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Philanthropy In The Work The Pencil Of The Carpenter Of Manuel Rivas

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Philanthropy in the work The pencil of the carpenter of Manuel Rivas

The carpenter pencil is the most successful work of the writer Manuel Rivas, which was published in 1936 and resulted in his subsequent film released in 2003. Narrated in the first and third person, the work transfers to the reader in the context of the Spanish Civil War, where nationalists against Republicans faced each other in a close and bloody war for the taking of power in Spain. Among this struggle of ideals and power, a love story develops in times of war, between dr. Da Barca and Marisa Mallo. However, this romance is stubborn by the envy and selfishness of the Herbal Guard that will do everything possible to undo this love so that his corresponded is.

This work transforms metaphors of suffering and misfortune in reality, developing a hostile and depressive atmosphere, where death wanders for each cell in search of its sister, life. Herbal stood out for having a personality dominated by a subconscious entity, which was locking on the repentance he felt for shooting a prisoner and collecting his carpenter pencil. The philanthropic personality of Dr. Da Barca represents hope in this chaotic environment, spreading its principles to other inmates who expect the culmination of war and the emergence of a free Spain. Finally, Marisa Mallo’s perseverance proposes a new meaning for love, whose principle will be faith and struggle for the adversities that will finally take him with his beloved.

In conclusion, Rivas alleges in his work the desperate facts that prisoners livethe antipathy and greed of those who prohibit it.

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The philanthropists against the internal war

Written at the time of the twentieth century, the carpenter pencil is the most successful literary work of the journalist, essayist, poet and writer Galician Manuel Rivas published in 1998. His success was such that in 2003 his own feature film was released. This novel transfers to the reader (a) for a trip of memories contexting it (a) in the prisons of Galicia during the Spanish Civil War (1936-1939), where jealousy and envy of a guard face the love and hope of acouple that will do all the possible as possible to meet each other. However, the personal development of some characters generates the unknown of knowing to what extent the philanthropic actions of the individual contribute to investing a chaotic environment to a peaceful one?

A first point that is decisive to understand the novel is its context and its plot. The civil war in Spain was an armed conflict that involved an ideological and political struggle between two sides, the Republican and the rebel. However, Rivas does not focus his perspective in the battles of the front between soldiers, but in the rear, specifically of the rebel side, where the orders of the high command were to use “as much violence as necessary” (Galán, 2005). In this chaotic environment of suffering and despair it is reflected in the space where the novel develops, the prisons of Galicia, where the philanthropic actions of the characters attenu.

The plot that presents "the carpenter’s pencil" is about a guard called Herbal, who from his childhood, thanks to his relatives, was taught to hate and kill without regrets. However, on one occasion he was ordered to fine an innocent man, known as the painter, taking a carpenter’s pencil that he loaded in his ear. Such an event marks the beginning of the end of Herbal, because, throughout history, he begins to listenIn love, dr. Da Barca, not realizing the unwavering spirit that he forged in others by preaching his philanthropic actions.

Another point to consider is DR behavior. Da Barca along the plot. This character is presented as a "revolutionary" Republican ideologist, who falls in love with Marisa Mallo, although this belongs to a wealthy family that supported the rebel side in Galicia. The preaching and debates that formed Da Barca in the squares and universities led him to the unfair prison on the orders of the sergeants of the national side. However, this was not an impediment to Da Barca, who continued with the preaching of his ideals and formed friends in the prisons where he was, because his positive attitude and the help he offered to other inmates not to fall into despairwas worthy of accrediting.

One of the many iconic situations that reflect the above within the dining room in the Corsal of Coruña. The doctor. Da Barca begins to mention an imaginary banquet that is served one of his companions, Genghis Khan. This at first was incredulous, but when time passed it was hypnotized by the illusion of savoring each dish. The other inmates in the dining. The change of environment in this case is evident. Da Barca manages to invest the attitude of prisoners just by hypnotizing them into a peaceful environment, turning the situation of chaos into relief that generates hope in his companions.

