Crónica de una muerte anunciada by Gabriel García Márquez PDF

By Gabriel García Márquez

Un hombre regresa al pueblo donde ocurrió un asesinato desconcertante 27 años atrás, con l. a. determinación de descubrir los angeles verdad. Todos parecen estar de acuerdo en que Bayardo San Román, sólo unas horas después de su matrimonio con l. a. bella Angela Vicario, l. a. devuelve por deshonrada a los angeles casa paterna. l. a. atribulada familia fuerza a los angeles novia a revelar el nombre de su primer amante; y los hermanos gemelos de ella anuncian su intención de matar a Santiago Nasar por haber deshonrado a su hermana.

Sin embargo, si todos sabían que se iba a cometer un asesinato, ¿por qué nadie trató de impedirlo? Cuanto más se sabe de este asunto, menos se comprende, y cuando l. a. historia al fin se precipita a su inesperada conclusión, una sociedad entera —no sólo un par de asesinos— está siendo enjuiciada

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It surrounds religion with thousands of original superstitions, poetry with countless picturesque fantasies. * Sometimes it casts into Christendom’s hell the hideous figures conjured up by the austere genius of Dante and Milton, sometimes the absurd creatures among which Callot, that burlesque Michelangelo, finds amusement. When it turns from the ideal world to the real one, it unleashes countless parodies of human foibles. Its fancy creates Scaramouches and Crispinos and Harlequins–– grinning silhouettes of mankind, types utterly unknown to solemn antiquity, even though they arose in Classical Italy.

Don’t you understand that Art ought to improve on Nature? that things have to be ennobled? that you have to pick and choose what you do? Did our predecessors ever put ugly and grotesque things into their works? Did they ever mingle comedy and tragedy? Consider the writers of the ancient world, sir! And what’s more, Aristotle. And what’s more, Boileau. ’ These are, no doubt, significant arguments (their most notable merit being their originality). But I don’t have any obligation to answer them. I’m not erecting any system here–– God preserve us from systems!

The author never has deviated from it, and never will. It can be reconciled readily enough with ‘the ugly ought to be imitated, the grotesque ought to be a component of art’. The two statements aren’t contradictory. The distinction between beauty and ugliness in art doesn’t correspond exactly to that in nature. In the arts, only the execution of a work can make anything beautiful or ugly. When faithfully and poetically transposed into the domain of art, something that is distorted, horrible, and hideous becomes beautiful, admirable, and sublime–– without losing any of its monstrous quality; on the other hand, when the most beautiful things in the world are falsely and systematically arranged in an artificial composition, they become ridiculous, absurd, hybrid, ugly.

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Crónica de una muerte anunciada by Gabriel García Márquez


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