[Read Epub] ☩ Tristana ♞ Gamegeek-denter.de

Warning the well known Bu uel movie interpretation is terrible A brilliant, cutting edge, richly textured, historically relevant, compelling melodrama from the Naturalist movement in late 19th century Spanish literature Pre feminist Satisfyingly subtle symbolism. It was the character of the aging and manipulative lothario Don Lope who held my interest in this novel so than Tristana the main character.Don Lope of the lofty ideals who would give the shirt off his back to friends in need but at the same time had few qualms about seducing a beautiful and naive young woman placed in his care.At times I felt very little empathy for the characters, sometimes I felt downright contempt but such was the author s skill that I did come to appreciate them with all their foibles.In some aspects I found this a bittersweet read Tristana was a tragic character, a product of time and circumstance who was ill equipped to deal with what life dealt her.The story did flow due to the wonderful translation and I really enjoyed the inclusion well known poetry novels in some passages.I don t think that this would be a novel that would appeal to every reader but on reflection can appreciate why it has been included in the New York Review Classics List. [Read Epub] ☪ Tristana ☨ Tristana Forma Parte Del Ciclo De Las Obras Agrupadas Por El Propio Gald S Bajo El Ep Grafe De Novelas Espa Olas Contempor Neas Este Ciclo Novel Stico Est Dedicado A Pintar La Vida Madrile A En La Que Nuestro Autor Ve Concentrada La Espa A Del Siglo XIX Tristana, No Obstante, Funciona De Una Forma Totalmente Aut Noma Respecto Al Resto De Las Obras De Ese Ciclo Novel Stico No Aparece En Ella Ning N Personaje Recurrente En El Mundo Galdosiano, Con La Excepci N De Los M Dicos Tristana Es Representativa, Adem S, Del Per Odo En Que Gald S Se Interesa M S Por La Verdad De La Persona En Su Sociedad, Y En Particular De La Mujer En Su Relaci N Con El Hombre, Que Por La Realidad De Dicha Sociedad A Trav S De Tipos Ejemplificadores Por Primera Vez Gald S Se Plantea En Tristana El Tema De La Emancipaci N De La Mujer Sin Embargo, La So Adora Tristana Fracasa En Sus Intentos Y El Genial Novelista Pone Una Vez M S De Manifiesto Su Capacidad Para Ahondar En El Conocimiento De La Sociedad Espa Ola De Su Poca Y Analizar Los Aspectos Negativos Que La Aquejan I will tell you how this ends It ends with one word Perhaps.This is the story of Don Lope, older now, but a notorious womanizer And not in a good way Indeed, he could be termed a predator Yet he is still a man of great dignity and some refinement He obeys all the other rules, customs, courtesies He literally gives the shirt off his back to needy friends and family He understands and embraces duty.It is in this context that he sells cherished property to provide for friends, risking his own impoverishment When the friends die, he takes in their orphaned daughter, Tristana It isn t long before he takes her to bed.Soon enough though, Tristana begins to understand that she is sleeping with an old man, and she understands the creepiness And then she finds a younger lover.That s plot you could read on the back cover, so I don t feel I ve terribly spoiled anything The first part of the book tells that story, much as I ve briefed it above And in the land of show, don t tell , I m afraid this was textbook telling To the point, actually, of being annoying The young lovers are separated then, and the novel turns epistolary Once again, not in a good way These are love letters, with endearment after endearment, each lover trying to outdo the other in cute nickname My annoyance turned to gagging.Then Don Lope re entered the storyline, never having left completely But he s reconstructed It is here the writing sparkles, adding complexity, even humor.So the reader closes the book, asking questions Is Don Lope ultimately a good man Is he a bad man Are they happy Did I like it Perhaps. The obligatory nyrb classic Introduction is actually helpful this time We are told that the novel, in the original Spanish, ends with Tal vez, literally such a time It was fascinating, and informative, to learn why the phrase is best translated as perhaps Linguists should read this for that alone. The Marvelous Margaret Jull CostaBefore saying anything about this particular book, I want to raise my hat to the marvelous translator Margaret Jull Costa I have read a lot of modern Portuguese and Spanish authors through her pen, but never anything from an earlier era Here is a passage taken at random from this short novel of 1892 by Spanish writer Benito P rez Galdos So perfectly does she capture the perfumed, slightly fusty cadence of late 19th century literature, that it would be almost impossible to see this as the work of a writer working in the present day Captivated by such determination, Horacio became loving with each day that passed, his love reinforced with admiration Her exuberant imagination awoke in him new mental energies the sphere of his ideas grew larger, and so infectious was that powerful combination of strong feelings and deep thoughts that together they reached new heights, experienced a tempestuous intoxication of the senses, filled with daringly utopian moments, both social and erotic.Note the characteristic word order awoke in him and together they reached , and even the big words tempestuous intoxication that seem to promise much but in fact say very little This is the language of a late romantic writer