-
Leopoldo
Alas
o
Nombre
de pluma – “Clarín”
o
Vida:
1852-1901
o
Periodista,
profesor, y autor de novelas
-
La Regenta es su primera novela
-
La
escribió en secciones (como artículos)
-
La
influencia del naturalismo y realismo (progresista) en la novela
General notes:
Naturalism/Realism: recrea los aspectos más sórdidos de la realidad y la condición física. La herencia genética y el medio marcarán el destino de los personajes.
Personajes
-
Ana
Ozores (“la Regenta”) – la protagonista; la esposa de Víctor y amante de Álvaro;
es bastante religiosa
-
Víctor
Quintanar – el esposo de Ana; es viejo y como un padre
-
Álvaro
Mesía – el Casanova (“Don Juan”) de la ciudad; el amante de Ana
-
Fermín
de Pas – el confesor de Ana y magistral de la iglesia de Vetusta; se enamora de
ella y es el rival de Álvaro
-
Frígilis
(Tomás Crespo) – el amigo de Víctor, cazan juntos frecuentemente
-
Paula
– la madre del magistral, Fermín; muy controladora
-
Petra
– la criada de Ana; es mentirosa (miente cuando cree que necesita proteger a
Ana)
-
Obdulia
– “amiga” de Ana, la mujer “floja” de la ciudad
-
Saturno
– otro hombre que está enamorado de Ana
-
Cayetano
– obispo de la iglesia; muy criticado por todos como que no es bastante
religioso
-
Visitación
– amiga de Ana; muy coqueta y un poco sospechosa (¡es mala!); habla bastante
con Álvaro (sobre Ana)
-
Teresina
– criada en la casa de Fermín y Paula
-
Custodio
– cura en la iglesia; corrupto, chismoso
-
Santos
– hombre viejo que se queja mucho contra el Señor Magistral (Fermín) y su madre
(Paula); dice que ellos lo arruinaron
Summary (Condensed from Wikipedia)
Setting: Vetusta
Ana is married to Don Victor (for convenience). She is lonely and bored. Religion is the only escape valve in the city. Meets Don Fermín, her confessor. Meets Don Álvaro, who loves her. Magistral Don Fermín gets Ana's servant Petra to spy on her. One day, Don Víctor comes back an hour early, sees Don Álvaro hop out of Ana's window and Álvaro kills him. When Ana finds out, she gets sick. Turns to religion for consolation. Goes to church and gets scared when Don Fermín gives her a look. Faints.
Resumen un poco más
detallado (rtve.es)
En Vetusta, una imaginaria ciudad norteña de
provincias, vive Ana Ozores, bella mujer conocida con el sobrenombre de la
Regenta por estar casada con don Víctor Quintanar, ex regente de la audiencia,
hombre mayor que su mujer, gran aficionado a la caza, entretenimiento que
comparte con su amigo Tomás Crespo, al que apodan "Frígilis". La
Regenta busca en la religión un sentido a su vida monótona y aburrida. El joven
Magistral de la catedral, don Fermín de Pas, hombre apuesto y ambicioso, acepta
ser el director espiritual de Ana, recomendándole una larga confesión general.
Al término de la misma don Fermín se siente atraído por Ana. Doña Paula, madre
del Magistral, comprueba un cambio en el comportamiento de su hijo, y le
advierte del riesgo que para su ascenso en la carrera eclesiástica puede
suponer un lío de faldas. Ana, por su parte, se siente atraída por otro hombre,
don Álvaro de Mesía, el "don Juan" de Vetusta. En el teatro de
Vetusta se representa el Tenorio de Zorrilla. La obra cautiva a Ana, que se
siente identificada con doña Inés, al tiempo que la figura de don Juan parece
adquirir los rasgos de don Álvaro Mesía. La presencia de la Regenta en el
teatro el día de los difuntos da lugar a habladurías en los ambientes
conservadores e hipócritas de Vetusta. Los comentarios llegan hasta el
Magistral, que reprende a Ana. Ésta se disculpa y se compromete a ir a casa de
doña Petronila Rianzares, vieja beata que sirve a los intereses del Magistral,
para mantener allí una relación espiritual más estrecha con su confesor. Tras
un primer encuentro en casa de doña Petronila, Ana cae enferma. Don Fermín,
cada día más celoso de don Álvaro Mesía, y ayudado por Petra, la criada de los
Ozores, visitará a la Regenta, no permitiendo que don Álvaro Mesía pueda
hacerlo también. Con la llegada del verano la salud de la enferma mejorará y su
relación espiritual con el Magistral será más intensa. Tras una nueva recaída
de Ana, don Víctor decide seguir el consejo del doctor Somoza y llevarla al
Vivero, finca de unos amigos. Allí, la Regenta, mejorará, y su misiticismo se
irá debilitando. El Magistral, alertado, decide presentarse en el Vivero, donde
comprueba que las relaciones entre Ana y Mesía han prosperado. De vuelta a
Vetusta el Magistral encarga a la criada de los Ozores que le tenga informado
de todos los movimientos que se produzcan en la casa. Encargo que Petra cumple
debidamente, al tiempo que facilita la entrada de Mesía, cada noche, en la alcoba
de Ana. Petra consigue engañar a todos, por un lado provoca que don Víctor
descubra a Mesía saltando desde el balcón de su esposa, y por otro que doña
Paula la admita como criada en su casa, asegurando su futuro. Quintanar reta a
duelo a Mesía, y éste le mata de un tiro. En Vetusta todos culpan a la Regenta
por la muerte de su esposo y la dejan sola. Ana se encierra en su casa con la
única compañía de Frígilis.
