staged in stages reminiscent of the Spanish Empire of the 16th century. The Marquis launches his first chronological memory, Sonata de Primavera, in Italy, where as captain of the Pope’s noble guard, he is the special envoy of the Holy Father for Bishop Gaetani. Both the Donjuanes of Tirso and Zorrilla spend time in the house of Carlos V Imperial Army in Italy;Therefore, Marqués’s mission in Italy evokes the imperial ties that Spain once enjoyed with Naples.
As Michael Predore has pointed out, Marquis stay in the Liguria Episcopal City is marked by unparalleled success. Princess Gaetani and her family, whose palace and lifestyle call the splendor of another era, hug him and give him all honors. After his attempt to seduce the princess’s daughter, however, he falls out of favor and finally leaves Liguria in disgrace, defeating both the person and politics.