Analysis of Rubén Darío’s “Venus” and Valle-Inclán’s “Luces de Bohemia”
Rubén Darío’s “Venus”
Reading and Understanding
Nostalgia: Feelings of grief or sorrow caused by absence or loss, or by the melancholy remembrance of a happy past moment.
Quiet: Peaceful, at rest, motionless, calm—the opposite of stress.
Ebony Tree Trunk: Solid, heavy, smooth wood with whitish bark, prized for furniture making.
Jasmine: Funnel-shaped flower with five petals, usually yellow or white, with a beautiful and distinctive fragrance.
Dressing Room: Small chapel behind the altar where a religious image is worshipped.
Palanquin: Seat held by two parallel rods, used in Eastern countries for transporting important people.
Chrysalis: Protective shell or envelope that surrounds a larva during its transformation into an adult insect.
Nimbus: Circle of light or aura around the head or top of an image.
Astronomical: Related to the stars; synonymous with astral.
Ecstasy: Intense feeling of wonder, joy, or pleasure; or a mystical union with God.
Abyss: Immense, imposing, and dangerous chasm; also applies to the vast and incomprehensible.
Biography of Rubén Darío
Félix Rubén García Sarmiento, known as Rubén Darío, was born in Metapa, Nicaragua, on January 18, 1867. He adopted “Darío” from his father’s nickname. A gifted poet from a young age, he published in local newspapers like “The Thermometer.” By 1881, he signed his work as Rubén Darío. He worked at the National Library in Managua and lived in San Salvador, Chile, and Argentina, where he encountered Symbolism and Parnassianism, influencing his development of Modernism. He founded publications like “American Magazine” and “Evening Mail.” In 1892, he visited Spain, befriending members of the Generation of ’98. He returned to cover the Spanish-American War and later served as an ambassador, residing in Paris and Madrid. He introduced Art Nouveau to Spain. Ill and exhausted, he retired to Valldemossa. He died in Nicaragua in 1916.
Darío’s Works
- Azul… (1888): Poems and short stories marking the beginning of Modernism.
- Profane Prose: Poems of fantasy and mystery.
- The Swans and Other Poems
- The Song of Wandering
- Autumn Poem and Other Poems
- Singing to Argentina and Other Poems
- Dispersed Work: Poems and stories not included in specific books.
Historical and Literary Context
Darío’s life (1867-1916) spanned significant global changes. His work was influenced by the political and social climates of Nicaragua, Chile, Argentina, and Spain. He was influenced by French Symbolism, Parnassianism, and the Generation of ’98. He, in turn, influenced Modernist poets in Latin America and Spain, including Valle-Inclán, Juan Ramón Jiménez, and the Machado brothers.
Message and Theme of “Venus”
The poem describes the poet’s love for Venus, personified as a celestial being. He expresses melancholy and longing for a past love. The main theme is sadness and the memory of lost love.
Formal Analysis of “Venus”
The poem follows a consistent metrical pattern and rhyme scheme, creating a musical quality. The rich use of adjectives and refined lexicon are characteristic of Modernism.
Code and Interpretation
The poem utilizes metaphors and comparisons, such as Venus as an “Eastern Queen” and the poet’s soul as a chrysalis. The choice of Venus, the goddess of love, connects the poem to classical mythology.
Reader and Reception
“Venus” exemplifies Modernism with its formal perfection, rich imagery, exoticism, and intimate tone. The theme of lost love resonates with Romantic themes, particularly those of Becquer.
Ramón del Valle-Inclán’s “Luces de Bohemia” – Scene Eleven
Vocabulary
- Consternation: Worry, anger, distress.
- Din: Noise and confusion of a crowd.
- Masquerade: Something ridiculous, a joke.
- Tragic: Unfortunate, sad, moving.
- Proletariat: The working class, often exploited.
- Patriotic Ideals: National values and principles.
- Mob: Large, disorderly crowd.
- Inexorable: Uncompromising, rigid.
- Anarchic: Associated with anarchy, disorder.
- Dantean: Horrifying, overwhelming.
Biography of Ramón del Valle-Inclán
Born in Villanueva de Arosa, Spain, in 1866, Valle-Inclán abandoned law for literature. He lived in Mexico and later Madrid, where he lost an arm in a political argument. He opposed Primo de Rivera’s dictatorship and defended the Republic. Known for his eccentricity, he called himself the Marquis de Bradomín. He was a prolific writer and evolved through distinct literary stages.
Valle-Inclán’s Work and Style
- Modernist Stage: Influenced by Darío and French aesthetics. Nostalgic, utopian themes. Exquisite prose and poetic intent. Works include Flor de Santidad and the Sonatas.
- Intermediate Stage: Development of a personal style. Social criticism emerged. Violent and fanatical characters. Works include the Comedias Bárbaras and novels of the Carlist War.
- Esperpento Stage: Expressionistic distortion of reality. Dehumanized characters and harsh language. Works include Luces de Bohemia, Tirano Banderas, and the Iberian Circle trilogy.
“Luces de Bohemia” – Scene Eleven
Max and Don Latino encounter the aftermath of a child’s death at the hands of revolutionaries. The mother’s grief contrasts with Latino’s indifference. Other characters offer varied perspectives on the incident, revealing social and ideological conflicts.
Characters and Opinions
- Max: Appalled and indignant at the injustice.
- Don Latino: Dismissive and indifferent.
- Mother: Overwhelmed by grief and rage.
- Guard: Concerned with restoring order.
- Shopkeeper: More concerned with property damage.
- Landlord: Resigned, criticizes lack of patriotism.
- Bricklayer: Justifies the act due to poverty.
- Concierge: Complacent and unsympathetic.
- Ragpicker: Sympathizes with the mother.
- Pensioner: Defends the principle of authority.
Genre and Structure
Scene Eleven is a social drama, using dialogue and minimal narration. It critiques the social and economic inequalities of the time. The scene progresses from the encounter to the characters’ reactions and dispersal.
Figurative Language
The scene employs metaphors (e.g., the child as a “rose of May”) and metonymies (e.g., “the people are hungry”) to enhance the emotional and thematic impact.
Critical View and Dramatic Contrast
The text offers a distorted yet multifaceted view of the social and economic realities. The dramatic tension arises from the contrast between selfish conformity and tragic awareness.