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Table of contents
- Episodios Nacionales: Segunda Serie
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- Anales galdosianos. Año XX, 1985, Núm 2
- Visor de obras.
- Anales galdosianos. Año XX, , Núm 2 | Biblioteca Virtual Miguel de Cervantes
Episodios Nacionales: Segunda Serie
To ask other readers questions about Episodios Nacionales , please sign up. Lists with This Book. This book is not yet featured on Listopia. Los dos bandos principales representados por los principales protagonistas, Carlos Garrote y Salvador Monsalud, auguran los futuros enfrentamientos entre carlistas y liberales. Aparece el rey en los balcones de palacio arengando a las tropas absolutistas contra sus rivales.
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El terror de La trama se centra en la vida del viejo Sarmiento, el quijotesco liberal que es cuidado y amorosamente atendido por su hija adoptiva Sola. Salvador Monsalud y su destino envuelto en constantes peligros permanece en tercer plano, pero sus vicisitudes se mezclan con los de los otros dos protagonistas de forma elegante, sublime. Demasiado prolijo este episodio. Alejandro rated it liked it Jan 23, Eva rated it it was amazing Sep 10, Vicente Mulero Carbonell rated it really liked it Sep 02, Jorge lahey rated it really liked it Nov 17, Francisco Javier rated it liked it Sep 24, Rafael Cantero rated it it was amazing Dec 16, Gladys Menendez rated it it was amazing Jan 13, Francisco added it Aug 16, Rafa Rodriguez marked it as to-read Feb 11, Pibolete marked it as to-read Jun 21, Camila marked it as to-read Mar 19, Nuria added it Mar 22, Miguel Erja marked it as to-read Jul 19, Luis marked it as to-read Aug 03, Olga marked it as to-read Aug 06, Cristina BM marked it as to-read Aug 19, Lucy marked it as to-read Oct 07, Martinybarra is currently reading it Nov 29, Juan Navarro marked it as to-read Jan 01, The most important point of convergence between the two works is the emphasis given to freedom in both.
Minuta de un testamento , less dramatic in nature, stresses freedom of thought and conscience.
Un voluntario realista dramatises in many forms the threat to freedom posed by fanaticism. The role played by conscience is central to both works. Other points of convergence will emerge in our discussion of both works.
Anales galdosianos. Año XX, 1985, Núm 2
The first crisis of conscience that the anonymous protagonist of Minuta de un testamento suffers concerns his continuance in his medical career, which in effect had been chosen for him by his parents. By contrast with the scruples of conscience of the protagonist of Minuta de un testamento , Sor Teodora in Un voluntario realista has no qualms of conscience about her convent vocation. Chapter VIII of Minuta de un testamento , which deals with the parents' attitude to the choice of career of their children, suggests as positive an influence as the influences on Teodora were negative.
This description is of a piece with the scene in chapter III of Un voluntario realista which describes the reception of Teodora into the convent.
This latter condition of Teodora is also anticipated in the ceremony: The music played during the ceremony is of the sentimental, romantic kind. Teodora's hair is dramatically cut, which does not, according to a sister nun 71 , prevent her later from putting flowers in her hair. The hair-cutting ceremony has a profound effect on the youthful sacristan Pepet Armengol.
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He cries out against it and then loses consciousness. After some confusion the Bishop begins to laugh, and the others follow. There is a strong suggestion here that Pepet saw beyond the theatricality of the ceremony to what it really represented in Teodora's case. Just as Teodora found out too late that she had no religious vocation, so the information that none of her family had investigated whether her vocation was true or not, comes to the reader long after the theatrical event of her reception.
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Some nuns are not on speaking terms with each other 10 , and the convent plays an important part in the revolt. In Minuta de un testamento one of the protagonist's sons contracts a passing fancy for the military life. The coincidence in character between the protagonist's son and Pepet Armengol is evident: The one receives no encouragement, and the interest fades; the other is incited by Sor Teodora's fanatical, reactionary account in chapter IV of the Spain of her time, writes to her on campaign 33 , and tells her at their final meeting that she was the chief motivating factor in his search for glory Again we can see a convergence of view between the authors, arriving by different routes.
The exercise of freedom in many guises is a recurrent feature throughout the Minuta de un testamento. Although the topic of freedom of conscience dominates the Minuta de un testamento , particularly in chapters II, III and IV, the desirability of other kinds of freedom is also mentioned. In chapter V, which deals with the protagonist's political activity and attitudes, doubt is cast on whether the restored Bourbon monarchy will be tolerant and respectful of the law M: In chapter VI, which deals with the protagonist's teaching profession, the importance of academic freedom is stressed.
The sense of freedom or its opposite pervades Un voluntario realista.
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There is a strikingly large number of scenes, arising either directly or indirectly out of the revolt, where persons are held captive by another person. Pepet himself is imprisoned by Jep dels Estanys. Teodora is initially held at knife-point by Monsalud, and she is also abducted from the burning convent by Pepet.
The paragraphs devoted to him towards the end of the novel are not idle ones. His despotic and fanatical character both within his home and outside it emerge from the anecdotes.
Anales galdosianos. Año XX, , Núm 2 | Biblioteca Virtual Miguel de Cervantes
Again, the result of incurring the displeasure of the Conde is imprisonment at least. She herself becomes a victim of the violence that she had promoted earlier. Basically peaceful characters such as Monsalud and Guimaraens are caught in the middle of the violence and fanaticism about them. The scene between Monsalud and Teodora in the latter's cell is an image in microcosm of the thrust of Un voluntario realista as a whole: Teodora asks him to leave, saying that she will not reveal his presence in the convent.
The scene could up to this point be a lesson on the primacy of conscience and of non-violent attitudes. Such a relentless concentration on the worldly thoughts and physical beauty of the nun means that underlying the potential idealism of the scene is the reality of a personality caught up in an unequal conflict between religious duty and natural desires.