Picaresque presentation


Published on

Presentation of "Lazarillo de Tormes" and "El Buscon," two Spanish Golden Age picaresque novels.

Published in: Education
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Picaresque presentation

  1. 1. Lazarillo de Tormes y El Buscón Paradigm of the Picaresque Novel Renae Mitchell
  2. 2. La novela picaresca Major Spanish examples: Anonymous, La vida de Lazarillo de Tormes , 1554 Mateo Alemán, Guzmán de Afarache , 1599-1604 Francisco López de Ubeda, La Pícara Justina , 1605 The Picaresque Novel Vicente Espinel, Marcos de Obregón , 1618 Francisco de Quevedo, Historia de la Vida del Buscón Don Pablos , 1626 Anonymous, Estebanillo González , 1646
  3. 3. La novela picaresca <ul><ul><li>Typically centers on a youth (the pícaro/a) who goes from master to master, adventure to adventure, and often catastrophe to catastrophe </li></ul></ul><ul><ul><li>There are some precedents to the picaresque genre, such as the maqamat— a hustler in 10th century Arabic literature; however, the first modern picaresque is Lazarillo de Tormes </li></ul></ul>The Picaresque Novel <ul><ul><li>The pícaro is often delinquent, antisocial, and an ‟antihero” </li></ul></ul><ul><ul><li>The genre spread out of Spain, beginning with Germany in 1669, then England with Moll Flanders (1722), several Charles Dickens novels, and, of course, Huckleberry Finn in the US. </li></ul></ul>
  4. 4. Contexto histórico <ul><ul><li>1492 : Columbus, and subsequent systematic domination of Native populations. The Inquisition was in high gear, and this year Spain removed the last of Muslim Moors from the Peninsula. Suspicion of non-Christianity influences the narrative </li></ul></ul><ul><ul><li>The pícaro is often delinquent, antisocial, and an ‟antihero” </li></ul></ul><ul><ul><li>The genre spread out of Spain, beginning with Germany in 1669, then England with Moll Flanders (1722), several Charles Dickens novels, and, of course, Huckleberry Finn in the US. </li></ul></ul>Historical Context
  5. 5. Contexto histórico <ul><li>How did the picaresque catch on just at this time? : </li></ul><ul><ul><li>According to David Gitlitz, the sixteenth-century Spanish literary landscape was characterized by a proliferation of autobiographical texts </li></ul></ul><ul><ul><li>Gitlitz theorizes that this landscape was formed from the the ‟ubiquitous sixteenth-century genre of the official relación” and ‟autobiographical confessions to the...Inquisition...become such </li></ul></ul><ul><li>an important part of the Spanish psychic landscape from the 1480s on...the exigencies of coping with life in a church-police state, in which at any moment any individual might be ordered to lay out ... the most intimate details of his life, may well have been one stimulus for the development of the autobiographical genre in sixteenth-century Spain” (54). </li></ul><ul><ul><li>‟ From the 1480s over the next several generations, Spaniards had to train themselves to think autobiographically ... survival required habits of thought which prepared one to give autobiographical account on demand” (60) </li></ul></ul>Historical Context
  6. 6. Contexto histórico <ul><li>The picaresque in context : </li></ul><ul><ul><li>In writing, there is a tendency toward first-person narration to some authority </li></ul></ul><ul><ul><li>i.e. The narrator begins many paragraphs with ‟Your Honour” </li></ul></ul><ul><ul><li>There is a clear objective to expose injustice while being humorous. </li></ul></ul><ul><ul><li>‟ The reporter, the enunciator of the true facts of the case in question...seeks reward, or seeks to avoid punishment, or is under some sort of compulsion from a legal or spiritual authority to give account of him or herself. The narrative voice is compromised, not disinterested” (Gitlitz 61). </li></ul></ul><ul><ul><li>i.e. ‟I enjoy telling Your Honour about these minor matters, because then I can show what a fine thing it is for a man of the people to rise in life and how awful it is to fall if you are highly place” (8). (see Prologue) </li></ul></ul>Historical Context
