The writer probes on the results of bureaucracy in living of a clerk, Don Ramon Villaamil, in Benito Perez Galdos' which was written and published in 1888. It is anchored on the sociological theories of Max Weber's concept and functions of bureaucracy (Gerth and Mills, 1961) and its disintegrating impact on the main character and its repercussions in the multi-dimensional life of the protagonist. In understanding further the novel, the student writer uses Hippolyte Taine's three-pronged method of the contextual study of a masterpiece of design, based on the facets of what he called race, geographical and social milieu, and historical moment (wikipedia.com). un curso de milagros
Hence, to completely understand the bureaucracy mirrored in the novel, the writer traces first the historical, political and biographical life of mcdougal and Spain in the nineteenth century. How every one of these artefacts affected the writer to record vignettes of hard truths in the society is remarkably interesting to investigate.
The Spanish novelist and dramatist Benito Pérez Galdós (1843-1920) is most beneficial noted for his masterly treatment of the vast panorama of Spanish society in some historical and contemporary novels.
The second group includes Galdós's realistic social novels, which divide into two subgroups. The very first comprises the Novelas de la primera época (1867-1878). One of them are Doña Perfecta (1876) and Gloria (1876-1877), which boldly depict Spain's provincial hypocrisy and religious fanaticism. The second is made up of the 24 Novelas españolas contemporáneas, (1880-1915), which mark the maturity of Galdós's art. In such works as La de Bringas (1884), his four-volume masterpiece Fortunata y Jacinta (1886-1887), and Misericordia (1897), Galdós harmonized his passion for reform with the art of making the illusion of reality. While treating many problems of Spanish life, he didn't sacrifice character freedom to any social or moral teaching. Today, as then, his novels give you a compelling imagen de la vida.
The 3rd group is composed of Galdós's plays. After writing novels for 20 years, Galdós considered the theater. In 1891 he recast his novel Realidad into dialogue, staging it successfully the following year. He produced 22 plays, of which La loca de la casa (1893) and El abuelo (1904) are considered his best. The premiere of Electra (1901) unleashed a storm of controversy, earning Galdós the hatred of Spain's clergy and conservative class. Galdós was an authentic revolutionary of the Spanish theater. Reacting against José Echegaray's outmoded romantic melodrama, he confronted audiences with a frank portrayal of social conflicts. His plays anticipated the innovations of modern Spanish drama.
Amadeus - a liberal who swore by the liberal constitution the Cortes promulgated - was faced immediately with the incredible task of bringing the disparate political ideologies of Spain to at least one table. He was plagued by internecine strife, not merely between Spaniards but within Spanish parties.
Although the novel ends with the suicide of Villaamil, his will for Spain for better administration and other advocacies are written as M.I.A.U. that means Morality, Income Tax, Additional Duties and Unification of the debt (Cohen, 1963: 145). It summarizes his personal want the total moral reformation of the government official and rank and file workers; instituting payment of personal income tax by workers; additional tariffs for the products of foreign traders and paying the national debt by consolidating all of the provincial needs and paying them only once a year.
To analyze the sociological concept of bureaucracy in the novel, the student writer uses the Weberian Model which concepts are summarized thus: The final century saw the perfection of the bureaucracy -- an application of organization that's been enormously successful and is the result of 1000s of years of trial and error evolution. Max Weber outlined the key characteristics of a bureaucracy:
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