The pretty sister of José 1889 — Text and Context
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It had taken him a long time, and it had cost him--José--much hard labor, to prepare for his aged grandmother and Pepita the tiny home outside Madrid, to which he at last brought them in great triumph one hot summer’s day, when the very vine-leaves and orange-trees themselves were dusty. It had been a great undertaking for him in the first place, for he was a slow fellow--José; slow as he was dull and kind and faithful to Pepita and the grandmother. He had a body as big as an ox, and a heart as big as his body, but he was slow and dull in everything but one thing--that was his carpenter work. He was well enough at that, and more than well enough, for he had always had a fancy and a knack for it from the time when as a boy he had worked in his uncle’s vineyards and tilled his fields and fed his beasts. His uncle had been counted a rich man among his neighbors, but when his sister and her husband died and left the two children, José and Pepita, penniless, and with no protector save himself and their grandmother, already an old woman, it was upon the grandmother that the burden fell, for he did nothing for them except to give them, grudgingly now and then, a few poor vegetables or a little fallen fruit. It is true that when José was old enough to labor in the fields he gave him work to do, but he paid him ill and treated him ill also, giving him poor food and harsh words, and often enough blows the poor lad did not deserve. So it came about that while he was at his work José fell into the way of planning to escape from all this, and make another home for himself and his pretty child-sister and the old woman. He knew there was only one way to do it: if he could carry his one gift where it would be of more use to him than it could possibly be in a poor small village; if he could carry it to a market where there were more people and where work was better paid for. Where the king and queen were, of course, there must be more money, and one could find more to do and live better. It was Padre Alejandro, the village priest, who had suggested this to him first. He was a kind, jovial old fellow, the padre, and had seen something of the world, too, long ago, which was perhaps why he was never very hard upon a simple sinner who went to confession, and could give a bit of unecclesiastical advice now and then. He had always been kind to José, and as Pepita had grown prettier and prettier every day, he had often spoken of her to old Jovita, and said she should be well taught and taken care of, and once even--when she had come into the house with a basket of grapes on her little head, rose-flushed with the hot day, her black hair curling in moist silken rings on her forehead--he had been betrayed into the worldly remark that such pretty young things ought to have something brighter to look forward to than hard work and scant fare, which made them old before their time, and left them nothing to look back upon. But he only said it to Jovita, and Jovita only stared a little, it never having occurred to her that there was anything much in the world but hard labor and poverty. And what difference did it make that one was pretty, except that it became more probable that some gay, lazy fellow would pretend to fall in love with one, and then after marriage leave one all the work to do and a houseful of hungry children to feed? She had seen that often enough. Had it not been so with Pepita’s mother, who died at twenty-five almost an old woman, worn out with trouble and hard usage?
But afterward, when Padre Alejandro saw José, he spoke of Pepita to him also, though only as if incidentally among other things.
“She should marry some good fellow who could take care of her,” he said. “If you go to Madrid it will also be better for her.”
And so the end of it all was that after much slow planning and many hopes and fears, and more than one disappointment, there came a day when the uncle was thrown into a violent rage by losing his best and most patient worker, and the poor cottage stood empty, and José and Pepita and Jovita found themselves in a new world.
The novella opens with a striking contrast between José's slow, ox-like endurance and his sister Pepita's volatile pride. Burnett establishes this tension early: José, a carpenter who has saved for years to move his grandmother and sister to a cottage near Madrid, is described as 'slow as he was dull and kind and faithful.' Pepita, by contrast, is introduced through her reaction to a bullfighter's public gesture—the throwing of his devisa, a ribbon of honor. She sweeps it from her knee and sets her foot upon it, declaring she would 'tread upon them all.' The scene crystallizes a pattern of defiance and wounded pride that reverberates through the excerpts.
The Weight of José's Labor
José's backstory occupies the first chapter's opening paragraphs, and Burnett dwells on the physical and emotional cost of his ambition. He is a 'slow fellow' who worked in his uncle's fields for poor food and harsh words, saving to build a home for his 'pretty child-sister and the old woman.' The prose emphasizes his body—'as big as an ox'—and his single gift: carpentry. The village priest, Padre Alejandro, suggests Madrid as a market where skill is better rewarded. This economic realism grounds the romance: José's triumph is a tiny home with vine-leaves and orange-trees, achieved through years of 'hard labor.' The narrator notes that José is 'well enough' at carpentry, but the word 'enough' carries a hint of limitation. His devotion is unquestioned, yet the story's emotional weight shifts away from him as Pepita's drama unfolds.
Pepita's Defiance and the Devisa
The bullfight scene is the narrative's fulcrum. Sebastiano, the matador, throws his devisa—a 'knot of gay, rich ribbon'—onto Pepita's lap. The crowd interprets this as a signal of favor, but Pepita's response is swift and brutal: she laughs, waves her fan, and lets the ribbon fall, then sets her foot upon it. Old Jovita mutters, 'She has trodden upon it. She is ready for the devil.' José is 'struck dumb.' The narrator describes Pepita's 'crimson' cheeks and 'ablaze' eyes; she insists she will go home, not to the pleasure-gardens. Burnett leaves the motive ambiguous—'What had occurred to her? What had Sebastiano done?'—but the gesture is unmistakably a public rejection. The devisa becomes a charged object: a token of admiration transformed into a symbol of insult, picked up later by Jovita, who carries it home 'grumbling fiercely.'
Silent Gazes and Unspoken Tensions
Earlier in the bullfight, Burnett builds a quieter tension through Sebastiano's perspective. He notices Pepita's 'lovely eyes glowed under their drooping lashes' but only with excitement for the sport, not for him. He resolves not to look at her, but 'some irresistible feeling' conquers him. When he does, he finds her eyes 'fixed upon him with a strange steadiness, as if perhaps they had been resting upon him for some minutes and she had forgotten herself.' This moment of mutual gaze—interrupted by the crowd's applause—is the only hint of reciprocal feeling before the devisa incident. The narrator attributes Sebastiano's earlier frustration to her apparent indifference: 'She has a bad heart, or none at all.' But the steady look suggests otherwise. Burnett withholds explanation, letting the silence between the two characters carry more weight than any dialogue.
Readers attentive to gesture and object will find Burnett's method rewarding: the devisa, the fan, the threshold of the cottage—each carries a weight that dialogue alone does not. The novella's brevity (under 24,000 words) means every scene counts. Watch how José's steady labor contrasts with Pepita's sudden, unexplained passions, and how the narrator's voice shifts from patient exposition to sharp, almost theatrical confrontation. The story does not resolve its tensions easily; it leaves them suspended, like the ribbon in the dust.
I remember watching my grandmother fold her ribbon-tied letters, each one a small ceremony of pride and longing. Pepita's devisa made me think of that—how a tossed token can mean everything or nothing. The Black Cross — Edition Insights gave me that same ache, the weight of a symbol carried quietly through a life.
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