portraying two people whose need to act out an ideal of passion may be stronger than the passion itself Which indeed is P rez Galdos s point, but it requires the language to go with it, old fashioned and overheated though it may seem Kudos, too, to the wonderful NYRB press, not only for bringing out this lesser known work, but also for their choice of the cover image, a period painting that suggests a strikingly modern approach to its female subject, yet leaves her ultimately shrouded in shadows.Which is exactly what I might say of the novel Tristana is the young ward of Don Lope Garrido, an impoverished Madrile o much in the manner of Don Quixote, a perfect gentleman in every respect except for a mania for seduction that seems to link him to another Spanish nobleman, Don Juan After spending much of his money helping an old friend and his wife through hard times, he assumes guardianship of their daughter when both parents die And before long, takes her to his bed The story proper starts when Tristana begins to break her bonds, falling in love with a young painter, and finding unexpected talents in herself The first half of the novel promises a paean to feminism and free love But the flowery language that Jull Costa captures so well becomes overblown and curdles We end up liking Tristana a lot less, and conversely thinking of her erstwhile guardian There is something of a sick joke in the arbitrary way the author twists the story around, at least according to Jeremy Treglown, whose introduction sees P rez Galdos as an ironic satirist But in my mouth, it left a slightly nasty taste but an introduction ought not to give away too much, he writes Too late it already has In his Introduction to this novel Jeremy Treglown wonders if the title and the character s name isn t meant to suggest sadness For this is a sad love between Don Lope Garrido, an aging Spanish knight whose fortunes are in decline, and the young Tristana who s his ward and reluctant lover Both aspire to much in the world Tristana wants to taste some of the new freedoms available to women, wants a career as an actor or a painter And she wants the love of Horacio, a local artist Don Lope s dreams center around a return of his quixotic past and the gentlemanliness his social position implies And he wants Tristana How the gallant in decline wins his lady becomes a kind of folktale about the ends, sometimes monstrous, some will employ to achieve love There s humor and energy in this 19th century tale of how Don Lope and Tristana are forced to adjust their dreams and settle into a lasting partnership And that s where the triste comes in. delightfully modern and picaresque take, for a novel of the 1880 s of a don juan who through kindness and perfidy ends up with a young girl who is neither daughter, wife, slave, but at same time is all three but she has other ideas, inchoate ideas, but ideas to be free, independent, in love with somebody other than this monstrous old man who saved her though he did save her she just is at an impasse as to HOW to be free, independent, in love, in these days and times, all impossible for a woman to be unless she is in the theater or on the street what choices this considered a classic just for that honesty of author women were people who deserved human rights in spain this eventually did happen, in the republic of early 1930 s, then brutally quashed by dictator franco, then re asserted by king john charlie and the new democracy of 1978, and now Spanish women have full and asserted human rights.a 100 years Tristana from Benito P rez Gald s 1843 1920 is a subversive novel that takes a sly look at the power structure in the relationships of its three main characters Don Lope, an aging, dissolute rou , his ward, the beautiful Tristana, and the handsome, wealthy young man she falls in love with, a painter named Horacio This is the sort of novel guaranteed to elicit a range of responses from its readers, and that would make this relatively short book, clocking in at just under 200 pages, a great choice for book groups who d like to sink their teeth into complex characterisations and slippery morality.When the book opens, one of the main characters Don Lope Garrido, now well past his prime, is living incheap plebian rooms, with, as noisy neighbors, a tavern, a caf , a shop selling milk fresh from a goat, and a narrow inner courtyard with numbered roomsThat quote creates a cacophony of sounds surrounding Don Lope as he emerges from his surroundings as a rather slippery character The first time I encountered this gentleman and observed his proud, soldierly bearing, like a figure in a Vel zquez painting of one of Spain s regiments in Flanders, I was informed that his name was Don Lope de Sosa, a name with than a whiff of the theatre about it and worthy of a character in one of those short tales you find in books on rhetoric and, that, indeed was the name given to him by some of his unsavoury friends he, however, answered to Don Lope Garrido In time, I discovered that the name on his baptismal certificate was Don Juan L pez Garrido so that sonorous Don Lope must have been his own invention, like a lovely ornament intended to embellish his person and the name so suited the firm, noble lines of his lean face, his slim, erect body, his slightly hooked nose, his clear brow and lively eyes, his greying moustache and neat, provocative goatee beard, that he really could not have been called anything else One had no alternative but to call him