The Projects and Wanderings of Alfanhui] with a Critical Introduction by Ruth M

University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1964 English translation of the Spanish novel Industrias y andanzas de Alfanhui [The projects and wanderings of Alfanhui] with a critical introduction by Ruth M. Danald Ruth M. Danald The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Danald, Ruth M., "English translation of the Spanish novel Industrias y andanzas de Alfanhui [The projects and wanderings of Alfanhui] with a critical introduction by Ruth M. Danald" (1964). Graduate Student Theses, Dissertations, & Professional Papers. 2229. https://scholarworks.umt.edu/etd/2229 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. An English Translation of the Spanish Novel INDUSTRIAS I ANDANZAS DE ALFANHUI h f Bafael sSnchez Ferlosio with a Critical Introduction by Ruth M. Danald B.A. Douglass College, Rutgers University, 1942 Presented in partial fulfillment of the requirements for the degree of Master of Arts MONTANA STATE UNIVERSITY 1964 Approved by: .airman. Board of Examiners Graduate School AUG 21 1964 Date UMI Number: EP35648 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT IKssartaÜon PtMisMng UMI EP35648 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 TABLE OF CONTENTS Page INTRODUCTION Rafael Sanchez Ferlosio ill El Jarama ...................o. v Short Stories ........................ xri Indastrias y andanzas ^ Alfanhui .............. xxiv Aim and Method of Translation ................ xl THE PROJECTS AND WANDERINGS OF ALFANHUI Part One ........................... 2 Part Two ................. ................. 59 Part Three .......................... 97 BIBLIOGRAPHY......................... 145 INTRODUCTION Rafael Sanchez Ferlosio Rafael Sanchez Ferlosio was born in Rome on December 4® 1927. Although the author is reluctant to give biographical data in personal correspondence, it is known that his father Senior Sanchez Mazas was a Spanish journalist in Italy at the time, and that his mother was Italian.^ In 1954 Don Rafael married Carmen Martin Gaite, herself 2 a well known writer. In 1951 he introduced himself to the reading public with Industries j andanzas_de Alfanhui. He has the distinction of having won in 1955, with his HL Jarama, the twelfth Nadal prise, the first to be awarded 3 by unanimous decision of the judges. The following year this same novel was awarded the Premio de la Crxtica, an honor which carries with it no financial value but considerable prestige, as the winning novel is chosen by a panel of outstanding Spanish literary critics, from among works published the preceding year. ^Eugenio G. de Nora, La PQvela espanola contemoormiea (1927 I960) (Madrid: Editorial Credos, 1962), II, Pt. II, 299. 2 ^ Srta. Gaite won the Cafe Gijdn Prize for her book of short stories entitled EL balneario in 1954 and the Madal Prize in 1957 for her only published novel. Entre visillos. In I960 she published another collection of short stories entitled las ataduras. 3 The Nadal Prize was first awarded in 1944 for the purpose of stimulating writers and is the most important literary prize in Spain. The first winner was Carmen Laforet with Nada. Other important winners have been Gironella*s Un hombra, Delibes* la sombra del ciores gg alargada, Quiroga*s Vlento dsl norte. Medio*s Nosotros los Rivero, and fetute*s Primera mmmnria. iii In 1961 there appeared a new edition of Alfanhui which included two short storiess J ^ coraz6h callente and Dientes/. p^lTora j febreroo Since that time. Senor Ferlosio writes,^ he has abandoned literature to devote himself to the study of language theory and, apart from a few articles, has published only El hudsoed cjg las nieves « a truly delightful, short, children* e story, in 1963 o The author presently is living in Madrid. Senor Ferlositfs reluctance to reveal personal data, one feels, arises partly out of native modesty, but more important perhaps, from an expressed desire not to encourage the type of literary criticism that seeks in an author*s past experiences the interpretation of his workso Abetter from Rafael Seicheg Ferlosio dated January 17, 1964, Madrid, Spain. iv ^ Jarama. Concerning g. Jarama. Ferlosiosecond novel, which attracted wide and favorable attention, perhaps the most important thing to be said is that it is a radical departure from the style and technique of Alfanhujf, in that it paints a reality minutely and accurately