  7. 7. Capitulo 1 <ul><ul><li>The narrator is abused by a blind man to whom he has been given as a servant. His life with the swindling blind man teaches him how to be cunning and survive by trickery. </li></ul></ul><ul><ul><li>He tries to trick the blind man in return, but fails, always suffering physically for his effort. </li></ul></ul>Chapter 1 The Blind Man <ul><ul><li>He finally succeeds in tricking the old blind man to jump into a pole, allowing him the opportunity to finally escape. </li></ul></ul><ul><ul><li>The narrator uses a great deal of anticipation, such as: “So we went into the inn. I wish to God we'd never seen the place considering what happened to me there” (13). </li></ul></ul>
  8. 8. Capitulo 2 <ul><ul><li>This chapter begins the author's criticism of the Church, which continues throughout the narrative. </li></ul></ul><ul><ul><li>The priest he serves “lied in his teeth...and drank like a drayman” (20). </li></ul></ul><ul><ul><li>Lazaro suffers from starvation under the grasping priest, and focuses on how to stay alive by whatever means of trickery (24). </li></ul></ul><ul><ul><li>The narrator tries to take bread from the priest's reserves (for Church rituals), but he is found out and receives a punishing blow while asleep (27). </li></ul></ul>Chapter 2 The Priest
  9. 9. Capitulo 3 <ul><ul><li>Lazaro is fooled into serving a man who appears to be a well-off gentleman, but is actually a complete fake. The author takes this opportunity to note, “how many men like him must be scattered around the world, who suffer for the sake of their absurd honour what they certainly wouldn't suffer for Your sake?” (34). The man starves himself so that he can “keep up appearances” (38). </li></ul></ul>Chapter 3 The Country Squire/ Gentleman <ul><ul><li>One of the most amusing and revealing scenes is that of the gentleman's explanation of honour, and how he must be treated by others due to his high (yet empty) class (42). His pride prevents him from even accepting a job as a nobleman's servant, because he cannot be subservient to anyone (43). This critic by the author of aristocracy reveals that those of upper classes are no better than the picaros they are presumably “above,” those of “Old Castile” (p 45). </li></ul></ul>
  10. 10. Capitulo 4 <ul><ul><li>This chapter is one of the main aspects of the text that caused it to be banned by the Inquisition (as well as Chapter 5), and was removed in the only contemporary copies that circulated. </li></ul></ul><ul><ul><li>Although very short, this section reveals the molestation that was occurring in the Church. </li></ul></ul>Chapter 4 The Friar
  11. 11. Capitulo 5 <ul><ul><li>This chapter was one of the most controversial at the time of publication. It reveals the “business” aspect of the Church. </li></ul></ul><ul><ul><li>The pardoner finds many ways of convincing people to buy fake indulgences, including going to a great deal of trouble faking a miracle to convince his audience of his piety (53). </li></ul></ul><ul><ul><li>The pardoner says at one point: “These peasants think they've only got to say 'We're pure Christians' and they can go to heaven without good works and without it costing them anything at all” (54). This seems to be a good example of what made the Church enraged with the text when it was first released.s </li></ul></ul>Chapter 5 The Pardoner/ Indulgence Vendor
  12. 12. Capitulo 6-7 <ul><ul><li>Finally, the narrator finds a way to make a living for himself by working for an artist (57). </li></ul></ul><ul><ul><li>He later gets a job as the town crier, and is then able to find a wife. Unfortunately for him, he is talked into marrying her by a priest who is sleeping with her, and uses the poor Lazaro to cover for his indiscretions (59). </li></ul></ul><ul><ul><li>The narrator decides to close his eyes to the situation he is now forced to live with in order to retain a harmonious environment and his prosperity. </li></ul></ul>Chapter 6-7 The Artist/ “ Independence”
  13. 13. <ul><ul><li>Children of parents without honor will never be able to achieve honor themselves </li></ul></ul><ul><ul><li>Pablos, the main character, is trying to become a gentleman, but will continually fail (presumably because of the class within which he was born). For this reason, Pablos is incessantly ‟punished” throughout the narrative. </li></ul></ul>El Buscón Francisco de Quevedo
