By Virginia Woolf
Una de las obras más autobiográficas de Virginia Woolf.
Al faro es una de las obras cumbre de los angeles literatura del siglo XX. Basada en los angeles propia infancia de l. a. autora, los angeles novela cuenta los angeles historia de l. a. familia Ramsay en los angeles isla escocesa de Skye en el período de entreguerras. El rumor del mar, l. a. presencia insomne del faro, l. a. guerra, los angeles muerte, el erotismo o el transcurso del tiempo se entreveran en los angeles larga conversación de los angeles novela formando un oleaje de símbolos, palabras e imágenes.
«Una de las inteligencias e imaginaciones más delicadas que ahora ensayan felices experimentos con l. a. novela inglesa.»
Jorge Luis Borges
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219). 5 Holland, p. 170. 6 Robert Smallwood, ‘Shakespeare Performances in England’, SS 51 (1998), 219‒55; p. 251. 25 Introduction split the image of woman into devil and angel, Eve and Mary. ’1 Shakespeare drew on many other direct as well as traditional sources, too, and his transmutation of his inherited material is so radical that his play creates a far greater impression of originality than of derivativeness. ‘Arcadia’. Conspicuously, Shakespeare chose to weave alongside and into the story of Lear and his three daughters the parallel narrative of the Earl of Gloucester and his two sons, Edgar and Edmund.
Although the plot of King Lear is intricately woven, it is nevertheless open enough to admit the inclusion of speeches and episodes which, inessential to the story line, add to and illuminate its system of ideas. Prominent among these are much of the Fool’s role, including the bulk of the scene (Sc. 31‒75); Edgar’s moralizing speech at the end of Scene 13 (‘When we our betters see bearing our woes . ’); the scene (Sc. 17) in which we hear of Cordelia’s reaction to her father’s plight;1 and, most conspicuously, the encounter between mad Lear and blind Gloucester (Sc.
Jackson and R. Smallwood (Cambridge, 1988), pp. 151‒66; pp. 154‒5. 2 D. Bradley, work cited in p. 38, n. 2, p. 34. 3 D. Bradley states ‘It is really a misnomer . . to speak of “sub-plots” or “double-plots” in Elizabethan plays’, pointing to ‘the Gloucester family . . whose history is fully explored and whose life-lines are interwoven, both in actuality and in the tightest thematic way, with those of the main characters’ (p. 35). 43 Introduction 6. David Bradley as Gloucester and Robert Stephens as Lear in Adrian Noble’s RSC production, 1993.
Al faro by Virginia Woolf