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207<br />

encendida para un Anima muy pecadora" (1,308) as it is indeed something<br />

of a religious rite as far as he is concerned. He is exorcising his bo-<br />

dily cravings, but that is not what Godofredo sees or relates to the hus-<br />

band, Pablo, who is driven to suicide because he takes a causal view<br />

Retribution for the suicide of Pablo is swift, being executed by the<br />

lianas which scratch a cross on Godofredo's right eye; they seem to be<br />

an agent of God. Lezama makes his condemnation even more pronounced here<br />

but it is directed not against an act; rather it is a thought that re-<br />

ceives his displeasure. When dealing with Farraluque's exploits, he<br />

uses a different technique which is aptly described by R. GonzAlez:<br />

Del realismo ha tomado los detalles que le sirven para<br />

exagerarlos y presentarlos ante el lector en un plano<br />

mayor del habitual, a la manera de un caricaturista.<br />

La secuencia de escenas sexuales de capitulo VIII pade-<br />

ce esas observaciones tremendist en la exageracidn<br />

encuentra su manera de crftica.<br />

I believe it is a most effective method which ensures enjoyment of Lezama's<br />

luxurious style in the full knowledge of his intentions.<br />

Lezama turns once more to the homosexual embrace as a prelude to<br />

the lengthy discussions of the same, but that is not the end of sexual<br />

unions in Paradiso; Celita and Focidn's uncle Julianot Foci6n and the<br />

"Pelirrojo"., Fronesis and Lucia, Daisy, George and Foci6n- all have a<br />

part to play in the sexual symbolism of the novel. The participants here<br />

involved are Baena Albornoz, the aggressively macho rowing expert, and<br />

Leregas, of phallic notoriety. Albornoz is truly one of the mighty fallen,<br />

even more so because Lezama builds up his masculine image, only to bring<br />

him, literally, to his knees. He is described as affecting "el gesto de<br />

Heracles pase9ndose por las costas del Mediterr9neo con un bastos en la<br />

mano" (1.341) and his sporting comrades are similarly majestic. He is<br />

like a mighty Creek god who is soon shown to be Narcissus in disguise,<br />

despite his loud protests to the contrary. The ironically named La

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