Abstract
This essay analyses the symbolic system and significance of Quevedo’s treatment of male homosexuality within the parameters of satire and theater, contextualizing it within its historical moment, when such practices were considered an abomination and the gravest of all crimes against nature. The ingenious, polyvalent language employed by the poet in his anti-sodomitical satire reveals its proximity to scatological verse with its foregrounding of the anus as conventional locus of male homosexual practices. In Entremes famoso «El marion» , the tone and explicit lexicon found in Quevedo’s verse are muted and the depraved sodomites and male prostitutes found in that genre are transformed into a surprisingly asexual and androgynous effeminate, thus revealing how literary genre and performative aspects determine representations of sexual otherness.
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