Estructura de la obra
-
Primera parte
o
Capítulos 1-15
o
Describen tres días
o
Presentación
de los personajes y los antecedentes, descripción de Vetusta
-
Segunda
parte
o
Capítulos
15-30
o
Describen
tres años
o
El
desarrollo verdadero de la trama narrativa
- El autor se sirve de la ciudad de Vetusta como símbolo de la vulgaridad, la incultura y el fariseísmo
Comps Example Question
La regenta como novela naturalista. Discursos parodiados por Clarín en su novela. Interpretaciones de la
crítica de los pasajes más importantes de la novela. Degeneración del misticismo
y decadencia de los valores tradicionales. Hipocresía en Vetusta. Símbolos
principales.
-
Naturalism
o
Many traits of realism (life-like descriptions, rural/urban
setting, regionalism, triangular structures, objective vision of reality,
themes relative to reader, intertextuality)
o
Determinism (Ana’s predestined negative
destiny/fate)
o
The investigation of the reason/explanation
behind human behavior
o
References to scientific theory
-
Discourses that Clarín parodies
-
Interpretations of the criticism of the most
important passages of the novel
o
In Cambridge Spain text: focus on why the novel
is realist (one of the most important passages of the novel [highlighted in
this article] is Chapter 16, the representation of Zorrilla’s Don Juan Tenorio)
-
Degeneration of mysticism
o
Some comparison between Ana and Santa Teresa de
Jesus at the height of Ana’s religious fervor (with Fermín) – this is the
representation of the strength of the influence of mysticism
o
Later in the novel, Ana begins to turn away from
“mysticism” in favor of romantic love (Alvaro)
-
Decline of traditional values
o
Purity vs. impurity, adultery, unfaithfulness in
marriage
o
Religion is important, yet in this novel, there
is a corrupt side to religion, and religion isn’t enough of an
escape/consolation for Ana in her sad life.
o
Honor no longer takes such importance – everyone
tells Víctor to forget about his honor when he discovers Ana’s infidelity with
Alvaro.
-
Hypocrisy in Vetusta
o
Idea that the priests (curas) are hypocrites.
They receive confession just to hear women’s secrets, and often attempt to
seduce them. (Alvaro strongly suggests this idea, and as evidence, el señor
magistral, Fermín, definitely abuses his position).
o
The whole city is full of gossips. Everyone
talks about everyone else.
o
Purity vs. impurity (double standards between
people of city, men vs. women, focus on Ana in particular, Petra is
hypocritical too)
o
The town people call Ana a hypocrite (after
Víctor’s death)
-
Symbolism
o
Symbolism of the gate/cage
§
Ana’s hand gets trapped in one of her husband
Victor’s hunting traps
§
Ana looks out through the gate during the night
and sees Alvaro in the street (contrast between being trapped and being free)
§
The city itself is like a cage in which Ana is
trapped
§
The convent in which Inés is enclosed in the
theatrical representation of Don Juan
Tenorio – reflects Ana’s situation of feeling trapped in the city and in
her marriage
Temas/ideas importantes
-
Estilo
de escritura
o
Narración
en tercera persona; omnisciente
o
Muy
detallado
-
Género
/ feminismo
o
Puridad
femenino: Ana es el único personaje puro en la novela; también es el único que
es realmente y constantemente castigado por sus acciones
o
Víctor is feminized in his vulnerability and passion
for his friend Frígilis
o
Impurity (especially female)
§
The servant Petra has a lover (her cousin) to
whom she’s not married
§
Sexual tension surrounding Petra constantly
(with both Víctor and Fermín)
§
Petra has sex with Alvaro (she’s a bit slutty,
huh?)
§
Servant Teresina – has relations presumably with
Fermín (left unclear)
o
Paula (Fermín’s mother) has a pretty powerful
position in his life.
-
La
religión
o
Religión
como un escape
§ Petra sobre Ana: “con la carita todo
iluminada sale de confesar”
§ La relación intensa de confesión entre Ana
y Fermín (reminiscente de Santa Teresa) – misticismo
o
La
importancia de la religión fuerte (católica)
o
La
idea de la corrupción posible en la religión –
§ Pensamiento que los confesores pueden ser
avariciosos y aprovechar de los confesores
§ Todo el mundo habla de los curas
(especialmente de Fermín) y sobre si son virtuosos o no. Hay que cuidar
demasiado de la reputación.
