31
decoNs Ruc iNg NaRRa i e:
loRca’s ROmANcERO GITANO
aNd he ROmANcE SONámbULO
F ieda H. Blackwell
baylo uni e si y, Waco, exas, usa
esumen
los p ime os años del siglo xx ue on es igos de la ebeldía de muchos
a is as en odos los ámbi os de la es é ica en con a de las es uc u as del
ealismo al “decons ui ” las o mas adicionales en sus elemen os más básicos.
en las a es plás icas, las pin u as cubis as de picasso e lejaban es a ebelión;
en la li e a ia, el su ealismo p o eía a los esc i o es de medios pa a c uza la
líneas de la ida co idiana y llega a las imágenes an ás icas de los sueños. la
colección de baladas de El omance o gi ano de Fede ico ga cía lo ca (1928)
ep esen a, de muchas mane as, la culminación de es a ebelión en las le as
españolas. aunque usa la o ma an igua del omance, el ehículo medie al pa a
con a his o ias, lo ca se cen a más en una imagine ía ex ao dina ia que en
la línea na a i a. es e echazo de la p imacía de las con enciones na a i as
en a o de la me á o a, ep esen ado en el “ omance sonámbulo”, signi ica
una eacción c í ica a los múl iples cambios sociales y polí icos que es aban
modelando y cambiaban el mundo de lo ca en los u bulen os años ein e.
palaB as cla e
lo ca, omance o gi ano, “ omance sonámbulo”, na a i a, eo ía de la
decons ucción, omance.
aBs ac
he ea ly yea s o he wen ie h cen u y saw a is s in all ields o aes he ics
ebel agains he s ic u es o ealism by decons uc ing adi ional o ms in o
hei mos basic elemen s. in he plas ic a s, picasso’s cubis pain ings e lec
his ebellion. in he li e a y sphe e, su ealism o e ed w i e s a ehicle o
mo ing pas he amilia ou lines o e e yday o ms o he an as ic images o
d eamscapes. El omance o gi ano, Fede ico ga cía lo ca’s 1928 collec ion o
ballads, ep esen s, in many ways, he culmina ion in spanish le e s o his a is ic
ebellion. While using he ancien poe ic o m o he “ omance”, he medie al
wo ld’s ehicle o elling s o ies in poe y, lo ca ocuses on s a ling image y
a he han he s o y line. his ejec ion o he p imacy o he adi ional na a-
i e con en ion in a o o he s a ling me apho , epi omized in he “ omance
CAUCE, Re is a de Filología y su Didác ica, nº 26, 2003 / págs. 31-46
F ieda H. blackWell
32
sonámbulo”, signi ies a c i ical eac ion o he mul iple social and poli ical
changes ha we e shaping and changing lo ca’s wo ld in he u bulen 1920’s.
key wo ds
lo ca, omance o gi ano, “ omance sonámbulo”, decons uc ion heo y,
na a i e, omance.
ésumé
les p emiè es années du xxe siècle on é é émoins de la é ol e de
nomb eux a is es dans ous les domaines de l’es hé ique en con e des s uc-
u es du éalisme en “décons uisan ” les o mes adi ionnelles dans leu s
élémen s les plus basiques. dans les a s plas iques, les pein u es cubis es de
picasso e le aien ce e é ol e; dans la li é a u e, le su éalisme ou nissai
aux éc i ains les moyens pou c oise les lignes de la quo idienne e a i e
aux images an as iques des ê es. la collec ion de ballades de El Romance o
gi ano de Fede ico ga cía lo ca (1928) ep ésen e, de nomb euses açons, la
culmina ion de ce e é ol e des le es espagnoles. même s’il u ilise la o me
ancienne du omance, le éhicule medié al pou acon e des his oi es, lo ca
ocalise da an age su une imagine ie ex ao dinai e que su la ligne na a i e.
ce eje de la p imacie des con en ions na a i es en a eu de la mé apho e,
epésen é dans le “ omance sonámbulo”, signi ie une éac ion c i ique aux
mul iples changemen s sociaux e poli iques qui é aien en ain de modele
e changeaien le monde de lo ca dans les u bulen es années ing .
mo s-clés
lo ca, Romance o Gi ano, “ omance sonámbulo”, na a i e, héo ie de la
décons uc ion, omance.
