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156<br />

despite their demonismo. It is obvious that Alberto follows this pattern<br />

exactly (1,233-6). Such an explanation of Alberto's character leaves<br />

vast areas of mystery surrounding him, although Lezama 's comments descri-<br />

be accurately the human being from whom he was developed, and may explain<br />

his place in the average Cuban family. In the extraordinary world of<br />

the Cemis and Olayas, the forty year old bachelor has acquired great sta-<br />

ture. His deeds are already being overlaid with a gloss of glamorous<br />

myth. He is a survivor of those hazy times, "alld en Jacksonville" (1,<br />

61); he makes himself known to Josd Eugenio before anyone else in the<br />

family; he enjoys a certain notoriety; even amongst his sisters, Rialta,<br />

Leticia and Matilde., "llegaba su heraldo precedido por la tradici6n oral,<br />

por las cosas que de 61 se contaban bajando la voz ...<br />

" (13,236).<br />

This amusing,, temperamental figure who is one of "esas criaturas in-<br />

clinadas aunque sea con levedad al mal" (1.235),, does not seem a plausible<br />

candidate for a tragic death. Yet Alberto's death is described in such<br />

terms that critics have been led to speculate as to whether or not he<br />

escapes final damnation. Fazzolari and Ulloa hold widely differing views:<br />

Ulloa opina que la cargada simbologia que acompaiia el<br />

viaje de Alberto apunta hacia la resurrecift y la bien-<br />

aventuranza eterna, aunque no ignora que "la imagen fi-<br />

nal del ärbol estä estrechamente vinculada con destruc-<br />

ci6n y muerte y qu 5b es, por tanto, embleniätica de gsta<br />

mäs que de vida", pero permanece ciego por completo<br />

a las innumerables alusiones infernales. Hay un contr-<br />

apunto de irrk4genes y situaciones de eternidad y salvacift<br />

con otras de muerte y con ga ena en el que definiti-<br />

vamente triunfan las dltimas.<br />

Alberto's life may not have been exemplary but it is not at all obvious<br />

why his death should involve these problems of interpretation. Nevertheless),<br />

Lezama's imagery in this chapter demands an explanation, a re-evaluation<br />

of Alberto as a character and/or archetype. I propose to scrutinise his<br />

role in the novel, and in the light of this scrutiny to re-examine his<br />

death. We have seen Alberto playing pranks with words but

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