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Introductory Note to the Reader Since I
was in primary school, the nickname “Magón” was present in our Spanish
classes. But I never took the time to read anything by this Costa Rican
author, Manuel González Zeledón. When I
got the chance to go to a local bookstore in San José, Costa Rica, and after
purchasing a cookbook for celiacs and The Arabian Nights (in Spanish)
for my wife, I was given—for free—an anthology of short stories where El
Clis de Sol was the first story. I guess
it was time to read Magón for the first time. This story of his, which my
wife enjoyed and laughed at, is by far one of, if not the best, short stories
ever written by a Costa Rican penman. |
The Structure, Irony, and Character of Ñor Cornelio in El Clis de Sol by Manuel González Zeledón
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Abstract This paper examines El
Clis de Sol, a short story by Manuel González Zeledón (“Magón”), through
an analysis grounded in The Arrangement of Events in a Story framework
created by Prof. Acuña-Solano (n.d.). The study explores the story’s linear
sequence of events, the use of irony, and the central role of ñor Cornelio
Cacheda, whose beliefs, personality, and interpretive framework embody
the social critique embedded in the text. Drawing on quotations from the
SINABI edition, the analysis highlights Cornelio’s worldview—shaped by folk
religiosity, limited scientific understanding, and cultural stratification.
Through affectionate irony, Magón portrays Cornelio as both humorous and
sympathetic, revealing a deeper commentary on superstition, knowledge, and
rural identity in nineteenth-century Costa Rica. The paper concludes that the
story’s structural clarity and character construction work together to expose
how cultural “truths” are formed, legitimized, and transmitted. |
Keywords: Magón, Manuel González
Zeledón, Costa Rican Literature, Irony, Short Story Analysis, ñor Cornelio
Cacheda, Narrative Structure, El Clis de Sol |
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Resumen Este artículo examina El
Clis de Sol, cuento de Manuel González Zeledón (“Magón”), mediante un
análisis sustentado en el marco The Arrangement of Events in a Story
creado por el Prof. Acuña-Solano (n.d.). El estudio analiza la secuencia
lineal de eventos del relato, el uso de la ironía y el papel central de ñor
Cornelio Cacheda, cuyas creencias y forma de interpretar el mundo
condensan la crítica social presente en el texto. A partir de citas tomadas
de la edición del SINABI, se demuestra cómo la cosmovisión de
Cornelio—marcada por la religiosidad popular, la falta de conocimiento
científico y la estratificación cultural—genera tanto humor como reflexión. A
través de una ironía afectuosa, Magón construye una figura entrañable y
simbólica del campesino costarricense, revelando tensiones entre tradición,
superstición y modernidad. El artículo concluye que la estructura narrativa y
el desarrollo del personaje trabajan conjuntamente para mostrar cómo se
forman y perpetúan las “verdades” culturales. |
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Resumo Este artigo analisa El
Clis de Sol, conto de Manuel González Zeledón (“Magón”), utilizando o
marco The Arrangement of Events in a Story, criado pelo Prof.
Acuña-Solano (n.d.). O estudo explora a sequência linear dos eventos, o uso
da ironia e o papel central de ñor Cornelio Cacheda, cujas crenças e
visão de mundo refletem a crítica social implícita no texto. Com base em
citações da edição do SINABI, evidencia-se como a cosmovisão de
Cornelio—marcada pela religiosidade popular, pela ausência de entendimento
científico e pela estratificação cultural—produz humor e crítica social ao
mesmo tempo. Por meio de uma ironia afetuosa, Magón retrata Cornelio como uma
figura simpática e representativa do campesinato costa-riquenho, destacando
tensões entre superstição, tradição e modernidade. O artigo conclui que a
clareza estrutural e a construção do personagem revelam como as “verdades”
culturais são criadas e legitimadas. |
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Introduction
Manuel González Zeledón
(“Magón”) presents in El Clis de Sol a deceptively simple rural anecdote
that conceals a deeper social critique in Costa Rica. The story, told through
the voice of the narrator who recounts what his friend ñor Cornelio Cacheda
told him, uses irony, folk beliefs, and character contrast to explore themes of
superstition, innocence, and social stratification. Using The Arrangement of
Events in a Story framework created by Prof. Acuña-Solano (n.d.) for the
sequencing of event in stories, the narrative structure will be analyzed focusing
on Cornelio as a central figure whose personality and worldview embody the
story’s social commentary and criticism.
