The Winds Which Stir Antonio

Though it does not play the most important role in Bless Me, Ultima by Rudolfo Anaya, wind does play a significant part in the story. Throughout this coming of age story, important changes become predictable through the wind. This symbol is used as both a foreshadowing tool, as well as a metaphor. When Anaya, mentions “wind,” the reader can rest assured that the story’s protagonist, Antonio is about to experience an event that will leave an impression on his soul. The type of wind that Antonio speaks of can also predict the nature of such events. The winds that stir Antonio strip away his innocence and help him to realize that he is in control of his destiny. They lead to spiritual growth and understanding. These winds gave Antonio a deeper understanding and knowledge than his peers.

In the first chapter, Anaya refers to the wind on two different occasions. The first is during the birth of Antonio, when his parents’ families feuded over the future of the newborn. However, when Antonio first meets Ultima, Anaya uses the wind in a more significant manner. To Antonio, this meeting was the beginning of the changes that were to come. He says, “She took my hand, and I felt the power of a whirlwind sweep around me” [italics mine] (12). From this point on, Antonio began to see the world in a new and exciting way.

Unfortunately, the winds in Bless Me, Ultima do not always bring forth enjoyable changes for the young boy. Though the wind brings changes that cause positive spiritual growth, they tend to do so in a more ominous manner. In chapter six, Antonio describes the dark, evil power of the wind or dust devils. All of Antonio’s acquaintances know the unnatural, evil power of these vicious winds; therefore, they ward the devils off with “the sign of the cross.” Out of curiosity, Antonio purposely does not ward off the dust devil and says after he was struck by the wicked wind, “its evil was left imprinted on my soul” (55). Afterward, Antonio takes his first step toward losing his innocence. He now enters school where he begins his long, tumultuous quest of learning.

More innocence is lost as Antonio’s family learns of a curse that has been put on an uncle, Lucas. He had happened upon the Trementia sisters, known witches, celebrating their black mass. During this encounter, the wind was dreary and cold, which gives a sense of death. The winds are just as menacing as Pedro, Antonio, and Ultima travel to free Lucas from his curse. All around the trio, a brutal dust storm violently rips through the landscape. The skies are dark. This gives the reader with an impending sense of doom and wickedness. The events that followed signified an important turning point in Antonio’s life. This was when Antonio first began to question God and his faith. Antonio could not understand how Ultima had the power to free Lucas from his curse, but God did not. This moment caused a struggle between faith and magic that would follow Antonio throughout the book. Another important event that lead to significant change and reinforced the struggle between magic and faith was the death of Narciso. Before his death, Narciso challenged the blizzard, or, in order to warn his friend, Ultima, of Tenorio’s threat on her life. This cold, fierce, blinding north wind was symbolic for the death that was soon to follow. However the death that coincided with the blizzard was not only the death of Antonio’s friend, but also the symbolic death of his admiration of his older brother Andrew.

Though other winds blow throughout the book, the winds in the final chapter bring an end to this particular journey in Antonio’s life. The winds here bring forth peace and clarity.  His father, for the first time, allows Antonio to be free to choose his future. He tells the young boy that he is descended from people “who held the wind as brother, because he is free” (247). His father goes on to tell him that his mother is from the earth and the two are often “at odds” with one another. Furthermore, the final winds in Bless Me, Ultima are mournful and serene, and they are even found in Ultima’s final words. She tells Antonio he will be able to find her in the gentle winds of the evening (261). This final change and final mention of the wind had brought Antonio closer to maturity than his peers. It left him stripped from his innocence and in control of his future.

Works Cited

Anaya, Rudolfo. Bless Me, Ultima. New York: Grand Central, 1972.

Samuel Taylor Coleridge

The Eolian Harp

composed at clevedon, somersetshire

My pensive Sara! thy soft cheek reclined

Thus on mine arm, most soothing sweet it is

To sit beside our Cot, our Cot o’ergrown

With white-flowered Jasmin, and the broad-leaved Myrtle,

(Meet emblems they of Innocence and Love!)

And watch the clouds, that late were rich with light,

Slow saddening round, and mark the star of eve

Serenely brilliant (such would Wisdom be)

Shine opposite! How exquisite the scents

Snatched from yon bean-field! and the world so hushed!

The stilly murmur of the distant Sea

Tells us of silence.

                            And that simplest Lute,

Placed length-ways in the clasping casement, hark!

How by the desultory breeze caressed,

Like some coy maid half yielding to her lover,

It pours such sweet upbraiding, as must needs

Tempt to repeat the wrong! And now, its strings

Boldlier swept, the long sequacious notes

Over delicious surges sink and rise,

Such a soft floating witchery of sound

As twilight Elfins make, when they at eve

Voyage on gentle gales from Fairy-Land,

Where Melodies round honey-dropping flowers,

Footless and wild, like birds of Paradise,

Nor pause, nor perch, hovering on untamed wing!

O! the one Life within us and abroad,

Which meets all motion and becomes its soul,

A light in sound, a sound-like power in light,

Rhythm in all thought, and joyance everywhere—

Methinks, it should have been impossible

Not to love all things in a world so filled;

Where the breeze warbles, and the mute still air

Is Music slumbering on her instrument.

