Towards a revision of the picaresque novel

The South Carolina Modern Language Review Volume 8, Number 1
Towards a picaresque novel review.
Creation, parody and evolution of a narrative genre *
By David Mañero-Lozano
University of Jaen, Spain
Preliminary
The study of the picaresque novel and, in particular, its evolution during the 17th
century continues to give rise to many theoretical problems 1. As evidence of that, there are
several theoretical approaches that, in each case, explain a different group of works 2. The
disparity of critical expositions may be observed in the main approaches to the genre.
Basically, the criteria employed to study the picaresque novel have focused both on
semantic features, such as the problem of “delinquency”, the denial of honour or beggary,
and formal resources, like the use of the autobiography or the “servicio a varios amos”,
among others, as we will see in the following paragraphs. According to Parker (39), the
subject of “delinquency”, considered the main feature of the picaresque novel, turns up in
Quevedo‟s Buscón or in Salas Barbadillo‟s La ingeniosa Elena, whose protagonists might
be considered “delinquents”. However, this social condition does not characterize the
protagonists of Vicente Espinel‟s Marcos de Obregón or Alcalá Yáñez‟s Alonso, mozo de
muchos amos, nor Lazarillo. In the words of Parker: “El Lazarillo no es novela picaresca
propiamente dicha porque Lázaro no es pícaro” (Parker 16-7). In the same way, some
ideological issues often associated with the genre, like the denial of honour —which is
* I would like to express my gratitude to Margaret H. Persin and Joseph V. Ricapito for his comments on
this paper.
1
For some of the most important theoretical approaches to the genre, see Del Monte, Lázaro Carreter
1968, Molho, Rico 1970, Guillén 1971, Sieber 1977, Dunn 1979 and 1993, Wicks, Cabo Aseguinolaza
1992, etc. Picaresque novel criticism is reviewed by Ricapito 1980 and Laurenti 1968, 1973 and 1988,
with supplements.
2
See, for example, the review article by Eisenberg.
17
The South Carolina Modern Language Review Volume 8, Number 1
proposed by Bataillon (214) as a fundamental feature of pícaro— force us to exclude La
pícara Justina and Marcos de Obregón from the genre. In fact, Bataillon calls the last
character “perfecto anti-pícaro” (209). Social problems, like beggary, with an undoubted
importance either in Mateo Alemán or in the apocryphal continuation of Guzmán de
Alfarache3, are not of interest in other works, such as La ingeniosa Elena or Vida de don
Gregorio Guadaña. The rhetorical strategies with a moralizing function and, in particular,
those originating from the sermon, on which Herrero García (349-50) bases his
explanation of the genre, are ruled out as an ideological and structural resource in Buscón
or Estebanillo González.
Regarding the definition of the genre based on formal criteria, we may observe that
these features do not always affect the same group of works. Thus, the so-called “caso”,
which refers to “la vida del héroe contemplada retrospectivamente por él como
justificación o explicación de su estado [actual]” (Lázaro Carreter 1968: 210), only occurs
in both Lazarillo and Guzmán. Likewise, the “servicio a varios amos”, which is considered
one of the most distinctive resources of the genre, disappears entirely in La pícara Justina,
La ingeniosa Elena or Vida de don Gregorio Guadaña. In relation to the autobiographical
form, which is inherently associated with the picaresque novel, Lázaro Carreter points out:
“Otro caso límite puede ser La hija de Celestina, que funde el testimonio autobiográfico de
Elena con el relato en tercera persona […]” (1968: 200). These circumstances did not go
unnoticed by this critic (1968: 198-9), who proposed a “dynamic” consideration of the
genre. Nevertheless, the definition of the genre from “una toma de posición distinta ante
una misma poética” does not seem to explain the continuous modification of the genre and
the addition of new features, nor those works depending on several narrative models, like
La niña de los embustes, which is influenced simultaneously by Lazarillo and Pícara
3
See on this point Cros (1967a: 80-3 and 1967b: 412-6), Cavillac (207-31 and 353-94) and Rubio
Árquez (1996: 467, n. 25).
18
The South Carolina Modern Language Review Volume 8, Number 1
Justina. Therefore, we cannot assess that each manifestation of the genre is a reaction to
an unalterable and unique theoretical model (Cabo Aseguinolaza 1992: 144), but a
response to a literary formula that is different each time.
Let us examine then those factors that are in my opinion more significant in the
process of creation and evolution of the genre. In the following pages, I will examine a
group of works, by means of which I will intend to delimit the relationships established
between the different conceptions of the picaresque novel and their evolution in the
temporal axis. In particular, I will distinguish the following stages. The first stage, between
1599 and 1604, consists of the collection of works that gave rise to the creation of the
genre. From 1604 to 1613, we have a second phase made up of those works intending to
question the genre or to parody it from different perspectives. Afterwards, between 1614
and 1644, we observe the development of the literary formula that I will call here “idealistic
picaresque novel”. This formula does not parody the genre, but idealizes it by means of
the incorporation of features from other narrative genres, like the Byzantine novel, the
Moorish novel and the short story, among others.
