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Typographic rustic ISBN: 9788499532127

SKU: 9788499532110 Category: Tags: ,

La Fontana de Oro is the first novel by Benito Pérez Galdós and was published in 1870. The action takes place in the city of Madrid during the years of the Constitutional Triennium (1820-1823).
Framed in the reign of Fernando VII, in its pages Galdós narrates events such as the uprising of General Riego. It also relates the subsequent arrival in Madrid on May 24, 1823 of the One Hundred Thousand Sons of San Luis to restore the tyranny of the monarch. Clandestine meetings of Masonic lodges and “ultramontane sects”; performances by great speakers such as Antonio Alcalá-Galiano; skirmishes between liberal and royalist militiamen; mass shootings and executions in the Plaza de la Cebada after the absolutist victory.
The main plot of the novel focuses on the love affair between two young people from very different backgrounds and ideologies. Lazarus is romantic and liberal, while Clara is a young orphan who lives with her uncle, of absolutist and very intolerant thought.
Is a work of urban environment, specifically of the Madrid fernandino. It is identical to the one that Pérez Galdós lived, in which the famous café is the main stage. It takes its title from the café located near Puerta del Sol. There they met artists and oratory tribune for liberal politicians.
La Fontana de Oro is a novel in which there is no lack of realism of the moment or a certain customs. It is also visible a historical and political vocation that leads to the incorporation of real characters and historical events, features that Pérez Galdós will later develop in the National Episodes.

Chapter I. The Carrera de San Jerónimo in 1821

During the six unforgettable years between 1814 and 1820, the town of Madrid witnessed many official celebrations on the occasion of certain events declared faustos in the Gaceta of that time. Triumphal arches were raised, damask hangings were laid, communities and brotherhoods went out to the street with their banners in front, and in all corners shields and cards were placed, where the poet Arriaza stamped his poor verses of circumstances. In those feasts, the people manifested themselves only as one more guest, added to the list of mayors, officials, gentile-men, friars and generals; He was nothing more than a spectator, whose passive functions were foreseen and indicated in the articles of the program, and he played as such the role that the label prescribed him.
Things happened differently in the period from 20 to 23, in which the events referred to here occurred. Then the ceremony did not exist, the people demonstrated daily without prior appointment of positions printed in the Gazette; and without the need for arches, or oriflamas, or flags, or shields, he set the whole town in motion; made its streets a great theatre of immense rejoicing or noisy madness; He disturbed with a single cry the calm of the one who was called the Desired by a mockery of history, and used to gather with deaf rumor next to the doors of the Palace, the house of Villa or the church of Doña María de Aragón, where the Cortes were.
Years of many hauls were those for the ramshackle, dirty, uncomfortable, unpleasant and dark villa! However, Madrid was no longer that lavish place of the time of the Tudesque kings: its glorious days of May 2 and December 3, its initiative in political affairs, exalted it greatly. It was also the forum of the constituent legislation of that time, and the chair in which the most brilliant youth of Spain exercised eloquently the teaching of the new law.
Despite all these honors, the villa and court had a very unpleasant appearance. Mari-Blanca continued in the Puerta del Sol as the most concrete artistic expression of the matritense culture. Immutable on its crude pedestal, the statue, which in previous centuries had witnessed the tumult of Oropesa and the mutiny of Esquilache, now presided over the spectacle of the revolutionary activity of this good people, who always converged to that place in their ovations and in their disorders.

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