§ Fermín se enamora de Ana cuando debe de
ser puro
-
La mirada
o
Álvaro
comunica su amor a Ana a través de la mirada fuerte
o
Las miraditas
seductoras que Petra le da a Víctor todo el tiempo
o
Las miradas
que Fermín le da a Ana (especialmente hacia el final, la mirada de juzgamiento después
de la muerte de Víctor)
-
Hipocresía
o
Todas
las personas del pueblo siempre chismean
§ Los curas hablan de los otros curas y si
son bastante virtuosos (especialmente de Fermín)
§ Las mujercitas hablan de las otras mujeres
y lo que hacen (especialmente de Ana, la Regenta)
o
La
puridad vs. la impuridad
§ Idea que Ana debe de ser pura, pero en
todo su alrededor hay un montón de gente impura y inmoral
§ Fermín es impuro – sus relaciones
(implícitas) con las criadas Teresina y Petra
§ Petra es impura – tensión sexual entre
ella y ambos Víctor y Fermín… ella tiene sexo con Álvaro y también Fermín. Juega
con Víctor, dándole miradas seductoras pero después diciendo que tiene que
proteger su honra.
o
La corrupción
de la iglesia (Fermín abusa de su posición)
-
Realismo
– características/temas comunes que aparecen en la obra:
o
Life-like
descriptions; very detailed writing style
o
Regionalism/urban
setting
§ Focus on city of Vetusta
§ Intensely detailed description of Vetusta
§
Transition between rural/urban settings – go from
city (Vetusta) to countryside to help Ana recover from nervous attacks, then
later return to city
o
Love
triangles (Adultery) / Triangular structures
§ Ana, Víctor, Fermín, and Álvaro
§ Victor, Álvaro, Frígilis, and Ana
§
Inappropriate currents in Fermín’s relationship
with servant Teresina… triangle: Fermín – Ana – Teresina
o
Objective
vision of reality
§
Narrator who is omniscient and ironic, varies
between sympathetic and critical
o
The idea of the mirror and the mask
§
Fermín looks at himself in the mirror and says “eres
una mascara”
o
Themes relative to the reader
§
Marriage for convenience rather than love
§
Sadness/dissatisfaction in marriage
§
Seek of consolation/escape in religion
§
Marital infidelity (adultery)
o
Intertextuality
§
Example: Chapter 16 – Zorrilla’s famous play Don Juan Tenorio is performed. The
situation and characters of the novel are reflected in the play. (Cambridge
Spain, Chap. 6)
§
Example: Fermín visits Ana while she is still
ill and brings her books to read. Ana tells him that she has been reading the
texts of Santa Teresa and makes a comparison between Teresa’s fruitless search
for a good confessor and her own satisfaction with him as a confessor
o
Interaction of metaphor and motif (Cambridge
Spain, Chap. 6)
§
Development of the gaze
§
Image of the tower
§
Mud-stained environment
§
Slavering appetites
§
The hunt
-
Naturalismo
o
Determinismo
§
Idea that Ana’s negative fate was decided since
her childhood. She “slept” with a boy (accidental, fell asleep in a boat) when
she was a child. Her guardians criticized her; idea that her destiny was
already decided and that she would have a bad life just like her mother.
o
The investigation of the reason/explanation
behind human behavior
§ Frígilis – “la gente es mala pero no es
culpa de ella”
o
References to scientific theory:
§
Visitación makes fun of Frígilis saying that
he’s the one who thinks their grandparents were monkeys (Darwin, evolution
theory) – this is a touch of naturalism, but clarifies how Spanish naturalism
is different from other areas of Europe due to strong religious presence.
Some notes from text
Chapter 1.
Vetusta: la muy noble y leal ciudad. Capital of the province. "Lifelike" language. Es otoño. Meet the Magistra: Aquella mirada la resistían pocos; a unos le daba miedo, a otros asco. LONG descriptions (though beautiful). Es montañés. Has some spectacle thing that he uses to watch the city. Again, feels a little like Fray Gerundio: "Mientras el auditorio (in church) aguardaba en silencio, respirando apenas, a que la emoción religiosa permitiera al orador continuar." La Encimada is the nice neighborhood in the city vs. Campo del Sol [de los trabajadores 'sucios']
Don Saturno: "vino en averiguar y dar por evidente que se podría querer a una casada y hasta decírselo si el amor contenía en los límites del más acendrado idealismo"---He's into La Regenta.
Another character, Obdulia "disimulaba mal su aburrimiento mientras se hablaba de cuadros" *slight critique of the upper class people who admire artwork, but do it 'just for looks'. Obdulia seems to chase men in collars...had gone after the bishop, now working on Magistral Don Fermín...
Chapter 2.
Church critique: "los venerable canónigos dejaban cumplido por aquel día su deber de alabar al Señor entre bostezo y bostezo".
Don Cayetano: 77 y.o., "sus dioses era Garcilaso y Marcial, su ilustre paisano." Dos pasiones mundanas: la mujer y la escopeta (he's a country song!) "Vivimos en una sociedad hipócrita, triste, y mal educada."
Two-faced people, like Don Restituto.
La Regenta appears, wife of don Víctor Quintanar. She's part of high-society, los Ozores. It seems to be important which priest she does her confessions with. She shows up without an appointment- either because she thinks herself so important that things will arrange themselves for her or because she is so humble she thinks she mixes with the masses...
