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P- Cortada, "Les idees noves en el Brusi", L 1 Avenc. Marfany, Jaume Brossa : regeneracionisme i. Noucentisme may therefore be considered as related to the upper bourgeoisie of Catalonia. Indeed many of the young "Noucentistes" came from the well-to-do class, as had the Modernists before them.

He received an essentially secular education. Between the years of and he continued hie academic career by studying law at the University of Barcelona. As a student, d'Ors took an active part in a r t i s t i c , literary and p o l i t i c a l circles. By he was considered an artist and writer of fair reputation in Barcelona.

During those years. At the same; time he was a member of Torras i Bages' Circol Ar t i s t i c de Sant Lluc, and ofi the imfamous club, E l Guayaba: "donde empezaron a reunirse; a principios de un grupo de muchachos algo anarquistas, algo nietzscheanos, algo wagnerianos, algo sorelianos, bastante. At university he was closely connected with the Federacto Escolar Catalana, the Lliga Kegionalista's organization for students.

He was also extremely active, that year as a man of letters; apart from his continuous production of articles, he. The year of proved even more important for d'Ors, who; had just completed his "licenciatura". While studying in Madrid d'Ors maintained himself on the literary and p o l i t i c a l scenes of Barcelona by correspondence or by travelling between the two c i t i e s. During his intermittent two year stay in Madrid, d'Ors came to know such personalities as Juan Valera? After the king's visitcto Barcelona, there occurred a s p l i t in the Lliga. At the time he published various literary and syndicalist articles.

D'Ors showed a strong tendency towards certain types of socialism. In i t d'Ors sustained Thomas Carlylei's theory that heroic individuals must act as representatives or guides to the community, and therefore certain culturally superior nations have the right to guide others. Part of d'Ors1 thesis was expressed in an article of E l Poble Catala of As we shall see, many of the main ideas of Noucentisme proceed from this thesis. Una de las fuerzas unitarias mas potentes que contribuira a superar l a disgregacitfn nacionalista es - para d'Ors - l a Ciudad, institucirfn que debera enaltecerse despues de l a convulsion que se aproxima, l a r e v o l u c i 5 n propia de una "Nueva era de Santo Jacobinismo" mas amplio y radical que el Jacobinismo de ayer que derribo las monarquias del Antiguo Regimen.

Las as t i l l a s de los tronos quemaran en el hogar de 11a Republica futura; sobre lasruinas de l a s nacioaes edif icaremos: l a Ciudad E l resurgimiento de Cataluna solo se lograra robuste-ciendo l a OlujJdad, una esforzada empresa que debe ser llevada a cabo por todos los catalanes con sentido de riesgo y l a aventura, s i n estar voluntariamente confinados en l a domesticidad, posicion que a l a larga r e s u l t a per judicial:, como aconteci6 en e l cuento de Edgar Alla n Poe de un prfncipe cobarde que en vano se recUuyo en su C a s t i l l o por temor a l a epidemia que diezmaba e l pais.

Sin embargo esta. D'Ors' career i n i s determined by two more important f a c t s. This book was not wfell received , no more by the c r i t i c s of E l Poble and Joventut, than by those of La Veu de Catalunya. On the f i r s t of January he had begun to publish his Glosari i n the L l i g a ' s newspaper. I t was with t h i s publication that dt'Ors inaugurated the "Noucentiste" movement. Many c r i t i c s have remained equivocal and rather, dogmatic as to the nature of the new movement. However, others such as Eduard Valenti have forwarded the idea that It i s therefore best to begin any attempt to delineate the nature of Noucentisme with an investigation of d'Ors' own attitude towards Noucentisme, and how he defined i t over the years.

Indeed, certain statements made by d'Ors in his Glosario de U-turn-it make i t evident that Modernism and Noucentisme are closely linked:-Nada comprendera de l a historia moral de Europa en estos ultimos tiempos quien no parta del principio de que el Noveciehtos. Pero auchas cosas escaparan a quien no: atienda a que en el "Fin de Siglo" se en6ontraba ya en calenturianta gestacio'n el Novecientos.

Noucentisme i s therefore related to a temporal motion, or progress, which d'Ors tried to perceive around: him. Noucentisme has no set definition. It i s a tendency, or an attitude, which finds i t s manifestations in literature and p o l i t i c s , and is depen-dant on exterior circumstances. D'Ors said in the Glosari of s-. ANosaltres podem dir-nos en l'actualitat dins un esperit unic?

Jo, l'any passat, commentant l a publicaci6 quasi simultania de L'Enlla, maragallenc, i de La nacionalitat, catalana, d'en Prat de l a Riba, pretenia que s i. I que els mots d'ordre del nostre jovent eren: Arbitrarisme i Imperialisms. Perbno tothom mostra confor-mitat en aixo Barcelona : Ayma, p. This eitcentricity of d'Ors i s as yet unexplained. Joan Fuster, Literatura catalana contemporania Barcelona:: Curial, pp.

