By Elizabeth Gaskell
A través de l. a. emblemática figura de unas hermanas solteronas asistimos a los pequeños y grandes acontecimientos de una pequeña comunidad. El paisaje, l. a. ambientación e incluso los personajes de esta novela están tomados del pueblecito en que l. a. autora pasó su infancia, Knutsford, y en un retrato lleno de humor y afecto se nos presentan valores y costumbres que l. a. Revolución business estaba transformando rápidamente.
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Extra resources for Cranford
Just as the bourgeoisie depends on private property, private interests, and domesticity to ensure the proper functioning of public life, the novel seeks, by concentrating on private matters, to illuminate the public sphere. Devoid of any aristocratic legitimacy, the novel is free of the canons that govern high literature as well as of the archetypes that constrain popular literature, and it has the same diversity and openness as the bourgeoisie. A genre still considered minor when first taken up by Honorȳ de Balzac, and primarily conceived as the reading matter of women and persons of leisure, the novel was to become舒thanks to technological improvements in the printing process, the serialization of novels in periodicals, and increased literacy and the broadening of readership舒the dominant form in Zola舗s time.
The book was simply a faithful depiction of the times, retorted Taine and Sand. A few years later, the Naturalists, Zola foremost among them, extolled Sentimental Education as Flaubert舗s masterpiece, precisely for its avoidance of romance and for the impartiality of the author. After Flaubert舗s death, Proust and Franz Kafka were equally enthusiastic, but on very different grounds: They liked Flaubert舗s style. While Henry James and Jean-Paul Sartre rather preferred Madame Bovary, the Nouveaux Romanciers (New Novelists) of the 1960s, led by Alain Robbe-Grillet and Nathalie Sarraute, saw in this book a forerunner of their own deconstruction of traditional novelistic character, time, structure, and rhetoric.
2, p. 691). And later: 舠I even think that a novelist hasn舗t the right to express his opinion on anything whatsoever. 舡 (December 1866; The Letters of Gustave Flaubert, translated by Francis Steegmuller, p. 94). In LEducation sentimentale (1869; Sentimental Education), Charles Deslauriers aspires to be like Balzac舗s seductive opportunist Rastignac and greatly admires the league of superior men depicted in Balzac舗s Histoire des treize (1833-1835; History of the Thirteen), while Frȳdȳric dreams of a great passion and favors Lord Byron, Chateaubriand, and Walter Scott: Flaubert proves them both wrong.