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Typographic rustic ISBN: 9788498168631

SKU: 9788498976359 Category: Tags: ,

Tristana (1892) by Benito Pérez Galdós is part of the last group of Contemporary Spanish Novels, by Benito Pérez Galdós, the greatest representative of Spanish realist narrative.
The central theme of this novel is the oppressive situation of women in the late nineteenth century.
Tristana has a simple plot that focuses on the figure of Tristana. She is a young orphan who has been left in charge of Don Lope Garrido, a friend of her parents.
Don Lope is a mature seducer, with a chivalrous moral rancidity, who treats her with paternalism but at the same time acts as her lover.

“Her master exercised over her a despotism which we may call seductive, imposing his will on her with sweetened firmness, sometimes with pampering or cuddling, and destroying in her every initiative that was not of accessory things and without any importance.”

Tristana becomes aware of her unworthy situation, even more so when she begins a love affair with the young and apparently bohemian painter Horacio Díaz.

In the populous neighborhood of Chamberí, closer to the Water Tank than to Cuatro Caminos, lived, not many years ago, a nobleman of good stamp and pilgrim name; Not sitting in a manor house, because there were never any, but in plebeian room for rent of the baratitos, with noisy neighborhood of tavern, picnic area, goatherd and narrow inner courtyard of numbered rooms. The first time I had knowledge of such a character and I could observe his military taste of old stamp, something like a pictorial reminiscence of the old thirds of Flanders, they told me that his name was Don Lope de Sosa, a name that transcends the dust of the theaters or the romance of those who bring the rhetorical booklets; and, indeed, some thug friends named him so; but he answered for Don Lope Garrido. Over time, I knew that the baptism certificate was prayed by Don Juan López Garrido, resulting in that sonorous Don Lope was the composition of the gentleman, like a precious razor applied to embellish the personality; And so well did it fall on his slender face, with firm and noble lines, so good an arrangement made the name with the spiky stiffness of the body, with the easel nose, with his clear forehead and his lively eyes, with the mustache and the short, stiff and provocative goatee, that the subject could not be called otherwise. Either you had to kill him or tell Don Lope.
The age of the good gentleman, according to the account he made when it came to this, was a figure as impossible to find out as the time of a broken clock, whose hands were obstinate in not moving. He had planted himself in the forty-nine, as if the instinctive terror of the fifties stopped him in that dreaded boundary of the half century; but not even God himself, with all his power, could take away the fifty-seven, which, however well preserved, were no less effective. He dressed with all the neatness and care that his short hacienda allowed, always with a well-ironed hat, a good cape in winter, dark gloves at all times, elegant cane in summer and suits more typical of the green age than of the mature one. It was Don Lope Garrido, to make mouth, great strategic in love fights, and he prided himself on having assaulted more towers of virtue and rendered more places of honesty than hairs on his head. Already worn out and for little, he could not deny the mischievous hobby, and whenever he stumbled upon beautiful women, or even if they were not pretty, he put himself on a face, and without bad intention directed expressive glances at them, which were more really paternal than malicious, as if with them he said: “You have escaped in good, poor little ones! Thank God that you were not born twenty years earlier. Be wary of those who today are what I was, although, if they hurry me, I will dare to say that there is no one in these times who equals me. There are no more young people, no less gallants, or men who know their obligation next to a good girl.”

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