By David R. Castillo
The time period anamorphosis, from the greek ana (again) and morphe (shape), designates numerous viewpoint experiments that may be traced again to the creative advancements of the 1500's and 1600's. Anamorphic units problem audience to event varied kinds of perceptual oscillation and uncertainty. pictures shift in entrance of the eyes of questioned spectators as they circulate from the guts of the illustration to the margins, or from one part 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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Additional info for (A)Wry Views: Anamorphosis, Cervantes and the Early Picaresque (Purdue Studies in Romance Literatures, V. 23)
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. Cada uno procura de valer más. El señor quiere adelantar sus estados, el caballero su mayorazgo, el mercader su trato, el oficial su oficio y no todas veces con la limpieza que fuere lícito.
In closing this introductory section I would like to suggest that interdisciplinary and comparative approaches should be particularly useful for the study of Renaissance and baroque literature all across Europe for, as Ernest Gilman reminds us, in the sixteenth- and seventeenth-centuries, artists and writers constantly “perceived and created connections among the arts” (6). While I am, of course, aware of the distinctiveness of the realm of writing and of the historical specificity of the Spanish Golden Age, I am also convinced that a wider contextualization of siglo de oro literature in connection with the developments of Renaissance and baroque perspective will enrich our understanding of some of its most recurrent themes and formal patterns.
Mucha es la fortaleza del que puede resistirlas y vencerlas, por la guerra infernal que se hacen siempre la razón y el apetito. Que, como él nos persuade con aquello que más conforma con la naturaleza nuestra, con lo que más apetecemos, y esto sea de tal calidad que nos pone gusto el tratarlo y deseo en el conseguirlo; y por el contrario, 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) As in sermons, sacramental plays, and especially vidas de santos, the narrative of Guzmán focuses on a conflictive experience of the self that is torn between his unruly appetites and the norms of reason.
(A)Wry Views: Anamorphosis, Cervantes and the Early Picaresque (Purdue Studies in Romance Literatures, V. 23) by David R. Castillo