Ch. 3
When Víctor was regente of Vetusta, el Magistral Fermín would visit with some frequency. "Doña Ana jamás había hablado a solas con el Magistral." Obdulia, in an aside, critiques the style of Ana's bedroom. "Dime cómo duermes y te diré quién eres." Obdulia might actually be a little jealous of Ana's weird style..."la viuda no podía exigir a sus amantes esta prueba [la piel de tigre] de cariño." Ana doesn't have kids; sad about that. Ana remembers a night when she was younger and accidentally slept in a boat with a boy-force her to confess (probably things she didn't do or even know what they were)..."Desde entonces la trataron como un animal precoz." Now, Ana gets little "ataques" because of this/trouble sleeping. Ana and Víctor Quintanar don't sleep in the same beds any more (he's a hunter and gets up early)
Ch. 4
Ozores family is very important. One of them, though, broke the mold, got an education, married a modista italiana...Ana's mom. Don Carlos, her dad, become liberal- "La vida de liberal en ejercicio en aquellos tiempos tenía poco de tranquila." Ana wasn't really a welcome child. ..."La calumnia con que el aya había querido mancha para siempre la pureza virginal de Anita se fue desvaneciendo..." Basically, everyone tells such a story about her in the boat with the little boy that "pensaba ella todavía y confundiendo actos inocentes con verdaderas culpas..." "Para España, no había salvación...America se tragaba a Europa, además." "Nunca le habían enseñado la religión como acto de consuela...era una asignatura de adorno." Becomes relgious, devoted to Virgin Mary, has a mystical moment writing verses.
Chapter 5.
Ana- when her father dies, she feels abandoned, without value, "se sintió esclava de los demás." He left no money, just debts. (Writing is, again, characterized by colloquialisms, axioms, "a lo hecho, pecho", etc). People in her family "amaban la religión porque éste era un timbre de su nobleza". Her tías act pious in front of the men de clase, but when they're by themselves they tell "historias que sublevaban su pudor, que enseñaban mil desnudeces que no había visto [ana] en los libros de mitología." Her tías "querían engordarla como una vaca que ha de ir al mercado" so she can get married. Ana grows up, gets beautiful- "Su belleza salvó a la huerfana". Tomás Crespo is interested in her- she seems to like him too-then, he introduces her to Victor Quintanar. "Pero entretanto, Vetusta era su cárcel, la necia rutina, un mar de hielo que la tenía sujeta, inmóvil" (GILBERT Y GUBAR!) Don Cayetano tries to tell Ana not to go to the convent b/c "la verdadera piedad consitía en hacer feliz a tan cumplido enamorado caballero como el señor Quintanar." They're going to get married. (This book also cites lots of literatare- Zorilla, Calderón de la Barca, etc.)
Ch. 6.
In the casino. "Es un axioma
que en el jueo se conoce la buena educación." Some guy Bermúdez (possibly part of a general critique of society?)- "Para él un objeto de arte no tenía mérito aunque fuese del tiempo de Noé." "Los jugadores vetustenses tenían una virtud: no trasnochaban." (They work hard, bet their earnings, and then go to bed to get ready for the next day.) Gossip in the town- Paquito toldme that the arcipreste Cayetano, ha rogado a Anita que cambie de confesor porque...(breaking the secret of confession)...[Álvaro?] Mesía le pone varas a la Regenta. Basically, a bunch of men in the town casino, including priests, spread/start nasty rumors about Ana.
Ch. 7.
Joaquin knows how to imitate Pepe Ronzal (who hates Álvaro Mesía). Pepe: "Estos madrileñitos siempre tiened algo que decir de los infelices provincianos." Ronzal quiere que se le explique si se piense que es él quien pone las varas..." Everyone is on Ronzal's side (bar fight-type atmosphere). One guy gets mad at the gossip "Y ese señor don Juan Tenorio puede llamar a otra puerta..." Mesía as the cultured, city type and Ronzal is very provincial.
"Ronzal, como otros días, defendía en tesis general la moralidad presente, debida a la restauración." (**interesting historical note) Tries to act like everyone is very moral- the priests (including Magistral) aren't corrupt! Men in bar debate how things are spelled (another of their menial pastimes). "Después de Mesía, pocos seductores había tan afortunados como el marquesito Vegallana." Women are objectifed as things to be passed from man to man to enjoy. Álvaro is thinking of ways to seduce Ana. He'd been quite a player.
"Sí, señor, ésta el la moral moderna, la científica; y eso que se llama el Positivismo no predica otra cosa; lo inmoral es lo que hace daño positivo a alguién. ¿Qué daño se le hace a un marido que no lo sabe?" Mésia and Paco go to Ana's house. Ana's with her servant, Visita....They've been DUPED! It's really Obdulia (town loose lady)
Ch. 8.
