RÉQUIEM POR UN CAMPESINO
ESPAÑOL
Untranslated points to include in essays
POINT CHARACTER/THEME QUOTE
The first two words of the MM ”el cura”
novel as well as the
original title referring to
Mosén Millán raises a
conflicting question ‘Who
is the main character?
Paco, or the priest? - shows
that MM and Paco’s fate are
inextricably linked
MM has lost his sincerity as MM ”cincuenta y un años
a priest. La religión repitiendo aquellas
oraciones”
the cave scene:
“tenía prisa por salir” -- he
is aware of his actions
MM not only symbolises La religión
the strong reactionary
historical forces, but also
actualises the historical
inertia of the church as he
remains inert in his chair
throughout the transcourse
of the narration.
A ballad is created for Paco, Paco
demonstrating him as a Los campesinos
martyr and highlights his La traición
heroic nature.
The unnamed village is a Los campesinos
1
, microcosm of Spain. The
priest doesn’t represent the
village as he is charged less
by the shoemaker - the
segregation is highlighted
at the very beginning.
The three narrative voices El estilo
in the novel - the
omniscient narrator
(objective and in the past)
and the ballad (anonymous
and atemporal) - overlap
and intertwine, presenting
time as linear, circular, and
dislocated. The nonlinear
structure aids the point of
views and memories, and
highlights the chaotic
situation.
An association with the La segregación ”palabras catalanas”
anti-establishment creates
a “them vs us” mentality
and highlights the divide
between the villagers and
the Church.
MM sits at the end of the La traición
table with Paco’s father MM
being on the other side
showing he accepts his role
as a ‘spiritual father’ to
Paco, making the treachery
much worse at the end of
the novel.
Sénder stylistically uses a El estilo
significant amount of
contrasts and
juxtaposition.
- rich families vs
peasants
- now vs then
(peaceful vs
turbulent time)
2
ESPAÑOL
Untranslated points to include in essays
POINT CHARACTER/THEME QUOTE
The first two words of the MM ”el cura”
novel as well as the
original title referring to
Mosén Millán raises a
conflicting question ‘Who
is the main character?
Paco, or the priest? - shows
that MM and Paco’s fate are
inextricably linked
MM has lost his sincerity as MM ”cincuenta y un años
a priest. La religión repitiendo aquellas
oraciones”
the cave scene:
“tenía prisa por salir” -- he
is aware of his actions
MM not only symbolises La religión
the strong reactionary
historical forces, but also
actualises the historical
inertia of the church as he
remains inert in his chair
throughout the transcourse
of the narration.
A ballad is created for Paco, Paco
demonstrating him as a Los campesinos
martyr and highlights his La traición
heroic nature.
The unnamed village is a Los campesinos
1
, microcosm of Spain. The
priest doesn’t represent the
village as he is charged less
by the shoemaker - the
segregation is highlighted
at the very beginning.
The three narrative voices El estilo
in the novel - the
omniscient narrator
(objective and in the past)
and the ballad (anonymous
and atemporal) - overlap
and intertwine, presenting
time as linear, circular, and
dislocated. The nonlinear
structure aids the point of
views and memories, and
highlights the chaotic
situation.
An association with the La segregación ”palabras catalanas”
anti-establishment creates
a “them vs us” mentality
and highlights the divide
between the villagers and
the Church.
MM sits at the end of the La traición
table with Paco’s father MM
being on the other side
showing he accepts his role
as a ‘spiritual father’ to
Paco, making the treachery
much worse at the end of
the novel.
Sénder stylistically uses a El estilo
significant amount of
contrasts and
juxtaposition.
- rich families vs
peasants
- now vs then
(peaceful vs
turbulent time)
2
