O LOCURA O SANTIDAD (Spanish Edition)

O Locura O Santidad (Spanish Edition) [Jose Echegaray] on leondumoulin.nl * FREE* shipping on qualifying offers. This scarce antiquarian book is a facsimile.
Table of contents

King of Shadows Susan Cooper. The Seagull Anton Chekhov. The Homecoming Harold Pinter. An Inspector Calls J. Look Back in Anger John Osborne. Death of a Salesman Arthur Miller. Rough Crossings Simon Schama. The Vagina Monologues Eve Ensler. Autobiographies I Sean O'Casey.

O Locura O Santidad by J. Echegaray - Paperback

Juno and the Paycock Sean O'Casey. Wuthering Heights Emily Bronte. This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Jose Echegaray | LibraryThing

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Related Video Shorts 0 Upload your video. Try the Kindle edition and experience these great reading features: Customer reviews There are no customer reviews yet. Share your thoughts with other customers. Write a customer review. He used the six months he resided in France with his family to write the one-act play El libro talonario , The Account Book. In that position Echegaray saved Spain from bankruptcy by creating the Bank of Spain, which could lend money to the state, thus freeing the country from the usurious interest rates of foreign banks.

Borrowing million pesetas at 5 percent, the state was able to repay its debts incurred in the Carlist civil wars. Then, to the amazement of his friends, Echegaray decided to resign from political life and from his scientific career to dedicate himself exclusively to drama. A man of prodigious energy throughout his life, Echegaray kept abreast of developments in science, politics, and literature, the three careers in which he distinguished himself. Echegaray remained an active member of the organization until his death in His production of stage successes ceased with the Nobel Prize in ; his last success was A fuena de arrastrarse By Dint of Crawling , produced in February Elprefer-ido y los cenicientos The Chosen One and the Disregarded Someones , which the playwright presented in under the pseudonym Librado Ezguieura to avoid the protests that had swamped his most recent works, flopped.

He devoted the last years of his life to quiet home life, writing his memoirs, and editing his collected works. Echegaray accurately gauged the taste and temper of the Spanish public and ruled the stage from to He worked closely with the major actors and actresses of the period, often tailoring his plays to their strengths. He approached his writing like carpentry, constructing the taut development of plot and action to reach a surprising climax coinciding with the fall of the curtain.

Echegaray rejected determinism and frequently chose to present characters who challenge theories of inherited weakness or defect. The playwright favored Romantic free form over the neoclassical rules in drama as much as he favored free trade in the economic sphere. His decision to limit scene changes and concentrate dramatic action within a relatively circumscribed time frame stemmed more from economies of production than from respect for the neoclassical unities of time, place, and action.

The Nobel award sparked a furor in Spain comparable to igniting the dynamite whose discovery had enabled Alfred Nobel to fund the prize. In one of his sonnets, Echegaray used the metaphor of a scientist constructing and igniting a dynamite stick to describe his creative procedure in the writing of a play:. Of the sixty-eight dramas that Echegaray presented on the Madrid stage, only a handful receive accolades from modern literary critics and historians, and even these plays are sometimes criticized for their bombastic expression of hackneyed sentiments and their pedestrian versification.

That Echegaray wrote nearly half of his plays in verse indicates the extent to which he still adhered to Romantic theories of dramatic construction, even at the end of the nineteenth century and the early years of the twentieth, when the realist preference for prose dialogue had become the norm in the theater.

Absorbed with the issue of his meriting or not meriting the Nobel Prize, critics only in the late twentieth century have gone beyond addressing the negative judgments of his plays to evaluate their form and content in the contexts of their specific period and of the history of Western drama.

In lieu of that ceremony, his Spanish champions organized a national homage of four major events: Having abandoned the ideal of fostering love for their fellow human beings and instead concentrating entirely upon the acquisition of power and material wealth, they enjoy an empty triumph. His self-loathing is so extreme that he asks Blanca to keep the portrait of his mother, which he had sold to finance his initial foray into the capital, because he believes it will be contaminated by the ambience of the palace where he lives with his vapid, unfaithful wife and his cowardly and pompous father-in-law.

