“Ya soy mío:” Escarramán y la autonomía del arte en El rufián viudo llamado Trampagos

Abstract

In El rufián viudo llamado Trampagos, Cervantes juxtaposes reality and fiction by means of the different referentialities embedded in the name and character of Escarramán, a literary ruffian whose popularity is mostly attributed to Quevedo. Cervantes's Escarramán is both a real person, a fellow ruffian to the characters inside the interlude, and a legendary figure who belongs to the literary world. Cervantes has often demonstrated the complex and porous mimetic fabric with which he weaves his texts, manifestly in his novel Don Quijote de la Mancha, as well as in his poetry. This article explores how Cervantes chooses the infamous genre of the entremés and a marginal character such as Escarramán as vehicles to ponder his own idiosyncratic vision of mimesis.