Marquesito de Vegallana is the chief of the MOST reactionary party de los dinásticos. Don Álvaro: jefe del partido liberal dinástico (lots of politics in these novels). When conservatives win, Don Álvaro gives out hunting licenses and comisiones. When liberals win, give out jobs and prebendas. Politicians are corrupt.
in conversation with the marquesito, "La verdadera desigualdad está en la sangre, pero los tejados deben medirse todos por un rasero." (basically, city design in New York creates more equality between classes). Marquesa has *supposedly* fancy taste, but her stuff is decayed, mismatched, and out of date. Marquesa invites lots of young people over "sabía que en su casa se enamoraban los jóvenes un poco a lo vivo". Don Álvaro had been with a lot of women in that house. Pedro tries to woo Obdulia with suggestive kitchen questions...hahah! Mesía y Paco go into a room with Visita and Obdulia...OB- "estaba excitada; quería algo y no sabía qué." "Mesía hablaba de la Regenta con Visita con más franqueza que con Paco." (These people all have an unusually close relationship). Comprendía don Álvaro que Visita quería precipitar a la Regenta en el agujero negro donde había caído ella y otras. Ana comes out of "confession" with the magistral (seems like everyone is in everyone's business)
Ch. 9.
Ana goes on a walk with Petra. "Petra no se fiaba de la piedad repentina de Ana"+ her need for a 1 hr. confession. "La carita como iluminada al levantarse con la absolución" (this is pretty risqué!!) The Magistral is very poetic to her in the confessional & she likes the religious structure that being faithful permits her. She confesses her "inclination" towards don Álvaro (Ana seems pretty innocent still at this point-just trying to be ultra pious). Antonio wants to marry Petra. Social commentary: "hay pocos viejos verdes entre los proletarios." Habits of poor women-don't want to show up in public with the same clothes, so they go out when it's dark. La called del comercio es el núcleo de esos paseos nocturnos y algo disimulados. Later, Ana runs into Antonio- el primer impulso había sido inconsciente.
Ch. 10
Dressing to go to theatre. Ana (age 26) is upset...some sin had been committed so she writes to the Magistral for confession. Stumbling into a dark room...symbolic words "Ya no era cosa de volverse atrás." Ana starts to get more upset- 26 and "no había gozado una sola vez esas delicias del amor." Don Álvaro pops out of theatre to see if Ana's on her balcony (she was). They almost meet: "la proximidad del crimen había despertado el instito de la inveterada honradez." When Quintanar comes back from theatre, Ana has a nervous breakdown and is extra affectionate. He tells her she's too good and needs to go out for some fresh air. He gives her a list of things she should do (theatre, tertulias)...Y esto no es un programa de gobierno, sino que se cumplirá en todas sus partes (critique of gov't!) Quintanar discovers his room got messed up, but Petra doesn't squeal on Ana. Ana tells her "al amo no hay que ocultarle nunca nada" (premonition!)
Ch. 11
Magistral reads a lot/studies. Some argument/critique of church/nobles: "Me parece que la revolución le hizo a ud. ilustrísimo señor." Pah! "Me hiciero mis méritos, mis trabajos..." Talking about who spies on who, Ana, etc.
Later. "El magistral conocía una especie de Vetusta subterránea: era la ciudad oculta de las consciencias....Su memoria para los pecados ajenos era portentosa."Magistral is not as devote as he once was-but even if it's all an illusion, why not play along? Talks about getting promoted in church. Magistral seems interested in pursuing Ana...quietly delighted when Petra brings him her card. He's forced to read it in front of his mom who calls it "como una cosa de Obdulita!" His mom calls him out for "tus abusos de consejero espiritual". "Yo guardo riquesza mal adquiridas; yo soy un déspota en vez de un pastor". In short, he's a total hypocrite.
Ch. 12.
Don Francisco de Asís is an important memper of the Junta Carlista (conservatives?) "Le dominaba por completo su mujer, fanática ardentísima, que aborrecía a los liberales..." Doña Lucía, su esposa, confesaba con el Magistral. Don Robustiano, man with several children-who are educated in convent and come back mentally/emotionally frigid and ultra religious. Blah Blah. talking about sermons...the topics they recycle and choose to preach about, including "sermones de costumbres".
Notes from article: "El naturalismo de 'La Regenta'" (Diego Martinez Torron - Cervantes Virtual)
Naturalism tiene como dogma fundamental la idea de que el mundo natural es la realidad total...la conducta está determinada solamente por su propio carácter y se reduce a una serie de leyes causales.
-Sostiene la tesis de que la única preocupación del artista debe ser observar detenidamente y reproducir el carácter y la conducta de su ambiente físico de una manera científicamente objectiva.
-Clarín fue un hombre de ideas conservadoras y de espíritu muy religioso, si bien experimentó un breve periódo de dudas.
-tenía una opinión bastante cristalizada de hasta qué punto le era lícito al autor naturalista describir las cosas sórdidas de la vida
-logra crear una visión total física tan deprimente que no pudo sino verse como el factor que influye, por excelencia, en el comportamiento humano.
-casi todos los habitantes de Vetusta muestre el mismo aire de monotonía, de costumbre, de aburrimiento, de corrupción, y de hipocresía
-casi todos, desde la aristocracia hasta la servidumbre, se presentan como individuos corrumpidos o falsos. E.G. Ana: la frustración sexual canalizada hacia un falso misticismo; don Fermin-el falso ministerio sacerdotal; Mesía: el falso donjuanismo.