We therefore propose to study two works in depth: one, the collection of short narrations, La muerte de Isidre Nonell. Nearly every c r i t i c has paid almost exclusive attention to the gloss "Amiel a V i y e t most have dismissed the other work by contending that i t belongs to d'Ors' Modernist phase; none have examined i t in detail. Diaz- Plaja states that : "El cicle juvenil plenamente modernista de Eugenioo d'Ors culmina y termina. La muerte de Isidre Nonell". Si alguna temptativa l i t e r a r i a a l ' e s t i l d'estudiant l'havia precedit, s i alguna revivisce"ncia expressiva l'ha, perllongat despre's poc comptaran aquests f u l l s dispersos a velnatge del bloc massis drecat per l a taleia quotidiana de catorze anys.

The f i r s t xS of a chrono-logical, nature. The Glosari began to be published on the f i r s t of January, 1 9 0 6. La muerte de Isidre Nonell was brought out in the summer of As one may see, only six months separate the publication of the two works. During those six months d'Ors prepared, or at least conceived the plan for, the Glosari. It i s therefore not surprising that between and , d'Ors con-tinued to consider the narrations of La muerte de Isidre None D'Ors continued to make references to this collection of stories as late as Specific examples of this may be found in the glosses, "El psicoleg al miting" and "Isidre Nonell" 1 9 1 0.

An important indirect mention of the collection may also be found in "Enlla i l a generacio noucentista" 1 9 0 6. It i s also important to note that for those who have? The only difference between the story and what had now become a gloss, is a short prologue that adapts the narration to an audience of-children, for Christmas in Barcelona.

We must also consider the reaction of the c r i t i c s to the work at the moment of i t s publication. As we have already mentioned, i t was very harshly c r i t i c i z e d. Enric Jardi informs us that the work was considered too novel, or modern, for the c r i t i c a l for i t departed radically in i t s conception from the normal re-productions of the Modernists.. This argument does not take into account that most of these stories had been published previously and, as we shall see later, had received prizes in literary circles of Barcelona.

In fact, the collection was extremely well received by Gabriel Alomar, who perceived pantheistic influences in i t. He defined this con-cept in the prologue of Diez-Canedo's translation as follows: "antes que imitar a l a naturaleza asi con minuscula prefiere. This statement, considered blasphemous, seems to have been the actual cause of the rejection of d'Ors' early work. The meaning of "Art Arbitrari" shall be determined with greater precision later in this thesis. However, i t is important to stress two facts. First,the composition of the stories included in this collection covers a span of approximately five years during which Catalan Modernism reached i t s peak, and in second place, the concept of "Art Arbitrari" was not an invention of d'Ors, but was:, at least, lat.

The rest are of indeterminate dates, but prior to The concept of "Art arb i t r a r i " was in fact part of the evolution of Modernism in those years. D'Ors was not the only artist to manipulate the conciept, though he was responsible: for crystallizing the term.

C i r i c i Pellicer informs us thatt "De una :posicion casi panteista fue derivando. En sus Assaigs Esteties, escritos alrededor de los 30 anos, expone sus ideas sobre el arte alrededor de conceptos de amplificacion y concentracion. Ve l a primera, unas veces llevada a cabo por l a exquisitez, como en Eetrarca y en l a musica de Carissimi y Gluck; otras veces por l a pomposidad.

Ve l a concen-tracion, en cambio, en Dante, en Jose" Maria de Heredia, y l a pre-fiere por lo que tiene de precisidn, des concreci 5n de l a forma, ya que su fe le dictaba que " l a forma es le flnica manifestacio"n posible de l a substancia poe'tica". He also based his ideology on the concepts of diversity and ,unity, amplification and concentration, much as d'Ors did in his thesis. It may, therefore, be assumed that the idea of Arbitration was present in the modernist ideology, and that the collection of d'Ors' stories was:'writ ten under that influence:. D'Ors defined the theory of Arbitration in Christian terms in the prologue of his narration.

The blasphemous implications of this prologue had more shock-value than novelty, and i t was this that displeased the c r i t i c s. In the short introduction to the narration "Tiempo despues", d'Ors went on to explain the method of arbitration and some of i t s implications. Thus he stated that: Tiempo despue's de escrita l a carta anterior, y como los Reyes Magos hubiesen recompensado mi fe dandome para norte y consuelo de l a vida esta facultad preciosa de fabricar bellos mitos y rimar arbitrariedades, he conseguido, tras larga meditacion,,que mil.

Y os puedo responder de l a verdad de esta historia.

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Como que me ha sido dictada exclusivamente por l a Fantasia, madre de l a realidad doctora de invencicSn, soberana de toda ciencia, "organo de lo divino"1, seguqfel devoto decir del. Fild'sofo, que: a fuerza de con-siderar los misterios de los trajes, supo hacerse de su capa espiritual, uno de los sayos de mas eterno valor que se han conocido en l a sastreria Metafisica. Reality as handled by d'Ors i s entirely relative. It i s the product of the amthor! The nature of these circumstances: or contingencies w i l l best be understood by examining the narrations themselves. The-first tale,"La muerte de Isidre Nonell", i s a series of juxtaposed descriptions that relate the fictional death of the modernist painter, Isidre Nonell, at the hands of an angry mob.

