Torment: A Social Commentary on 19th Century Spain
Structure of the Work:
“The Approach:” located in Chapters I and II.
The introduction is presented through two characters who meet after a long time, and as many have done in life, there begins the story that encompasses the novel.
“The Development:” it is composed of chapters from III to XXVII inclusive.
This is the long story of the novel, a love story between a man of high social class and a woman of lower social class.
“The Conclusion:” located in the later chapters, particularly in Chapter XXVIII at the end.
Exhibits at the end of the novel; Augustine Amparo Caballero and clarify their differences, rather clarify what happened before and just end up going to Burgos to live together but not married.
Stylistic Features for Writing the Novel:
- Narrator omniscient. The novel is narrated by a narrator often omniscient, who knows in detail the present, past and can even anticipate the future of the characters. Displays the deepest thoughts of the characters and does not hesitate to contact the reader to discuss their behavior.
Thematic Aspects
a) The Little Society:
The novel is set in a great historical moment, i.e., in the revolution of 1868, where the presence of realism in Spain was marked by the peculiar historical and political circumstances of the peninsula.
When the first workers’ movements generated a climate of ideological confrontation, which affected many in literature, since it was formed where the fundamental battle camps were postured.
There were several literary positions, the progressive or liberal mentality is represented by authors such as Benito Perez Galdos, author of the novel.
Various social classes are distinguished in the little society:
-Leadership:
Characters representing Agustin Caballero and his friends.
This social class consists of bankers, big businessmen and landowners, who seek the Liberal Union as a practical and effective government. They have power in society and are involved in policy decisions.
-Bourgeoisie:
Represented by Rosalia Rosalia and her husband, Don Francisco de Bringas.
This link aims to advance socially, pursue and imitate the pattern of life of the higher social classes. They have an economy that allows them to live comfortably.
This class will become the largest recipient of the realist novel, highly characteristic of society then.
-Workers:
The play characters such as Amaparo, Celandine, Philip and Thompson among others.
It is the lowest rung of society, composes the lower social classes who daily suffer severe economic problems. The lucky ones are subjected to subhuman work, others do not even work, and many survive on low and occasional occupations.
b) Other Aspects:
“Love:
is a critical component, but often occurs in the context of a troubled relationship: adultery is present in the most famous realist novels.
In Torment, it appears for example in the relationship between Amparo and Mr. Knight, a relationship that much blush rose between the social class of Agustin.
-Family:
On the one hand, the relationship between Amparo and Family Bringas, is almost a family relationship, since the mother was Amparo Calderon, as the mother of Rosalia, but very remote branches, shortly before the death of the father gives Amparo, this did call Don Francisco Bringas, who, after receiving this invaluable service, he promised to care for their missing daughters if this is where there is some very everyday of the society of the time, the poor relations worked for the rich.
From another point of view is the intimate relationship of the Bringas family, consisting of Rosalia Rosalia, Francisco de Bringas, and their two children, a boy of about fifteen years, high school student, and the girl about six years, bearer of a great vivacity and graceful appearance enviable. Also part of the Bringas family, though their relationship is somewhat distant, Agustin Caballero.
“Amistad:
this relationship is found between Agustin Caballero and his three friends, Mr. Arnaiz, Trujillo and Fernandez and Mompous and Bruil, well-chosen friends, in which Augustine places great confidence.
We can also see the representation of the friendship between the relationship enters Manuel Pedro Polo and Nones, despite the prejudices of religion helps Nones Polo out of the dark situation that meets Amparo.
“The Nun:
is much criticized, is presented as a scourge that cuts the life of the characters. This is represented by a cleric criticism under the invincible temptation of human love.
This is very important in Torment, is reflected in the figure of Peter Polo mainly cleric who did not resist the temptation of love with Amparo, this forbidden love that happened in the past, Amparo try and stop him is a big Although, since he takes it as a sin dishonest.
On the other hand, from the liberal point of view, the relationship between Amparo and Agustin is frowned upon by the religion and society of the time, and living together without marriage.
The Writer also reflects in detail the environment in developing the action. Abound detailed descriptions of streets, villages, customs, houses, rooms or even the clothing and appearance of the characters psychologically.
“Shelter, raising his arms, remained committed heart and soul to the work of his hair, which was the best of him: a mass of sweet shade that gave value to his face as white and tiny. The lack of a tooth above the gum was the false note of his face, but even this gave him a certain grace pungent dissonance, like in a different order of sensation, the stimulation of pimeinta on the palate. With their eyes looking lively burlesque rogue, and his nose, slightly mashed, had the most beautiful and cheerful ugliness imaginable … “
Staff Valuation about the Behavior of Characters.
Almost all the characters that appear in the work behaviors play worthy of analysis, but I think that some behaviors are more interesting or more representative of society of the time.
These characters are those that appear mostly in the novel, those who form the plot of the book, as Amparo, Augustine, Rosalia, Pedro Polo.
-Amparo
is a woman almost in poverty, which has large domestic virtues: it is a humble person, a fighter, and religious belief (typical of the time). Despite living in esfurzos, and having to support her younger sister Refuge, which is more a burden than a help, go ahead, accepting life as it is.
Taking first things that happen with some pessimism, but manages to overcome them.
An interesting behavior in Amparo, when you think you situation is not worth nothing, as this close to losing the only good thing that has happened ever, despite being a person choose suicide as a struggling single output.
-AgustÃn:
a character is a little strange in the context of the time, away from everyday forms. A charitable person, compassionate and easygoing. He always finds the unusual in a strange cunning.
A striking behavior is when he gives his Rosalia premium tickets for the theater, so he knows she is happy, trying to exaggerate reality, therefore aid in what they can.
-Rosalia:
female characteristic of Madrid society of the nineteenth century, always try to pretend it is not only to join a particular social class, the bourgeoisie.
Algonquin was an arrogant person with those of lower social classes, ie something haughty.
A very interesting behavior of Rosalia, you can find where, by all means, try to underestimate Amparo, with the theme put her in a Convent, since it gives higher aspirations.
-Pedro Polo:
This character represents the male dominant aspect of some men of the time, in some respects, a typical male profile.
He is a priest who breaks the vows made, having a love affair with Amparo.
A surprising behavior of this character is located when Amparo up because he no longer wants and is not interested in him.
No other characters have also sometimes amazing behavior are:
- -Shelter, a self-centered thinking and behavior supposedly independent.
- “Felipe, when kindly prevent the suicide of Amparo.
- -Marcelina, viper woman who only seeks his advantage and cause evil by their talk.