-Here, the environment INFLUENCES, but doesn't DETERMINE actions.
Apuntes de la serie rtve.es
(en tres capítulos) (this is a great way to review the book)
Capítulo 1
-
Presentation
of the city Vetusta – the importance of the chapel
-
The importance of religion – the strong presence
of the confessor/magistral Fermín, the popularity of Fermín in particular
(among the women)
o
Ana (La Regenta) is going to change confessors
(from Cayetano to Fermín)
-
Ana’s difficult childhood (mother died, and
father lived far away, cruel guardians) – she was married off to Víctor after
her father’s death; he is kind of a replacement father for her (although he’s
her husband – awkward!)
-
Ana’s sickness – she gets attacks in the night,
nervous panics
o
Víctor’s father-like care for her; he takes care
of her when she gets an attack. She approaches him somewhat sexually (wants a
child), but he rejects her in favor of a more fatherly demeanor.
-
Víctor’s friendship with Frígilis – they go
hunting together. Odd subtle tones to their relationship – idea that he
“cheats” on Ana by sneaking out of house early to go hunting with Frígilis.
-
Introduction of don Alvaro – conversation
between him and one of Ana’s friends, Visitación. He is attracted to Ana. Visitación
suggests a certain sexiness in Ana’s illness – comparison between sexual
passion and the convulsions of her attacks.
-
Ana’s first confession with Fermín (general
confession, description of life)
o
Memory of one night that Ana accidentally spent
night in a boat with a boy as a child – she was fiercely punished (mortal sin!
– not realistic, since she was a kid)
o
Feeling of loneliness – death of both parents,
very critical guardians (said she would have a bad life, due to fate/destiny)
o
Prayer/religion as an outlet/escape
o
Very long confession (two and a half hours) –
criticism of other priests
o
Fermín
– “La salvación es un negocio;” he agrees to be her spiritual guide
-
Further introduction of Álvaro – “don Juan”
figure, kind of famous in the city
-
Conversation between Fermín’s mother (Paula) and
Fermín: Paula warns her son about his relationship with Ana (the long
confession) and tells him that everyone will be talking and he needs to be more
careful. He has to protect his reputation; he is constantly watched and
criticized. Paula suggests that Alvaro Mesías is Fermín’s rival – idea of power
struggle; Fermín has a lot of power in the city and so does Alvaro. There is an
ambitious tone – the suggestion that Fermín is working to become the bishop one
day.
-
Theatrical representation of Calderon’s La vida es sueño – return to Golden Age
Spain (realism/romanticism)
-
Ana accidentally gets hand stuck in one of
Victor’s hunting traps and makes a mess in the office. When Victor asks what
happened, the servant Petra lies about it but Ana arrives and corrects her.
-
Victor says he wants to help Ana return to
“normal,” and Visitación says that she will help. There is the idea that
Visitación has some ulterior motive; she’s a bit sneaky, and is constantly
admiring and taking little things in Ana’s house.
-
Ana writes Fermín a letter and gets Petra to
take it to him secretly – the whole thing is a bit sketchy. Paula sees that
Petra has taken him a letter from Ana and is watchful and suspicious; she makes
him read it in front of her and warns him again. Meanwhile, Fermín is
definitely feeling a little something for Ana.
-
A lunch at the house of the marquis – Fermín,
Ana, Visitación, and Alvaro are all there. Fermín’s mother, Paula, is pissed
that Fermín didn’t come back home for lunch (no warning). Fermín is annoyed
that his mother treats him like a child. Paula is very worried about her
reputation and Fermín’s.
-
Old guy Don Santos shouts in the street at night
complaining about the Senor Magistral (Fermín) – I think he’s drunk. Some guy,
don Pepe, comes and makes him go inside. He was calling Fermín and his mother
Paula thieves (hint of corruption).
Capítulo 2
-
**The representation of Zorrilla’s Don Juan Tenorio in the theatre (this is
parallel to Chapter 16 of the text). It is very meaningful for Ana, who sees
Alvaro mirrored in Don Juan, and herself mirrored in Dona Inés.
-
Ana dreams about Alvaro the night that she went
to the theatre and calls out her name – Petra hears her during the night, but
the next morning she lies to her and said she was calling out Victor’s name as
she slept.
-
Conversations between Ana and Fermín – he
criticizes her for having gone to the theatre on the Día de Difuntos, but says
she was innocent (ignorant). He suggests that their relationship should take on
a further level of friendship, that they can talk on deeper terms outside of
confessional context (all for spiritual purposes of course…). Fermín is very
critical of Ana and her “immorality” (I think she confessed her feelings about
Alvaro). They start talking in private setting (someone else’s
house), and Ana puts herself in a very submissive position (promises
obedience).