Creation and parody of the picaresque novel
As is known, in spite of the undoubted originality of La vida del Lazarillo de Tormes y
de sus fortunas y adversidades (1554), its literary contribution went virtually unnoticed until
almost the end of the century, when Primera parte de Guzmán de Alfarache (1599) by
Mateo Alemán was published (Lázaro Carreter 1968: 204-5 and Rico 1970: 114). In my
view, the proximity of Segunda parte de la vida del pícaro Guzmán de Alfarache (1602) to
the literary model of Alemán responds, for the first time, to a conscious approach to the
picaresque novel as a literary formula, that is to say, as a sequence of resources that are
available for potential imitation. The title itself “implica la conciencia oficial de un tipo de
narración caracterizado por la presencia de un pícaro como protagonista […]” (Rey 1987:
19
The South Carolina Modern Language Review Volume 8, Number 1
103)4. On the other hand, the outstanding editorial achievement of the apocryphal Guzmán
is evidence of the interest motivated by the ascription of this work to the successful genre
of Guzmán de Alfarache. In competition with Alemán, the main reference among his
contemporaries5, the apocryphal work had eleven editions in the short period between
1602 and 16046, the year in which Alemán‟s Segunda parte de la vida de Guzmán de
Alfarache appeared in Lisbon. The reaction of Alemán against the apocryphal Guzmán 7
shows, among other things, how “Luján” managed to take the picaresque novel formula.
As of 1604, and until 1613, year of the publication of Coloquio de los perros, we may
observe the appearance of a group of works in which, one way or another, the features of
the picaresque novel are parodied. With regard to the so-called “género burlesco”,
humorous modality of “estilización literaria”, Weisstein points out:
Cuando con la imitación se pretende difamar los modelos literarios, se habla de parodia,
la cual suele conducir inevitablemente a deformaciones […] En la parodia sucede con
frecuencia
que
la
imitación
consciente
de
los
modelos
literarios,
deformados
conscientemente, se convierte en originalidad artística (162).
According to these observations, we count on several elements associated with parody:
defamation, deformation, imitation and originality. Let us take note of the reach of each
one of these elements. In my opinion, the features of parody can affect (a) the parodied
object (on which the mentioned defamation or deformation falls), but also affect (b) the
4
In addition, the conscious of the picaresque novel is studied by Guillén 1966.
5
Regarding the editorial diffusion of Guzmán de Alfarache in its first printings, see Rico (2005: 392-3).
6
Cf. Rubio Árquez 2001 and Mañero Lozano 2005 and 2007. In the words of Friedman (100): „A
spurious continuation by Mateo Luján de Sayavedra […] rode the wave of success, selling more copies
than Alemán‟s sequel‟. See also Whinnom.
7
For the sake of simplicity, we only highlight Rubio Árquez 1996 and Brancaforte 2002, among other
later works.
20
The South Carolina Modern Language Review Volume 8, Number 1
very process or mechanism of parody (that consists of the imitation of a model), as well as
(c) the result of parody, which adds a different element to the literary sequence, from
which derives its originality —at best. According to this exposition, I think that the
deformation or defamation, the imitation and the change of a literary model are
complementary mechanisms from the point of view of parody. However, previous critics
have focused very often on isolated aspects, like deformation or imitation, from which
simplistic expositions result. Thus, the deformation of some features of the picaresque
novel is argued sometimes to exclude certain titles from the genre, whereas the imitation
of other features by the same works is maintained other times as a sign of inclusion in the
genre. In the group of works that I will study here, the destruction, imitation and change of
the model represented by Lazarillo and Guzmanes take place simultaneously. That is the
reason why I believe it necessary to consider parody as a master key to the understanding
of literary contributions made by the genre8.
First, let us analyze Primera parte del guitón Honofre (1604) by Gregorio González.
In spite of the incomprehension or disappearance of certain features of its predecessors —
which is compatible according to Oltra Tomás (1984) with an attempt to change and
overcome Guzmán de Alfarache—, the relationship with the genre is pointed out by the
protagonist in order to highlight the parodic aspects of the work (Cabo Aseguinolaza 1988:
170). In addition, Cabo Aseguinolaza associates these references to Alemán‟s model with
the purpose of questioning the employment of a character of lower social status, which is
traditionally rejected in the treatment of high matters: “Hay una evidente proximidad al
Guzmán de Alfarache, pero tal cercanía no se traduce en un dócil mimetismo, sino en un
8
In Dunn‟s words: “Even if we detect in these pieces an impulse to parody, we have to take into account
the fact that parody involves a degree of complicity with its object, and a very evident intertextuality.