The aforementioned fact exposes a subtle but sufficient philontropic action to forget the depressive situation in that Cáál, metaphorizing that the "human disposition" (Faerna, P.1) For attending other individuals, it can counteract a problem in common and relieve alternatives that favors their own integrity. Likewise, philontropic actions can also spread to other individuals. As the scene demonstrates, where the dr. Da Barca was on a transfer trip during raw winter in Medina del Campo with Herbal and another officer. They had launched a chestnut sack that was sent by Genghis Khan as thanks to the doctor, as if the karma had arrived just in time.

In the second instance, there is Herbal’s personal development, this being at the beginning of the work a cruel and selfish man, which makes us think that he is the novel’s antagonist, this interpretation being a fallacy, since his actions are counterproductiveto its goal, which was to reach the heart of Marisa Mallo, achieving only lengthening her suffering by keeping her away from her beloved, Dr. Da boat. This fact represents a disoriented individual, unable to distinguish the good from the bad due to their own ego. In spite of this, it can still be redeemed thanks to the painter who teaches him to perceive the essence of the murals through the pencil that this loads at all times.

The change that Herbal implies getting rid of the ego that carries his heart, which implies forgetting his past and letting go to the woman he loved from her childhood. However, it was something that Herbal did not achieve on his own, so the late painter played a very important role for his internal conflict for love and hate. On the other hand, the actions that the DR. Da Barca performed in the jail of Coruña had a great impact of the majority of people who were in the place, giving rise to Herbal perceives the positive consequences of philanthropy in a chaotic environment. In this way, Herbal could better appreciate his own selfish when he stopped being the shadow (Rivas, 1998, p. 65) of DR. Da boat.

At this point you can highlight the last words that the dr. Da Barca tells Herbal before leaving. "Your thing is not tuberculosis. It’s from the heart ”(Rivas, 1998, p. 304). This phrase appears a petition for Herbal to understand and treasure his own life, leaving his ego aside so he can remedy his mistakes. Da Barca’s support towards Herbal with those words is subtle, but enough to be able to generate change in Herbal and can be remembered for this as "the best life has given me" (Rivas, 1998, p. 305). In this way, Rivas makes its history more expensive with the reform of a heart bitter by ego through love, acceptance and philanthropy of individuals who face a chaotic situation.

The plot of the work is neglected to consider the style that Rivas uses in the prose of the paragraphs. This prose is narrated in the second and third person, making it diverse and reflects the feelings of the protagonists when telling the story, which is convenient to represent the consequences that the philanthropic actions of the characters have in their environment. On the other hand, Rivas’s avant -garde style complicates the understanding of his text, inciting the reader to reread and intertwine the chapters to understand how the development of the characters is involved in a lyrical object, the carpenter pencil, and what implications are implicationsgive so that this is transmitted from person in person.

In conclusion, in the work "The pencil of the carpenter" not only highlights love as a strong point in its history, but also overcoming a war that affects each individual in different ways, where they develop another perspective of their ownway of living for themselves and for others. For this reason, Rivas represents in Da Barca a positive and philanthropic attitude that counteracted the adversities of a gloomy and depressive environment to invest in hope and faith for the other individuals.

Bibliography

  1. Sphere. (March 14, 2017). PSYCHOLOGY MADRID. Obtained from https: // spherepsicologosmadrid.com/Blog/El-Altruism-Y-Sus-Manifestations/
  2. Faerna, á. (s.F.). Altruism. La Mancha, 1.
  3. Galán, e. (2005). A history of the civil war that nobody goes to. Barcelona: Planet.
  4. Garcés, c. (July 27, 2018). Patrimonial advisors. Obtained from http: // www.Patrimonial advisors.com.MX/Blog/Filantropia-VS-Altruism/
  5. Rivas, m. (1998). THE PAPIZ THE CARPENTER. Galicia: Alfaguara.

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