By Jan Potocki
A literary masterpiece by means of a Polish traveler, aristocratic adventurer, political activist, ethnographer and publisher
Alphonse, a tender Walloon officer, is traveling to affix his regiment in Madrid in 1739. yet he quickly unearths himself mysteriously detained at a street resort within the unusual and sundry corporation of thieves, brigands, cabbalists, noblemen, coquettes and gypsies, whose tales he documents over sixty-six days. The ensuing manuscript is chanced on a few 40 years later in a sealed casket, from which stories of characters remodeled via conceal, magic and phantasm, of honour and cowardice, of hauntings and seductions, bounce forth to create a colourful polyphony of human voices. Jan Potocki (1761-1812) used more than a few literary kinds - gothic, picaresque, event, pastoral, erotica - in his novel of stories-within-stories, which, just like the Decameron and Tales from the Thousand and One Nights, offers leisure on an epic scale.
For greater than seventy years, Penguin has been the top writer of vintage literature within the English-speaking global. With greater than 1,700 titles, Penguin Classics represents an international bookshelf of the simplest works all through historical past and throughout genres and disciplines. Readers belief the sequence to supply authoritative texts more suitable via introductions and notes by way of exclusive students and modern authors, in addition to updated translations by way of award-winning translators.
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Additional info for The Manuscript Found in Saragossa (Penguin Classics)
Sample text
On 2 December or 11 December 1815 (depending on the source), he committed suicide, although whether out of political despair, mental depression or a desire to be released from a highly painful chronic condition is not clear. Many stories are told about his death. He is said to have fashioned a silver bullet himself out of the knob of his teapot (or the handle of a sugar-bowl bequeathed to him by his mother); he had it blessed by the chaplain of the castle, and then used it to blow out his brains in his library (or his bedroom), having written his own epitaph (or, according to other sources, drawn a caricature of himself).
Some of these portraits are just vignettes, others are extensive and profound; some add their colourful voices to the rich texture of the novel, others are no more than the objects of picturesque description. Leitmotifs run through the work, adding to its pleasure. There are erotic encounters involving sometimes two, sometimes three, sometimes four participants, some told naively, some urbanely, some with a tortured conscience; authoritarian fathers (van Worden, Velásquez, Soarez) repeatedly appear to imprint on their sons their own strange philosophies of life; characters are metamorphosed or transform themselves from Christians into Muslims or Jews, from men into women, from beautiful girls into hideous corpses.
For a moment Emina seemed lost in thought; then she looked at me with great attention, took my hand and said, ‘Dear Alphonse, there is no point in hiding from you that it was not chance which brought us here. ’ ‘You flatter me, Emina,’ I retorted. ’ ‘We take a deep interest in you,’ the Moorish beauty replied. ‘But you may well be less flattered when you learn that you are practically the first man we have ever met. What I have just said has astonished you, and you seem to doubt it. ’ THE STORY OF EMINA AND HER SISTER ZUBEIDA We are the daughters of Gasir Gomelez, the maternal uncle of the reigning Dey of Tunis; we have no brothers, we did not know our father and have been kept confined within the walls of the harem, so that we have no idea of what men are like.