Don Lope.Even though Don Lope Garrido and the name is explained in the footnotes is 57, it s still possible to see this dapper aging womanizer as the dangerous threat he used to be Some of the measures he takes to hang onto the shadow of his vigour are laughable The age of this excellent gentleman, in terms of the figure he gave whenever the subject came up, was a number as impossible to verify as the time on a broken clock, whose hands refuse to move He had stuck fast at forty nine, as if an instinctive terror of the number fifty had halted him on the much feared boundary of the half century.He s spent his lifetime pursing women while evading the consequences of his actions, but now living on anever decreasing income,he floats on his past glory as a supreme seducer of women with a manufactured moralitywhich, although it seemed to have sprung solely from him, was, in fact, an amalgamation in his mind of the ideas floating around in the metaphysical atmosphere of the age, like invisible bacteriaThe situation with Tristana is perfect for Don Lope She s beautiful, innocent enough to fall for his manipulative arguments and as his ward, she s entirely dependent upon him.Don Lope IMO is the main character of the book in spite of the fact that its title is the name of Don Lope s ward Tristana The term ward is applied sarcastically as beautiful, young Tristana, who fell initially into Don Lope s power through the poverty of her parents and Don Lope s generosity, is her guardian s mistress Locals theorize that Tristana is Don Lope s niece or even his daughterthere were even some who claimed to have heard her say papa , just like one of those talking dolls , but in time it becomes clear thatshe was nothing an item of furniture or an article of clothing, with no one to dispute his ownershipTristana, who has a great deal power than she realizes or is able to exercise is, however, the celestial body that the other two main characters, Don Lope and Horacio orbit Too young and na ve to initially understand her vulnerability, she grasps her situation in her guardian s home too late, and when she begins to put up resistance to Don Lope s despotic power, he, a lifetime seducer of women, unscrupulously checkmates her at every point.The domestic situation in Don Lope s house is at once bizarre and pathological, and gradually as the story develops we see how Tristana was initially under Don Lope s thumb and how she now chafes under his control Don Lope, once the great seducer, entranced women with his words, his wiles and his caresses, but now he alternates various roles to keep his control on Tristana, hislast and, therefore, dearest trophy,so in one moment, he sits her on his knee and fondles her, and in the next he s her caring, but authoritative parent who sends her to her room This leaves Tristana, who s a neophyte when it comes to manipulation, always one step behind her aging lover protector guardian, and while she knows she s being manipulated and used, she can t ever quite challenge the various arguments that seasoned seducer Don Lope sends her way As a result, her resentment and desire for freedom grows, and then she meets Horacio, a young painter who understands her plight.There were so many ways this novel could have ended, but Benito P rez Gald s delicately constructs the most subversive route to his story s conclusion There s love and tragedy but there s also irony, domestic comedy and the massive egos of two of the three main characters, and that s as much of the plot as I m prepared to discuss.A section of the novel takes the form of an epistolary as mushy love letters pass back and forth between Tristana and Horacio At this juncture the novel lost some of its momentum, and yet at the same time, these letters were essential to question the nature and authenticity of love while showing how the three characters inhabit necessary roles for each other.Balzac was an enormous influence on Gald s and you can see this in Tristana in the way the author dismantles the layers of his characters with each new event as jealousy, rivalry, and tragedy challenge the triangular relationship between Don Lope, Tristana and Horacio In this parable of power, self deceit and ego, who will emerge the victor And what will victory look like Don Lope, the seducer, Tristana, his victim, and Horacio the lover begin by inhabiting the lives stock characters, but as the tale continues and the layers of this tale unfold, Gald s does not let his reader make easy moral judgments. This is another book and writer I heard about thanks to The Mookse and the Gripes group It is a curious mixture a classic novel in style with some rather modern attitudes, especially for a book written in the nineteenth century.There are three main characters Don Lope is an ageing seducer with a diminishing fortune Tristana is the orphaned daughter of his best friend who he is supposedly caring for and Horacio is her charismatic and apparently altruistic lover The story concerns the awakening of Tristana s consciousness, her affair with Horacio and its aftermath Much of it centres on the lack of choices faced by women of the time who are not interested in marriage, and much of the book is written from Tristana s perspective There is also quite a lot of gentle humour, and some linguistic invention which must have presented a challenge to the translator This edition has a modern translation by the estimable Margaret Jull Costa An intriguing book, and a very readable one. This