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In lieu of an abstract, here is a brief excerpt of the content: Chapter 13 The Pornographic Subject of Los borbones en pelota Lou Charnon-Deutsch In 1991, Ediciones El Museo Universal published an album of 89 watercolors, originally titled Losborbones en pelota, under the title Sem. The watercolors, signed 'Sem' or 'Semen' are thought to have been painted by Valeriano and Gustavo Becquer, sometime during the period of 1868-69. The two dimensions of the Becquer watercolors, the sexual and the political, intersect in important ways that have been touched on only briefly by commentators Lee Fontanella, Robert Pageard, and Maria Dolores Cabra Loredo, whose studies are included in the Semvolume. In the introduction to the Sem collection, an unnamed editor speculates that with this publication famed poet Gustavo Adolfo Becquer (1836-70) will be rescued from four generations of purgatory and located not in the paradise expected for the author of the sublime Rimas y leyendas, but in hell. It is not that Gustavo and his brother Valeriano Dominguez Becquer (1833-70) will goto hell for what they have created, but that their lives will at last be seen as a living hell (7), a chaos of sentiment and sex that has remained partially veiled to us until some unnamed party sold the Sem watercolors to the Biblioteca Nacional in 1986. To the distant call bgm ultraman tiga download. Now the editor, 274 THE PORNOGRAPHIC SUBJECT OF 'LOS BORBONES.' + 275 together with commentators Fontanella, Pageard, and Cabra, can truly unveil the Becquer brothers, 'bringing to light'1 a corrected version that will act as a 'mirror to our world' (10).2 I have paraphrased the editor's remarks in order to demonstrate the extent to which Queen Isabel II, featured in so manyof the watercolors, is still used to reveal not just the seamier sideof her sexual deportment, but a fuller, more accurate vision of the artists who imagined her sexual excess.

For modern-day viewers, the queen's body not only bears evidence of the terrible nothing behind the lifted veil, it provides a mirror that permits us both to see these men in a different light, and to view Isabeline society for what it really was. How at odds the fleshy and grotesque body of the queen seems with the ethereal specter of Becquerian rhymes and legends.3 Yetthe use value of both is not significantly different. Ironically, our modern use of the queen's body as 'espejo' of the poet's disordered lives and times tallies well with the narcissistic love object that peoples Becquer's works, the woman who the narrator of 'El rayo de luna' says, 'thinks like I think, likes what I like, hates what I hate, a kindred spirit, the complement to my being' (169).4 If Becquer imagined the essence of poetry as a veiled, ethereal woman, we imagine the essence of Becquer as a soul tortured by the vulgarity and excesses of Isabel's reign, personified in the queen's wanton sexual activities. Poverty, venereal diseases, dissipation, broken marriages, burdensome family responsibilities, and changing political and professional alliances all contributed to the untidy existence of the Becquer brothers, but they do not explain why they may have chosen the queen and her entourage as their target for the caricatures they produced and possibly circulated among their friends, especially since they were under the protection of the court before it disbanded.5 Nor do they explain the emphatically obscene content of so many of the sketches.