he ea ly yea s o he wen ie h cen u y saw a is s in all aes he ic
ields ebel agains he s ic u es o ealism by decons uc ing adi-
ional o ms in o hei mos basic elemen s. in he plas ic a s, picasso’s
cubis pain ings epi omize his ebellion. in he li e a y sphe e, su ealism
o e ed w i e s a ehicle o mo ing pas amilia , e e yday o ms o he
an as ic images o d eamscapes. he Romance o gi ano, Fede ico ga cía
lo ca’s 1928 ballad book, ep esen s, in many ways, he culmina ion
in spanish le e s o his a is ic ebellion. While using he omance,
he medie al wo ld’s ehicle o elling s o ies in poe y, lo ca ocuses
mo e on s a ling image y han on he s o y line. he collec ion’s mos
amous ballad, Romance sonámbulo has p o oked mo e c i ical deba es
conce ning he supposed “s o y” han any o he poem o he collec ion.
adi ional eade s gi ing he mos li e al in e p e a ions con end ha he
poem na a es he inal hou s o a mo ally wounded smuggle seeking
decoNs uc iNg Na a iVe: lo ca’s RoMANCERo GITANo…
33
e uge in he home o his gi l iend. such eade s insis ha he anec-
do e o s o y line is deciphe able and iden i iable. eade s a he o he
ex eme insis ha he poem lacks a “comple e” s o y, consis ing ins ead
o a se ies o ac u ed images ha dazzle he eade ’s imagina ion. his
ejec ion o he p imacy o a adi ional na a i e con en ion in a o
o a se ies o su p ising me apho s, epi omized in Romance sonámbulo,
sugges s an a is ic eac ion agains spain’s s agnan , deeply con lic ed
adi ional p o incial socie y ha lay s a kly a odds wi h he mul iple
social and poli ical changes ha we e ans o ming a pos -Wo ld Wa i
eu ope in he u bulen 1920s.
he decade o he 1920s in eu ope ma ked he blossoming o a is-
ic expe imen a ion, as e lec ed in he numbe o –isms ha appea ed.
al hough many, such as symbolism and su ealism, began in F ance,
hey quickly sp ead h ough spain’s a is ic and in ellec ual communi ies.
he appeal o such mo emen s lay in hei p omise o eedom om
he s ic limi s o nine een h-cen u y ealism. as c. b. mo is explains,
In Spain, as elsewhe e in he 1920s and 1930s, Su ealism’s ex eme
a i udes and ac ions s imula ed ex eme esponses (mo is, 1972, p. 4).
He con inues by commen ing ha Su ealism is he explosion o a socie y
benea h he ep essi e anguish o an an iqua ed mo ali y (mo is, 1972,
p. 4). ce ainly, in spain, he su ealis a is s eac ed agains wha hey
pe cei ed as he “an iqua ed mo ali y” o he ca holic chu ch and he
anach onis ic and mo ibund nobili y ha suppo ed he ex an powe
s uc u e, including he dic a o ship o gene al miguel p imo de i e a.
Fede ico ga cía lo ca’s ela ionship wi h sal ado dalí and ips o
ca aluña in he 1920s pu him in di ec con ac wi h he li e a y and
a is ic Vangua d in ba celona, always he mos p og essi e pa o spain
(Zule a, 1971, p. 171).
he su ealis ic mo emen ha appea ed a e Wo ld Wa i b ough
in o ques ion he abili y o adi ional li e a y image y and language
o cap u e he eali y o he subconscious, especially as desc ibed by
F eud, Jung and o he psychologis . he su ealis ic image in poe y,
as li e a y c i ic ca los bousoño explains, passes h ough h ee s ages.
Fi s , he au ho has o p esen a poin o depa u e ha a i s glance
only gi es he eade a “bad eading”, o a he , ha makes no sense
on he li e al le el seeming “illogical and symbolic”. a he second s age,
he eade expe iences a disconnec o logic be ween he s a ing poin
and he poe ic meaning ha comes om i . Finally, he eade has no
conscious ecogni ion o he sign exp essing equali y be ween bo h
e ms (bousoño, El i acionalismo, pp. 24-31). hus, o gain any mean-
F ieda H. blackWell
34
ing om he appa en ly illogical image, he eade has o make ee
associa ions, gi ing wo ds new o expanded meanings. de ida would
la e desc ibe in his essays on decons uc ion ha language is a bi a y
by na u e and denies any ixed meaning (de ida, 1988, p. 108). he
su ealis ic image, in simila ashion, decen e s logical meaning by i s
jux aposi ion o wo ds lacking any ob iously logical connec ion. a he ,
i gains i s meaning om he in e play o linguis ic elemen s and he ee
associa ion among hem. by using he echniques o su ealism, lo ca
could escape he con ines o bo h ealism and adi ional logic, as well
as ixed meanings in his poe ic exp essions. he appa en illogicali y o
su ealism nega ed he assigning o any de ini i e meaning o “o icial
eading” o he ex .