-
Ana’s sickness – has another nervous attack and
falls ill for some weeks.
o
Visitación visits Ana and they talk about how
her husband Víctor wasn’t at home when she got sick because he was out with
Frígilis. Visitación makes fun of Frígilis saying that he’s the one who thinks
their grandparents were monkeys (Darwin, evolution theory) – this is a
reference to naturalism, but clarifies how Spanish naturalism is different from
other areas of Europe due to strong religious presence.
o
Víctor talks to Frígilis about how he’s sad to
have to stay at home to take care of Ana, because he wishes he could continue
hunting with his friend – establishes Frígilis as a “competitor” with Ana for
Víctor’s attention.
o
Fermín visits Ana while she is still ill and
brings her books to read. Ana tells him that she has been reading the texts of
Santa Teresa and makes a comparison between Teresa’s fruitless search for a
good confessor and her own satisfaction with him as a confessor
(*intertextuality!)
-
Ana’s advancement in her religious dedication –
comparisons with Santa Teresa. She makes effort to also make her husband more
religious – gives him a new, more religious text (Kipis – “La imitación de
Cristo) to read instead of comedies. She even gets him to go to confession with
Fermín. Víctor is shocked and overwhelmed by Ana’s severely religious nature,
and suspects that the Magistral (Fermín) isn’t necessarily benefiting Ana’s
health (Frígilis helped him arrive at this idea).
-
Political aside – there is some major tension
going on between Fermín and Alvaro, and there are men on both sides (more are
definitely on Alvaro’s side, however).
-
Alvaro is going to go on some political campaign
outside of the city and comes to say goodbye to Ana and Víctor.
-
Ana and Fermín – Ana suggests that he can talk
about himself with her as well. Idea that he can confess to her, just like she
does to him. (This is a bit reminiscent of Santa Teresa and her “inappropriate”
relationship with one of her confessors).
-
The political men talk about Don Santos and say
that he’s dying of hunger (not of being a drunk). They say that he needs more
alcohol to survive, precisely because he’s an alcoholic (this has tones of
naturalism too).
-
Political tension since Don Santos has fallen
ill – people are turning against Fermín and towards Alvaro. Fermín and Paula
talk, and Paula warns him yet again against La Regenta (Ana). Don Custodio goes
to visit Don Santos (on orders of Paula and Fermín) and Santos criticizes them
severely, says the church has ruined him, and forces them to leave, refusing to
take confession. Not much later, Don Santos dies – this is a big deal in the
city.
-
Ana is lusting after Alvaro and feeling majorly
sinful for it. She punishes herself (self-flagellation).
-
There are some majorly inappropriate currents to
Fermín’s relationship with his servant, Teresina. He fed her a cookie dipped in
chocolate (she giggled), and he also went into her room at night…
-
Political conversation between Víctor, Alvaro,
and the other usual men. They talk about Fermín, and somehow suggest the idea
that Ana should go to some big political event (a ball or party of some kind).
Víctor asks Ana, and Ana goes to ask Fermín… he’s not keen on it but together they
decide she should go. At the event, Ana dances with various political men. Alvaro
talks with Ana and speaks to her of love. Víctor is completely clueless – he tells
Alvaro to take Ana out on the floor to dance… Ana is so excited that she faints
in his arms on the floor…
-
Fermín hears (from other church men) that Ana
fainted in Alvaro’s arms and is pissed. Ana goes to confess and speaks of her
great fears and her desperation for the salvation of her soul. Fermín continues
with his severe/critical tone and ends up leaving angry.
-
Ana writes Fermín a letter begging for his
forgiveness; they meet and Ana begs him again in person and tells him that she
is his slave. He accepts and suggests her participation in the rituals of
Semana Santa.
-
Semana Santa – Ana is a penitent; she walks
barefoot and wears a crown of thorns in the procession through the city.
(Alvaro and Víctor watch the procession pass from a window, and majorly
disapprove of Ana’s participation. The town people talk and some say that she
looks like a saint and others say that she must by dying of embarrassment).
Capítulo 3
-
Ana has another nervous attack; Petra and Víctor
go to help her but then Víctor suddenly kisses Petra and the servant runs away
(in a very flirtatious manner)
-
The doctor suggests that Ana and Víctor go away
to the country for a while to help her get over her nervous attacks.
-
Life in the country is very relaxing and
peaceful.
-
Ana speaks with Alvaro about her changing
sentiments towards religion. She says that she’s not feeling so passionate religiously
(turning away from mysticism) and feels that el senor magistral (Fermín) was
manipulating her. She expresses that she wishes to break her strong ties with
her confessor, Fermín. Alvaro agrees and tells her to be careful with Fermín. Along
this line, Ana writes Fermín a letter expressing these sentiments.
-
Rising romantic/sexual tension between Alvaro
and Ana – Ana purposefully bites a cherry out of the bunch she and Petra send
him
-
Fermín arrives at the country to check on Ana…
Fermín asks Petra about Ana – there’s a bit of sexual tension between them too.
There’s a scene where it’s left unclear whether they possibly had sex. Later, Fermín
finds Ana in a hay fight with the men (including Alvaro)… her “impurity” (or
indiscretion, perhaps) is childish and open, while Fermín’s impurity is dark
and hidden.