What is parodied is incorporated, preserved, memorialized in the parody, even when the mimetic act of
the parodist becomes a transfiguration” (1982a: 111). Satire and irony in the picaresque novel will not
be treated here. See, for instance, Coronel Ramos.
21
The South Carolina Modern Language Review Volume 8, Number 1
afán de contradicción e ironía” (1986: 381). This contradiction and irony responds to a
parody of the genre that is motivated by ideological convictions shared by the author of La
pícara Justina, Quevedo and Cervantes. As already noted by Damiani with regard to La
pícara Justina:
Lo que López de Úbeda sugiere es que la narración de una vida picaresca, “alegre” y
para “entretenimiento” debería ser presentada en “picaral estilo”, reiterando así el dicho, ya
expresado en La vida del pícaro, de seguir “en bajo estilo bajos fines” (1982: 17).
Let us then focus on Libro de entretenimiento de la pícara Justina, which was
published a year after Guitón was written. Bataillon, who defines the work as a “roman à
clef”, maintained that: “el episodio central de La Pícara Justina fue concebido,
maliciosamente, como una crónica burlesca, indirecta y alusiva, del viaje de Felipe III a
León (1602)”, to which he adds that “la idea le pudo ser sugerida a nuestro autor por el de
aquella Segunda parte [del Guzmán de Alfarache apócrifo]” (162). Besides this and other
links with the content of Guzmanes, the connections of the work with the genre are
demonstrated via the narrative development. From the beginning of the narration, the
employment of the autobiographical form becomes blurred because of the interest in
parodying the distinctively literary resources of Guzmán de Alfarache. I will not treat here
the review of the parodied generic features, like the birth of pícaro or the continuous
insertion of digressions by Alemán. As was pointed out by Rico (1967 and 1970), Alemán
assigned a clear structural function to the digressive materials of Guzmán. This
compositional technique, as the rest of the features associated with Guzmán de Alfarache,
has a parodying reflection in numerous passages of La pícara Justina, as in Damiani
(1982: 362-3, 377, etc.). In addition, the configuration of the female character gave rise to
a new typology to which other works, like Salas Barbadillo‟s La ingeniosa Elena and
22
The South Carolina Modern Language Review Volume 8, Number 1
Castillo Solórzano‟s La niña de los embustes, Teresa de Manzanares, would be added
afterwards (Welles 1986 and Schwartz Lerner 1989). I will treat these works later.
Around the same year in which La pícara Justina appeared (1605), Francisco de
Quevedo y Villegas‟s Historia de la vida del Buscón was written, although it was not
published until 1626. According to Lazaro Carreter (1961) and Rico (1970), the
configuration of this work as a verbal artifice, close to the Quevedo‟s “obras festivas”,
manifests a lack of narrative coherence, and thus does not conform to the model of
Lazarillo. In effect, although Quevedo adopted some features of preceding works in
Buscón9, this work responds to a compositional design very distant from Alemán‟s
proposal (Dunn 1982b and Chevalier); this is the reason why the work has been
considered an inaugural exponent of an alternative generic model (Taravacci). One way or
another, the distortion of the features shared by Lazarillo and Guzmán shows a parodying
intention analogous to the rest of the titles commented above. It will be enough to initiate
the reading of the text to find —as in La pícara Justina— a distortional treatment of the
topic of “origen vil”, which places us again in the scope of parody. The “origen vil” does not
correspond any more to the explanation of the first stage in the evolution of the character,
but turns into a literary reference whose immediate association with the picaresque novel
facilitated the parodying treatment of the genre. Perhaps the parodic intent, both in La
pícara Justina and in Buscón, was more prioritized than any other literary exposition.
In the case of Novela y coloquio que pasó entre Cipión y Berganza (1613) by
Cervantes10, which shows the main characteristics of the picaresque novel (Sobejano
1975a: 35-37), the goal of parody focuses on the distinctive rhetorical features of Guzmán
9
In relation to the literary influences of Buscón, Rico exclaims „¡hasta la división en tres libros y el
número aproximado de capítulos en cada uno estaban prefijados por los Guzmanes!‟ (1984: 236).
10
The picaresque novel has been studied by Dunn 1982a in other works by Cervantes. See also
Ricapito 1985. The relations between Cervantes and Alemán have been amply reviewed by Ricapito
1988.
23
The South Carolina Modern Language Review Volume 8, Number 1
de Alfarache (Mañero Lozano 2004). As was exemplified above for La pícara Justina, also
in Coloquio de los perros we may find continuous parodying references to Alemán‟s
technique of digression (Rey Hazas 1983a). In this sense, the following observation from
Cipión is significant. The dog recognizes its propensity to digression, in spite of the fact
that it censures Berganza in other cases because of the same habit:
[…] si no fuera por no hacer ahora una larga digresión, con mil ejemplos probara lo mucho
que las dádivas pueden; mas quizá lo diré, si el cielo me concede tiempo, lugar y habla para
contarte mi vida (Sieber 1980: 322)11.
