Misericordia

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Ediciones AKAL, 2003 - Fiction - 366 pages
Misericordia (1897), publicada en vísperas del 98, bien podría ser, desde un punto de vista universal, la novela emblemática de la marginación social, que, a comienzos del siglo XXI, engloba a dos tercios de la población mundial. La presente edición crítica, además de las tradicionales precisiones de orden léxico y filológico, y de las obligadas referencias literarias e históricas, sitúa la novela en su contexto social y cultural de la crisis finisecular de la Restauración.
 

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Contents

BIBLIOGRAFÍA
27
NOTA PREVIA
33
PREFACIO A MISERICORDIA
69
MISERICORDIA
75
Capítulo VIII
125
Capítulo IX
131
Capítulo X
137
Capítulo XI
145
Capítulo XXIV
241
Capítulo XXV
247
Capítulo XXVI
253
Capítulo XXVII
259
Capítulo XXVIII
267
Capítulo XXIX
275
Capítulo XXX
283
Capítulo XXXI
289

Capítulo XII
155
Capítulo XIII
163
Capítulo XIV
169
Capítulo XV
175
Capítulo XVI
181
Capítulo XVII
187
Capítulo XVIII
195
Capítulo XIX
203
Capítulo XX
211
Capítulo XXI
217
Capítulo XXII
225
Capítulo XXIII
233
Capítulo XXXII
295
Capítulo XXXIII
301
Capítulo XXXIV
309
Capítulo XXXV
315
Capítulo XXXVI
323
Capítulo XXXVII
331
Capítulo XXXVIII
337
Capítulo XXXIX
343
Capítulo XL
351
Final
359
Copyright

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About the author (2003)

Perez Galdos was Spain's outstanding nineteenth-century novelist. At a time when most Spanish novelists were limited by their regional backgrounds, Galdos possessed the intellect and vision to embrace the Spanish people as a nation. In 1873 he began the Episodios nacionales (National Episodes), a 46--volume series of historical novels in which he was concerned less with details and facts of history than with their impact on the lives of ordinary people. His works are sometimes divided into two periods: novels of the first period and contemporary Spanish novels. His early novels, Dona Perfecta (1876), Gloria (1877), Marianela (1878), and The Family of Leon Roch (1879), may be characterized as realistic with touches of romanticism. The novels are united by common characters and themes in the manner of Balzac's Human Comedy. Dona Perfecta is a denunciation of intolerance. Marianela explores the irony and tragedy of the destruction of love by scientific progress. Fortunata and Jacinta (1886-87), a four-volume masterpiece of the second period, contrasts two women - Jacinta, wife of the wealthy middle-class Juanito Santa Cruz, and Fortunata, his mistress. Both are admirable characters, but it is Fortunata who bears a son, demonstrating the vitality of the lower classes. The character of Maxi reveals Galdos's interest in mental illness and his naturalistic strain. Born and educated in the Canary Islands, Perez Galdos studied law briefly and spent most of his adult life in Madrid. His study of lower-class Spanish life and his attempts to improve it led him to the advocacy of more equal distribution of wealth and outspoken opposition to the Catholic church. While always popular with the people, he fared less well in literary circles. In 1889 he sought admission to the Royal Academy, an honor he was refused until 1897, and the Nobel Prize went to a contemporary, Jose Echegaray, a writer of considerably less talent. Galdos died poor and blind. Although the government refused him a state funeral, the entire Spanish nation mourned him. English translations of his novels now out of print are The Disinherited Lady (1881), Miau (1888), Compassion (1897), and Tristana.

Bibliographic information