The poem I am going to comment is the XLI rhyme. Was written by Gustavo Adolfo Bécquer. Bécquer was born in Seville on February 17, 1836, and died on December 22, 1870. Bécquer was a very important figure of the nineteenth century, since he represented the cultural movement of romanticism in Spain, and specifically of Spanish post -Romanticism. Romanticism was a cultural movement that began the illustration at the end of the 18th century. He began in Germany with authors such as Goethe and Schiller who began movement, in England figures such as John Locke and Lord Byron represented the movement in England. But once I arrived in France is when it began to expand due to the French revolution that happened in 1789. For the beginning of the 19th century it had already expanded to almost all of Europe. The movement came to an end at the end of the 19th century, previously going through a phase called, post -romanticism. The greatest issues of romanticism include, the creative self and individuality, the exaltation of feelings, and freedom and rebellion. Other popular themes of this movement include exotism, the relationship between human being and nature, the legendary or historical and love are all very typical of romanticism. Romanticism came to Spain later than the rest of Europe, in 1833, due to the absolutism of Fernando VII. You could say that Bécquer was the stereotype of the author of post -romanticism. He talks about his suffering for love and for economic problems, and these issues are recurring in his many rhymes. The "rhymes and legends" of him are his best known works. Legends are a series of short fantasy or legendary stories written in prose. Rhymes are a series of poems that talk about poetry as such, this is the case of the first rhymes. The last speak more about love, and pain for love, one of the main themes of romanticism. This is the case and the rhyme that I proceed to comment.
The XLI rhyme belongs to the Lirico genre, its theme is that of lament due to an incompatible love. In which she is too chaotic and the too testarudo. In the same words of Bécquer in the rhyme, love “could not be!"
Looking at the external structure, we see that the XLI rhyme is a poem of 12 verses divided into 3 stanzas. It does not follow any conventional stanza, but it uses its own type of stanza. All verses are endecasyllable except the last of each stanza, which always says “could not be!”, So it is always pentasyllable. And there is assonant rhyme in the even verses (rhyme e in all cases). The two stanzas follow the same format, so the two contain entries in the transition between verses 1 and 2, and verses 5 and 6. In the first stanza is "the high tower that" since it is divided after "high", and in the second it is "the inhiesta rock that", with the division after rock. The first two stanzas also contain an exclamation in the third verse, and end with the same phrase, which acts as a chorus.
In the case of the internal structure they accompany the external structure. The first two stanzas have the same external structure, and the theme is the same. From the first line to the eighth, they speak of the relationship between the author and his beloved based on metaphors of nature, while, in the last stanza, lines 9 to 12, (with different structure external to the other two) speaks of the poet’s personality and his beloved, and his complete incompatibility.
This poem is a descriptive. It is a poem that speaks of the relationship of Bécquer and his beloved, describes his personalities, his incompatibilities and his interactions. For this, it uses several literary resources that include: anaphora, parallelism, metaphor and antithesis. In this poem, Bécquer is counting already past memories, so the predominant use of the imperfect preterite of indicative "you were the ocean" is seen ". Although only uses this past when he refers to his beloved in the poem, when he is talking about him, he uses the present "tower that challenges his power". The use of the present gives the impression that Bécquer remains the same as when he was with his beloved. Finally, he uses the perfect past in the last line "could not be". This gives the impression that it is something that cannot be changed, that it is impossible for it to have been. The use of "you had" in the third verse of the first two stanzas underlines the certainty that the aforementioned passed, there was no option except that it be destroyed or one or the other, and the use of suspensive points at the end of the verse leaves the verse Reader with the intrigue of which of the two passed.
The record throughout the poem is cult, although, apart from the adjective "inhiesta", it can be easily understood. Bécquer’s tone in this rhyme is frustrated, he is remembering a relationship that surely led him to the incompatibility of his personalities, this is indicated in the various exclamations that are seen in the poem. Therefore, the function of language in this rhyme is predominantly expressive and poetic. It is reflected in the adjectives, since in this rhyme there are no epithets, and each adjective is descriptive and adds to the description of the feelings of Bécquer and to the description of itself or its beloved. The unnecessary use of pronouns should also be pointed out. In the first stanzas when he describes what "you were" and what he was always uses the pronouns you and me. This may sound peculiar, because normally speaking one would not use the pronouns (you were the ocean, for example), the use of pronouns underlines the separation between Bécquer and his beloved even more.
