Analysis of Bécquer’s Legends: Themes, Characters, and Narrative
Work Study: Bécquer’s Exploration of the Supernatural
Bécquer’s legends delve into the supernatural, exploring themes of love, hate, forgiveness, and the search for the ideal. Women often feature prominently, sometimes as figures of destruction due to their beauty or the intense love they inspire. Some legends contain a second narrative, where Bécquer seemingly comments on the story itself. Examples include La cruz del diablo, El Monte de las Ánimas, Maese Pérez, el organista, El Miserere, and La Rosa de Pasión. The devil appears in some, representing evil or hidden beauty. In others, the supernatural serves a benevolent purpose, as in La promesa, where a hand guides and protects. Sometimes, it simply represents the persistence of the spirit after death, as in Maese Pérez, el organista and El Miserere. Other legends explore exaggerated love of country or religion leading to extreme acts, as seen in La Rosa de Pasión.
Themes
Recurring themes include supernatural events, transgressions in love, and the presence of the devil. Let’s examine some examples:
- La Cruz del Diablo: The title itself presents an antithesis, hinting at the supernatural forces at play.
- El Brazalete de Oro: Explores the allure of feminine beauty and the destructive power of passion.
- El Monte de las Ánimas: Features supernatural elements and the theme of provocation from the dead.
- Los Ojos Verdes: A man’s obsession with a woman’s captivating green eyes leads to his downfall.
- Maese Pérez, el Organista: Like El Monte de las Ánimas, this legend explores life after death.
- El Rayo de Luna: The imagination of the ideal woman leads to madness.
- El Miserere: A man’s search for forgiveness and his encounter with the supernatural in a church drive him to madness.
- El Beso: A man’s interaction with a statue of a dead woman leads to his demise.
Characters
Bécquer sometimes appears as the narrator, explaining the story. The characters are typically human, though occasionally they represent the devil or other supernatural beings. Some legends feature couples, like El Brazalete de Oro and La promesa. Others depict unattached men and women, as in El Monte de las Ánimas. In some, a man’s vision or imagination creates an idealized woman, as seen in Los Ojos Verdes and El Rayo de Luna. Maese Pérez, el Organista features a man who continues to exist in spirit form.
Narrator
The narrator varies depending on the part of the legend. The prologue often uses first-person, while the main story typically employs a third-person omniscient perspective. Some legends, like La cruz del diablo, use both first and third person.
Time and Space
Bécquer sets his legends in locations like convents, cemeteries, abandoned churches, castles, and tombs, often in cities like Toledo, Bellver, and Soria. The time period is typically the Middle Ages, sometimes with more specific references, such as the Moorish rule in Spain or particular days like All Saints’ night or Holy Thursday.
Conclusion
Bécquer’s legends mark a shift from his rhymes, focusing on the supernatural, the afterlife, and often tragic outcomes. The author seems to infuse his own experiences and misfortunes into the narratives, adding a touch of cruelty. Further biographical information would be needed to fully explore this connection.
Structure
Bécquer uses two types of structures. The external structure refers to the presence of a prologue, main story, and epilogue (if any). The internal structure refers to the events within the legend. Some legends, like La cruz del diablo, El Brazalete de Oro, Los Ojos Verdes, and El Beso, only have a prologue and main story. Others include an epilogue. The internal structure often involves an explanation of rules or prohibitions, a violation of these rules, and the resulting punishment.