    And thus, my Love! as on the midway slope

Of yonder hill I stretch my limbs at noon,

Whilst through my half-closed eyelids I behold

The sunbeams dance, like diamonds, on the main,

And tranquil muse upon tranquility:

Full many a thought uncalled and undetained,

And many idle flitting phantasies,

Traverse my indolent and passive brain,

As wild and various as the random gales

That swell and flutter on this subject Lute!

    And what if all of animated nature

Be but organic Harps diversely framed,

That tremble into thought, as o’er them sweeps

Plastic and vast, one intellectual breeze,

At once the Soul of each, and God of all?

    But thy more serious eye a mild reproof

Darts, O beloved Woman! nor such thoughts

Dim and unhallowed dost thou not reject,

And biddest me walk humbly with my God.

Meek Daughter in the family of Christ!

Well hast thou said and holily dispraised

These shapings of the unregenerate mind;

Bubbles that glitter as they rise and break

On vain Philosophy’s aye-babbling spring.

For never guiltless may I speak of him,

The Incomprehensible! save when with awe

I praise him, and with Faith that inly feels;

Who with his saving mercies healèd me,

A sinful and most miserable man,

Wildered and dark, and gave me to possess

Peace, and this Cot, and thee, heart-honored Maid!

Kubla Kahn

In Xanadu did Kubla Khan

A stately pleasure-dome decree:

Where Alph, the sacred river, ran

Through caverns measureless to man

Down to a sunless sea.

So twice five miles of fertile ground

With walls and towers were girdled round:

And there were gardens bright with sinuous rills,

Where blossomed many an incense-bearing tree;

And here were forests ancient as the hills,

Enfolding sunny spots of greenery.

But oh! that deep romantic chasm which slanted

Down the green hill athwart a cedarn cover!

A savage place! as holy and enchanted

As e'er beneath a waning moon was haunted

By woman wailing for her demon-lover!

And from this chasm, with ceaseless turmoil seething,

As if this earth in fast thick pants were breathing,

A mighty fountain momently was forced:

Amid whose swift half-intermitted burst

Huge fragments vaulted like rebounding hail,

Or chaffy grain beneath the thresher's flail:

And 'mid these dancing rocks at once and ever

It flung up momently the sacred river.

Five miles meandering with a mazy motion

Through wood and dale the sacred river ran,

Then reached the caverns measureless to man,

And sank in tumult to a lifeless ocean:

And 'mid this tumult Kubla heard from far

Ancestral voices prophesying war!

The shadow of the dome of pleasure

Floated midway on the waves;

Where was heard the mingled measure

From the fountain and the caves.

It was a miracle of rare device,

A sunny pleasure-dome with caves of ice!

A damsel with a dulcimer

In a vision once I saw:

It was an Abyssinian maid,

And on her dulcimer she played,

Singing of Mount Abora.

Could I revive within me

Her symphony and song,

To such a deep delight 'twould win me

That with music loud and long

I would build that dome in air,

That sunny dome! those caves of ice!

And all who heard should see them there,

And all should cry, Beware! Beware!

His flashing eyes, his floating hair!

Weave a circle round him thrice,

And close your eyes with holy dread,

For he on honey-dew hath fed

And drunk the milk of Paradise.

I have always enjoyed Coleridge’s poetry. I like the imagery that Coleridge used in these two poems. Coleridge paints a beautiful picture. There is a dark undertone to his poetry as well. From what I have read, all Romantics have that particular element.

Coleridge sees himself as a priest-like visionary with a connection to God. Coleridge feels it is his responsibility to share the vision of God to the people. Like Wordsworth, Coleridge’s vision of God comes from nature.

“And that simplest lute,….Is Music slumbering on her instrument.” (lines 13-33)

Coleridge sees the poet as the lute, and the breeze is his muse. She gives him songs of beauty and God. These songs were meant to uplift the soul of man. The poet must translate these songs for the rest of us to hear, so that we all see the light. If the poet does not translate the “Music” or the message, then the message will never be heard.

“And what if all of animated nature….At once the Soul of each, and God of All?” (lines 44-48)

If we all were poets, our words would mean little. The rational or “intellectual breeze,” would change the meaning of nature, the meaning of God.

“On vain Philosophy’s aye-babbling spring….Peace, and this cot, and the, heart-honored Maid!” (lines 57-64)

Coleridge tells us that while he is in nature, down by the spring, he is with God. Coleridge goes on to say that he was “a sinful and most miserable man,” but because he found peace in his God, he has peace and beauty in his life.

“A damsel with a dulcimer…That sunny dome! those caves of ice!” (lines 37-47)

The narrator saw a woman in a vision. She sang a song that filled him with peace and happiness. Her song told the narrator that he must help to rebuild a paradise. The paradise should be well balanced.

Unlike Blake, Coleridge sees himself as more of a translator or priest-like visionary than a god-like prophet. Blake says, “Hear the voice of the bard! Who Present, Past, & Future sees;…” In other words, Blake is saying, I am all knowing and all seeing. Coleridge is more subtle with his message. In “The Eolin Harp” he says, “And the simplest lute…” This can be translated as I am just a simple instrument which nature uses to spread her message.