Enfocándose en las mujeres que buscan un matrimonio
armonioso -Luscinda, Zoraida y Dorotea- este ensayo analiza la relación
entre las instituciones de la prostitución y el matrimonio; el valor
social de la castidad; y el discurso femenino público en la obra
El ingenioso hidalgo Don Quijote de la
Mancha. Propongo una recuperación de la figura
hetaira, usando el concepto renacentista
de la imitación y aplicándola al prólogo de dicha obra, en
el cual el supuesto amigo sugiere que se cite a Antonio de Guevara en cuanto al
tratamiento de las «mujeres rameras». El trabajo pone a la luz la
manera en que Guevara reescribe las características de esta figura
clásica tanto como el modo en que Cervantes las refigura en nuevos
contextos y con nuevos propósitos.
As its title
indicates, this article deals with two aspects of Cervantes's work. Its
ultimate and probably unachieved goal is to link them. The first part focuses
on Cervantes's peculiar way of indirectly addressing his reader with comments
that underline his personal involvement with the subject of the narrative. This
manera de narrar has no
equivalent in 15th-, 16th-, or 17th-century Spanish literature, but reminds the
critic of Montaigne's autobiographical style. The second part of the article
concentrates on the double novella of
Casamiento-Coloquio in
order to 1) discuss its position within Cervantes's art; 2) explore its
autobiographical content; and 3) explain the meaning of the
profecía about the
dogs' origin. To this author, the oracle, together with the last section of the
Coloquio, articulates Cervantes's final
and very personal statement about man's fate and the role of storytelling in
it. The work of other critics who have written about the same subject is
discussed as my own arguments touch upon what they wrote.
During that
scene of rustic amity as knight and squire join the goatherds for an evening
meal, Don Quixote pulls Sancho to the ground to eat with him in a spirit of
companionship and equality, saying «'a quien se
humilla, Dios le ensalza'». Citing Luke 14:11 at this
point seems rather an inappropriate, an inopportune biblical injunction: why
does it appear? Our thesis is that here Cervantes introduces a religious theme
which will appear from time to time in Part One, and increasingly so in Part
Two, culminating in Alonso Quijano's recognition that one must not put one's
soul in danger. Indeed, at various moments in the first
Quijote there may well be repetition of
the lesson of humility; these pages address the question of our title by
examining such possible reappearances, and in the process, reviewing the theme
of religiosity in Cervantes's masterpiece.
En la
Vida do Grande D. Quixote de la Mancha e do
Gordo Sancho Pança (1733), el malogrado António José
da Silva («o Judeu») crea una adaptación dramática
del
Quijote en la que destaca el
espectáculo y la música sin sacrificar la visión
satírica del original. Basada principalmente en la segunda parte del
Quijote cervantino, la
Vida llega a acentuar la audacia
caballeresca de don Quijote y la creciente agresividad de Sancho, marcadores de
un movimiento emblemático que sustituye el tema de la caballería
por el de la justicia. En términos generales, la
Vida de Silva se conforma con la
recepción del
Quijote en la España de principios
del siglo XVIII. El dramaturgo portugués reconoce el tono burlesco de la
novela, pero también dedica cierto espacio textual a los niveles
simbólicos de la historia.