The tale i s dedicated to "Al pintor de lo horrible, Isidre Nonell". D'Ors here introduces an element of idealism,but he takes special care to indicate that the reader i s viewing the remnants of that ideal which the c i t y should be. The City i s undergoing a pro-cess of destruction; i t i s not an ideal unit, but the dispersion of that ideal. Thus d'Ors begins a long description of the rabble living in the depths of ignorance and industrial evils; Ardia en llamas l a Ciudad Era l a primera Jornada de l a gran revolucion, e l despertar de los divididos por las revoluciones preteritas y deltjados por todas en su abyeccion irremediable Era el desbordamiento de l a canalla, de los miserables, de los escupidos por l a ley, de los ineptos y vencidos en l a luchapor l a vida, de los detritus de l a maquina social.

The concern of the narrator i s the organization, or unification, of that class so that i t may better i t s l o t. In order to remedy the proletariat's problem, i t s original cause must be found. According to d'Ors' interpretation, social history i s a succession: of periods of unification and dispersion.

The models of unification are : Rome, the Holy Roman Empire as exemplified in the reign of Charlemagne, the reign of Charles the First of Spain, and the eighteenth century of enlightenment. A l l these periods correspond to the flourishing of learning. The problem of the masses i s primarily a lack of organization, and, therefore, one of ignorance. Ignorance culminates in a corruption of values by which man understands his circumstance, or condition.

Thus every individual in the crowd described by d'Ors believes that he, or she, i s beautiful, ouch as the grotesque figures of Goya do in "Asf se repulen" of Los Caprichos. The bliss of ignorance i s perpetuated until the art i s t reveals to the crowd i t s ugliness. Thus the a r t i s t , as the poet, is the voice of the gods, for he points out the "Truth".

Hence the deception is ended; Y he aqui que un dia fino" terriblemente; el engaEo. Un artista, en punzante revelacidn copiandolos, exhibiendolos nudamente, con aguda crueldad de lineas, con brutalidad implacable de colores, habfa roto el prestigio, haciendoles ver con evidencia abrumadora l a profundidad del abismo de su abyeccic'n. Se hizo en ellos una luz dolorosa. Y empezd" entonees l a era terrible de l a gran desesperacio'n. The crowd, consequently has recourse to violence in order to destroy anything that points out i t s ignorance:, i t s abject state, and anything which i t may not possess or master.

In more specific terms, the barbarity of the crowd leads i t to the desecration of objects of art or beauty; Someone points out the r-. Als dos Nonell, un tercer Nonell, que en diriem el Nonell-con-scidncia, sol judicar-los, i , dels dos, t r i a e l primer,el Nonell honest, i menysprea una mica? Per6 aquest ultim es que mes estimo. Es el de "La mort d'Isidre Nonell" Ik Yet, much as d'Ors may have admired Isidre Nonell, he never took his admiration as far as to include Nonell among his group of "Noucentistes", though he was an "artist of arbitrarity".

The reason for this i s made clear within the tale. The central theme of the story i s the function of the artist within society, or his moral responsibility. Nonell practises an aesthetic of ugliness; that i s his error. To d'Ors, art i s a powerful tool that f u l f i l l s the social function of revealing their destiny to the on-lookers. It may either inspire or discourage the multitudes to act positively. Nonell f a i l s to f u l f i l l the true sense of his function, owing to two important factors. It i s made clear, both in the gloss and in the tale, that Nonell i s oblivious to the social implications of his art; he i s found by the mob to be "en descuidada tranquilidad".

This leads to the second implication of this attitude: Nonell's aesthetic of the ugly does not inspire, but despairs. It i s an ast that reflects the pessimism of the City as i t had evolved: out of the industrial revolution of the nineteenth century. The narration i s , therefore, also an important social commentary. The language used by d'Ors. For instance, in his description of the crowd, the writer specifically names the evils that cause their ugliness and ignorance: Muchas madres contemplaban a sus hijos, aquellas criaturas en-canijadas y enfermas, marcadas por todas las degradaciones, re-pugnantes de porquerfa, deformadas por l a precocidadi.

Here one must consider the problem of the point, of view from which the narration i s told. The irony which develops from this i s that no revolution hasytaken place, for the structure of society remains unaltered;; though were the crowd educated and given awareness of the actual source of i t s "ugliness", a real revolution would take place. The actual seeds of revolution are present. It i s therefore at very bitter statement on the ignorance and disorganization that evolved out of the industrial conditions at the turn of the century in Catalonia.

This, in turn, leads us to believe that d'Ors con-demns Rousseau's myth of the noble savage,, and consequently, the romantic-realist l i b e r a l tradition of the nineteenth century. Previous social revolutions had only been f r u i t f u l for the middle class, which s t i l l had not undertaken to better the lot of the proletarian mass, as i t had promised since 1?