cobb cha ac e izes he appeal o su ealism o lo ca and o he s o
his gene a ion s a ing, Thei cen al impulse was owa d eedom, eedom
o h ow o all he shackles binding o al exp ession o he pe sonali y,
including e en sca ological and sexual aboos (cobb, 1967, p. 3). lo ca,
like o he su ealis s, a i med libe y wi hou limi s and ebelled agains
he con ines o con en ional eali y in all i s ecognizable o ms (lópez
cas o, 1993, p. 63). hus, as lo ca ma u ed as a poe , he used su eal-
is ic echniques o u he his eedom o exp ession, e en as he ebelled
agains he limi s o a conse a i e, ep essi e socie y wi h i s “an iqua ed
mo ali y” as augh by he ca holic chu ch. hose mo al eachings includ-
ed s ic u es on all so s o sexual exp ession, especially homosexual.
lo ca had g ea amilia i y no only wi h he newes li e a y ends,
bu also possessed a p o ound knowledge o spain’s own li e a y
adi ion. He knew he adi ional omances; he knew he olklo e o
his na i e andalucía. He also unde s ood how he popula omance
de eloped in o mo e ly ical poe y in luenced by lope, góngo a and
o he s in he se en een h cen u y. as Víc o de la concha a i ms, la
ob a lo quiana se a aiga con i meza en el subsuelo de la adición (de
la concha, 1984, p. 357). lópez cas o echoes his sen imen , s a ing
o lo ca’s mo e ma u e poe y, La palab a de la adición, la oz ol i-
dada o pe dida es la que comienza a habla (lópez cas o,1993, p. 60).
de o o and spi ze summa ize he blend o bo h olk and high cul u e
in lo ca’s mo e popula poe y, s a ing, Ga cía Lo ca encuen a en el
olklo e li e a io de su país el módulo y la azón de su es ilo p opio
(de o o and spi ze , 1984, p. 388).
lo ca’s poe ic ca ee had begun o icially wi h he publica ion o
his i s book, Lib o de poemas, in 1921, ollowed sho ly he ea e
wi h Canciones in 1924. hese books e lec he in luence o spanish
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35
poe s such as an onio machado and Juan amón Jiménez, as well as
ha o he F ench symbolis poe s. Howe e , hese ea ly wo ks also
e lec lo ca’s ex ensi e eading in adi ional spanish poe y, especially
in he hy hm and me e he u ilized in he ea ly poems. by he ime
Poema del Can e Jondo appea ed, in 1926, lo ca had aided manuel
de Falla wi h he can e Jondo compe i ion in g anada and w i en an
essay abou he music o his na i e andalucía. he Poema del Can e
Jondo e lec ed he syn hesis o he olklo ic and con empo a y poe ic
elemen s in o lo ca’ unique poe ic s yle.
he Romance o gi ano, published in 1927, quickly became lo ca’s
mos popula poe ic wo k. he en i e collec ion uses he adi ional
omance o spanish ballad, which, de o o and spi ze con end, o e s
he poe he g ea es ela i e eedom among adi ional poe ic o ms
(de o o and spi ze , 1984, p. 389). he omance, de i ed om he
epic, has eigh syllable lines, wi h assonan hyme in e e y o he line.
Fu he mo e, as bo h cobb and de o o and spi ze no e, he omance
allows loose hyme a he han pe ec hyme. adi ionally, he omance
unc ioned, as did he epic om which i de i ed, o na a e his o ical and
con empo a y e en s, and o p ese e na ional alues o p opagandize
e en as i en e ained. in ac , by he la e middle ages, he omance
became ecognized as an au ho i a i e ex ha enuncia ed na ional
alues. ise no es ha he medie al cou ly omance se ed o emo e
a h ea o he s abili y o he sys em (ise , 1978, p. 78). cobb obse es
ha many o he ballads, hough his o ical, exude an ai o mys e y, a
ascina ion suspended be ween eali y and an asy (cobb, 1983, p. ix).
