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By Charles Dickens, Oscar Wilde, Mary Shelley, Henry James, Thomas Hardy, Robert Louis Stevenson, Elizabeth Gaskell, William Makepeace Thackeray, Wilkie Collins, Anthony Trollope, George Gissing

El amor, en cuanto sentimiento de complejas implicaciones, tanto anímicas como sociales, habría de tener en l. a. literatura victoriana una conflictiva relevancia en una sociedad firmemente volcada en el utilitarismo, como ya habían reflejado en el período anterior las grandes novelas de jóvenes casaderas y tácticas de rentabilidad de Jane Austen. Cuentos de amor victorianos recoge una amplia, sorprendente y magnífica selección de historias de amor que cubre todo el espectro de un sentimiento tan arraigado en el corazón como determinante para los angeles confrontación de diferentes estamentos sociales. l. a. época victoriana fue, además, los angeles edad de florecimiento del cuento, género en que esta temática parecío encontrar un molde idóneo. Desde ángulos y tratamientos muy diversos, veintidós autores -de Mary Shelley a D. H. Lawrence, pasando por Dickens, Stevenson, Conrad o Kipling, además de algunos infelizmente inéditos en nuestra lengua- ofrecen en este volumen un riquísimo landscape de los padecimientos y de los intrincados laberintos de las relaciones amorosas, esa experiencia insólita y común, todavía hoy de incalculables consecuencias.

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By the time they finally load the coffin in the wagon, the corpse has already begun to stink; the brothers are “breathing through [their] teeth to keep [their] nostrils closed” (98), and the buzzards have already appeared (94). The Bundrens will travel for six days under a miasma of death-stench with an aerial escort of vultures filling out the meager one-wagon funeral cortege. For the reader, the spectacle is horrifying and disgusting, but it is also darkly comic. The Bundrens made this impression during their stop in the town of Mottson: It was Albert told me about the rest of it.

He himself is going to the mountain to dance with the bacchantes. The maenads are half women, half creatures, who accompany Dionysus in his triumphal march. They have something strange and wild in them, for, as in every human being, the strange and wild are always latent and will erupt when unleashed. It has manifested itself in the women of Thebes. The music, the dance, the singing, are barbaric. The new god Dionysus takes no account of any difference between Europe and Asia, between Hellenic and barbarian.

The tone of As I Lay Dying is extremely complex and uncertain, as witnessed by the astonishing range of contradictory interpretations the book has inspired. For Patricia R. Shroeder, it is formally a comedy with Anse Bundren as its comic hero; whereas for Robert Merrill it is a tragedy with Darl as its tragic hero. While Shroeder’s Anse is purely comic, Cleanth Brooks saw the Bundren patriarch as “one of Faulkner’s most accomplished villains” (154). The novel’s openness of meaning stems in part from the radical narrative technique, in which fifteen different first-person narrators relay fragments of the story and comment on the action.

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