From the point of view of the literary figures, in the first two stanzas there is a parallel, oh that the structure of the verses is repeated in the same way, it is also reinforced by the 2 anaphoras at the beginning of each of those stanzas: “You You were the/me ”and“ You had to/or…!". In the two stanzas the phrases for the same use are used, which is to describe the characters through images, although different images are used. But the most shocking literary figure of this rhyme are metaphors with nature. The two greatest metaphors found in the first stanzas; "You were the hurricane, and I the high tower that challenges its power" and "You were the ocean; And I congratulates the Roca that firm awaits his sway.”In these two metaphors the real terms are the beloved and bécquer, and the imaginary are the natural elements. The beloved is said to be "the ocean" and "the hurricane", these two are insurmountable forces, they are strong and chaotic, and Bécquer uses them to describe their beloved, although a hyperbole at the same time, to the Bécquer’s eyes seemed a primary and uncontrollable force. At the same time it is described as a "tower" or an "inhiesta rock". This points out that he saw him as someone logical and rational compared to his beloved. This unstoppable force antithesis/immovable object reflects the difference in personality and the incompatibility of Bécquer and his beloved. Antithesis are also seen in the third stanza like beautiful your/I haughty and stream/not yield. In this last stanza, what has been said throughout the poem is summarized, but in concrete terms, which finally leads to the "inevitable shock".
In conclusion, Bécquer explores his relationship with his beloved through this rhyme, explores his personalities, the uncontrollable, powerful and chaotic beloved, and contrasts with his own personality, his rationality and maybe his stubborn attitude in general. Although he is frustrated by his poem, there are no indications of regrets for this love, and the feeling that predominates throughout the poem is more anger or frustration than sadness, melancholy, or loneliness.
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Rima Xii Text Comment
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Rima XII Text Comment
You were the hurricane, and I high (-)
Tower that challenges its power. (A)
You had to crash or fold me ..! (-)
It could not be! (A)
You were the ocean; And I congratulates her (-)
Roca that firm awaits your sway. (A)
You had to break or start ..! (-)
It could not be! (A)
Beautiful you, I haughty; accustomed (-)
one to overwhelm, the other not to give in; (A)
The narrow path, inevitable the shock … (-)
It could not be! (A)
The poem I am going to comment is the XLI rhyme. Was written by Gustavo Adolfo Bécquer. Bécquer was born in Seville on February 17, 1836, and died on December 22, 1870. Bécquer was a very important figure of the nineteenth century, since he represented the cultural movement of romanticism in Spain, and specifically of Spanish post -Romanticism. Romanticism was a cultural movement that began the illustration at the end of the 18th century. He began in Germany with authors such as Goethe and Schiller who began movement, in England figures such as John Locke and Lord Byron represented the movement in England. But once I arrived in France is when it began to expand due to the French revolution that happened in 1789. For the beginning of the 19th century it had already expanded to almost all of Europe. The movement came to an end at the end of the 19th century, previously going through a phase called, post -romanticism. The greatest issues of romanticism include, the creative self and individuality, the exaltation of feelings, and freedom and rebellion. Other popular themes of this movement include exotism, the relationship between human being and nature, the legendary or historical and love are all very typical of romanticism. Romanticism came to Spain later than the rest of Europe, in 1833, due to the absolutism of Fernando VII. You could say that Bécquer was the stereotype of the author of post -romanticism. He talks about his suffering for love and for economic problems, and these issues are recurring in his many rhymes. The "rhymes and legends" of him are his best known works. Legends are a series of short fantasy or legendary stories written in prose. Rhymes are a series of poems that talk about poetry as such, this is the case of the first rhymes. The last speak more about love, and pain for love, one of the main themes of romanticism. This is the case and the rhyme that I proceed to comment.
The XLI rhyme belongs to the Lirico genre, its theme is that of lament due to an incompatible love. In which she is too chaotic and the too testarudo. In the same words of Bécquer in the rhyme, love “could not be!"
