El Acoso, in addition to its many virtues as a novella, is a rare successful attempt meaningfully and consistently to represent in a literary work the complex structure, tone, and rhythm of a specific musical work (Beethoven's Eroica). (p. 103)
Both works of art represent radical creative departures for Beethoven and Carpentier. The Eroica is a symphony that revolutionized symphonic structure—the continuous and organic mode of connecting the second subject with the first, the introduction of episodes into the development, the extraordinary importance of the Coda, are all complete departures from previous musical tradition. In "El Acoso," also, we have an intensification of a highly technical structure, plot, and presentation of characters. Carpentier's deep knowledge of music seems to have led him to adapt many of Beethoven's musical techniques. He succeeds, as did Beethoven, in creating a work whose emotional impact is enhanced, rather than overwhelmed, by intricate technical complexity. If we were to choose a common characteristic in the structural and thematic elements of both works, we would have to say that both represent great examples of the mystery that is the dialectic of art: the wedding of simplicity and complexity.
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