On the other hand, Berganza also criticizes the tendency of Cipión to interrupt the linearity
of the story, and sometimes the former dog is forced to silence the latter:
CIPIÓN.—Digo que me la cuentes antes que pases más adelante en el cuento de tu vida.
BERGANZA.—Eso no haré yo, por cierto, hasta su tiempo; ten paciencia, y escucha por su
orden mis sucesos, que así te darán más gusto, si ya no te fatiga querer saber los medios
antes de los principios (Sieber 1980: 310).
BERGANZA.—Todo eso es predicar, Cipión amigo.
CIPIÓN.—Así me lo parece a mí, y así, callo (Sieber 1980: 312).
In effect, the last one of these passages reminds us of the previous words of Justina
(Damiani 1982: 363), who goes quiet for the same reason. Of course, Cervantes would
consider it even more absurd to give the protagonist function to a pair of dogs “a lo divino”,
11
In view of this quotation and the two subsequent ones, we have to refuse the conclusions of Sevilla
Arroyo and Rey Hazas: „Podríamos, en consecuencia, y sin forzar en absoluto los términos, identificar,
metanovelescamente, a Berganza con Mateo Alemán y a Cipión con Cervantes‟ ( XLII-XLIII).
24
The South Carolina Modern Language Review Volume 8, Number 1
unless he wanted to ridicule Guzmanillo. In sum, between 1604 and 1613, a sequence of
works (Guitón Honofre, La pícara Justina, Buscón and Coloquio de los perros) arose with
the shared intention of parodying the genre represented by Lazarillo and the three
Guzmanes.
Idealistic picaresque novel. A fusion with other narrative forms
In 1612, Salas Barbadillo‟s La hija de Celestina, a work that appeared two years later
in an extended version titled La ingeniosa Elena, was published. Apart from the
Celestinesque tradition, enunciated in the title of the first version (La Grone), the
picaresque story is framed within a short story (Rey Hazas 1983b). As is already known,
Salas Barbadillo inserted his autobiographical narration, which is compatible with the
generic design of the picaresque novel, in the third chapter of the novel. In addition, the
work was composed in the third person and according to the pattern of the short story. La
ingeniosa Elena, the fruit of an experienced novelist —until this moment, we have authors
of only one work—, constitutes the birth of a hybrid genre, which takes shape as a result of
the intersection of the picaresque novel and the so-called idealistic narrative, in which,
according to Hurtado Torres, “se incluirían la novela de caballerías, la pastoril, la bizantina
o griega, la morisca y la novella o novela corta (y posteriormente novela cortesana)” (11).
This hybrid genre gives rise, in my opinion, to a new category that I will denominate
idealistic picaresque novel. The idealistic picaresque novel agglutinates, since Salas
Barbadillo, a group of works that, although containing part of the generic features of the
picaresque novel, responds at the same time to the guidelines of the idealistic novel. Apart
from La ingeniosa Elena, it is also the case of Vicente Espinel‟s Relaciones de la vida del
escudero Marcos de Obregón (1618); Juan Cortés de Tolosa‟s Lazarillo de Manzanares,
con otras cinco novelas (1620); Jerónimo de Alcalá Yáñez‟s Alonso, mozo de muchos
amos (1624); Alonso de Castillo Solórzano‟s La niña de los embustes, Teresa de
25
The South Carolina Modern Language Review Volume 8, Number 1
Manzanares (1632); and, lastly, Antonio Henríquez Gómez‟s Vida de don Gregorio
Guadaña, which is inserted in El siglo pitagórico (1644).
We may also find some features from the idealistic narrative in Vicente Espinel‟s
Relaciones de la vida del escudero Marcos de Obregón (1618). As is known, Alemán —
and, in order to imitate him, Cervantes—, had inserted several narrations of the idealistic
type in Guzmán de Alfarache. Let us remember, for instance, the insertion of “historia de
los dos enamorados Ozmín y Daraja”, associated with the Moorish novel. These
narrations had a purely digressive function, so that they did not have repercussions on the
journey of the picaresque hero. On the contrary, Espinel gets a perfect integration of the
idealistic features (from Byzantine novel, Moorish novel, short story, etc.) in the Marcos‟
plot (Carrasco Urgoiti I, 45). In relation to the anomalous character of Marcos de Obregón,
designed as an idealization or counterexample of the pícaro, the critics have tried to
explain it as an attempt to dignify the hidalgo figure (Rey Hazas 1996: 155-6). In any case,
this incorporation of features in opposition to the configuration of the preceding titles offers
an exceptional example, after Salas Barbadillo‟s precedent, of the fusion of the picaresque
novel with the different narrative forms from the idealistic narrative.