That i s why d'Ors introduces the narration by stipulating the nature of the temporal setting:: Era la; primera Jornada de l a gran revoluci6n, el despertar de los olvidades por las revoluciones preteritas y dejados por todas en sut abyeccion irremediable. Thes destruction of the nineteenth century tradition i s the way to true social revolution, that which affects a l l levels of society. The position of this tale in the collection of stories as prepared by d'Ors i s extremely important structurally.

The subsequent texts all. Thus, as d'Ors has now; established the problem of the proletariat's despair i s caused by ignorance, he now sets out to analyse subsequent social problems in relation to the function of the a r t i s t , and forwards a new solution so that the artist may become a teacher to the people. It i s significantly dedicated to Joan Maragall, who lived this contra-diction. This tale, which i s the earliest written by d'Ors, analyses the contradictory position of Modernism.

The story begins with a statement rejecting the regionalist-provincial bourgeois society of Barcelona at the turn of the century, such as was opposed by the bohemian Modernists; De dia, los grandes gatos burgueses, l a creraa felina del pueblo -el negro panzudo del seffor cura, l a blanca coqueta del Titus, e l Angora de pelo finisimo de dona Petronila -, imperaba por derecho propio afretando l a orgullosa misenia. The group i s composed of four cats, who gather to-gether at night to relate their adventures: Un gato-brujo, negro y tuerto, como e l memorable de Pbe-j un gato-lujuria, un gato sanguinario..

The only cat who i s ft'hew'" or different i s the fourth cat, because he i s an idealist. The three cats gather to narrate; "decadentiste"' tales. Thus, though they reject the materialism of the bourgeoisie, they propose no. The f i r s t cat t e l l s of his nightly adventures, and how he shocked the spinster "Fulana". His delight in shocking the innocent bourgeois indicates that he represents what d'Ors was later to c a l l "els Professionals de 21 l'Espaterrament". The second cat, who is sensual, like the "blanca coqueta de Titus"!

The third cat who, as the narrator t e l l s us, enjoys cruelty and blood, interrupts the second cat because he hypocritically finds these tales too cynical. This third cat, who i s cjonnectiedi'with apparently human and social positions, but who,in; reality, delights? A l l of these three positions represent the three literary tendencies, present in the modernist or "Ein de Siglo"' trends. The fourth cat represents the movement that both emerges out of this one and reacts against iit. He has l e f t his parents' home because he.

Art serves a social function and must not be a toal. Yet, in spite of having l e f t the house, he continues to love i t , especially i t s gardens Amaba aquella quintas. Amaba sobre todo aquel jardxn, tan mal cuidado; a l l f , de noche, entre las extranas silvetas de los arboles Iticos, protegido de l a oscuridad,lhabia incubado tantos suenos! The image of the garden is , in i t s e l f , confusing.

The adjectival, phrase "mal cuidado" may indicate either that i t is "disorderly" or "badly kept1". The nuance i s highly relevant to the function of the garden in the narration.. It may signify that the garden is either naturally disorderly, or that i t is uncared for by the owners. The reader is informed 68 that while in the garden, the protagonist has seen "strange silhouettes of 'ethical' trees". The cat has, therefore, received the impression of forms, "arboles eticos", which are further described as: "fantas-ticas combinaciones de sombras y luz, que e l se sabia de memoria".

If we take the f i r s t meaning, the moral. But, in any case, both meanings of the word would r a t i f y the idea of "mal cuidado", so that i t does not signify "disorderly", but "neglected by the owners of the house". The image of the garden, understood in the structural context, is basically part of the ideals contained in the achievements of. It i s , above a l l , an ideal world in the Platonic sense. This explains why a petty, materialist bourgeoisie has excluded i t. It i s , therefore, neither cared for by the owners of the house, nor by the other three cats.

In this allegorical conception of the Catalan social situation, there is a basic rejection of the "Fin de Siglo" bohemia; for they cannot perceive the importance of ideals; they are too pessimistic and cynical, as the bourgeoisie is too cynical and materialist. The fourth cat moves between the bohemian ci r c l e and the house, or bourgeoisie, and longs to return to that house.

His social:, position i s symbolized by his love of the platonic garden of art, or delights, which l i e s between the street and the house. His ambivalent attitude i s accentuated by the fact that he also lives in the morning light, before the village awakes, and then disappears to a world ignored by the rest of the population. The fourth cat seeks a solution which he finds in idealism. The ensuing narrations deal specifically with this problem.

The third narration, "Palacio; de loco", dedicated to J. Masso y Torrents, deals with the need for art to live? It i s , therefore, a condemnation of solipsism, and a justification of the City. Consequently, the tale, which evolves around the image of a castle, i s constructed in a circular structure to prove that a single man's effort returns to n i l , because individual creation cannot resist the power of the elements. La con;-struccio'n del Palacio fue una epopeya de energxa Bien se conocfa que querxa imitar un modelo ideal, guardado en su alma ISxl La fabrica de aquella extraSa y miserable casucha, era obra de arte; sueSo de belleza - encarnizada lucha victoria definitiva.