Ne e heless, hey emained associa ed wi h he na ional his o y, and
eade s o lis ene s expec ed o ind a clea ly delinea ed s o y abou
an impo an momen o pe sonage om he pas ha was consonan
wi h dominan alues.
la e poe s added ly ical and d ama ic elemen s o he omance.
in he nine een h cen u y, he oman ic poe s, such as ángel saa ed a,
el duque de i as, e i ed he omance, in pa , as a way o ebelling
agains he neo-classical emphasis on g eco- oman his o y. he omance
was a uly spanish poe ic o m a he han a o eign e se, ei he om
F ance o classical an iqui y. he oman ic poe s also p ized i s d ama ic
possibili ies o na a ing na ional his o y, e en as hey sh ouded i in
an ai o mys e y, as, o example, eade s easily no e in saa ed a’s Una
an igualla de Se illa. in his omance, he duque de i as ells he
s o y o ped o el c uel, celeb a ing his abili y o place himsel abo e
and ou side he social laws. saa ed a, like his con empo a ies, idealized

F ieda H. blackWell
36
igu es ha ebelled agains social mo es. Ne e heless, in spi e o all
i s poe ic embellishmen s, he s o yline o he omance emained in ac
and easily iden i iable. e en as he omance se ed he oman ic poe s
as a ehicle o social p o es , i main ained i s unc ion as a na a i e
o m. poe s o he la e pa o he nine een h cen u y, hough, ejec ed
he omance o i s excessi e exube ance.
he a is ic ebellion o he 1920s agains he limi a ions o ealism
b ough his adi ional o m back o popula i y. Whe eas, he oman-
ic poe s u ilized he omance o idealize his o y and his o ical igu es
ha embodied ebellion, he wen ie h-cen u y poe s used p ima ily he
o ma o he omance, e incing hei social ebellion by sub e ing i s
adi ional s o y elling unc ion. lo ca, mo e han any o he poe o his
gene a ion, u ilized he omance in his ashion. hus, as de o o and
spi ze conclude abou lo ca’s use o he ballad o m, El omance es
la o ma mé ica más ap opiada que se haya c eado el indi idualismo
español (de o o and spi ze , 1984, p. 390).
he i le, Romance o gi ano, p epa es he eade o lo ca’s sub-
e sion o a adi ional poe ic o m. as bel án has obse ed, he e y
i le is oxymo onic in ha while he omance is he o m mos con-
nec ed o spain’s na ional his o y and cul u e, he gi ano o gypsy is
by de ini ion nomadic and ahis o ic (bel án, 1986, p. 3). Fu he mo e,
he u iliza ion o he wo ld o he gypsies, a ace ma ginalized by span-
ish socie y, ep esen ed he in e sion o he unc ion o he omance
as he ansmi e o spain’s g ea his o ical momen s and pe sonages.
in he Romance o gi ano, lo ca sides eps he adi ional s o y elling
unc ion o he omance ei he h ough p o agonizing gypsies and na -
a ing he deeds o hese an ihe oes, choosing my hical s o ies in hei
mos p imi i e o ms, o in some cases, comple ely omi ing sequen ial
na a i e elemen s ha would p oduce a cohesi e ale. The omance,
hen, ga e lo ca he g ea es poe ic eedom wi hin adi ional poe ic
o ms while he d eamscape image y o su ealism simul aneously
allowed him o escape he poem’s ealis ic dimensions by sub e ing i s
implied equi emen o na a e cohesi ely. he o m o he adi ional
omance, wi h i s deep li e a y subs a a, s ands in ension wi h he
poems’ expe imen al su ealis ic con en . hus, lo ca e e s o one o
spain’s mos popula and olklo ic poe ic o m e en as he simul ane-
ously unde cu s he omance’ mos adi ional unc ion as ehicle o
na a ing na ional his o y and immu able cul u al alues. clea ly he
choice o he adi ional poe ic o m ga e lo ca he ad an age o a
ype o poe ic exp ession al eady popula and widely accep ed by he
decoNs uc iNg Na a iVe: lo ca’s RoMANCERo GITANo…
37
public. eade s lo ed he hy hm and ly ical na u e o he poems, and
many could soon quo e en i e omances al hough mos would ha e
been ha d p essed o o e any logical explica ion o e en summa y o
he poem hey had jus quo ed.
