By Ignacio Padilla

Ignacio Padilla nos entrega un libro de ensayos escrito a lo largo de los últimos 15 años con pasión, erudición y enorme sentido del humor. ¿Cuáles fueron las principales aportaciones de Shakespeare y Cervantes? ¿Qué pasaría si nos atreviéramos a comparar los alcances de cada uno? ¿Cómo construirían a sus personajes, por ejemplo, y cuántas de esas técnicas siguen vigentes en nuestros días, influenciando incluso a los angeles cultura well known? Y sobre todo, ¿en qué medida hemos reducido a un cliché nuestro conocimiento de ambas obras, indispensables para comprender cabalmente lo humano? Haciendo hincapié en su devoción hacia Cervantes, Ignacio Padilla nos invita a examinar l. a. obra de este autor español y cuánto perdemos si evitamos el contacto con ella.

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To this has his thinking reduced. It will be seen in later chapters that Othello is given to using the repetition of single words to shape even his most considered and sustained speeches; here his syntactic habit sounds in almost its lowest form-the simple, distressed repetition of a single plereme with attendant article. i. The dialogue is as follows: DESDEMONA . . This is a tricke to put me from my suite, Pray you let Cassio be receiu'd againe. OTHELLO. Fetch me the [Q that] Handkerchiefe, My minde mis-giues.

Othello does not recognise her presentation of a logic that should be answered in kind. For he makes no attempt to counter Desdemona's pressure with any of the well-founded defences available to him. 64-8) [Q, more correctly, closes the bracket after best]. and destroyed it. He might have said that Cassia's penitence is irrelevant. He might have said that Cassia's neglect of duty when responsible for the town's safety was serious enough for a dishonourable discharge. He might have additionally pointed out that Desdemona has no right whatsoever to be interfering in these military matters.

He does not go in spirit. Not as one happily in a couple. 249-50). Both passages imply a mutuality that on Othello's side does not exist. ) [sic]' - is ignored. The earlier, habitual dismissiveness is developed; it becomes purposive. 30ff) Shakespeare truly begins to derive benefit from his careful laying-down of Othello's tendency to deny and dismiss his wife. In this extended passage - concerning a hand, a handkerchief and a tragic hero unique in a head-cold- Desdemona is mystified, provoked and finally walked out on.

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