- El Si de Las Ninas
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Character 7. Dramatic Structure 8. Time 9. Humour Language Critical Reception Daecon's edition makes the work readily accessible to English speakers of today.
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His command of the sources , his provocative analysis, and his own graceful style combine to put the reader, whatever his age, in possession of the text. It may serve as a model of how to present a play to an audience. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter.
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El Si de Las Ninas
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El Si de las Ninas - AbeBooks - Leandro Fernandez De Moratin:
In public, she is the opposite of Marianne Dashwood. Afraid of disappointing her mother, Francisca does not dare to show her real feelings in public, an attitude of submission that is not portrayed as positive. During the third act, Don Diego has a long conversation with Francisca, trying to ascertain if she really wants to marry him. There you have the fruits of so-called education! Somehow, we can read Francisca as a composite of Elinor and Marianne and as an embodiment of the dichotomy of Sense and Sensibility. Francisca cultivates her own sorrow like Marianne but hides it in public like Elinor.
In view of the feminine canon of this period, any moralist would prefer Francisca, who at least is obedient. Marianne, spoiled or wrongly advised by her mother, cannot master her sensibility; Francisca, repressed by a strict religious upbringing, suffers because of her inability to show her true feelings. She is a sensitive woman, but her sensible duty comes before sensibility, and in the end she is rewarded for her attitude.
Her only taint could be that, like Francisca, she hides her real feelings. We do not know how Elinor would react to the problem faced by Francisca, an arranged marriage. For example, according to Barbara J. Sensibility, love, and marriage. As the definitive association between love and marriage is the result of the bourgeois or gentry conception of domestic life, and as Romanticism is the cultural movement linked to this social group, it is reasonable that Romantic characters passionate, sentimental, individualistic, etc.
The Sentimental triumphed among the Spanish public, thanks to its introduction in comedies. At the beginning of the nineteenth century, many neoclassical writers had overcome their prejudices against the genre by adopting in their pedagogical plays the strength of feelings and their faculty for moving the public.
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Old Don Diego aspires to a marriage very similar to the one between Marianne and Brandon, a friendship which becomes love:. I know that neither my figure nor my age is such as to cause anyone to fall madly in love with me. But also I thought it was not impossible that a sensible and well-bred young girl might come to love me with that tranquil and constant love that is so much like friendship and is the only kind of love than can create happy marriages. Francisca is sixteen years old and Don Diego is fifty-nine, a difference of forty-three years, while in Sense and Sensibility , Marianne says that Brandon, eighteen years older she is seventeen, he thirty-five , could be her father Despite the influence of sentimental literature, this exaltation of love is not common in Spanish neoclassical plays as Baroque long-winded exhibitions of feelings had been forbidden during the eighteenth century.
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During her first voyage to Spain between and , Lady Holland observed that Spanish people did not link love and marriage. She noticed that noble women had arranged marriages and loved someone else with total naturalness Moralists vociferously complained about this situation, which they linked with feminine dissipation and a general descent from religious principle.
In turn, reformists perceived the problems in a practical way and were always optimistic about the possibility of intervening in society like surgeons. Arranged marriages were the origin of this social and political problem, and didactic theatre could be the first step to changing social conventions. According to the official perspective, in marrying Don Diego, Francisca was a potential moral problem the possibility that she would find a lover and even a demographic one the probability that she would become a young widow.
The alliance between love and marriage was very convenient to His Catholic Majesty in his efforts to put an end to this upper-class custom. At the end of the Old Regime, the absolutist monarchy tried to adapt its propaganda to the new times, and marriage for love was one of its tools. The English writer, however, seemed more concerned about following social conventions. If the spirit of the Enlightenment was sense, the soul of Romanticism was sensibility. In her novel, Austen shows a Neoclassical spirit by making her Romantic and romantic character, Marianne, constantly look bad.
For example, when defining Mrs. Not every attitude proper to a character of Romantic novels, however, is criticized in Sense and Sensibility ; indeed Edward Ferrars can be considered a Romantic character because of his suffering, his melancholic nature, and his rejection of politics in favor of a small country parish.
I like a fine prospect, but not on picturesque principles. I do not like crooked, twisted, blasted trees. I admire them much more if they are tall, straight and flourishing. I do not like ruined, tattered cottages. I am not fond of nettles, or thistles, or heath blossoms. I have more pleasure in a snug farm-house than a watch-tower.
Marianne, who always had the romantic idea of loving just once, finally gets married to Colonel Brandon, someone whom she previously considered old, boring, and the kind of man to whom engagement is a business contract. Nothing could be further from romantic love. We could say that a modern argument supported conservative aspirations. Supporters of conservative interpretation of Austen may think that Sense and Sensibility is old fashioned in terms of couple relationships even when comparing it with a Spanish play of The big question is whether or not Austen was defending a conservative and dispassionate society Roberts.
Her ideas are probably echoes of the Enlightenment Knox-Shaw or perhaps a simple matter of literary preferences rejecting exaggerated sentimentalism. Sensible obedience before love. There is a big difference, however, in how the characters react before paternal authority. What he or she might think in private is a different matter.
It should of course be stated that paternal authority is as important in Sense and Sensibility as it was in society. She would have been glad to know when these difficulties were to cease, this opposition was to yield,—when Mrs. This interesting sentence announces better times, when the present son and daughters become parents. The despotic Mrs. Ferrars acts like a tyrant who must be dethroned as soon as possible; obeying her—thereby breaking a promise of marriage—would be dishonorable for the Ferrars brothers.