Throughout A fuena de arrastrarse, Echegaray emphasizes the metaphor of life as theater, specifically a farce.

Throughout his career Echegaray depicted a corrupt society dominated by ruthless, materialistic, and self-seeking opportunists. Benavente found in Echegaray a cynical view of the world stage, but in contrast to his mentor the later playwright would leave the spectator with a rueful shrug, while the earlier would prompt the audience to recall the Christian ideal.

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Although Echegaray does not often enunciate the Christian ethic so clearly, it is always implicit; his own doubts about its impact upon society determined his preference for tragedy. Even in the second half of his career, while sometimes adopting realistic and naturalistic topics, Echegaray clung to the Catholic doctrine of free will , refusing to show the determination of character by heredity or environment. Thus, in De mala raza , Bad Roots , Adelina, whose mother and grandmother were rather free with their favors, guards her virtue, while Paquita, a woman with impeccable background, takes a lover.

Echegaray underscores the sinful life and egotistical lack of concern for anything but pleasure, the flaws that produced disease, by presenting Don Juan and his cronies onstage and insisting that they freely chose their evil life. Like Echegaray, most of the popular dramatists of the nineteenth century exploited sensationalism and spectacle and continued to write their plays in verse; dramatists were slow to adopt the prose medium favored by the realist and naturalist writers.

This period was the age of great actors and actresses who cultivated a high-blown style best shown off in melodramatic vehicles such as those triumphing then in Paris, London, and New York as well as Madrid. The basically conservative genre affirmed the triumph of society in a happy ending in which the good hero or heroine emerges victorious over the evil villain and is reintegrated into society. The genre had been imported from France; there it enjoyed great success with a bourgeois audience, whose tastes were beginning to dictate what would be presented onstage.

It demanded spectacle, and the melodramas soon incorporated lavish sets and sound effects with such elements as storms at sea, battles, and horses onstage. From the melodrama Echegaray adopted the polarization of good and evil in distinct characters; from Romanticism he borrowed the alienated hero and the theme of tragic love. In his first period, from to , he continued under the spell of Romanticism, writing primarily in verse, often setting his plays in the distant past, and frequently reworking Spanish legend or showcasing figures such as physician and theologian Michael Servetus in La muerte en los labios , Death Upon His Lips or the title character of Haroldo el Nor-mando , Harold the Norman.

From to he wrote mostly in prose, returning to verse in and and then continuing in prose as he shifted to more realistic and naturalistic drama. The falsely maligned Matilde cleanses not her own stain but that which has spread over Fernando through his alliance with an impure woman, one who would have borne children of questionable paternity. Fernando then claims the deed as his own, for the old code accorded immunity for men avenging their honor.

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He protects Matilde, who would have been subject to a life sentence or death for committing murder. On her wedding day Daniel appears at her home and entreats her to escape with him. He does, and she dies at his hand. The play ends with the promise of a duel between Daniel and the General, a duel in which Daniel will receive the death he longs for.

In some plays Echegaray returns to the ancient association of bastardy with a flawed moral character. When his crime is discovered, Manfredo takes his own life after offering the knife to Jaime; the latter, brokenhearted upon discovering the infidelity of the persons he loved most in the world, also kills himself for having betrayed his country to save the unworthy lovers.

At the conclusion of the play, Echegaray indicates that the repentant Beatriz will join her husband in death. Echegaray depicts the illegitimate Child Snow in Piensa mal Her mother, Forgetfulness, loves the child but treats her coldly and in the end gives her up to Hope and her newly discovered biological father, Valentine. Of course, adultery is a piquant problem in every age, and its bloody resolution in terms of the honor code was less anachronistic in late-nineteenth-century Spain than it would be today.

The theme permitted Echegaray to do what he did best: If one is willing to suspend disbelief and to accept the rather improbable situations into which Echegaray thrusts his characters, one must concede that few playwrights could better depict the various shades of emotion. His masterpiece, El gran Galeoto, provides occasion for myriad emotions: Alluding to the story of Guinevere and Lancelot, between whom Galahad served as intermediary, Ernesto declares that gossip has been the intermediary between himself and Teodora.


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This kind of intertextuality is a device Echegaray often uses in his plays.