The Circular Structure of Valle-Inclán's Ruedo ibérico

Abstract

The intricate architectural structure of Valle-Inclán's Ruedo ibérico is one of the trilogy's most original features. Not only does the work portray what is going on throughout that ruedo during the last months of Isabel II's reign, but the individual novels and their constituent parts have been constructed in the form of circles as well. Books i and ix, ii and viii, iii and vii, and iv and vi in both La corte de los milagros and Viva mi dueño bear many and close relationships with each other, leaving Book v in each case as the axis upon which the others revolve. Therefore, every book of Corte and Viva, with the exception of the two central books, has a sister book within the given novel with which it shares setting, characters, and subject matter. However, this broad general circularity is the merest beginning of the total revolution of the Ruedo. In addition to the relationships between certain books within a novel, each book is itself constructed in the form of a circle, as are some of its chapters. Finally, given books in one novel are parallel to their counterparts in the other. Valle-Inclán's use of the circle as an organizational device was not an arbitrary choice. On the contrary, the Ruedo ibérico is a synthesis of form and content whose origin will be found to lie in certain concepts expressed in such earlier works as La lámpara maravillosa and La media noche.