Analysis of Bécquer’s Rhymes

Posted on Nov 7, 2024 in Latin

Rima VII

Metric: Bécquer utilizes assonance in these Rima verses. With the exception of the last lines in the first two stanzas, each verse consists of ten syllables. The rhyme scheme follows a pattern of three quatrains, structured as:

10, 10, -10, 10

Theme: “Hidden Talent”

Stylistic Devices:

Hyperbaton: “From living in the dark corner, (v 1) of its owner perhaps asleep” (v 2).
Metaphor: “How much sleep in their string note, (v 5) As the bird sleeps in the branches “(v 6)
Personification: “(the genius)” and sleeping in the depths of the soul “(v 10)

Rima XV

This four-stanza rhyme consists of 22 verses. The first and third stanzas have six lines, while the second and fourth have five. Disregarding specific guidelines, the verses are composed of ten and five syllables. The rhyme and assonance are consonant. This Rima explores the theme of heartbreak, where love appears unattainable, more of an ideal than reality. The love story is destined to end. The poem is divided into two parts: the first focuses on a specific person, while the second describes their state of being. Each part is further divided into two stanzas. The first part, spanning verses 1 to 11, introduces the second part. It describes a person presumed to be in love. The second part, encompassing verses 12 to 22, begins with a brief introduction to the subsequent content. This section describes the person through comparisons with nature, employing parallel grammatical structures and varied metrics.

Rima XLVII

Metric: The verses are irregular in length. The first verses are hendecasyllables (11 syllables), the second and fourth are heptasyllables (7 syllables), and the third are decasyllables (10 syllables). The rhyme scheme is assonant in pairs.

The poem consists of two stanzas with the following structure:

-11, 7, -10, 7

Theme: “The Depth of the Human Heart (Feeling)”

XI, I’m Burning, I am Black

Metric:

This poem follows the rhyme scheme: 10A 10′-10A, 5 -, 4 – / / 10B 10′-, 10B, 5 -, 4 – / / 10C, 10′-, 10C, 5 -, 4 -. Only the first and third verses of each stanza have consonant rhymes, while the second and fifth verses have assonance. This suggests a blend of artfulness and simplicity, as the author employs both consonant rhyme and assonance.

Rima II

Structure: Externally, the poem is written in verse, consisting of twenty lines with varying syllable counts (hexasílabos, heptasílabos, and octosílabos). The rhyme scheme is assonant in pairs, leaving the odd lines loose. The specific scheme is 8 – 7a 6a – 7a 6a – 6a 7a – 6a 7a – 6a 7a 8 – 6a. Internally, the poem is divided into two sections:

Verses 1 to 16: Lists a series of lines that converge on the poet’s ego.
Verses 17 to 20: The poet identifies with the aforementioned elements and declares that nothing can give meaning to their life.

Argument: The poet identifies with a series of elements that lack direction or meaning, drawing a parallel with their own life, which they perceive as equally meaningless.

Topic: The poet’s “I” unites with a succession of elements and identifies with them, accepting that their life lacks meaning.

Form of Utterance: Narrative description.

Analysis: A parallel can be observed between the first four stanzas and the poem’s frequent use of hyperbaton. Alliteration is also employed to convey a sense of monotony.

Verse-by-Verse Analysis:

Verse 4: Personification is used, as it states that the lightning bolt will tremble.
Verses 10 and 11: Polysyndeton is evident, with the unnecessary repetition of the conjunction “and”.
Verse 12: Another instance of personification, as it describes a wave searching for a beach.
Verse 14: An epithet is used, as light is always shining.

Rima I

Argument: The poem praises the beauty of the beloved, acknowledging that words are insufficient to fully describe her beauty, grace, and the feelings she evokes in the writer.

Structure: 12 verses divided into 3 stanzas. The rhyme scheme is 10, 12, 10, 12 – 10, 12, 10, 12 – 10, 12, 10, 12. The poem is a hymn.