observed. The T.ftv3non i;^ ¥eltliteratur iffi 2Û* Jahrhundert^ says that with this work of art Ferlosio approached the avant-garde novels that do not employ explanation but, with sharp observation and representative scenes, cospose a contemporary film in words. The writer of the article sees in this work a resemblance to our own Dos Passes and to Sanchez* countryman Camilo Jose Cela, in the use of objective presentation with the help of dialogue and realistic actions, omitting description by the author which would inject his own personality. The FncinlnpAdia iin-itrftyaa-T tells US that El Jarama had already (1957) been translated into various languages and that it belongs to ”la nueva escuela novell-^ stica espafïbla dominada por el objectivismo y el realismo. lo importante . es . la captacion del ambiente y del ' lengu§je coloquial.**^ It is described as a social document concerning a part of Madrid youth in post-war years. Sainz de Robles describes both of Ferlosio*s novels as being "sin hilo conductor, disquisiciones, episodios, descripciones, im^genes.”'^ ^L^ ifiion dsr Weltliteratiir igL 20» Jalirhundert (Freiburg, 1961), col. 846. Clooedia universal ilustrada, Suplemento anual 1957=56 (Madrid; Espasa Calpe, S.A., I96I), p. 1148 7 Federico Carlos Sainz de Robles, novela espanola en el sielo (Madrid: Pegaso, 1957), p. 257. If this is so, does this quality not enhance the realism of Q, Jgggg? The novel, which bears an epigraph from Leonardo da Vinci saying that the water you touch in a river is the last of what has passed and the first of that to come, opens with the complete, detailed geography along the route of the river Jarama^ its course through the countryside, past convents and under bridges, as it joins and is joined by other rivers, until it reaches a point some sixteen kilimeters from Madric^where the tale of a typical Sunday in early summer is laid. The usual group of men gather slowly at the inn. Ordinary, inconse quential conversation takes place. The innkeeper and his wife argue over whether their daughter should be allowed to go into Madrid for a movie with her boyfriend, or whether she must be made to stay home to help wait on tables because of the crowd expected from the city on this first hot day of summer. The eight-forty—five train whistle is heard. The iceman delivers the ice. Then, heralded by sounds of a motorcycle, a young couple Paulina and Sebastian arrive. They were here last year, and mutual, cordial greetings are exchanged. Other young people arrive from the city and, after making arrangements for lunch, they all go down to the river and undress in the bushes. Their costumes and repartee are given in complete and accurate detail. Slowly, through the dialogue, glimpses of character emerge. Danl is quiet, almost surly. Mely is flighty and has a chip on her shoulder. On the beach is a family whose children play with a large beach ball, while the mother bends over a smoky fire, cooking dinner. It smells delicious. ^ fat, Buddha-bellied man calls his dog to stop him from bothering strangers. The peanut vendor cries his wares. vi After a tiff in the m t e r among three of the young folk, and another one, over who will go back up to the inn for beverages, lunch pails are opened and the food enjoyed, lu cl, always the peacemaker, shy and timid, tries to see that everyone has enough to eat and is eager to share her lunch with anyone who would like to try some of it. It is all typical of any Sunday waterside-outing, anywhere, anytime. And through it all, underneath it all, is the current of the Jarama. As background to laughter and movement and lazy stillness^ flows the Jarama. And the heat, the heavy, oppressive, almost stupe fying heat, hangs languid and enervating over these typical people leading ordinary lives. Shop*girls and factory workers whose amusements are dancing, emulating movie stars, and wearing the latest fads In clothes and lipstick, have come to the country for a day of fun— and please, don»t mention having to go back to work tomorrow! The scene constantly shifts from the fun of the young people on the river bank to the older country folk who gather at the inn for their customary Sunday recreation. The lifelike quality of the narrative is subtly reinforced by the device of presenting the characters as they would be met in real life. A person enters the inn, he speaks and makes gestures.

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