o all he omances in he Romance o gi ano, none has ecei ed
mo e c i ical a en ion and specula ion han Romance sonámbulo. lo ca
called i his a o i e and eci ed i he mos equen ly in public ead-
ings. He also commen ed epea edly abou his own inabili y o e usal
o gi e “ he meaning” o he poem. in a 1926 lec u e, he decla ed
nadie sabe lo que pasa ni aun yo (quo ed in bonaddio, 1995, p. 398)
elsewhe e, he decla ed:
El omance ípico había sido siemp e una na ación y e a lo na a i o
lo que daba encan o a su isonomía po que, cuando se hacía lí ico, sin
eco de anécdo a, se con e ía en canción. Yo quise undi el omance
na a i o con el lí ico sin que pe die an ninguna calidad y es e es ue zo
se e conseguido en algunos poemas del omance o como el llamado
omance sonámbulo (quo ed in bonaddio, 1995, p. 385).
lo ca said o he Romance sonámbulo, Es un hecho poé ico pu o
del ondo andaluz y siemp e end á luces cambian es, aun pa a el
homb e que lo ha comunicado, que soy yo (quo ed in bonaddio, 1995,
p. 398). in Imp esiones, lo ca w o e, La luz del poe a es la con adic-
ción (quo ed in Zule a, 1971, p. 187). ce ainly, many aspec s o he
Romance sonámbulo seem con adic o y. ca los bousoño has said, e en
i a poem does no communica e on he li e al, logical le el, i com-
munica es a he le el o emo ions (bousoño, Teo ía…, pp. 39-40). he
eno mous popula i y o Romance sonámbulo a es s o i s ouching an
emo ional no e deep in i s lis ene s. Howe e , lo ca’s e usal o iden i y
a na a i e le el o he omance poin s o his oblique unde cu ing o
es ablished modes o communica ing “o icial e sions” o his o y, as
adi ionally embodied in he omance and hus, by ex ension o he
au ho i y igu es ha suppo ed hose “o icial” discou ses.
a cu so y examina ion o he poem e eals ha i di ides in o ou
basic sec ions. he amous opening lines Ve de, que e quie o e de/
e de ien o, e de amas/ El ba co sob e la ma / y el caballo en la
mon aña connec wi h a adi ional olk song, as Juan amón Jiménez
has iden i ied (ci ed in bel án, 1986, p. 50). Howe e , hey make no
ob ious connec ion wi h he desc ip ion o he gypsy gi l d eaming on
he e anda ha ollows. pe haps, his disjoin ed jux aposi ion poin s o
a disjunc u e be ween adi ion and he cu en social si ua ion. subse-
F ieda H. blackWell
38
quen s anzas announce he a i al o he wounded compad e asking he
esiden o he house o allow him o die decen ly in a bed wi h linen
shee s. he poem hen includes he dialogue be ween he wo male
cha ac e s, who, a e a deba e o so s, climb ups ai s. la e , he gypsy
gi l appea s abo e he cis e n indica ing ha he physical posi ion has
changed, bu he poem o e s no explana ion o he mo emen . Finally,
he ci il gua ds a i e. he poem makes no ob ious connec ion be ween
any o hese na a i e agmen s. he opening line is epea ed be ween
he agmen o he gypsy gi l on he e anda and he a i al o he
wounded compad e. he wo opening lines appea again be ween he
agmen o he compad es climbing he s ai s and he gypsy gi l abo e
he cis e n. he las ou lines epea he opening s anza a ou h ime,
ending he ballad exac ly whe e i began. he male and emale igu es
ne e appea oge he in any o he agmen s enume a ed abo e no
does he poem p esen any in e ac ion be ween hem. he poem has
mo ed in a ci cle, a he han employing he linea s uc u e associ-
a ed wi h na a i e. he classic s uc u e o a he o o e coming some
obs acles o ob ain success and happiness alls apa in lo ca’s poem.
in ac , he agmen s seem o ha e no iden i iable beginning, middle
o end o de elopmen , climax and esolu ion, all elemen s equi ed
o a na a i e, as c i ics like No h up F ye de ine i . Fu he mo e, such
a classic s uc u e equi es mo emen h ough ime, ano he elemen
conspicuously absen om lo ca’s “d eamlike” poem. hus, eade s
expec ing a adi ional s o y when hey ead a omance ind hemsel es
an ically ying o connec he agmen s and ne e su e ha hey ha e
succeeded, because he poe ic oice o e s no help wi h he p ocess.