Other example of idealistic picaresque novel is Juan de Luna‟s Segunda parte de la
vida de Lazarillo de Tormes (1620). According to the author, the work left to one side the
subject of the Lazarillo of 1555 and, in particular, “las guerras que los atunes hacían,
siendo Lázaro el capitán, y otros disparates tan ridículos como mentirosos” (Piñero 266).
Although the work introduces some elements that depend both on the original Lazarillo
and on the continuation of 1555, we do not observe a true eagerness to imitate the literary
models. On the one hand, the episodes of the first Lazarillo undergo a degradation
process, but, on the other, the features depending on the continuation of 1555 are inserted
with a parodying intention. These circumstances, then, connect to the model devised by
Quevedo‟s Buscón (Del Monte 113-4). Consequently, as in the cases analyzed before
26
The South Carolina Modern Language Review Volume 8, Number 1
(Guitón Honofre, La pícara Justina, Buscón and Coloquio de los perros), the Segunda
parte de la vida de Lazarillo de Tormes approaches the picaresque novel with a parodying
motivation, although the objective of the parody is not Guzmán de Alfarache, but the
weakening of the literary model of Lazarillo.
In the same year (1620), Juan Cortés de Tolosa‟s Lazarillo de Manzanares, con
otras cinco novelas is published. In addition to the model enunciated from the title, and
without considering the relations with other genres, previous critics point out also the
proximity with Quevedo‟s Buscón (Chamorro Fernández 14). It is necessary to mention
also the publication of the work with “otras cinco novelas”, composed according to the
guidelines of the short story. The author, then, indicates from the title itself the affinity of
the text with five other narrations of idealistic type. In addition, we observe the relationship
of the work with other titles associated with the “idealistic picaresque novel”, as is the case
of Marcos de Obregón. In particular, Lazarillo de Manzanares might take Espinel as point
of reference in the recreation of some episodes of Boccaccio (Parducci).
We may mention the use of dialogue in Jerónimo de Alcalá Yáñez‟s Alonso, mozo de
muchos amos (1624) and Segunda parte de Alonso, mozo de muchos amos (1626) as an
important contribution to the genre12. The character, as in Marcos de Obregón, incarnates
a moral pattern of honesty in opposition to the habitual configuration of the pícaro
(Bjornson). In effect, this feature connects to the characterization of the hero in the
idealistic novel.
Alonso de Castillo Solórzano‟s La niña de los embustes Teresa de Manzanares
(1632) combines once again the features of the picaresque novel with the short story
(Dunn 1952). In addition, Castillo Solórzano wrote other works very far from the
picaresque novel, like Las aventuras del Bachiller Trapazas (1637) and La Garduña de
12
As Sobejano 1975b studied, the dialogic form permitted the development of the pícaro as a
chatterbox. See the recent “Estudio preliminar” of Donoso Rodríguez.
27
The South Carolina Modern Language Review Volume 8, Number 1
Sevilla (1642). According to Velasco, the features of Teresa de Manzanares from the short
story “son abundantes, e impregnan casi la mitad de la novela. Sólo hay una narración
completamente cortesana. Cuatro aventuras con elementos de este tipo, mezclados con
otros. Y una estratagema cortesana dentro de una aventura picaresca” (128). This is not a
detailed description, but rather shows the diversity of the narrative formulas used by
Castillo Solórzano to combine the features of the picaresque novel with those of the short
story.
Concerning the connection of Antonio Henríquez Gómez‟s Vida de don Gregorio
Guadaña (1644) with the picaresque novel, the protagonist himself expresses the literary
models (Santos 132-3). However, as in other cited examples, the work is made up as a
prototypical example of the hybridism among genres in the Baroque period. This
demonstrates once again the fusion of the picaresque novel and the short story, which
achieved a great acceptance in the years under consideration (Pacheco Ransanz). As Fez
has indicated:
En el polo opuesto al pícaro “desclasado”, Gregorio va a ser aceptado en todas las
esferas sociales y librescas… Era, en suma, el personaje ideal para realizar la más auténtica
conciliación de la novela cortesana y la picaresca. Lo hacía neutralizándolas desde el plano
de la vida urbana y aburguesada (146).
Alonso de Castillo Solórzano was the author of two other novels with female
protagonists, in which we may detect some affinities with the pícara figure: Las harpías de
Madrid (1631) and La garduña de Sevilla (1633). Contrary to what happens in La niña de
los embustes, the autobiographical scheme, indissolubly associated with the picaresque
novel, disappears in these works by Castillo Solórzano. That is the reason why I do not
include these texts within the “idealistic picaresque novel”. From these works by Castillo
28
The South Carolina Modern Language Review Volume 8, Number 1
Solórzano we find a last literary stage in which, once the picaresque formula disappeared,
a group of works of “picaresque atmosphere” makes way —even though we may also
include within this group some previous texts, such as Cervantes‟s Rinconete y Cortadillo
(1613) and Carlos García‟s La desordenada codicia de los bienes ajenos (1619). It is the
case, for instance, with María de Zayas‟s El castigo de la miseria (1637), Alonso de
Castillo Solórzano‟s Las aventuras del Bachiller Trapaza (1637), La vida y hechos de
Estebanillo González (1646), Francisco Santos‟ Periquillo el de las Gallineras (1668), etc.
