Abstract
Este trabajo propone que el análisis detenido del uso de una determinada terminología económica en dos episodios del primer tratado de Lazarillo de Tormes, el de las medias blancas y el de la longaniza y el nabo, indica que el texto es tanto una obra de entretenimiento cómica como una sátira de los mercaderes-banqueros que formaban parte de la burguesía ascendente de la Castilla de mediados del siglo XVI. Así, Lazarillo emplea el humor y la ironía para desarrollar, no una celebración de la incipiente burguesía castellana, sino una sátira de la clase financiera por su avaricia e hipocresía.
Highlights
This essay contends that careful analysis of the use of specific economic terminology in two episodes of the first tractado of Lazarillo de Tormes, that of the medias blancas and that of the sausage and the turnip, reveals that the text is both a work of comic entertainment and a satire of the merchantbankers who were part of the ascendant bourgeois class in mid-sixteenthcentury Castile
REVISTA CANADIENSE DE ESTUDIOS HISPÁNICOS 42.3 (PRIMAVERA 2018). This reading is consonant with the predominant critical approach to Lazarillo, established in influential studies by Claudio Guillén, Fernando Lázaro Carreter, and Francisco Rico (Novela picaresca), which treats the book as the precursor to the modern novel by virtue of the cohesive psychological profile that develops organically through the presentation of the narrator’s monadic point of view
Francisco Márquez Villanueva and Victoriano Roncero López argue that Lazarillo, and Spanish picaresque fiction generally, evolved precisely from the highly developed tradition of buffoon literature in Castile, which crystalized into an epistolary and satiric genre in the first half of the sixteenth century (Márquez Villanueva 520-22; Roncero López 55-95)
Summary
This essay contends that careful analysis of the use of specific economic terminology in two episodes of the first tractado of Lazarillo de Tormes, that of the medias blancas and that of the sausage and the turnip, reveals that the text is both a work of comic entertainment and a satire of the merchantbankers who were part of the ascendant bourgeois class in mid-sixteenthcentury Castile.
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