By Diane F. Urey
Benito P?rez Gald?s used to be the major Spanish novelist of the 19th century. His novels are usually in comparison with these of Dickens and Balzac, and regarded examples of nineteenth-century realism. In a speech ahead of the Spanish Academy of Language, Gald?s himself declared that the radical is 'an picture of life'; students have frequently thought of that photo to be an uncritical mirrored image, or perhaps a biased misrepresentation of the Spanish society of the time. This booklet indicates, through certain research of Gald?s narrative ideas, how his novels reveal a way more skeptical and ironical perspective towards the facility of language to symbolize truth, than has formerly been famous. instead of trying to pass judgement on the accuracy of Gald?s' photograph of lifestyles the writer analyzes the linguistic capability during which the novels recreate lifestyles of their personal photograph. With shut and discriminating recognition to element the writer illustrates Gald?s' narrative irony with examples from the serie contempor?nea, the main hugely acclaimed interval of his writing. She analyzes the ironic chances less than 3 major headings: depiction of characters, description of areas, and the narrative voice. a last bankruptcy describes the fusion of those units within the novella Torquemada en l. a. hoguera. This sincerely argued research, structuralist in method and delicate to nuances of fashion and language, will attract scholars of recent severe conception and comparative literature in addition to to Hispanists.
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Sample text
Besides the notion that anyone is honored who lends her money, her idea of 'una persona como yo' is ironic. For the reader knows that Rosalia is little better than Refugio at this point in the novel, having committed the same adulterous act for which she continually condemns her and her sister Amparo. 38 GALDOS AND THE IRONY OF LANGUAGE The initial ironic allusions to Rosalia in La de Bringas epitomize the construction of her portrait and of the novel as a whole. Their stylized language serves to produce the often oblique irony of her description.
The reader's awareness of this type will determine his reaction to Rosalia's treatment of her children, who are undernourished because the Bringas save money to dress for the theater (iv. 1473-5). Similarly, they withhold the subsistence wages from Amparo; Rosalia pays her instead by 'entregandole con ademan esplendido dos mantecadas de Astorga que, por las muchas hormigas que tenian, creyerase que iban a andar solas' (iv. 1480). As a seductress, Rosalia goes so far as to wish for her husband's death so that she can marry Agustin for his money (iv.
However, the narrator does not let his audience escape untouched by this scene of Rosalia's humiliation, whose crowning blow is the shock of learning that Milagros Telleria considers her cursi. As she looks in the mirror afterwards to see if she has any gray hairs, he remarks: 'Digamoslo para tranquilidad de las damas que en situacion semejante se pudieran ver. No le habia salido ninguna cana. Y si le salieron, no se le conocian. Y si se le conocieran, ya habria ella buscado el medio de taparlas' (iv.