(A)Wry Views: Anamorphosis, Cervantes and the Early by David R. Castillo

By David R. Castillo

The time period anamorphosis, from the greek ana (again) and morphe (shape), designates various viewpoint experiments that may be traced again to the inventive advancements of the 1500's and 1600's. Anamorphic units problem audience to event diverse types of perceptual oscillation and uncertainty. photos shift in entrance of the eyes of wondered spectators as they stream from the heart of the illustration to the margins, or from one facet to the opposite. (A) Wry perspectives demonstrates that a lot of the literature of the Spanish Golden Age is vulnerable, and certainly calls for, indirect readings (as in anamorphosis).

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Extra resources for (A)Wry Views: Anamorphosis, Cervantes and the Early Picaresque (Purdue Studies in Romance Literatures, V. 23)

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2 The notion according to which men are essentially defined by their position in the social body still finds resonance in sixteenth- and seventeenth-century Spain in debates concerning the status of the poor among traditional circles. The nobiliary principle “I am who I am,” which is firmly rooted in the traditional system of theological beliefs, is frequently enunciated as “an obligation to act in a way that is proper to one’s position in society” (Maravall, Teatro 100). By contrast, Lazarillo’s perspectivism converts necessity into contingency while rendering reality problematic.

Dispóngase a el trabajo y a fuerza de su voluntad ríndala[s] en el suelo, venciendo viejos deseos” (2: 158). This is why we ought to let reason guide us through the circumstances of life, since “la razón es como el maestro, que, para bien corregirnos, anda siempre con el azote de la reprehensión en la mano, acusándonos lo mal que obramos” (2: 390). Thus, the teachings of Guzmán coincide 41 Chapter Two with the lessons in humility and Christian resignation that are characteristic of Counter-Reformation culture.

Ninguno entendió como yo la cicatería. Fui muy gentil caleta, buzo, cuatrero, maleador y mareador, pala, poleo, escolta, estafa y zorro. (2: 192–93) The appearance of the marginal perspective of the pícaro results, once again, in a powerful, however momentary, questioning of the social order. The doubling of Guzmán in the figure of Sayavedra produces a revitalization of the pícaro’s cry for recognition. This cry emerges—as in Lazarillo de Tormes— against the background of an exposure of the social hypocrisy and a denunciation of the corruption of the justice system: Si no, pon los ojos en cuantos hoy viven, considéralos y hallarás que van buscando sus acrecentamientos y faltando 45 Chapter Two a sus obligaciones por aquí o por allí.

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