novel of a woman struggling to free herself from her confining domestic status consists mainly of the protagonist s introspections Galdos examines the theme of liberty and seems to conclude, perhaps with some disillusionment at the results of the Revolution of 1868, that the individual is responsible for his or her own actions and achievement of personal freedom by implication, he rejects the idea of collective social responsibility The evolution in Tristana s understanding of freedom from her initial simple desire for personal independence to spiritual aspiration and the rejection of social and moral norms on the part of her foil, Don Lope, allow Galdos to explore various conceptions of liberty and their relationship to other important social and religious questions of the day.Galdos style is ornate and figurative He uses allusions to mythology, literature, and the arts to convey the manner in which the characters are trapped by culture and history Tristana describes her situation through references to other doomed lovers, such as Dante s Francesca and the the unfortunate lover victims of Don Juan, whose role is assigned to the aging Don Lope Through Tristana, Galdos expresses an almost inevitable sense of the helplessness of these figures, and of his own characters, to escape from inherited social and cultural forces Even Horacio, the artist who disregards conventional morality by taking Tristana as his lover, remains bound by the desire for conformity He prefers to share her favors with another man than to face the ostracism of elopement Oyo Diaz estas cosas con indignacion primero, con asombro despues, y lo unico que se le ocurrio decir a su amaba fue que romper cuanto antes aquellas nefandas relaciones, a lo que contesto la nina muy acongojado que era esto mas facil de decir que de practicar Con todo, fuerza era dar un gran tiron para arrancarse de tan ignominiosa y antipatica vida. Horacio s proclaimed liberation from social s reveals itself to be far weaker than his fear of society s disapproval, which constrains him even thought he does not believe in its moral validity.This is just one example of Galdos interest in contemporary changes in or doubts concerning religion For Tristana, the arts supplant the role of conventional Christianity She becomes obsessed in turn with painting, theater, literature, and music throughout the course of the novel these arts become increasingly central to her concerns, with human relationships undergoing a corresponding devaluation Indeed, even life with Horacio appeals most strongly to her when he presents it in artistic terms, describing their future rural abode as if it were a painting When Tristana s interest moves from painting to music, The painter Horacio also loses his place in her affections Tristana s artistic yearnings are not meant to show her natural inclination for art, but rather her unfulfilled need for a higher spiritual meaning This need was shared by many of Galdos contemporaries, educated men who could no longer reconcile their Christian faith with the evidence of reason and science, but who also rejected the spiritual and emotional emptiness of materialism Many of these individuals turned to philosophical systems to provide an ethical base.The general zeitgeist of uncertainty and flux caused by the social, political and intellectual changes occurring in Spain at this time is reflected by the changes in the opinions and goals of the characters throughout the course of the novel Aside from Tristana, this is most overtly manifested in Don Lope, her guardian and suitor, who begins the story filled with confidence in his social and sexual position At the beginning this patriarchal Don Juan possesses absolute control over his ward s actions, and to a great extent even controls her thoughts For the first half of the novel he is certain that she and everything else in his life will behave exactly as he commands Only during Tristana s severe illness and subsequent refusal to continue her role as his mistress does he being to be uncertain of his ability to regain her At this point his treatment of her becomes kinder and respectful, as he is forced to take her wishes and thoughts into account After her recovery and their marriage he returns to a considerable degree to his paternal stance and earlier egoism, but their relationships retains some equality due to his realization that he is no longer young and could end his life alone and uncared for This personal fear returns him to the social fold as a married church goer.This aspect of the novel is clearly influenced by contemporary changes in gender relations, which, in Spain as elsewhere, were being challenged by increasing demands for women s liberation The protagonist s situation illustrates the plight of women who have no male defenders to provide for them or protect their virtue Not only is Tristana forced to become Lope s mistress, but once placed in this spiritually destructive position, she quickly loses her concern for her virtue and embarks on an affair with a second man a man who also belittles her burgeoning intellectual interests and attempts to reposition her the mandated domestic role The book ends ambiguously with the question, Eran felices uno y otro Tal vez. This ambiguity may reflect Galdos feelings toward the revolutionary project of his Generation of 1868, which, like Tristana s desires, went through rapid changes without achieving a clear success in its goal of delivering a new social order.