By David R. Castillo
The time period anamorphosis, from the greek ana (again) and morphe (shape), designates various point of view experiments that may be traced again to the creative advancements of the 1500's and 1600's. Anamorphic units problem audience to adventure diverse kinds of perceptual oscillation and uncertainty. photos shift in entrance of the eyes of wondered spectators as they flow 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 weak, and certainly calls for, indirect readings (as in anamorphosis).
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Additional resources for (A)wry views: Anamorphosis, Cervantes, and the early picaresque
Y esto te lo prometo. Por tanto, no mires a lo que pueden decir, sino a lo que te toca, digo a tu provecho. —Señor —le dije—, yo determiné de arrimarme a los buenos. (202) The speech of the archpriest produces a curious inversion of the traditional concept of “honor” by identifying it (“tu honra”) with “profit” (“tu provecho”). It is important to note that Lázaro’s prosperity is made possible by his lack of honor, which had determined his exclusion from the field of identities (“los buenos”). El Saffar highlights this aspect of the text when she asserts that Lázaro’s expulsion from the Father’s world— the symbolic field where the code of honor holds sway—in turn allows him to occupy a vantage point from which he launches his critique of the system of values and authority: 31 Chapter One Lázaro’s act of obedience, his agreement to respond to Vuestra Merced’s demand that he explain his relationship to the archpriest and his wife, finally gives him power by exposing his tormentor to the vastness of all he has denied.
Ni yo pude con su trote durar más. Y por esto y por otras cosillas que no digo, salí dél. (183–84) George Shipley has recently suggested the possibility that in this passage “readers might be engaged in transplanting sexual innuendoes from their minds into the text” (43). The language of this chapter is clearly evocative of erotic situations and illicit behavior. ” What kind of dark secret is this that Lázaro refuses to disclose even after his shocking revelations concerning the circumstances of his sexual initiation and the friar’s affairs?
More importantly, the reader’s desire and his or her biases are also caught in this anamorphic web. The remarkably succinct tratado 4 is a perfect example of how the narrator uses the technique of incompleteness, which as we have seen is characteristic of the anamorphic mode of representation, in order to expose our preconceptions, our fears, our secret desires… Through his deliberate and “outspoken” silence, Lázaro invites the reader to make his or her own mark in the narrative: Hube de buscar el cuarto, y éste fue un fraile de la Merced, que las mujercillas que digo me encaminaron, al cual ellas le llamaban pariente.