La força per moure el món

It i s important to notice that at no time does d'Ors condemn the idealism which motivated the madman to build his palace , but rather the lack of organization, the spontaneous character of inspiration, which -is seen to be the direct exteriorization of the soul's desire. The spontaneity involved in the construction i s the source of i t s incapacity to endure.

The agent of destruction, that which threatens a l l. It i s the force of the elements that work against man's desire to endure. Thus:: En l a gestacion preestival, Naturaleza febricitaba. IY una noche de tempestad el loco sintiS que se deshacla aquel Palacio de su alma I La inundacion creciente y bestialmente triunfadora reconquistaba para el camino los pedruscos que un dia le habian sacado.

He leaves the palace to go back to the company of men with only the dream l e f t to comfort him that he had had a palace. One may, therefore, infer that d'Ors conceives of Nature as the destructive agent fatal to man's work. It is the artist's incapacity to organize his work formally so that the form might endure as much as the idealj that is- the failure to give art some permanency, anC- i s the source of man's f r a i l t y.

As a corollary to this sense of organization necessary to the permanent construction of an ideal, the madman returns to the city, which has remained unaffected by Nature. D'Ors indicates to the reader that the endurance of an ideal i s found only in communal efforts that bind men together to work towards a common ideal, such as the building of cathedrals or c i t i e s.

After this criticism of the position of the artist i n society, and his need to co-operate, d'Ors reverts to a criticism of the landed middle-class , which must also f u l f i l l a directing role in society. The following tale demonstrates the structural organization present in this collection of narrations. It serves to counter-balance and further that stated in the previous tale. E1 Rabadan" The Head-Shepherd is dedicated to Ramon Casellas i Dou, and i s a metaphor on the function to be f u l f i l l e d by the landed gentry.

As Narcis Oiler's image of the Catalan land-owner l'Oleguer of L'Escanyapobres, the "Rabadan" is a materialist and a u t i l i t a r i a n , a miser who organizes his l i f e only around material values ; he is incapable of conceiving any spiritual end to l i f e. The f i r s t interesting factor in this tale is that d'Ors introduces with i t the concejpt of "glosa! In this dialogue the Rabadan is asked to lead the pilgrims, but refuses because i t involves hardship.

D'Ors amplifies the tale in order too demonstrate the complexity of the reason for which the miser refuses to follow the pilgrims. S-uccinctly d'Ors defines the character and values of the Rabadan El Rabadan es hombre prudente; se escUcha al hablar, anda con pies de plomo, obra con mfinita y sabe hacer provisiones alia" para el invierno Por eso, en esta. Va a ajustar cuentas. The ideal of the pilgrims is,, according to him, lunatic. It i s not a practical enterprise ; because i t is uncertain in i t s outcome, and, above a l l , i t i s an.. D'Ors goes on to elevate the individual, metaphor to i t s universal scale, as applicable in Catalonia.

The Head Shepherd i s a symbol of the nation. His failure i s also that of Cataloniat. The public ideal without leadership leads nowhere. It i s the"Rabadan's" apathy or materialism that has affected the development of Catalonia and set i t back, even since the eighteenth century, when Catalonia ceased to have a leading class, conscious of i t s duties. Yet, there i s hope in the fi n a l lines of the narration, for the public scoffs at the Rabadan and now awaits in hope: to find "heaven".. The narration i s a warning to the bourgeoisie that it.

It must modernize and participate in the ideals of Catalonia's social destiny. Neither hope nor progress i s found. The f i f t h narration, "Gargolas"5, dedicated, to M. Oliver, is a series of seven terse images that meditate on the importance of the form and i t s implications in relation to the sense, or con-tent. D'Ors begins this series of images by reflecting on the necessity of stylizing forms in-order to communicate a content con-sisting of ideal material.

This, content would, in turn, induce the subject or audience to meditate on divine or metaphysical ideals.. Man, thus inspired by Beauty, would:1 also strive to achieve formal perfection in l i f e. In the introduction d'Ors states:: Quisiera. Since the subject matter i s chosen from the artist's circumjacent world, the latter's function i s to reduce the object to i t s essence, or platonic idea.. The arbitrated form is not a rhetorical form, lacking substance, but an aesthetic object, organized in such a way as to develop the harmony between i t s appearance and i t s content.

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It is not the bare essential; i t i s the pleasant essential. The second image i s a corollary of this concept. In this image, the basic idea i s that, in order to approximate the idea of divinity, the form must not be subject to temporal i n -fluences, for these are manifestations of Nature. Consequently,, the idea of divinity expressed by i t is removed from distinctive contingencies: "Ya se' que tu experiencia es larga Pero disimula. No abras los ojos. No ria s. Duerme, duerme, gargola b u e n a. T h e gargoyle lives in eternity, for i t s experience i s large, but i t i s not affected by immediacy.

