Obras de Pedro Antonio de Alarcón (Spanish Edition)
Muchas obras suyas son de car cter religioso. Entre ellas destaca "El esc ndalo", una defensa de la orden de los jesuitas que en su tiempo levant una densa polvareda.
Son notables adem s sus relatos sobre la vida del campo espa ol, como "El sombrero de tres picos". En tiempos de Carlos IV viven felizmente un molinero y su mujer. Ella es una hermosa dama por la que beben los vientos muchos varones del contorno, entre los que destaca el Corregidor, que est casado. El Corregidor prepara una artima a para poseer a la molinera: Su mala fortuna le hace caer al agua y no encuentra m s soluci n que poner sus ropas a secar y meterse entretanto en la cama del matrimonio. La molinera, d ndose cuenta de las intenciones del Corregidor, decide visitar a la esposa de ste.
Pedro Antonio de Alarcón
Por el camino se cruza con su marido, el cual, enterado del enga o, vuelve a casa. Los esposos no se reconocen en la oscuridad de la noche. No as las burras que lleva l, que rebuznan ante la presencia de ella. Luego ser n testigos de su fidelidad, etc. It carries the prestige of over 47 years of retail experience.
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They show their concerns about the cosmic mysteries within Nature. These mysteries present themselves by means of ominous natural catastrophes like earthquakes, floods, storms or eclipses: At some point in the stories, time seems to be frozen, especially during cosmic trips or transitional periods between life and death. Time is sometimes stopped, sped up, slowed down, or even made to go backward: As for Poe, one finds the same cosmic treatment of time. Time leads to another main constitutive element of the short stories: Their stories are primarily written in first person.
Through his presence as an eyewitness, the narrator tries to give empirical validity to the outrageous events. This helps to create the feeling of objectivity and verisimilitude. In the stories of both authors, it is common, therefore, to find more than one narrator. Lo atestiguo con todo el pavor que puede sentir el alma humana! Poe also uses this device of affirming that his narration is a real event. Both authors are aiming at a common intention, which is to intensify the terror and make the reader feel overwhelmed by the nature of the events going on.
He does not dare to take a step away from a moral ideology that conceives literature as an art that transmits truths and moral allegories. On the other hand, Poe completely overcomes this classic concept of art. Most of the time, these characters are women. There is also in both authors a big difference between the way masculine and feminine characters are defined. Males are active, sometimes even aggressive and provoking.
El escándalo, novela
They move the action forward, and they are always the narrators. Even when women seem to be the protagonists of the tales, male characters manage to lead the voice of the narration. The female figure may symbolize the transgression of a natural order. Very often, they also offer a double personality or identity. Female characters tend to be young and extremely beautiful, and yet this beauty is a source of disturbing reactions and suffering for men.
Women seem to be there as blank screens in which men can project their own psychology. Poe took seriously his own critical dictum: In this fascination, however, Poe was by no means alone, for if, as Nina Baym has suggested, sentimental literature eschewed the narrative of seduction in the second quarter of the nineteenth century, it nevertheless manifested an increasing, even obsessional, interest in the spectacle of the death of innocent victims Elmer In male characters, one also sees an obsession with the female figure.
The obsession goes so far as to make men follow these women even beyond death.
On the other hand, these feminine characters seem to move in a special undefined territory between life and death. This is very clear by the way the author describes them. Though this female figure is not a real nor completely living entity, the fact that the reader sees her physical presence reinforces her ambiguous and horrifying role in these narrations. This is an image that has pursued him since his childhood.
This object is a medallion that belonged to a Russian soldier who was cruelly assassinated by a Spanish soldier. This object is a connection that puts together two different geographies, historical events, characters, times and stories. In both authors there is a fetichist obsession with objects that turns them into symbols of emotional and psychological conditions, creating a strong link between internal states and the physicality of the things around us:.
Como advierte Edmund H.
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However, they succeed in creating a terrifying atmosphere. Objects become symbolic entities: This prevalence of objects has a paradoxical effect. On one hand, it situates the action within a realistic and detailed environment and, therefore, it makes the story more realistic. On the other hand, there is almost a personification of these objects that play a symbolic role, and this makes the stories closer to fantastic literature. Either way, this works in different manners in the two authors. Through the intensive use of objects these authors accomplish a subversive destruction of our conception of reality.
They weaken the borders between fantasy and reality, between imagination and rationality, and between magic and science. In this way, readers are forced to mistrust the natural entity of the characters and the environment surrounding them that is called reality. There are many similarites that exemplify this nearness. Moreover, both authors are located in the transition between Romanticism and Realism. They use the most typical of Romantic devices but, at the same time, these devices are transferred in their texts by their combinations with realist elements.
Romantic ideology still underlies them but the main purpose for the use of these devices is to create a specific atmosphere that serves as a backdrop to rational inquiry. There is also a strong presence of rationality that announces the Realist philosophy. Within this tension between Realism and Romanticism, the narrator plays a very important role insisting on the authenticity of his stories. As a consequence, one sees the creation of a new cosmic space and time. Readers cannot but notice how evil is punished and goodness is awarded.
Poe does not accept the unexplicable if it has not been filtered by human rationality. On the other hand, Poe believes in the independence of art from reality and in the non-moral character of it. On the contrary, Poe views death as a horrifying and fascinating event that offers men the possibility of experiencing and researching the mysteries of the universe.
Men are able to manipulate the limits between life and death and achive a deeper knowledge. He tries to keep a balance between his fascination for Poe and the Catholic dogma. On the other hand, he is also conscious of the fact that by doing so, he is taking a step away from Poe. Although he emphasized his moral purposes, his main goal was to entertain and disturb.
Cuentos y novelas cortas. El amigo de la muerte: El coro de Angeles La Alpujarra El sombrero de tres picos: Retrieved from " https: Views Read Edit View history. In other projects Wikimedia Commons Wikisource. This page was last edited on 29 August , at By using this site, you agree to the Terms of Use and Privacy Policy.
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