It is difficult to be precise with the list of titles, mainly because the “picaresque
atmosphere” does not correspond any more to a specific literary model, so it is blurred
definitively in the pages of the customary novel.
In sum, I have reviewed a significant group of works to show the historical evolution
of the picaresque novel from its birth to its disappearance. I have intended to demonstrate
that the picaresque novels that were published from 1604 until 1613, after the period of the
formation of the genre (1599-1604), questioned or parodied the genre in different ways. I
have also examined the picaresque works from 1614 to 1644, which reflect the
development of the literary formula that I called “idealistic picaresque novel”. In my view,
the notion of idealistic captures the idea that the genre has assimilated several
characteristics from the Byzantine novel, the Moorish novel and the short story, among
others. Lastly, I have proposed that the disappearance of the picaresque novel genre is
associated with the abandonment of the autobiographical scheme.
Works Cited
Bataillon, Marcel. Pícaros y picaresca. La pícara Justina. Trans. F. Rodríguez Vadillo.
Madrid: Taurus, 1969.
Bjornson, Richard. The Picaresque Hero in European Fiction. Madison: University of
Wisconsin Press, 1977.
29
The South Carolina Modern Language Review Volume 8, Number 1
Brancaforte, Benito. “Mateo Alemán y Miguel de Cervantes frente a los apócrifos.”
Atalayas del “Guzmán de Alfarache.” Seminario internacional sobre Mateo Alemán.
IV Centenario de la publicación de “Guzmán de Alfarache” (1599-1999). Ed. Pedro
M. Piñero Ramírez. Sevilla: Universidad de Sevilla-Diputación de Sevilla, 2002.
219-40.
Cabo Aseguinolaza, Fernando. “El Guitón Honofre y el modelo picaresco.” Revista de
Literatura 48.96 (1986): 367-86.
---. Ed. El Guitón Onofre. By Gregorio González. Salamanca: Almar (Clásicos Almar,
19), 1988.
---. El concepto de género y la literatura picaresca. Santiago de Compostela:
Universidad, 1992.
Carrasco Urgoiti, María Soledad. Ed. Vida del escudero Marcos de Obregón. By
Vicente Espinel. 2 vols. Madrid: Castalia, 1980.
Cavillac, Michel. Gueux et marchands dans le “Guzmán de Alfarache” (1599-1604).
Roman picaresque et mentalité bourgeoise dans l’Espagne du Siècle d’Or. Burdeos:
Institut d‟Études Ibériques et Ibéroamericaines de l‟Université de Bordeaux, 1983.
Coronel Ramos, Marco Antonio. “Estructuras satíricas en los relatos picarescos.”
Varios Autores, Estudios sobre la sátira española en el Siglo de Oro. Carlos Vaíllo y
Ramón Valdés (Ed.). Madrid: Castalia (Nueva biblioteca de erudición y crítica, 27),
2006. 35-58.
Cros, Edmond. Contribution à l’étude des sources de “Guzmán de Alfarache.”
Montpellier: Bibliothèque Municipale, 1967a.
---. Protée et le Gueux. Recherches sur les origines et la nature du récit picaresque
dans “Guzmán de Alfarache.” Paris: Didier, 1967b.
Chamorro Fernández, M. I. Ed. Lazarillo de Manzanares. By J. Cortés de Tolosa
Madrid: Taurus, 1970.
30
The South Carolina Modern Language Review Volume 8, Number 1
Chevalier, Maxime. “Pour une définition du Buscón.” Bulletin Hispanique 89 (1987):
119-30.
Damiani, Bruno Mario. “Introducción biográfica y crítica.” La pícara Justina. Madrid:
José Porrúa Turanzas (Studia Humanitatis), 1982.
Del Monte, Alberto. Itinerario de la novela picaresca española. Trans. Enrique Sordo.
Barcelona: Lumen, 1971.
Donoso Rodríguez, Miguel. Estudio, edición y notas. Alonso, mozo de muchos amos
(Primera y Segunda parte). By Jerónimo de Alcalá Yáñez y Ribera. Madrid:
Iberoamericana (Biblioteca Áurea Hispánica, 24), 2005.
Dunn, Peter N. Castillo Solórzano and the decline of the Spanish novel. Oxford:
Blackwell, 1952.
---. The Spanish picaresque novel. Twayne: Boston, 1979.
