Download Los pazos de Ulloa (Penguin Clásicos) by Emilia Pardo Bazán PDF

By Emilia Pardo Bazán

A EMILIA PARDO BAZÁN (1851-1921), que acabó con el tabú que circunscribía a las escritoras a los angeles parcela de l. a. «literatura femenina», deben las letras españolas los angeles introducción de los principios de l. a. escuela naturalista, tal y como fueron definidos por Émile Zola; y ello en el doble nivel de l. a. narración y los angeles crítica literaria.

El compromiso de los angeles condesa de Pardo Bazán con el naturalismo no le impidió, sin embargo, adoptar ciertas distancias a su respecto y afirmar una originalidad e independencia propias a los angeles hora de formular teorías o de plasmar novelescamente los angeles realidad. En «La cuestión palpitante» —ensayo polémico que antecede en cuatro años a LOS PAZOS DE ULLOA (publicada en 1886) y que es, en cierto modo, su preparación teórica— los angeles narradora gallega critica el determinismo y utilitarismo de l. a. escuela de Zola, «su carácter cerrado y exclusivo, que se parece a las habitaciones bajas de techo y muy chicas, en las cuales los angeles respiración es insuficiente».

En todo caso, los trabajos teóricos de l. a. Pardo Bazán forzosamente han de ser puestos en relación con su obra narrativa, ya que, en última instancia, son sus convicciones de creadora las que orientan su estética. En «Los pazos de Ulloa», su más lograda novela, los angeles crudeza de las situaciones y descripciones —que escandalizaron a l. a. sociedad de su tiempo— se aúna con una delicada sensibilidad para el paisaje de su tierra natal y con una decidida voluntad de revelar, por medio del artificio novelesco, las dimensiones ocultas de los angeles realidad. «La madre naturaleza», que es su directa continuación, lleva a un nivel todavía más elevado de expresividad lírica y riqueza léxica los angeles descripción del país gallego.

El volumen de relatos publicado también en esta misma colección —«Un destripador de antaño y otros cuentos»— permite, finalmente, apreciar l. a. extraordinaria capacidad de fabulación de l. a. gran escritora.

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Los pazos de Ulloa (Penguin Clásicos)

A EMILIA PARDO BAZÁN (1851-1921), que acabó con el tabú que circunscribía a las escritoras a los angeles parcela de l. a. «literatura femenina», deben las letras españolas los angeles introducción de los principios de los angeles escuela naturalista, tal y como fueron definidos por Émile Zola; y ello en el doble nivel de l. a. narración y l. a. crítica literaria.

Vite Parallele/Vol. III

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A few days wore it all off; and in short, to prevent any of my father’s further importunities, in a few weeks after, I resolved to run quite away from him. However, I did not act so hastily neither as my first heat of resolution prompted, but I took my mother, at a time when I thought her a little pleasanter than ordinary, and told her that my thoughts were so entirely bent upon seeing the world that I should never settle to anything with resolution enough to go through with it, and my father had better give me his consent than force me to go without it; that I was now eighteen years old, which was too late to go apprentice to a trade, or clerk to an attorney; that I was sure, if I did, I should never serve out my time, and I should certainly run away from my master before my time was out, and go to sea; and if she would speak to my father to let me go one voyage abroad, if I came home again and did not like it, I would go no more, and I would promise by a double diligence to recover that time I had lost.

Man Friday. Cannibals. Rescue. It is all so familiar as an apparently simple, wonderful tale of survival that it is easily read as a great yarn. Crusoe is too human and accident prone to be truly heroic—this may be another reason for his enduring appeal. But the island setting is also a compelling feature of his story, for the island as a microcosm of the world has been used imaginatively in English in works as diverse as Shakespeare’s The Tempest and Golding’s Lord of the Flies. Crusoe is more stubborn than brave, and his first-person narrative, the more believable for being defiantly unliterary, can be appreciated as the account of a man’s twenty-eight-year ordeal of loneliness, hunger, and physical threat; a man who ingeniously succeeds against the odds.

No sooner is the ordeal over than Crusoe is back, founding a colony and counting his money; and in the same way, the Crusoe idea continued, producing sequels and parodies, giving words to the language—‘‘Crusoe’’ is a byword for castaway, as ‘‘Friday’’ is a synonym for helper. Robinson begins life as a disobedient and hubristic, if accident-prone boy. He is given any amount of advice by his sententious father, the German immigrant to England, Herr Kreutznaer, who anglicized his name to Crusoe. The name change is a nice touch in a book full of detail, which is the more plausible for its being strange and even somewhat unnecessary.

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