  14. 14. Libro Primero <ul><ul><li>Chp. 5: Arrival at the student house which is owned by a ‟half-Moor” who only acts as a Christian (85). Here, Pablos is incessantly abused, and really begins his transformation into a pícaro. </li></ul></ul><ul><ul><li>Chp 6: the reader is treated to a series of exploits enacted by Pablos, wherein he admits he ‟ever since then...loved petty thieving” (93). </li></ul></ul><ul><ul><li>The Inquisition is criticized a great deal, and the manner in which Pablos takes advantage of fear of the Inquisition reveals to the reader the extent of its power. For example, he threatens to turn the housekeeper in to the Inquisition (p. 95), successfully managing to trick her out of two of her chickens. Then again, by yelling at a confectioner to ‟say his prayers,” he took advantage of him as well (97). </li></ul></ul><ul><ul><li>Pablos’s father is” nobly” executed by his uncle, his mother is finally captured by the Inquisition. However, it is Chapter 8 that gets the most attention: the author, in ‟real life,” quarrels with Luis Pacheco de Narváez, and spend the entire chapter making fun of him as a fencer who is so sure that he can beat anyone with the help of his mathematical equations, yet loses utterly to a real swordsman (p. 107-108). </li></ul></ul>Book I <ul><ul><li>The parents are introduced: the father is a thief, and the mother is a witch and a prostitute. Pablos is driven to leave because he finds out that he is not his father’s son. </li></ul></ul><ul><ul><li>Pablos leaves to go to school and meets Don Diego Coronel, and they both starve in their first school. </li></ul></ul><ul><ul><li>They are under the power of ‟Dr. Goat” (Spanish: Licenciado Cabra, literally Dr. Goat, PhD). It seems that this part of the narrative makes fun of Jews, equating Dr. Goat’s miserliness with his Jewishness (p. 77, 80). </li></ul></ul><ul><ul><li>Don Diego is then sent to a grammar school, and Pablos tags along as servant. There is clear forshadowing, since the host of the Inn where they stop is a Moor, and they are subsequently taken advantage of (81). </li></ul></ul>Parents, Don Alonso, Dr. Goat, The gentleman criminal
  15. 15. Libro Segundo <ul><ul><li>Pablos tries to woo a woman above his level of class, he is arrested for nothing, beaten and shamed in front of her, emphasizing that he cannot rise by these means (163). </li></ul></ul><ul><ul><li>Using the fear inspired by the Inquisition, once again, Pablos escapes the Inn without having to pay (165). </li></ul></ul><ul><ul><li>Despite this failure, Pablos is determined to trap a rich wife (166). He aims for the least intelligent of women he can find (171). However, Don Diego Coronel appears and ruins Pablos's plans. He “works” as a gambling friar, but he is beaten up repeatedly, and Pablos decides to become a beggar (181). He partners up with another beggar and kidnap children for their ransoms. </li></ul></ul><ul><ul><li>He then moves to Toledo and writes scripts about Moors and Christians for a troupe of actors, which eventually disperses (p. 188). </li></ul></ul><ul><ul><li>He then began flirting with nuns, one in particular. He observes nuns being hypocrites (191), possibly a criticism on the part of the author. He swindles the nun, and leaves for Seville (192). </li></ul></ul><ul><ul><li>By the last chapter, Pablos admits to having become a fully-developed swindler. He gets in a fight with the police, however, and decides to take off to the West Indies with a whore. He tells the reader/ Judge that his life is no better there. </li></ul></ul>Book II The gentleman thieves <ul><ul><li>Pablos learns all about life as a gentleman thief, which included being nearly naked under a veneer of “fine” clothing. </li></ul></ul><ul><ul><li>Criminal circles are very organized, and each member is given his own territory (p. 142). </li></ul></ul><ul><ul><li>The real leader of the criminal circle is “the old woman,” Old Lebrusca (152). However, once this is revealed, the entire group is arrested and paraded shamefully to the gaol (153). </li></ul></ul><ul><ul><li>We find out that homosexuals are arrested and share prisons with thieves (155). </li></ul></ul><ul><ul><li>The Inquisition is once again brought up as a threat (158). Jewishness is again used as a pejorative. </li></ul></ul><ul><ul><li>Pablos is able to be released from prison as his criminal associates are shamed and exiled. </li></ul></ul><ul><ul><li>Chp 5: General hypocrisy concerning money (161). </li></ul></ul>