Analysis Of Bless Me Ultima By Rudolfo Anaya

In analyzing portrayals of women, it is appropriate to begin with the character of Margarita. For, within the text, she embodies the traditionally masculine traits of bravery, resilience, and violence as a means of liberating herself from an existence of abuse and victimhood. Even more, the woman plays upon stereotypes of femininity in order to mask her true nature. The reader witnesses this clever deception in a scene where the character endures a “wholesome thrashing” from her huge, violent, and grizzly bear-like husband, Guerra (81). Although Margarita “[submits] to the infliction with great apparent humility,” her husband is found “stone-dead” the next morning (81). Here, diction such as “submits” and “humility” relate to the traits of weakness, subservience and inferiority that are so commonly expected of women, especially in their relationships with men. Yet, when one

In addition, the author helps the reader understand the selfishness of the mother when the reader finds out she have stole the Persian Carpet “several months before” (230) the divorce and puts the blame on Ilya, the poor blind man. Furthermore, the visit of the children is supposed to signal a fresh start for the family. The mother even emphasizes she wants the girls to come “live with [them]” (229). Yet again, even if they meet in order to reunite, characterized by a situational irony, they see themselves separated because of her mother selfish decisions.

Cisneros’s style can be characterised and depends on word choices and sentence structure, the constant use of parallelism, rhythmic, and using monologue and deliberate repetition of emotions to for filled the story. In this story, the enormous conflict arises when the innocent girl’s dream has been crashed by poverty and

In the book, How the García girls lost their accent, by Julia Alvarez, who utilizes rhetorical devices in the passage chosen to develop the conflict that Yolanda is facing in the story by using imagery, simile, and anaphora in order to evince how Yolanda’s conflict with her husband John plays a role in her horrible breakdown and her journey to revive the love she had for her native language and culture.

In the novel, Bless me, Ultima by Rudolfo Anaya, a boy goes through many more experiences than any child in the hot summer days in Santa Rosa, New Mexico. He witnesses the deaths of his close friends and family. This boy expresses his emotions and grief through his dreams, only to wake up with fear and confusion in his mind. Antonio’s life is filled with dreams that foreshadow future incidents, as well as influences Antonio’s beliefs of religion and ideas of innocence.

Moreover, Antonio dreams about his older brother’s entering a brothel and how Antonio’s brothers try to convince him to enter the brothel:

Despite the fact that Antonio is only a newborn, the two sides of the family have already predetermined his path in life. His mother, Maria, wants Antonio to become a priest while his father, Gabriel, would rather him be free and follow in his example. Both parents want to instill their own aspirations upon him and partake in a mentalgame of tug of war with Antonio, the youngest and last son of the family, the final chance to make one of his parent’s dreams a reality. At a young age, Antonio is forced to come to a consensus of which parent will he please and which one will he forsake. This fact lingers over him and often resurfaces within his dreams. Though he doesn’t yet have to reach a decision, this dream acts as a cautionary reminder that he will have to soon in the future as it slowly approaches.

Bright white light of the New Mexico sun bathes and protects the small town of Guadalupe. Like his parents and older brothers before him, young Antonio struggles to find his true inner self as his parents push two family names on him. In Anaya Rudolfo’s novel Bless Me, Ultima, Antonio is ultimately a mixture between a Marez and a Luna, as seen through the juxtaposition between the symbols of the moon and the sea, as well as God and the Golden Carp.

A “Bildungsroman” is defined as a piece of literature that focuses on the mental, moral, and psychological growth of a protagonist in transition from childhood to adulthood. Ideologies adopted into a Bildungsroman are ones that shows the coming of age like the shortcoming of loved ones, meet with challenges that the adult world presents to the younger generation, and having mentors or guides who teach the ways of life through valuable lessons. In Rudolfo Anaya’s coming of age novel, “Bless Me, Ultima”, the Bildungsroman concepts and ideas about maturity from childhood blossom as the novel's protagonist, Antonio Marez, lives his Hispanic, Catholic life at the age of eight, through countless experiences that molds his coming of age. Elements that substantially influences Antonio's coming of age includes confrontations with death, disappointment in realizing soul crushing realities, and encounters with emotions and despair that would be met in the adult world. Antonio, through, these structural elements, shapes his shift from a child to a man by emphasizing why certain events occur in his life.

The narrator “Araby”, an unnamed young Irish boy, living with his aunt and uncle on North Richmond Street, residing in a house once occupied by a now-dead priest. The narrator, an orphan, spends his days attending school, spending time with his friend Mangan, and pining after Mangan’s sister. The narrator lives a relatively normal live, although he gradually becomes more consumed with the idea of Mangan’s sister, “I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child’s play” (Joyce, 124. The narrator idealizes Mangan’s sister, barely speaking to her, yet he

Throughout the context of “Bless Me Ultima,” it is evident that there are many motifs and examples of dichotomy. I believe that Anaya uses the previously mentioned elements of literature in order to provoke his readers’ thinking and help embody a struggle of understanding the world we live in. Motifs in this novel include: family, dreams, religion, education, and the list continues. For examples of dichotomy, the idea of good versus evil is the most vivid in this novel.

The main point is the young man’s love for an inconceivable lady who unknowingly provokes the man into sensual and passionate rage that he begins to trouble “sexual impulses for those of honor and chivalry” (Wells, 1993. The two pieces are as closely related as any literary work, even though Updike took Joyce’s original work and evolved it. It can be argued by going at details that Updike lost no time to shape A&P as much after Araby. For example, one feature that attracts young men is the whiteness and highlight of a girls’ skin. In both pieces, the audience should not take this certain detail gently, for the meaning is essential to the other components of the story, especially as they partake with female obsession. Attracted to the milky softness and “the white curve of her neck” (Joyce 32) proves the vast concern and interest Joyce’s protagonist place in the more detailed features; as well as, Updike’s personality is equal as mesmerized by the desire of his lady’s “long white prima-donna legs” (A&P 188).

Collectively, these literary images go to describe a young ethnic man, probably of Latin descent, who lives with his mother in a poverty stricken area. The careful recitation of instruction given to the younger man seems to demonstrate an intricate knowledge the narrators has accrued from both predecessors and experience. Singularly, this part of the story is very powerful in that it shows a young man having to hide who he is and where he comes from in an effort to seem appealing to women, and speaks volumes about the deception that both genders go through all in name of the chase.

As Gabriel reflects on Gretta’s sorrow for this lost young man, he comes to accept that he has never experienced that depth of feeling and love for another person—not even for the wife that he had so desired just a short time before. He no longer looks at her through “admiring and happy eyes;” he now sees only her age and bitterly acknowledges that “her face is no longer the face for which [the boy] braved death” (2199). The reality of Gretta’s past has revealed the shallowness of his feelings and the hollowness in his life, and Gabriel’s picture of Gretta is forever changed.

Comparing the characters of Angelo and Isabella, one could argue that Isabella is ‘the symbol of goodness and mercy set against a background of moral decay’. Alternatively, one could see her character as self-righteous and hypocritical, as we later discover when she values her chastity higher than her brother’s life.