Internal Structure: The hymn can be divided into two parts. The first, spanning from the first to the fourth verse, expresses the author’s desire to write an anthem. The second, from the fifth to the twelfth verse, describes the beauty of the beloved and the author’s inability to express it in words.

Stylistic Devices:

Personification: Verses 1-2 “(…) anthem that announces”
Hyperbole: Verse 1 “giant anthem”
Personification: Verse 5 “rebellious and mean language”
Metaphor: Verses 5-6 “taming man (…) language”
Enumeration: Verse 8
Personification: Verses 9-10 “no figures are capable of expressing”
Apostrophe: Verse 10 “Oh beautiful!”

Rima III

This rhyme presents an opposition between inspiration and reason. The first eight stanzas discuss inspiration, concluding with the verse “this is inspiration.” The following eight verses explore reason, similarly ending with “this is our right.” Finally, a four-line stanza heralds the work of genius, which unites inspiration with reason.

Inspiration is depicted as a source of ideas, albeit chaotic, unorganized, and shapeless, growing within the poet. Reason, on the other hand, molds and shapes these ideas, bringing order and meaning. It selects the necessary words and sculpts the poetry.

As mentioned earlier, the last stanza proclaims that genius is responsible for uniting these two forces. This implies that neither inspiration nor reason alone can create a poem. They must work in harmony, guided by the creative capacity of the poet, which is genius.

Rima XIV

The poem consists of four stanzas with the following metric structure:

11 -, 10 +1 = 11A, 11 -, 10 +1 = 11A
11 -, 10 +1 = 11B, 11 -, 10 +1 = 11B
11 – 11C = 10 +1, 11 -, 10 +1 = 11C
11 -, 10 +1 = 11D, 11 -, 10 +1 = 11D

The first stanza has four verses: the first and third are hendecasyllables, while the second and fourth have ten syllables ending in an acute word, effectively becoming hendecasyllables. The second and fourth lines rhyme in assonance, while the first and third are loose.

The second stanza also has four hendecasyllables, with the second and fourth originally having ten syllables ending in an acute word. The second and fourth lines rhyme in assonance, while the first and third are loose.

The third stanza comprises two lines with ten syllables ending in an acute word and two hendecasyllables, resulting in four hendecasyllables. The first and third verses are loose, while the second and fourth rhyme in assonance.

The fourth stanza consists of two hendecasyllables and two lines with ten syllables ending in an acute word, effectively becoming hendecasyllables. The second and fourth verses rhyme in assonance, while the first and third are loose.

What is unique about the rhyme scheme in this poem?

The rhyme scheme follows a consistent structure in all stanzas: two hendecasyllables (always the first and third) and two lines originally with ten syllables ending in an acute word, also becoming hendecasyllables (always the second and fourth). In all stanzas, the first and third verses are loose, while the second and fourth rhyme in assonance.

The poet writes in the first person, addressing a second person. How is this manifested in the poem?

Rima XXI

The poet addresses the woman with tenderness, suggesting a possible state of love. By referring to a woman, the quintessential symbol in Bécquer’s poetry, he merges two concepts. It can be inferred that eyes hold significant importance in Bécquer’s work, as many of his poems focus on them.

Rima XVII

Structure: Externally, the poem is written in verse, consisting of four lines with varying syllable counts (hendecasyllables, eneasílabos, and tetrasílabos). The rhyme scheme is assonant in pairs, with the odd lines being loose. The specific scheme is 11 – 11a 9a – 4a. Internally, the poem can be divided into two parts:

Verses 1 to 2: Describe what is happening today.
Verses 3 to 4: Explain the reason for these events.

Argument: The poet states that today the earth and heavens will smile, and the sun will reach the depths of his heart. He also expresses his belief in God, attributing these occurrences to the gaze of his beloved.

Topic: The alleged gaze of the poet’s beloved evokes immense happiness within him.