A Reconsideration of Sonata De Primavera

Studies in 20th Century Literature Volume 2 Issue 1 Article 3 9-1-1977 Bradomín and the Ironies of Evil: A Reconsideration of Sonata de primavera Sumner M. Greenfield University of Massachusetts-Amherst Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Italian Literature Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Greenfield, Sumner M. (1977) "Bradomín and the Ironies of Evil: A Reconsideration of Sonata de primavera," Studies in 20th Century Literature: Vol. 2: Iss. 1, Article 3. https://doi.org/10.4148/ 2334-4415.1044 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Bradomín and the Ironies of Evil: A Reconsideration of Sonata de primavera Abstract Of the four novels that form Valle-Inclán's tetralogy of seasonal Sonatas, the most problematical and dissonant is the springtime segment, which is the third in the order of composition. Valle-Inclán uncharacteristically subordinates seasonal esthetics in favor of a peculiarly ironic manipulation of the theme of conflict between good and vile set in an Italian context redolent of the Renaissance and rife with religious fanaticism. The ingrained theatricality of the young Marqués de Bradomín leads him to affect the pose of a "devilish" don Juan in order to break down the defenses of a young would-be nun who seems destined for sainthood. His juvenile posturing, however, is subverted by his immaturity and lack of self- assurance. The reinforcement of his will is brought about by the intervention of an authentic surrogate of Satan who uses him as an unwitting pawn in a confrontation with the budding saint. Evil eventually conquers Good, but the irony of his having been used is inevitably lost on Bradomín, whose perception of the world is based on himself as legend rather than on historical truth. The reaffirmation of the Sonatas as a triumph of the "poetic lie" is the primary way in which the Primavera sustains the unity of the tetralogy. Keywords Valle-Inclán, Sonatas, don Juan This article is available in Studies in 20th Century Literature: https://newprairiepress.org/sttcl/vol2/iss1/3 Greenfield: Bradomín and the Ironies of Evil: A Reconsideration of Sonata de BRADOMiN AND THE IRONIES OF EVIL: A RECONSIDERATION OF SONATA DE PRIMAVERA SUMNER M. GREENFIELD University of Massachusetts-Amherst In the order of composition of the Sonatas, Valle-Inclan was guided more by the availability of already published fragments and episodes than by any over-all thematic design. As a result, the four novels came to be written in a reverse seasonal order, beginning with Sonata de °toil° in 1902 1 and proceeding backwards through summer, spring and, finally, winter. The young Marques de Bra- domin of Sonata de primavera, consequently, did not make his appearance until 1904, after the autumn dalliance in Galicia and the summer odyssey through Mexico -a hard act, indeed, to follow, since Bradomin had already achieved his maximum defini- tion. The chronological disadvantage of the Primavera is compoun- ded by the choice of theme. Here again Valle-Inclan is guilty, if that is the right word, of exploiting his own thematics: the superstitions, witchcraft and exorcisms of a world still inclined to perceiving the ancient struggle between Good and Evil as a visible and tangible reality. He had reworked these and similar themes many times prior to the Primavera and would continue to do so even as late as 1913. To what extent could this new elaboration of old themes contribute to the unity of the Sonatas and heighten our perceptions of Bradomin after the memorable "summer" and "autumn"? The answer offered in this study is mixed. On the one hand, the Prima- vera is the most disquieting and least cohesive segment of the tetralogy, primarily because of its ill-chosen thematics. On the other hand, despite its somewhat anomalous and "unspringlike" charac- ter, it does, of course, succeed in sustaining the remarkable unity of the whole, albeit in more subtle and problematical ways than those employed in the other three novels. These elements are, prin- cipally, an ironic manipulation of the theme of the satanic, the innate theatricality of the protagonist and those around him, and 23 Published by New Prairie Press 1 Studies in 20th & 21st Century Literature, Vol. 2, Iss. 1 [1977], Art. 3 24 STCL, Vol. 2, No. 1 (Fall 1977) the relative immaturity of a young and somewhat insecure Brado- min who at age twenty finds himself in an Italy redolent of the Renaissance and permeated with a somber fanaticism not unlike that of the superstitious world of his native Galicia. In accordance with musical tradition, each segment of the So- natas is structured with a series of well-defined