On the banks of Rosalía de Castro Sar

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  • Discuss the poem LVIII of On the banks of Sar, Rosalia de Castro, describing it formally on the relation of the lyrical with the natural environment.

The student should note the subtle rhyme Rosalía de Castro used in this poem, assonance and rhyme stanzas of variable structure, different number of verses (seven, five and two), and monorhythmic hexadecasílabos because rhyme with each other (á-o, a-a, é-o) within each stanza.

It should also identify the main resources: solemnity, symbolism, epithets, etc..

With regard to content, it should be noted marked subjective nature of the poem, a lyrical patent to create hearing (first verse) that elements of the natural environment discussed his condition, whispering into his alleged insanity. The response of I, which covers the next two stanzas, attests to the symbolic identification of the poet with the natural environment, their mutual contingency, for those natural elements take on the symbolic entity if dream (that is, poetically elaborated) by the poet's madness which, in turn, is the very stuff of poetry.

The two remaining points are assigned according to the capacity of argument, coherence of speech, fluency of expression and, ultimately, the cohesion and articulation of the comment.

  • Discuss the poem XXVI of the Shores of Sar, Rosalia de Castro, formally characterizing and stressing its symbolic aspects.
The student should note the limited interest of Rosalía de Castro for the rhyme, which in this case is assonance, and its rejection of the verses of rigid structure, the predominance of Polarimetry, or even the Ametria, ie the combination of lines of different sizes, here specifically with the prevalence of the combination of heroic verse and heptasílabos.

It should also identify the main resources: solemnity, symbolism, epithets, etc.. With regard to content, will take into account the student point to the subjective nature of the poem marking, staining the natural environment, because all elements of the landscape and all sensory components correspond symbolically to the mood of the lyrical, below (verse 21). Thus, the colors are significantly gray, brown or ashen, sounds, or imprecatory monotonous, if not foreboding cautionary, nature as a whole, harsh or adverse, but an apparent paradox, according to the poet's soul, his objective correlative, either to corroborate this sadness, and to announce, chimeric, some happy future, as we remember at the end, once identified the winter season with old age (verse 31), not precede any spring, if not is the dream or desired.

The two remaining points are assigned according to the capacity of argument, coherence of speech, fluency of expression and, ultimately, the cohesion and articulation of the comment.

  • Discuss the following words of Ricardo Gullón on the poetry of Rosalia de Castro: "The sadness, loyal companion of Rosalie, seldom reached in Spanish poetry as intense and sincere expression. For honest and straightforward is intense and emotional [...]. For any language to express the sadness as suitable as this sweet Galician Rosaliana, free of rhetoric, which preserves the possibility of suggestion, their ability to convey tenderness, making a point of melancholy even in the curse. "

Ricardo Gullón meant that the poetry of Rosalia de Castro draws a sincere melancholy, never fascia and, therefore, not prepared rhetorically. Accordingly, Rosalia deliberately wanted to give the book a rhetorical clarity is reflected in the simple comparisons and concrete; few metaphors, but evocative, obvious symbols, repetition and contrast, not uncommon, and often folk or popular home . A natural stylistic contrasts, often with the "shadows" and mystery that reveal a complex subjectivity that seems to write his poems in a voice cursing. It is obvious that the student can provide other features that go in that direction or otherwise paraphrase the words of Gullón, if the answer makes sense, is well written and meets the intent of the critic.

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