Analysis of Rima XI by Gustavo Adolfo Bécquer

Posted on Oct 2, 2024 in Latin

Rima XI by Gustavo Adolfo Bécquer

Analysis and Interpretation

Introduction

This document offers a comprehensive analysis of Rima XI by Gustavo Adolfo Bécquer, exploring its external and internal structure, themes, stylistic devices, and characters.

External Structure and Metrics

Rima XI is a poem composed of three stanzas, each with five lines. The first three lines of each stanza are decasyllabic (ten syllables). The fourth line is pentasyllabic (five syllables), and the fifth is tetrasyllabic (four syllables). The rhyme scheme is A10, A’10, A10, B5, B’4. The first and third lines of each stanza have consonant rhyme, while the second and fifth lines have assonance. This unique structure reflects the Romantic poets’ freedom and innovation in metrical schemes.

The rhythmic pattern is primarily trochaic, with the stress falling on the odd syllables. Notably, many verses are divided into two distinct parts, emphasizing the dialogue between the male and female voices (“I’m burning, I am black”; “My face is pale, my hair of gold”; “I’m incorporeal, intangible am”).

Internal Structure and Themes

The poem is structured as a dialogue between a male voice (the poet) and three female voices. Each female voice describes herself using the pronoun “I”: a brunette, a blonde, and an ethereal, intangible woman. The male voice concludes each stanza with a response or question.

The central theme is the poet’s pursuit of an ideal, unattainable woman. He rejects the two tangible women (brunette and blonde) who represent passionate love and sensual pleasure. Instead, he yearns for a spiritual, dreamlike woman who embodies an impossible love.

Stylistic Devices

Bécquer employs various stylistic devices to enhance the poem’s meaning and emotional impact:

  • Antithesis: Used to highlight contrasts, such as “fog light” (verse 12) and “I can not love you… Oh, come on you!” (verse 14-15).
  • Hyperbaton: Alteration of the natural word order for emphasis, as seen in “It’s not you, not” (verse 5), “No, not you” (verse 10), and “desire for enjoyments my soul is full” (verse 3).
  • Hyperbole: Exaggeration for effect, such as “of tenderness keep a treasure” (verse 8).
  • Rhetorical Questions: Used to express the poet’s inner turmoil and longing, as in “What I seek?” (verse 4) and “I call?” (verse 9).
  • Metaphor: Comparing two unlike things without using “like” or “as.” Examples include “symbol of passion” (verse 2), “gold braid” (verse 5), “I am a dream” (verse 11), “vain phantom of mist and light” (verse 12), and “I am bodiless, I am intangible” (verse 13).
  • Metonymy: Substituting a related term for the actual thing, such as “gold braid” to represent blonde hair (verse 6) and “treasure” to represent abundance of affection (verse 8).
  • Parallelism: Repetition of grammatical structure for emphasis. The three stanzas follow a parallel structure, with the first three lines describing the woman, the fourth line posing a question, and the fifth line providing Bécquer’s response.
  • Reduplication: Repetition of words for emphasis, as in “I am, I am” (verses 1, 2, 11).
  • Symbol: Using an object or image to represent an abstract idea. The “ghost” in verse 12 symbolizes the unattainable, impossible love.

Characters

The Author (Gustavo Adolfo Bécquer): The main character, expressing his longing for an ideal love. He rejects earthly women in favor of a dreamlike, impossible woman.

Minor Characters:

  • The Brunette (Stanza 1): Represents passionate, earthly love. She is described as “burning” and “black,” a “symbol of passion.”
  • The Blonde (Stanza 2): Represents sensual pleasure and beauty. She is characterized by her “pale face” and “golden tresses,” offering endless happiness.
  • The Ethereal Woman (Stanza 3): Represents the unattainable, ideal love. She is a “dream,” a “vain phantom of mist and light,” “bodiless” and “intangible.”

Language and Style

Bécquer uses a clear and conversational language, characteristic of the Post-romanticism movement. The poem is easy to understand, employing simple vocabulary and syntax. The present indicative tense predominates, emphasizing the immediacy of the poet’s emotions. Adjectives and nouns are used effectively to create vivid imagery and portray the different female characters.

Conclusion

Rima XI is a powerful exploration of love, longing, and the pursuit of an ideal. Through its unique structure, evocative imagery, and skillful use of stylistic devices, Bécquer captures the essence of Romantic and Post-romantic ideals, revealing the inner turmoil of a poet yearning for an unattainable love.