he opening lines se he one o he en i e poem. he only e b
ha appea s, “quie o” es ablishes an unde cu en o desi e o lo e. i
hen names wo g een objec s –wind and b anches. b anches, ypically
g een in he sp ing, indica e li e and ecundi y. Wind, howe e , does no
ypically bea he adjec i e g een, leading he eade o wonde how i
connec s o he idea o ecundi y o sexuali y sugges ed by he g een
b anches. he inal wo e ses iden i y objec s and hei loca ions –a
ship on he sea and a ho se on he moun ain. Nei he e ses con ains
a e b, exp essing a s a ic condi ion. Fu he mo e, on he mos li e al
le el, bo h exp ess a e y adi ional loca ing o hese objec s, s anding
in con as wi h he opening wo lines and hei uncon en ional use o
he colo g een. he poe ’s b o he F ancisco, who dedica ed an en i e
essay a emp ing o explain he colo g een in his opening s anza, w i es,
Hay en el e so una a i mación ola i a, p ecisa, in ensi icada pa a la
decoNs uc iNg Na a iVe: lo ca’s RoMANCERo GITANo…
39
ei e ación del é mino obje o de la olición. He con inues his a emp o
explain he epe i ion “ e de” in he opening lines s a ing, En el p ime
caso el e de inicial es el a anque del p oceso, el e de es c ea i o, la
olun ad se some e, se iñe de ma iz amo oso, el e de i adia, ib a,
hacia un e de más lige o, más ege al (F ancisco ga cía lo ca, 1984
pp. 267, 269). by he end o he essay, F ancisco ga cía lo ca has come
o in e p e his b o he ’s e se as de ining a c ea i e p ocess, in which
he poe is a god c ea ing a uni e se wi hin he wo ld o d eams o
he sleepwalke . as in e es ing as he eading is, i ails o connec he
opening s anza o he subsequen sec ions o he poem and makes no
a emp o explain how all he elemen s o he poem o m a cohesi e
s uc u e. he e ses simply lea e he eade wi h he emo ion o desi e,
c ea i i y, ecundi y o sexuali y combined wi h s asis o immobili y.
c i ics o he las hal -cen u y ha e a emp ed o in e p e Romance
sonámbulo by basing hei eadings on di e en elemen s o he ex .
he mos li e al eade s simply ocus on ying o pu oge he i ems
men ioned di ec ly in he poem. hey iden i y a dying con aband un-
ne om he po o cab a who seeks e uge in he home o iends,
pe haps his gi l iend and he a he . by poem’s end, bo h he and he
gi l ha e appa en ly died and he gua dia ci il appea s a he doo .
o he s ha e ead i as he s o y o a gi l wi h a a al a ac ion o he
moon. gus a o co ea claims ha he anecdo al base o he whole
collec ion (and by ex ension, Romance sonámbulo) is he li e, passion
and dea h o he gypsy, combining wi h my hic elemen s o c ea e a
new eali y (ci ed in debicki, 1981, p. 248). some ha e seen i as he
nigh ma e o wo lo e s seeking each o he in d eams o deli ium.
o he s o e a philosophical eading: he wo compad es who climb o
he heigh s ep esen he hope o escaping om anxie ies o he p esen
momen and he knocking o he gua dia ci il a he doo ep esen s
he unpleasan e u n o he ca es o daily eali y. bel án iden i ies he
s o y o a gypsy woman whose man is a away, i s en la mon aña
and hen bleeding o dea h, and ha hei union becomes inc easingly
una ainable, leading o he suicide (bel án, 1986, p. 48). He adds ha
he pa ia chal s uc u e ep esen ed by he olde man who ini ially
e uses he dying man en ance in o his house ein o ces he s e ili y
and lack o ul illmen o he emale igu e (bel án, 1986, p. 48).
upe allen, ocusing on he compad e’s ehemen denial o he
dying man’s eques o en e his house and die decen ly in a eal bed,
sugges s ha he unde lying na a i e in ol es an un ai h ul wi e, al eady
dead on he e anda, and a husband who has w eaked engeance on
F ieda H. blackWell
46
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