-
There’s a big storm while Ana and the men are
still outside. Fermín makes Víctor go with him to look for them (worried about
Ana)… it’s all very dramatic (this is reminiscent of romanticism). They take
shelter in a little tiny cabin and Víctor finds one of Petra’s garters and
wonders why it was there (it was there because that’s where Fermín and Petra
had sex earlier!!!!!). Víctor says Petra is of his house and he must think
about her honor too, and later he asks her if she had been there and she doesn’t
exactly lie but evades answering.
-
Alvaro and Ana talk about Fermín and his obsessive
nature and Alvaro tells her that it’s because her confessor is in love with her
and has been for a while. She is disgusted with this idea. Alvaro starts to
talk to Ana about his own love for her… he says that he understands that she
can’t cross certain boundaries/traditions but continues talking to her very
romantically.
-
Víctor and Alvaro talk about Petra and her
implicit indiscretions, Víctor admits his own (unfulfilled) desires for her.
-
Alvaro climbs up onto Ana’s balcony to speak
with her (think Romeo and Juliet style)… we see that they are becoming lovers (make
out scene). Ana tells Alvaro that she’s known for more than 5 years that she loved
him, but doubted his feelings towards her. She says that she would go crazy
without him (*foreshadowing).
-
Petra arrives at Fermín’s house (where we find
out that Teresina will be leaving the house to get married). Fermín offers her
a position in his house, replacing Teresina (sexual implications again), but in
exchange he wants her to spy on Ana. Petra agrees…
-
Alvaro and Ana talk about how to be able to see
each other secretly… Alvaro suggests that Petra could help them, but Ana says
no. Later, Alvaro seeks Petra out and they make an arrangement so that Alvaro
can enter the house secretly… Petra and Alvaro have sex (this is first explicit
sex scene). Later that night, Petra helps Alvaro enter the house secretly to
see Ana.
-
Petra goes to give Fermín her first “report” in
the confessional booth (very ironic) – but she lies; she tells Fermín that
there are only looks and smiles between Alvaro and Ana, nothing more.
(Meanwhile, Alvaro and Ana are lovers – we get some romantic sexual scenes
between them).
-
Víctor talks about Petra with Alvaro again and
they decide that maybe she should leave the house… Alvaro tells Ana that Petra
has been having relations with Víctor, and Ana is disgusted and upset. Alvaro
later goes and tells Petra she can leave the house and he will take care of her,
and that now he can get in and out of the house on his own. Alvaro tells her
that she can work for him in another house, but Petra says no, she already has
somewhere to go (Fermín’s house, but doesn’t tell him so) – she says that she
will be there if he has need of her.
-
Petra goes to Fermín’s house with her sad/scared/religious
act all ready to go, and tells Fermín that she needs him to hear her in confession.
Fermín is very rough with her (passion to find out what is happening with Ana).
Petra tells him that she has discovered that Ana and Alvaro are lovers; Petra
places the blame on Alvaro, saying that he has corrupted Ana. Fermín tells her
that if she can get Víctor to realize that Ana has a lover, he will allow her
to come to work in his home.
-
Petra’s betrayal – she changes the time on Víctor’s
alarm so that he wakes up earlier than normal, and when he goes out to go hunting,
he sees Alvaro leaving Ana’s room from the balcony… he is pissed but almost
doesn’t even know what to do. He tells Frígilis what he has seen. Frígilis
suggests that Víctor demand a duel with Alvaro, thinking that Alvaro won’t do
it and thus Ana will stay with Víctor.
-
Fermín arrives to talk with Víctor, and tells
him that Petra has confessed her knowledge of what has happened (between Ana and
Alvaro). Fermín advises Víctor against taking revenge (because it’s against
Christianity). However, he’s actually further provoking Víctor’s anger and
desire for revenge… it is he who reminds Víctor that Alvaro will probably
return that same night (advising him again not to resort to the sin of
homicide) – I think he’s hoping to thus spur the revenge he claims to be wrong.
-
Frígilis goes to talk to Alvaro and tells him he
should leave Vetusta ya, to avoid any further issues. Alvaro reluctantly
agrees.
-
Víctor ignores Fermín’s counsel and demands a
duel with Alvaro. (It’s very formal). Víctor shoots and I think he purposefully
misses and just barely grazes Alvaro’s leg. Alvaro shoots and hits Víctor in his
(full) bladder and severely injures him. Frígilis cries because his friend
(Víctor) is dying.
-
Frígilis goes to talk with Ana and tells him
that Víctor is injured but will be okay (it’s a lie). Ana realizes that he is
lying and is very worried. Frígilis tells her that Víctor has actually already
died, and that it was due to a hunting accident (another lie, he doesn’t tell
her that it was a duel). Ana enters into a nervous attack and Frígilis takes
care of her.
-
Everyone’s already gossiping about it in the
town.
-
Ana is sick and embarrassed about everything
that has happened, although months have passed. Frígilis continues taking care
of her in Víctor’s place.
-
After some time, Ana decides to go to church
again. People watch her as she passes in the streets. When Ana goes into the
church, Fermín gives Ana such a terrible look as he approaches her that she faints
of fright and horror. He leaves her abandoned on the floor of the church. The little
assistant dude finds her there and kisses her cold mouth (wow, inappropriate), which
wakes her up (kiss like a frog). THE END!
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