In i t reality ieB synthesized into i t s essence. In the third image. Immediacy, as a form of f i n a l i t y , deprives the individual of any hope, for in i t man loses the sense of temporal dimension. Thus, as i t lives in eternity, the stylized form i s not engrossed in the immediate, and, therefore, cannot be subject to temporal contingencies and represent a pessimistic point of view. Reality understood in a temporal framework depends upon the position taken by the a r t i s t. Thus, the understanding of reality depends on the judgment or arbitration of the individual; i t i s always; a point of viewr "Es te'tricaraente grotesca l a procesion de los hombres, con sus paraguas y con sus impermeables.

D'Ors amplifies the problem by raising i t to a metaphysical leve l. Tin this image the gargoyles question each other as to what l i e s behind them, that i s , what l i e s behind their form. TheiE answer i s simple: sometimes they hear music, but know-not the exact nature of what li e s behind them, for they are always looking ahead. A menudo nos llega l a oleada armoniosa de unos canticos entonados por profundas y santas voces. Espesas rejas y celosias no dejan ver sus adentros. Vidrios de color detienen l a mirada -.

Similarly, in l i f e , man can perceive the divine w i l l that i s marred by human flaw. The existence of belief in divinity is also a possibility, or reason for hope in l i f e. If the divine exists in l i f e , then there i s some hope to be found in the scheme of things. The search for the divine essence behind a l l things is the search for eternity. As eternity i s found in l i f e , i t i s therein that i t must be sought. In the f i f t h image d'Ors denies the extreme application of the search for eternity removed from mankind.

The man who: believes he finds the truth away from mankind i s to him a Tartuffe. The l a t t e r i s found, meditating on eternity in a high place, secluded from society. Another figure steps in and offers him a bottle of wine, asking for his opinion on the quality of the wine.

Y 39 una hora de amor vale por toda una vida Yet, as he slips from the high wall, he grabs his com-panion in an act of despair. The latter comments: " It i s the eternal truth to which man clings and cannot take for granted. It is impossible to live alone; love is impor-tant; onHy because man i s a sociable being does he live.. Tartuffe when f a l l i n g meditates upon the importance4f the companion who may save him or let him f a l l. The metaphor of Tartuffe i s , again, a comment against excessive solipsism that becomes introspection.

To d'Ors i t is simply the result of being incapable of co-existing with other people. Tartuffe 1s lack of discipline, and incapacity to compre-hend the value of l i f e , leads to his adoption of a mask and the depreciation of social l i f e. Instead , he prefers the disperse elements love, light to the whole. Tartuffe i s essentially a caricature of the romantic hero who, because he i s incapable of adjusting himself to the norms of society, rejects i t. The sixth part of this narration c l a r i f i e s this metaphor..

Out of frustration, man tends to doprooiato what he cannot possess:, just as the crowd in"La muerte de Isidre Nonell" deprecates a r t i s t i c objects. In the preceding narration d'Ors has presented the problem of form and essence, and the equivocal position of the subject, dependingaon his arbitration of the circumstances.

Man lives in a state of contradiction which requires an understanding that cannot be sought in either extreme. The problem of perception i s basically that of the artist who needs to represent the ideal perceived within the object in terms of that existing, or known to his public. Though he lives above the world and hears celestial music behind him, he i s not yet high enough to be r e -moved from the sight of human suffering. As the author statess Ni tan bajo que te confundas con ellos, ni tan alto que puedas perderlos de vista. Condition: En muy buen estado. Una espantosa Tempesta de Sons cau sobre el Regne del Desert.

Published by Edicions 62 S. About this Item: Edicions 62 S. Tapa blanda. Condition: Bien. Contiene el nombre del anterior propietario. Seller Inventory 9G Condition: Brand New. Spanish language. In Stock. Seller Inventory zk Un bonic llibre que compartiran infants i adults!. Seller Inventory A Published by Eliseu Climent, Editor About this Item: Eliseu Climent, Editor, Seller Inventory DGL Condition: New. Language: Catalan. Brand New Book. En la nostra vida quotidiana hi ha moltes situacions que ens fan perdre el son, encara que sovint no en siguem conscients.

Seller Inventory PEA From: Llibres del Mirall Barcelona, Spain. About this Item: Barcelona, Edicions 62, Bon exemplar. First edition. Literatura catalana. Novel la. Book in Catalan. Published by Edicions de la Magrana, Barcelona About this Item: Edicions de la Magrana, Barcelona, Condition: Como Nuevo. Dust Jacket Condition: Como Nuevo. Sello del anterior propietario. About this Item:. Bona tarda. Bona nit. Em dic Estic mal. Ja ens veurem! Until we see each other!

Quant de temps! Com va tot? No es mereixen! Hi ha… - There are.. These are catalandictionary. Nouns with the special article will have their gender noted, with m. However, for words that begin with unstressed i, u, hi, and hu, the articles are normal. The plurals are els and les.

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You have to separate the definite article from the noun in the plural for the special nouns. In the Balearic Islands, they use es masc. All other rules pertaining to articles, and contractions are uniform otherwise. The masculine indefinite article is un, and the feminine article una. Those are the only two indefinite articles.