Sequence of Events and Use of
Quotation
The narrative of Magón’s short story begins with
an explicit framing:
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“No es
cuento, es una historia que sale de mi pluma como ha ido brotando de los
labios de ñor Cornelio Cacheda” (González Zeledón, Magón, 1896/ n.d., p. 1). |
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This
opening establishes that what follows is not pure fiction but a retelling of
Cornelio’s own testimony and life experience, lending a sense of authenticity
while immediately introducing the character. The subsequent events unfold
linearly: Cornelio comes to the narrator with his twin daughters. Cornelio
explains (in his own colorful voice) the strange circumstances of their birth,
links them to a past solar eclipse (“clis de sol”), and offers his reasoning
involving his wife’s behavior, divine power, and the explanation given to him
by an Italian maestro.
The chronological structure is deliberate: the
explanation builds gradually, as Cornelio unpacks his story with humor, pride,
and conviction. There is no flashback or complex rearrangement, which keeps the
focus on Cornelio’s account and highlights how his worldview emerges naturally
from his day-to-day life.
Plot Actions, Conflict, and Irony
The core of the action found in the short story’s
plot revolves around Cornelio’s recounting of his twin daughters’ birth, his
interpretation of the eclipse, and what this solar phenomenon caused in his
wife, Lina. One of the most telling moments found in his recounting of the
story is when Cornelio says:
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“Usté
sabe que hora en marzo hizo tre años que hubo un clis de sol … como unos
veinte días antes Lina, mi mujer, salió habelitada de esas chiquillas …
siempre ispiando pal cielo” (González Zeledón, Magón, 1896/ n.d., p. 2). |
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Here,
Cornelio connects his wife’s strange restlessness, her constant watching of the
sky, and the solar eclipse. In his way of making sense of what has happened to
Lina, he believes, and he sincerely argues, that the eclipse had a supernatural
influence on the birth of the twins, which, to modern scientific eyes, is
obviously misguided, and to 19th century eyes, is suspicious and not
credible. But Magón does not merely mock Cornelio while listening to his tale;
instead, he stages this logic with affectionate irony, something Cornelio, in
his “simplified” mind is not able to comprehend.
What the reader witnesses through his reading of
the Magón’s story is that there is a Society vs. Individual conflict
(Cornelio’s beliefs vs. scientific / educated perspectives) but also an Individual
vs. Self dimension: Cornelio is proud of his explanation, yet he seems
aware that others might think him ignorant. He laughs when he says:
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“¿Pos no
había de rirme, don Magón, cuando veo que un probe inorante como yo … sabe
más que un hombre como usté que todos dicen que es tan sabido …?” (González
Zeledón, Magón, 1896/ n.d., p. 1). |
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This
line in the story reveals his self-deprecating humor and also his challenge to
social hierarchies: the “ignorant” campesino claims a kind of epistemic
authority over the learned narrator. Cornelio Cacheda has “the explanation” as
to why his twin daughters are very different from what he looks.
Character Analysis: Ñor Cornelio
Cacheda
Personality and Social Position
Ñor Cornelio Cacheda is portrayed by Magón as a
rustic, uneducated campesino, but one with a strong sense of dignity, family
pride, and religious faith. The narrator describes his daughters:
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“ambas
rubias como una espiga, blancas y rosadas como durazno maduro … lindas como
si fueran ‘imágenes’” (González Zeledón, Magón, 1896/ n.d., p. 1). |
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At the same time,
Cornelio is described in stark contrast:
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“feo si
los hay, moreno subido y tosco hasta lo sucio de las uñas y lo rajado de los
talones.” (González Zeledón, Magón, 1896/ n.d., p. 1). |
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This
contrast amplifies the absurdity of Cornelio being the father of these two
blonde, white-skinned girls (and humor) and of his pride for having fathered
these cute kids around the solar eclipse despite his rough appearance, he is
the “tata” (dad) of two extraordinarily beautiful daughters.