---. “Cervantes De/Re-Constructs the Picaresque.” Cervantes 2.2 (1982a): 109-131.
---. “Problems of a model for the picaresque and the case of Quevedo‟s Buscón.”
Bulletin of Hispanic Studies 59 (1982b): 95-105.
---. Spanish Picaresque Fiction: A New Literary History. New York: Cornell University
Press, 1993.
Eisenberg, Daniel. “Does the Picaresque Novel Exist?” Kentucky Romance Quarterly
26 (1979): 203-19.
Fez, Carmen de. La estructura barroca de “El siglo pitagórico.” Madrid: Cupsa, 1978.
Francis, Alan. Picaresca, decadencia, historia (Aproximación a una realidad históricoliteraria). Madrid: Gredos, 1978.
Friedman, Edward H. “Insincere Flattery: Imitation and the Growth of the Novel.”
Cervantes 20.1 (2000): 99-114.
Guillén, Claudio. “Luis Sánchez, Ginés de Pasamonte y los inventores del género
picaresco.” Homenaje a Antonio Rodríguez Moñino. 2 vols. Madrid: Castalia, 1966.
31
The South Carolina Modern Language Review Volume 8, Number 1
Vol. I, 221-31. Reprinted in “Luis Sánchez, Ginés de Pasamonte y el
descubrimiento del género picaresco.” El primer Siglo de Oro (Estudios sobre
géneros y modelos). Barcelona: Crítica, 1988. 97-211.
---. “Toward a Definition of the Picaresque.” Literature as System. Princeton University
Press, 1971. 71-106.
Herrero García, Miguel. “Nueva interpretación de la novela picaresca.” RFE 24 (1937):
343-62.
Hurtado Torres, Antonio. La prosa de ficción en los siglos de oro. Madrid: Playor, 1983.
La Grone, Gregory G. “Salas Barbadillo and The Celestina.” Hispanic Review 9 (1941):
441-58.
Laurenti, Joseph L. Ensayo de una bibliografía de la novela picaresca española.
Madrid: CSIC (Cuadernos bibliográficos, 23), 1968.
Laurenti, J. L. Bibliografía de la literatura picaresca. Desde sus orígenes hasta el
presente. Metuchen [N. J.]: The Scarecrow Press, 1973. Supplement in New York:
Ams Press, 1981.
Laurenti, J. L. Catálogo bibliográfico de la literatura picaresca. Kassel: Reichemberger,
1988. Supplement: 1997 (2.ª ed. 2000).
Lázaro Carreter, Fernando. “Originalidad del Buscón”. Estilo barroco y personalidad
creadora. 2nd ed. Madrid: Cátedra, 1974. 77-98.
---. “Para una revisión del concepto novela picaresca” (1968). “Lazarillo de Tormes” en
la picaresca. Barcelona: Ariel, 1972. 195-229.
Mañero Lozano, David. “Diálogo y picaresca en el Coloquio de los perros.” Bulletin
Hispanique 2 (2004): 497-520.
---. “Hacia una edición crítica de la Segunda parte de la vida del pícaro Guzmán de
Alfarache.” Revista de Literatura 67.134 (2005): 525-46.
32
The South Carolina Modern Language Review Volume 8, Number 1
---. Ed. Segunda parte de la vida del pícaro Guzmán de Alfarache. Madrid: Cátedra
(Letras Hispánicas, 609), 2007.
Micó, José María. Ed. Guzmán de Alfarache. By Mateo Alemán. 2 vols. Madrid:
Cátedra (Letras Hispánicas, 86 y 87), 1987.
Molho, Maurice. Introducción al pensamiento picaresco. Trans. A. Gálvez-Cañero.
Salamanca: Anaya, 1972.
Oltra Tomás, José Miguel. “Los modelos narrativos de El Guitón Honofre, de Gregorio
González.” Cuadernos de Investigación Filológica 10 (1984): 55-76.
Pacheco Ransanz, Arsenio. “Varia fortuna de la novela corta en España.” Revista
Canadiense de Estudios Hispánicos 10.3 (1986): 407-21.
Parducci, Amos. “Echi e risonanze Boccaccesche nella Vida de Marcos de Obregón.”
Mélanges de Lingüistique et de Littérature Romanes offerts à Mario Roques . Paris:
Bade, Éditions Art et science, 1950-4. II, 207-17.
Parker, Alexander A. Los pícaros en la literatura. La novela picaresca en España y
Europa (1599-1753). Trans. Rodolfo Arévalo Mackry. 2nd ed. Madrid: Gredos (Bibl.
románica hispánica. Estudios y ensayos, 164), 1975.
Piñero, Pedro M. Ed. Segunda parte del Lazarillo. By Anónimo y Juan de Luna. Madrid:
Cátedra (Letras Hispánicas, 282), 1988.
Rey, Alfonso. “El género picaresco y la novela.” Bulletin Hispanique 89 (1987): 85-118.