In Catalan, the grammatical gender of a noun can correlate to a specific spelling. Many words that share a common ending will often be of a certain gender. This especially true of feminine nouns. Study vocabulary lists to find such patterns, as there are too many to list all of them here. All names of languages are masculine. There are also some uses of the definite articles that are not common to most Romance languages, though Portuguese has these uses as well.

In indirect reference to a person with a formal title, the definite article is used. Take a person named Mr. Oliver, or a female doctor named Prat. To talk about them indirectly, you would say el senyor Oliver and la doctora Prat. These are called personal articles.

For example, if Peter is introducing himself and his friend, Mary, the exchange would go something like this. And this is Mary. However, in the Catalan spoken in the Balearic Islands, instead of the definite articles, they use remnants from Medieval Catalan, en masc.

Note: Valencian Catalan does not use personal articles at all. But some speakers may do so. Look at the next example. Pluralization in Catalan is pretty simple. You just attach -s to most nouns. However, nouns that end in an unstressed -a end in -es in the plural, to retain the same sound. So, casa becomes cases. Nouns ending in -ca and -ga change to -ques and -gues in the plural respectively, to maintain the hard c and g sounds. Nouns ending in -ja change to -ges in the plural, to maintain the soft g sound. Nouns with stress on the last syllable with a written accent on the last syllable, or monosyllabic drop the accent if necessary and add -ns in the plural.

Certain words ending in -s are invariable in the plural. All the words for the weekdays are invariable, but not for Saturday and Sunday. The list below details these words. Look at the list below. This is a group of men. Now, the two prepositions a and en are very similar. A is the most common one, but en takes its place when wherever a would come before un, una, uns, or unes, and before the demonstrative adjectives.

Also, en implies that the condition or position of something is temporary, or has recently become applicable to the noun. Telling Time Telling time in Catalan is rather unusual, compared to the methods of other Romance languages. Catalan speakers, no matter how far ahead the next hour is, will often say time in reference to the next hour, so you may have to use some basic arithmetic. Look at the example. Literally: A quarter of You can always use exact times, such as les onze i quinze , and be understood.

Pluralize the following singular nouns. Write out how the given time would be told in Catalan. Write the number associated with the given noun out in Catalan. Most adjectives have a masculine and feminine form. However, there are many masculine forms of adjectives that end in -e. Remember that all adjectives pluralize the way nouns do, even the adjectives that are invariable in gender.

The majority of adjectives have distinct masculine and feminine forms. You usually get the feminine form by adding an -a to the end of the word. However, for words whose masculine forms end in -at, -it, -au, -iu, -ig, and -ou, you change that part of the ending and replaced with -ada, -ida, -ava,-iva, -ja, and -ova respectively. If a masculine adjective ends in a stressed vowel, just add -na to the end, and remove the written accent if necessary.

These rules generally apply for nouns as well. If an adjective like ones listed above appears in a vocabulary list, the ending required to change the adjective to the feminine form will also be given. So a word like buit will be listed as [buit -ida ]. Fortuny has a very young son and daughter. Verb Conjugations: The Present Indicative Verbs in Catalan, like in other Romance languages, fall into one of three classes, based on their endings.

However, they vary a little bit between regions. The pronouns are given in the table below. The three classes of verbs consist of verbs ending in -ar, -re, and -ir, respectively. The original form of a verb is called the infinitive, which is the form that appears in the dictionary, which can end in -ar, -re, or -ir. To obtain the verb stem to conjugate verbs, just drop these endings from the verbs. Look at the verb conjugation tables closely to see how verbs change for each pronoun.

Look at the example verb, llegir. You should be aware that the infix only applies for the present indicative, imperative, and subjunctive. The following verbs can be conjugated as inceptive or non-inceptive, though the inceptive version is more common. Most of the irregular verbs in Catalan belong to the -re class of verbs, which means, unfortunately, that relatively few verbs conjugate the way perdre does.

Every time such irregular verbs come up, they will be noted. The conjugations for the prendre are similar to those for all verbs ending in -endre, which take an acute accent. Note, verbs ending in -fendre are conjugated the same way prendre is. Permanent conditions are generally essential qualities of something or someone, such as physical traits or a profession. Impermanent conditions can be emotions or physical positions.

Montserrat is happy. While both translate to the same sentence in English, they mean noticeably different things. The first sentence implies that Montserrat is happy in the moment, for the time being. The second sentence, on the other hand, indicates that Montserrat, by nature, and typically, is a happy person. Conjugate the given verb in all the present indicative forms. Conjugate the given irregular verb for the given pronoun. Com terrible! Mary is very pretty now as opposed to before. Where are you?

Ja veurem si dius la veritat. The former is decidedly the most common, because plaure is used in sense of asking somebody to do something politely. I like champagne. Tingui del xampany, si us plau. Have some champagne, if you please. Plaure uses the enhanced forms of the weak pronouns. Demonstrative Adjectives, Pronouns, and Prepositions Demonstratives are words meaning this and that.

In Catalan, there are there are three different sets of demonstratives, based on proximity. That Near usually refers to something away from the speaker and also tangible in form, but still within view, and That Away is usually something abstract, or out of view of the speaker.

