Read e-book online Orgullo y prejuicio (Penguin Clásicos) PDF

By Jane Austen

Los mejores libros jamás escritos.

Publicada originalmente en 1813, Orgullo y prejuicio es una de las obras maestras de los angeles literatura inglesa de todos los tiempos

A lo largo de una trama que discurre con los angeles precisión de un mecanismo de relojería, Jane Austen perfila una galería de personajes que conforman un perfecto y sutil retrato de los angeles época: las peripecias de una dama empeñada en casar a sus hijas con el mejor partido de los angeles región, los vaivenes sentimentales de las hermanas, el oportunismo de un clérigo adulador... El trazado de los caracteres y el análisis de las relaciones humanas sometidas a un rígido código de costumbres, elementos esenciales de los angeles narrativa de l. a. autora, alcanzan en Orgullo y prejuicio cotas de maestría insuperable.

La presente edición incluye una detallada cronología de los angeles autora. Asimismo recupera l. a. introducción unique de Penguin Clásicos acargo de Tony Tanner, que desarrolló su carrera como catedrático de literatura inglesa y norteamericana en l. a. Universidad de Cambridge. Sus acertadas reflexiones sobre l. a. obra de Jane Austen son los angeles mejor guía para adentrarse en el universo literario de esta autora.

«Pero mi locura no ha sido el amor sino los angeles vanidad.»

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Extra resources for Orgullo y prejuicio (Penguin Clásicos)

Example text

Pound chided Eliot when he used the word 舖perhaps舗: 舖Dam per舗apsez,舗 he wrote in his idiosyncratic phonetic diction. He knew that this poem needed to resonate with clear, crisp certainties, not equivocation. And again, when Eliot wrote what is now line 251 (舖Her brain allows one half-formed thought to pass舗) in a less definitive mode (舖Across her brain one half-formed thought may pass舗) Pound responded, 舖make up yr. 舗 Pound nurtured the poem舗s clear, definitive voice, which he educed from a much more tentative draft舒and Eliot舗s initial hesitations and uncertainties are completely understandable considering his tenuous mental and emotional condition during the first stage of composition.

Eliot offers a variety of scenes and tableaux舒the genteel drawing rooms of 舖Portrait of a Lady舗 and 舖Aunt Helen,舗 the tawdry streetscapes of 舖Rhapsody on a Windy Night,舗 舖Preludes,舗 and 舖Morning at the Window舖舒in which not much happens, prompting the poetic 舖hero舗 to ratiocinate and intellectualize ... and again, in this process, not much happens. The upshot of the speaker舗s careful observation and deliberation is always anti-climactic, unsatisfying. At the end of a potentially illuminating meeting with Mr.

The notebooks reinforce how carefully Eliot modulated the diction and tenor of this poetry. We see, for example, in a passage from the fourth stanza of 舖Rhapsody on a Windy Night,舗 in which a street-lamp surrealistically speaks of 舖the cat which flattens itself in the gutter, / Slips out its tongue / And devours a morsel of rancid butter,舗 that the word 舖rancid舗 was a late addition. We may surmise that that word carries an especially potent resonance: that it was (as Flaubert would say) le mot juste, carrying the connotation that, Eliot judged as he perfected the poem, emphatically conveyed the atmosphere of this scene.

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Orgullo y prejuicio (Penguin Clásicos) by Jane Austen


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