Looking at the external structure, we see that the XLI rhyme is a poem of 12 verses divided into 3 stanzas. It does not follow any conventional stanza, but it uses its own type of stanza. All verses are endecasyllable except the last of each stanza, which always says “could not be!”, So it is always pentasyllable. And there is assonant rhyme in the even verses (rhyme e in all cases). The two stanzas follow the same format, so the two contain entries in the transition between verses 1 and 2, and verses 5 and 6. In the first stanza is "the high tower that" since it is divided after "high", and in the second it is "the inhiesta rock that", with the division after rock. The first two stanzas also contain an exclamation in the third verse, and end with the same phrase, which acts as a chorus.
In the case of the internal structure they accompany the external structure. The first two stanzas have the same external structure, and the theme is the same. From the first line to the eighth, they speak of the relationship between the author and his beloved based on metaphors of nature, while, in the last stanza, lines 9 to 12, (with different structure external to the other two) speaks of the poet’s personality and his beloved, and his complete incompatibility.
This poem is a descriptive. It is a poem that speaks of the relationship of Bécquer and his beloved, describes his personalities, his incompatibilities and his interactions. For this, it uses several literary resources that include: anaphora, parallelism, metaphor and antithesis. In this poem, Bécquer is counting already past memories, so the predominant use of the imperfect preterite of indicative "you were the ocean" is seen ". Although only uses this past when he refers to his beloved in the poem, when he is talking about him, he uses the present "tower that challenges his power". The use of the present gives the impression that Bécquer remains the same as when he was with his beloved. Finally, he uses the perfect past in the last line "could not be". This gives the impression that it is something that cannot be changed, that it is impossible for it to have been. The use of "you had" in the third verse of the first two stanzas underlines the certainty that the aforementioned passed, there was no option except that it be destroyed or one or the other, and the use of suspensive points at the end of the verse leaves the verse Reader with the intrigue of which of the two passed.
The record throughout the poem is cult, although, apart from the adjective "inhiesta", it can be easily understood. Bécquer’s tone in this rhyme is frustrated, he is remembering a relationship that surely led him to the incompatibility of his personalities, this is indicated in the various exclamations that are seen in the poem. Therefore, the function of language in this rhyme is predominantly expressive and poetic. It is reflected in the adjectives, since in this rhyme there are no epithets, and each adjective is descriptive and adds to the description of the feelings of Bécquer and to the description of itself or its beloved. The unnecessary use of pronouns should also be pointed out. In the first stanzas when he describes what "you were" and what he was always uses the pronouns you and me. This may sound peculiar, because normally speaking one would not use the pronouns (you were the ocean, for example), the use of pronouns underlines the separation between Bécquer and his beloved even more.
From the point of view of the literary figures, in the first two stanzas there is a parallel, oh that the structure of the verses is repeated in the same way, it is also reinforced by the 2 anaphoras at the beginning of each of those stanzas: “You You were the/me ”and“ You had to/or…!". In the two stanzas the phrases for the same use are used, which is to describe the characters through images, although different images are used. But the most shocking literary figure of this rhyme are metaphors with nature. The two greatest metaphors found in the first stanzas; "You were the hurricane, and I the high tower that challenges its power" and "You were the ocean; And I congratulates the Roca that firm awaits his sway.”In these two metaphors the real terms are the beloved and bécquer, and the imaginary are the natural elements. The beloved is said to be "the ocean" and "the hurricane", these two are insurmountable forces, they are strong and chaotic, and Bécquer uses them to describe their beloved, although a hyperbole at the same time, to the Bécquer’s eyes seemed a primary and uncontrollable force. At the same time it is described as a "tower" or an "inhiesta rock". This points out that he saw him as someone logical and rational compared to his beloved. This unstoppable force antithesis/immovable object reflects the difference in personality and the incompatibility of Bécquer and his beloved. Antithesis are also seen in the third stanza like beautiful your/I haughty and stream/not yield. In this last stanza, what has been said throughout the poem is summarized, but in concrete terms, which finally leads to the "inevitable shock".
In conclusion, Bécquer explores his relationship with his beloved through this rhyme, explores his personalities, the uncontrollable, powerful and chaotic beloved, and contrasts with his own personality, his rationality and maybe his stubborn attitude in general. Although he is frustrated by his poem, there are no indications of regrets for this love, and the feeling that predominates throughout the poem is more anger or frustration than sadness, melancholy, or loneliness.
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