The same s is silent in the same circumstance for the plurals. Look at the table for the possessive adjectives. These girls are Montserrat, Anne, and their cousin. Remember that the gender of the possessive adjectives varies according to the gender of the possessed noun, not the possessor. But you still have to use the definite article before the adjective.

However, if you replace the definite article with an indefinite article or demonstrative adjective, or if for any reason the definite article is omitted such as with family members , you put the possessive adjective after the noun. If llur is put after the noun, as you can sometimes do, the article is included before the noun. These pronouns are also used exclusively with a singular possessor, and without articles. Andrew and his grandfather are going to Mr. Adverbial Pronouns en, ho, and hi There are three very useful and important adverbial pronouns in Catalan.

En and hi are parallel to ne and ci in Italian, but ho is unique. Do you want more fruits? Prens de pastillas per a la salut? Do you take pills for your health? Be aware that you can attach this pronoun to conjugated verbs. Phrases involving plural indefinite articles can also be reduced using the partitive pronoun. The complete form comes after the verb if it ends in a consonant or u, and is hyphenated. Otherwise, use the enhanced form. Now, we can move on to the pronoun hi, which substitutes a phrase referencing a location, or a prepositional phrase except for those using de. Teresa hi surt?

Do you know that Teresa is going out with John? My parents are going to Perpignan. I want to go there too.

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  4. The last pronoun, ho, is a remnant from Latin, which was dropped from other Romance languages a long time ago. It is invariable the same way hi is. El pare vol la veritat. The father wants the truth. The Imperative Mood The imperative mood is a form used to issue commands. Verbs that end in -c in the jo form replace it with gu- before adding the endings.

    Look at tenir. Thankfully, there are relatively few irregular verbs otherwise. All the other commands are the same. No visquem a Girona. The following example contrasts introducing a conjugated verb and infinitive. Nobody except her likes red wine. Translate the following sentences into Catalan. I like grapes. Do you informal dislike apples? He really dislikes garlic.

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    We like toast and bacon. They like to eat cereal for breakfast. Who hates oranges? Do you formal like to use spices? What do you all; informal like to eat? Write the following nouns in possessive clauses for each possessive adjective. Translate the following sentences into Catalan, making correct use of the adverbial pronouns en, hi, and ho, along with the imperative. I want to go there. This sausage? You informal give this to Maria? She eats some bread. Take some!

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    Go there! You all; informal tell us that. Is it there? Do they want some? Some Idiomatic Verbs There are quite a few idiomatic verbs in Catalan, like any other language. The verb fotre is a very vulgar word, but people do say it. It can be extremely rude, so be careful when using it, even among very close friends with whom you speak liberally. However, it can also indicate probability or assumption. Look at the examples. Deus fer la teva treballa ara mateix! Haver is an irregular verb, and an important auxiliary verb for compound tenses.

    Haig de anar a casa ara. I have to go home now. This is what is called a modal of repetition. We again ask for pardon. The first and most important relative pronoun is the unstressed relative que, which is used very frequently to relate nouns, and expression of time. The woman that lives in that house is very nice. Now, the stressed relative is a relative pronoun used after a preposition. La noia amb qui el Joan surt es diu la Clara. The girl with whom John is going out is named Claire. The computer of which you speak is there.

    Now, there are also compound relatives, which specify a particular noun by emphasizing gender. The daughter of Mr. He who sells more, earns more. What I want is a swan. Jo parlo de mi. Ell fa tot per si. He does everything for himself. You can reinforce the -self part, to make it more emphatic by mateix a after the strong pronoun.

    Why do you make pizza only for yourselves? It consists of a special auxiliary version of anar and the infinitive. Now, back to the preterite. The actual, simple that is, a one-word version form of the preterite has long since fallen into disuse outside of Valencian Catalan. The simple form of the preterite is largely confined to literature and extremely formal speech, otherwise. Jo vaig tancar la porta. I closed the door. The second, longer form of some these conjugations are used by dialects that use both the simple and compound preterites in spoken language, such as Valencian Catalan.

    In such dialects, the use of either is a choice. In such dialects, it is considered clunky and in poor style to have the simple preterite and periphrastic preterite close together. It is still a very common as a stylistic choice to mix the two. However, in dialects that do not maintain both forms use only the short form and only the periphrastic version. Fortunately, like the imperative, most of the typically irregular verbs have a pattern. Verbs that have a jo form ending in -c base their conjugations off of that.

    The stem in simple preterite changes the c to gu. Just as with escriure, which conjugations you use are up to you. Note: Because you can figure out conjugations for the preterite and other tenses from -c ending verbs in the present indicative, whenever a new one comes up, only the present indicative conjugations will be given. Translate the following sentences, making correct use of idiomatic verbs. Might he live here? Do your plural, informal work la treballa! Do they have to leave now? What must we do? Translate the following sentences using the correct forms of the preterite.

    You formal went home. We left the house late. Did you informal eat dinner?