The historical ballad “Los vientos eran contrarios” was written anonymously, as were most Spanish ballads. According to Colin Smith, it “is probably the oldest of the King Roderick ballads, composed in the second half of the 15th century”. It details the conquering of Spain as a result of King Roderigo sleeping with the virgin daughter- la Cava- of Count Julían. A maid, Fortuna, predicts the King’s future as well as the subjugation of Spain. The poem ends with news of Count Julían’s invasion, proving Fortuna’s words to be truthful. By examining features that may be considered typical of the Romancero genre- such as imagery, word choice and structure- the reader is able to better understand the wider idea of retribution.
We first do this …show more content…
It also introduces a rhythmic quality typical of Spanish ballads, creating a “ballad within a ballad” effect, increasing the dramatic tension. Additionally, the alliteration of the plosive “p” in the final line contrasts with this. It draws the readers’ attention to the promise of “terrible final years” and thus Fortuna’s true message. Alliteration is not the only technique employed. Repetition in the form of parallelism is also used to great effect:
“Las cincuenta están tañendo”
“Las cincuenta están cantando” (p4)
Parallelism is a common feature of Spanish ballads. Here, the repetition of “las cincuenta” adds to the impression of Roderigo’s wealth. It also contrasts the maids’ beauty with the grief of nature. Moreover, it draws attention to Fortuna, who is also a maid, yet distinguishes herself with her prophecy. It is within her speech that we find even more repetition. For example, the repetition of “tu” when detailing the extent of the destruction wrought on Spain, makes it clear that Roderigo is to blame. The list she presents shocks the reader, as nothing escapes from the destruction:
“Y verás tus gentes muertas
Y tu batalla rompida
Y tus villas y ciudades”
We first do this …show more content…
It also introduces a rhythmic quality typical of Spanish ballads, creating a “ballad within a ballad” effect, increasing the dramatic tension. Additionally, the alliteration of the plosive “p” in the final line contrasts with this. It draws the readers’ attention to the promise of “terrible final years” and thus Fortuna’s true message. Alliteration is not the only technique employed. Repetition in the form of parallelism is also used to great effect:
“Las cincuenta están tañendo”
“Las cincuenta están cantando” (p4)
Parallelism is a common feature of Spanish ballads. Here, the repetition of “las cincuenta” adds to the impression of Roderigo’s wealth. It also contrasts the maids’ beauty with the grief of nature. Moreover, it draws attention to Fortuna, who is also a maid, yet distinguishes herself with her prophecy. It is within her speech that we find even more repetition. For example, the repetition of “tu” when detailing the extent of the destruction wrought on Spain, makes it clear that Roderigo is to blame. The list she presents shocks the reader, as nothing escapes from the destruction:
“Y verás tus gentes muertas
Y tu batalla rompida
Y tus villas y ciudades”