motifs, each corre- sponding to the appropriate season. Sonata de otono, for example, is a Galician "September song" of melancholy and fallen leaves, nostalgic recollections of youth, and a labyrinthine garden touched by the chill of winter and age - all of them tonalities which rein- force the theme of the physical degeneration of Concha Bendafia and the slow but inevitable approach of death. In the Estio, with Bradomfn in the full vigor of his manhood, the motifs are, among other things, the heat of the tropical sun, blood and passion, violence and virility. With the advent of winter, the change is contrapuntally to snow and the cold of Navarre, the white hair of old age, Carlism, and the last gasp of the majesty of aristocratic tradition. In contrast to the foregoing, Sonata de primavera is not especially springlike. Despite an occasional apostrophe heralding April or a pictorial recollection like Valle-Inclan subordinates seasonal esthetics to the demands of his theme: diabolical forces in conflict with saintliness, or, more simply put, the struggle between Good and Evil. The spring memoirs of Bradomfn, consequently, tend to be wrapped in the shadows of twilight or in the darkness of night, with the constant sugges- tion of the presence of the mysterious unknown. The garden, although not much different from the one in the Otono, is usually lighted by a pale moon and populated by shadowy forms and silhouettes, gusts of wind - rcifaga is one of the primary words - and by silence punctuated by sounds in the night, particularly the murmuring of invisible fountains. Where, then, is the "spring" in the spring Sonata? We find it primarily in the young Bradomin himself as he goes through a process of personality formation under the impact of an Italian en- vironment which stimulates in him recollections of Machiavelli, Aretino, the Borgias and the Medicis. If the Renaissance is the symbol of youth and the spring of man's awareness of his secular powers, even while ironically masked by religiosity, it is correspond- ingly symbolic of the youth of Bradomfn, whose innate cynicism and egotistical bent toward perversity are perfectly consonant with https://newprairiepress.org/sttcl/vol2/iss1/3 DOI: 10.4148/2334-4415.1044 2 Greenfield: Bradomín and the Ironies of Evil: A Reconsideration of Sonata de Bradomin and the Ironies of Evil 25 many of the historical commonplaces of Renaissance Italy. When we add to this his unswerving loyalty to the image of Casanova, it becomes even more logical that Bradomin at twenty find himself in this Italianate context and that the springtime segment of his memoirs be composed with Renaissance images which help shape his budding personality.2 Bradomin's egotism is the primary filter through which every- thing passes in the Sonatas, sabotaging in its wake those mon- umental aspects of life which normally move us to react with un- relieved solemnity. Like Valle-Inclan himself, Bradomin may take certain things seriously, but he will rarely react solemnly to any- thing, unless it is the creation or re-creation of himself as legend, the legend of the poetiC lie which he apostrophizes in Sonata de invierno.3 The root of the Bradomin legend is his hyperbolic egotism and its interrelated characteristics, not the least of which is his ingrained sense of theatre. Bradomin from the beginning is an actor, a master of postures and a connoisseur of the charade and the poetic lie. Moreover, he sees the world in these same terms, as a theatrical game played by actors like himself, equally given to ironic posturing and the charade. With a handful of exceptions, virtually all the characters in the Sonatas are participants in this game of pretense. The most theatrical of them all, and the most like Bradomin himself, are the clerics, both in the Sonatas and throughout Valle-Inclan's works. More often than not, the identity of the Valle-Inclan priest is reduced to mere façade, so that his persona is little more than an ecclesiastical mask. Some of these clerics are astute ironists in the Machiavellian tradition; others are fatuous nonentities; many are theological "doctors" especially skilled in the vacuous cliché; all of them are at least a little bit pompous and ambitious, and, like Bradomin, plagued by vanity. Bradomin's initial contact with the old Italian world of the Prima- vera is an assortment of these clerics, all of them actors in varying degrees. The element of theatricality is then sustained as a crucial factor in the elaboration of the novel. In their innocence, the Princess Gaetani and her daughters have no cause initially to view Bradomin other than as what he seems to be.

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