Rey Hazas, Antonio. “Género y estructura de El coloquio de los perros, o „cómo se
hace una novela‟.” Lenguaje, ideología y organización textual en las “Novelas
ejemplares.” Ed. J. J. de Bustos Tovar. Madrid: Univ. Complutense, 1983a. 119-43.
---. “Novela picaresca y novela cortesana: La hija de Celestina de Salas Barbadillo.”
Edad de Oro 2 (1983b): 137-56.
---. “El Quijote y la picaresca: la figura del hidalgo en el nacimiento de la novela
moderna.” Edad de Oro 15 (1996): 141-60.
33
The South Carolina Modern Language Review Volume 8, Number 1
Ricapito, Joseph V. Bibliografía razonada y anotada de las obras maestras de la
picaresca española. Madrid: Castalia, 1980.
---. “Cervantes y Mateo Alemán, de nuevo.” Anales cervantinos 23 (1985): 89-95.
---. “Cervantes and the Picaresque: Redivivo”, in Hispanic Studies in Honor of Joseph
H. Silverman. Eds. Joseph V. Ricapito and Joseph H. Silverman. Newark: Juan de
la Cuesta, 1988. 319-443.
Rico, Francisco. “Estructuras y reflejos de estructuras en el Guzmán de Alfarache.”
Modern Language Notes 82 (1967): 171-84.
---. La novela picaresca y el punto de vista (1970). New, corr. and exp. ed. Barcelona:
Seix Barral (Los Tres Mundos. Ensayo), 2000.
---. “Puntos de vista. Posdata a unos ensayos sobre la novela picaresca.” Edad de Oro
3 (1984): 227-40.
---. El texto del “Quijote.” Ed. Laura Fernández. Barcelona: Destino (Imago mundi,
105), 2005.
Rubio Árquez, Marcial. “Situación actual de los estudios sobre el Guzmán apócrifo.”
Studia Aurea. Actas del III Congreso de la AISO. Ed. Ignacio Arellano. Vol. 3.
Toulouse-Pamplona, 1996. 463-70.
---. “Estudio bibliográfico de la Segunda Parte de la vida del pícaro Guzmán de
Alfarache de Mateo Luján de Sayavedra.” Annali dell’Istituto Universitario Orientale
43.2 (2001): 531-68.
Santos, Teresa de. Ed. Vida de don Gregorio Guadaña. In El siglo pitagórico y vida de
don Gregorio Guadaña. By Antonio Henríquez Gómez. Madrid: Cátedra (Letras
Hispánicas, 340), 1991.
Schwartz Lerner, Lía. “Mulier… milvinum genus: La construcción de personajes
femeninos en la sátira y la ficción áureas.” Homenaje al Profesor Antonio Vilanova.
34
The South Carolina Modern Language Review Volume 8, Number 1
Ed. A. Sotelo and M. Cristina. Barcelona: Universidad de Barcelona / PPU, 1989. I,
629-47.
Sevilla Arroyo, Florencio and Antonio Rey Hazas. “Introducción” El casamiento
engañoso. El coloquio de los perros. By Miguel de Cervantes. Madrid: Alianza,
1997.
Sieber, Harry. The picaresque. London: Methuen, 1977.
---. Ed. El coloquio de los perros. In Novelas ejemplares, By Miguel de Cervantes. Vol.
2. Madrid: Cátedra (Letras Hispánicas, 106), 2005.
Sobejano, Gonzalo. “El coloquio de los perros en la picaresca y otros apuntes.”
Hispanic Review 43 (1975a): 25-41.
---. “Un perfil de la picaresca: el pícaro hablador.” Studia hispánica in honorem Rafael
Lapesa. Ed. José Garrigós Muños. Vol. 3. Madrid: Gredos, 1975b. 467-85.
Taravacci, Pietro. “Verso il Buscón: le opposte tipologie della narrativa picaresca
spagnola.” Il Picaro nella cultura europea. Ed. I. M. Battafarano and P. Taravacci.
Trento: Reverdito, 1989. 55-89.
Velasco, Magdalena. La novela cortesana y picaresca de Castillo Solórzano.
Valladolid: Institución Cultural Simancas, 1983.
Weisstein, Ulrich. Introducción a la Literatura Comparada. Trans. M.a Teresa Piñel.
Barcelona: Planeta, 1975.
Welles, Marcia L. “The pícara: Towards Female Autonomy, or the Vanity of Virtue.”
Romance Quarterly 33 (1986): 63-70.
Whinnom, K. “The Problem of the „best-seller‟ in Spanish Golden-Age literature.”
Bulletin of Hispanic Studies 63.3 (1980): 189-98.
Wicks, Ulrich. Picaresque Narrative, Picaresque Fictions: A Theory and Research
Guide. Westport, Conn.: Greenwood Press, 1989.
35