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By Julien Gracq

Un specific homenaje a l. a. novela gótica.

En el castillo de Argol es un specific homenaje que Julien Gracq rinde a los angeles novela gótica y al Parsifal de Wagner, considerado por el autor como una indagación en los angeles parte demoníaca que tiene todo mito de redención, en l. a. doble naturaleza de todo salvador: «Seréis como dioses, conocedores del bien y del mal». Así, rodeado por tormentas, mares amenazadores y bosques siniestros, Albert, último heredero de una familia noble, llega a su casa solariega de Argol, en l. a. inhóspita Bretaña. Su retiro espiritual se verá pronto roto por los angeles llegada de Herminien, su mejor amigo, y de una extraña muchacha llamada Heide, poseedora de una belleza tal que «antes incluso de que fuera percibida, period sentida como única».

El triángulo amoroso está formado y el escenario dispuesto para un intenso drama.

«Las grandes novelas y relatos de Gracq, comenzando por En el castillo de Argol, son misteriosas fábulas donde se confunden las iluminaciones oníricas y un estilo olímpico, de los angeles más alta escuela retórica francesa.»
Juan Pedro Quiñonero, ABC

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Additional resources for En el castillo de Argol

Sample text

The Trinidadian historian, social critic, and activist intellectual C. L. R. James attested to reading vanity Fair regularly starting at the age of eight, learning the workings of the British class system while feeling their persistence in his own West Indian milieu; as James later commented, it was to Thackeray, even more than to Marx, that he owed his vocation. Worldly cynic, righteous prophet, tiresome companion, proto-Marxist social anatomist: the appellations are as contradictory as they are vivid and plausible.

Do not pretend, this voice admonishes us, that our individual modes of confronting the world (what we call our 舠personality舡) are anything but a cover for the emptiness that awaits us when alone. Thackeray, that is, is not interested in solitude per se but in the strange mixed condition of modern solitude, an aloneness that is situated squarely in the midst of a multitude. The novel is, after all, multitudinous, a vast panorama that takes in a wide range of geographical and social sites. Socially the novel traverses the range from the titled great舒Steyne and his hangers-on舒to the rural gentry, represented by the Pitt Crawleys, to the fashionable layers of London upper-middle-class society (which Thackeray delineates with great care), to the upwardly mobile middle-class elements within the city, to murkier layers of financial privation encountered by shopkeepers, small landowners, and even servants.

At some point in this period the novel舗s title had, momentously, changed. At first advertised to prospective publishers as 舠Pen and Pencil Sketches of English Society,舡 and later 舠The Novel without a Hero舡舒titles that linger on in the subtitles of the novel舗s serial and book publications, respectively舒Thackeray seems to have had an epiphany of sorts in late 1847 during a working holiday in Brighton, when 舠Vanity Fair,舡 with its reference to John Bunyan舗s Protestant allegory Pilgrim舗s Progress (1678,1684) as well as the biblical Book of Ecclesiastes, suddenly seemed to summarize his novel.

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