Beliefs and Worldview
Cornelio’s belief in the eclipse’s supernatural
power demonstrates his deeply held religious and folk worldview. He attributes
the girls’ unique features not to genetics (as now understood scientifically)
but to a miraculous influence of God:
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“pal gran poder de mi Dios no hay nada imposible”
(González Zeledón, Magón, 1896/ n.d., p. 1). |
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He
also invokes a foreign “mestro italiano,” a learned man in the idea of
Cornelio, who supposedly explained the phenomenon to him:
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“él jue el que m'explicó la cosa del clis de sol”
(González Zeledón, Magón, 1896/ n.d., p. 3). |
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This combination of
local faith and a supposedly authoritative outsider gives Cornelio’s reasoning
both credibility (in his own eyes) and a touch of comic irony.
Function in the Story
Cornelio is more than just a narrator’s source:
he is the story. His personality and way of understanding his surrounding
world drive the narrative; his beliefs and way of speaking define the tone in
the story. He embodies the tension Magón wants to highlight: rural
simplicity vs. intellectual pretension, tradition vs. modern
knowledge. Through Cornelio, Magón critiques social hierarchies
(educational, cultural) without condemning the person; Cornelio is sympathetic,
proud, humorous, and convinced in his own truth or what he understands as the
truth coming from facts he is not able to analyze.
Irony and Social Commentary.
Magón’s portrayal of Cornelio is layered: he
uses irony to show that Cornelio’s logic is flawed, but he also respects
Cornelio’s sincerity and his status as a storyteller. Critical scholarship
supports this reading: Garita Hernández and Quesada Guzmán (1987) argue that in
El Clis de Sol, Magón uses irony, parody, and satire to show how social
“truths” (superstition, tradition) can be accepted uncritically. Furthermore, Corrales
Arias (2009) asserts that Magón’s humor “installs a lie as social truth” to
expose cultural tensions. And for the Costa Rican Spanish reader, who
understands the irony behind ñor Cornelio’s last name, Cacheda, derived from
the word “cacho” (horn in English) and linked to the Spanish expression “poner
los cachos” (to cheat on someone in English), it is quite evident that
Lina, Cornelio’s wife, cheated on him with the Italian maestro.
Conclusion
By integrating quotations from the SINABI
edition of El Clis de Sol and applying your structural framework, we see
how Magón constructs a simple but deeply ironic narrative. The chronological,
straightforward sequence allows Cornelio’s worldview to be presented fully.
Cornelio himself emerges as a central character: his pride, humility, faith,
and “ignorance” all contribute to the story’s humor, but also to its critique
of social and cultural divides. Through him, Magón invites readers to reflect
on how “knowledge” is socially constructed and how humility and humanity
persist even in flawed reasoning.
📚 References
Acuña-Solano, J. (n.d.). The arrangement
of events in a story. Unpublished
instructional document.
Corrales Arias,
A. (2009). Magón: La insoportable
sospecha de la tradición. Comunicación, 18(2), 40–44. revistas.tec.ac.cr
Garita Hernández, F. M., & Quesada Guzmán, M. (1987). “Los indicios
de la ironía en el cuento ‘El clis de sol’.” LETRAS, 15–17, 337–350. Revistas UNA
González Zeledón, M. [Magón]. (1896). El clis de sol. In El
clis de sol (edición PDF). Sistema Nacional
de Bibliotecas, Costa Rica. Sinabi+1
El Clis de Sol by Manuel Gonzalez Zeledon [short story in Spanish]
El Clis de Sol by Manuel Gonzalez Zeledon [Short Story in Spanish] by Jonathan Acuña
El Clis de Sol by Manuel Gonzalez Zeledon [short story in English]
El Clis de Sol by Manuel Gonzalez Zeledon [Short Story in English] by Jonathan Acuña
Handout A: Reader Interaction Guide for blog post
Handout B: Guided Reading Handout for Magón
Guided Reading Handout for Magón by Jonathan Acuña
The Structure and Irony of Ignorance in El Clis Del Sol by Manuel González Zeledón by Jonathan Acuña





