Abstract
The following paper analyzes Cervantes’s last text and literary will. In his prologue to his Trabajos de Persiles y Sigismunda , which he put together days before his actual death, Cervantes embraces a position contrary to the most common premortem or postmortem sublimation of writers and fashions himself as a hidropic old man and his readers as burlesque unlettered aficionados . With this prise de position , Cervantes inserts himself into a genealogy of jovial writers who delve into enthousiasmos as a writing method. These final words serve animus iocandi as will, exequies, and farewel to the literary field.
Highlights
Cervantes embraces a position contrary to the most common premortem or postmortem sublimation of writers and fashions himself as a hidropic old man and his readers as burlesque unlettered aficionados. With this prise de position, Cervantes inserts himself into a genealogy of jovial writers who delve into enthousiasmos as a writing method
Este espacio permite a Cervantes establecer una genealogía de poetas de musa jovial que animus iocandi presenta burlescamente el motivo de la muerte como si de un rito de pasaje más se tratara
Summary
Ofrecemos una lectura de estos párrafos desde la noción que del autor se tenía en el Siglo de Oro a partir de la teoría de los campos literarios en su versión bourdeana. Los movimientos frente a la muerte, tendentes a la sublimación del autor, pueden dividirse en tres grandes motivos: la figuración post mortem de un autor por un amigo o editor, la autofiguración pre mortem del autor por sí mismo, y la que encontramos en este texto: una reconstrucción —a ratos paródica, a ratos entregada— del discurso funerario literario.
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