Analysis of Bécquer’s Rima VII: The Latent Poet
Rima VII by Gustavo Adolfo Bécquer: An Analysis
Rima VII
Metric: 11 -, 11A, 11, 6 th, 11.11A July 11 th, 11.11 A,, 11, 11 A
This commentary analyzes rhyme VII by the poet Gustavo Adolfo Bécquer from Seville. Within Bécquer’s collection, rhyme VII belongs to the first series (rhymes I-XI), where the poet reflects on poetry itself. Bécquer’s work aligns with the *post-romantic* movement, characterized by simplicity and melancholy, evident in its themes and vocabulary.
Theme: The Art Within
The central theme of this rhyme is a reflection on art and its inherent presence within each individual. To awaken this inner art, external stimulus is needed. The author illustrates this with the example of a musical instrument requiring someone to play it, and the biblical story of Christ raising Lazarus.
Structure
External Structure:
The poem is written in verse and consists of three stanzas, each with four lines of varying lengths. The lines contain ten syllables, except for the fourth verse of the first two stanzas, which is a broken verse with six syllables. The final verse of the last stanza contains ten syllables. Even verses rhyme in assonance, while odd verses are free.
The rhythm is trochaic, with the accent falling on odd-numbered syllables.
Internal Structure:
- First stanza: Describes a forgotten and unused harp in a room.
- Second stanza: Expresses the poet’s exclamatory reflection on the creative possibilities of the instrument, comparing it to birds chirping at dawn.
- Third stanza: The poet continues to reflect on creative inspiration, believing it resides within the poet and requires only a small catalyst to manifest.
Subject: Latent Inspiration
The poem reflects on the creative inspiration that the poet believes is latent, requiring only a slight stimulus to awaken. As seen in other rhymes, Bécquer expresses confidence in the continuity of poetry, suggesting that there will always be subjects or feelings to express in verse. This potential resides within us, waiting for a stimulus to manifest.
Abstract
The image of a dusty, forgotten harp in a dark corner evokes the beautiful melodies it could produce if played by a woman’s delicate hand. Similarly, the poet believes that creative inspiration lies dormant within.
Style
The first two stanzas, particularly the first, exhibit a nominal style, featuring a single sentence describing the harp with numerous adjectives. Examples include *”harp forgotten, silent and covered with dust,”* a threefold structure, and the simile in verse 6: *”As the bird on the branch sleeps…”* The metaphor *”hand of snow”* (delicate, white hands of a woman) and personification in verse 5: *”How much sleep in their notes Cuerdas…”* are also present.
The imperfect tense dominates the first two stanzas, reflecting the timeless nature of descriptions: *”could be seen”* (verse 4), *”sleeping”* (verse 5).
The poem’s tone is primarily exclamatory, especially in the second and third stanzas, reflecting Bécquer’s passionate defense of lyric poetry’s validity. He asserts that there will always be issues and feelings to be expressed poetically, a belief proclaimed enthusiastically.
The poem also exhibits impersonality in its depiction of the harp (impersonal prayer of verse 4), especially before the poet’s intervention with the first-person verb *”I”* in verse 9.
The repetition of the verb *”sleeping”* (verses 5, 6, and 10) emphasizes that poetic motivation is latent, not dead.
The poem employs two traditional poetic symbols: the harp and the forgotten bird, representing poetic inspiration.
The coexistence of music and poetry is a characteristic of Romanticism and Bécquer’s style.
Stylistic Resources
Theme: Hidden Talent
Stylistic Devices:
- Hyperbaton: “From living in the dark corner, (v 1) perhaps his mistress asleep” (v 2)
- Metaphor: “How much sleep on his vocal notes, (v 5) As the bird sleeps in the branches” (v 6)
- Personification: (the genius) “and sleeps in the depths of the soul” (v 10)