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@ Francisco Luis
2023-09-14 05:15:52Posthumous work of the Colombian poet born in Don Matias on January 20, 1948.
Welcome to this blog dedicated to the Posthumous work of the Colombian poet Francisco Luis Arroyave Tabares born in Don Matias on January 20, 1948-2010. Where I will be publishing each of the 175 sonnets from his unpublished collection 'Sonnets For The Twenty First Century And A Circadian Musical (1984-1987).' Analyzed with GPT4 artificial intelligence and illustrated with AI tools... I hope you enjoy this garden of words snatched from the solitude of a locked room.
Likewise, any enthusiast of the sonnet form is invited to conduct their personal studies of Arroyave Tabares' work, as it is a collection that, although registered since 1989, has not yet been published.
Frank Duna
Sonnet 103 by Francisco Luis Arroyave Tabares
```
Ballerina
Lingering angel of the old motet 1 That effortlessly surges and on stage goes Conquering dreams of music with he toes In the sacred trance of each pirouette. 4
Sublime echo of kind marionette 5 That with flying feet erases my foes Which become leisure when encores she does 7 And holds my mind with divine silhouette.
She has lyrical grandeur and glamour While with her love for crowds she must advance Overcoming with Terpsichore's ardour. 11 A ballerína's life is more than dance And tutus twirl in rainbows of demur 13 When with a holy smile she gives a glance. *** 1-.motet a polyphonic song of a sacred nature. 4-.pirouette= whirling around on one foot or point of the toe in ballet. 5-. marionette= little puppet or jointed doll, usually on a miniature stage. 7-.encore= demand by the audience, showed by continued applause for the repetition of a piece of music etc., or for another appearance of the performer. 11-.Terpsichore= the muse of dancing 13-. tutu= very short proyecting skirt worn by ballerinas.
```
Analysis "Ballerina"
Introduction
"Sonnet 103" by Francisco Luis Arroyave Tabares can indeed be analyzed as a Petrarchan or Italian sonnet, The poem has an octave (the first eight lines) and a sestet (the final six lines), which is a key characteristic of Petrarchan sonnets. The Petrarchan sonnet traditionally explores a thematic shift or contrast between the octave and sestet. Let's analyze the poem in this context:
Thematic Analysis
Octave (Lines 1-8): In the octave, the poet describes the ballerina's performance and the impact it has on him. He addresses her as an "angel of the old motet," emphasizing her ethereal and divine presence on stage. The use of "old motet" suggests a timeless quality to her performance. She effortlessly captivates the audience, conquering their dreams with her graceful movements, especially her toes in the sacred trance of each pirouette. The octave highlights her beauty, skill, and the enchanting power of her art.
Sestet (Lines 9-14): In the sestet, there is a thematic shift. The poet reflects on the ballerina's life beyond the stage. He acknowledges her "lyrical grandeur and glamour," recognizing her elegance and charm. However, he also notes that she must advance with love for the crowds, invoking Terpsichore, the muse of dancing, to overcome challenges. This shift suggests a contrast between the external grace and glamour of her performances and the dedication and hard work required behind the scenes.
The concluding lines emphasize that a ballerina's life encompasses more than just dance. The "tutus" represent the outward display of her artistry, twirling in "rainbows of demur." However, beneath the surface, there is a deeper, almost spiritual aspect to her character, symbolized by the "holy smile" she shares with the audience.
In this analysis, the octave focuses on the ballerina's performance and its enchantment, while the sestet delves into the complexity of her life and the deeper qualities that define her as an artist. This thematic shift is characteristic of Petrarchan sonnets, where the sestet often provides a contrasting perspective or resolution to the theme introduced in the octave.
Rhyme Scheme
The poem adheres to a Petrarchan or Italian sonnet structure, which consists of an octave (the first eight lines) followed by a sestet (the final six lines). The rhyme scheme in this sonnet is as follows:
``` Octave (ABBAABBA):
- motet (A)
- goes (B)
- toes (B)
-
pirouette (A)
-
marionette (A)
- foes (B)
- does (B)
- silhouette (A)
Sestet (CDCDCD):
- glamour (C)
- advance (D)
-
ardour (C)
-
dance (D)
- demur (C)
- glance (D) ```
Additional Aspects to Analyze
Let's delve into some additional aspects of "Sonnet 103" by Francisco Luis Arroyave Tabares that have not been fully analyzed yet:
Imagery: The sonnet is rich in imagery that enhances the reader's understanding of the ballerina's performance. Imagery related to dance and the stage includes "pirouette," "flying feet," "divine silhouette," and "tutus twirl," all of which paint a vivid picture of the ballerina's movements and presence.
Allusions: The sonnet contains several allusions, which are references to other literary or cultural elements: "Terpsichore" is an allusion to the Greek muse of dancing. By invoking Terpsichore, the poet adds a layer of classical and mythological significance to the ballerina's art. The mention of a "holy smile" in the final line could allude to the idea of the ballerina as a kind of angelic or transcendent figure, reinforcing the spiritual dimension of her performance.
Tone and Mood: The tone of the sonnet is one of admiration and celebration. The poet is clearly in awe of the ballerina's talent and beauty. However, there is also a sense of reverence and respect for the dedication and hard work that go into her performances. The mood shifts from enchantment in the octave to a more contemplative and appreciative tone in the sestet.
Symbolism: The use of the "motet" in the first line as a symbol of the ballerina's performance can be seen as a symbol of the divine or the sacred, emphasizing the spiritual aspect of her art. The "tutus" symbolize not just the physical costumes but also the outward display of the ballerina's talent and artistry, suggesting that her true beauty goes beyond what is seen on the surface.
Structure and Form: While we have discussed the rhyme scheme and the division into an octave and a sestet, it's worth noting that the sonnet's structure and form are carefully crafted to reflect the thematic shifts within the poem. The octave sets up the enchantment of the ballerina's performance, while the sestet explores the complexities of her life and art.
Religious Undertones: There are subtle religious undertones in the poem, particularly in the use of words like "sacred trance," "holy smile," and "divine silhouette." These suggest a sense of reverence and sanctity associated with the ballerina's performance, elevating it to a higher plane.
In summary, "Sonnet 103" is a multi-layered poem that combines vivid imagery, allusions, tone, symbolism, and careful structural elements to celebrate the artistry of the ballerina while also acknowledging the dedication and depth behind her performances.
(GPT4)
Count the syllables of each line of the Sonnet
(www.howmanysyllables.com)
```
Ballerina
10 Lingering angel of the old motet
10 That effortlessly surges and on stage goes 10 Conquering dreams of music with he toes 10 In the sacred trance of each pirouette.10 Sublime echo of kind marionette
10 That with flying feet erases my foes 10 Which become leisure when encores she does
10 And holds my mind with divine silhouette.10 She has lyrical grandeur and glamour 10 While with her love for crowds she must advance 10 Overcoming with Terpsichore's ardour.
10 A ballerína's life is more than dance 10 And tutus twirl in rainbows of demur
10 When with a holy smile she gives a glance. ***```
Sonnets For The Twenty First Century And A Circadian Musical Written By Francisco Luis Arroyave Tabares (1984-1987)
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Analyzed by GPT4 and www.howmanysyllables.com; Image by leonardo.ai; First published on Nostr Protocol by franciscoarroyavet@nostrplebs.com
