Rinconete & Cortadillo: A Tale of Seville’s Underworld
Rinconete & Cortadillo
Characters
- Pedro del Rincón (Rinconete): A 15-year-old boy skilled at cards. Originally from Fuenfrida, he was banished for stealing and travels to Madrid, then Seville. He befriends Cortado.
- Diego Cortado: A 15-year-old boy skilled with a knife and scissors, which he uses for theft. He leaves his hometown near Salamanca to see the world and meets Rinconete.
- Monipodio: The 45-year-old leader of Seville’s criminal underworld. He organizes and oversees the thieves’ activities.
Confrontation and Issues in Lorca’s ‘House of Bernarda Alba’
Confrontation and Issues in Lorca’s House of Bernarda Alba
Thematic Depth and Lorca’s Universe
Lorca’s plays are characterized by their thematic depth and unity, mirroring the qualities found in his poetry. A central element in Lorca’s universe is the concept of frustration, which often leads to tragic fates. His characters, particularly women, are condemned to solitude or death due to their passions. These themes are explored through two primary lenses:
- The metaphysical: Where the enemy forces are
San Manuel Bueno, Martyr: A Tale of Faith and Illusion
San Manuel Bueno, Martyr: Structure
Narration and Narrative Technique
The narrative employs the “found manuscript” technique, reminiscent of Cervantes, creating a split between the author (Unamuno) and the reader. The story unfolds from Angela’s perspective.
External Structure
The novel comprises 25 sequences. The first 24 narrate Angela’s story, while the last serves as an epilogue by the author.
Internal Structure
The story unfolds in three parts, followed by the author’s epilogue:
- Sequences 1-8: Preliminary
Spanish Literature: From La Celestina to the Renaissance
La Celestina (1499)
Published in Burgos
This work, containing 21 acts, was written by Fernando de Rojas. The dramatic action is divided into a prologue and two parts: the first up to Act XIV and the second from Act XV onwards.
Characters
The characters are unique creations:
- Calisto: Dominated by the passion of love, he is portrayed as melancholic and withdrawn at times, and exalted and angry at others. He is insecure, lazy, egotistical, and amoral.
- Melibea: Initially rejects Calisto, but later gives herself
Love in the Golden Age: From Petrarchan Ideal to Mystical Union
Love in the Golden Age
A. The Petrarchan Ideal: Idealization of Love
The Golden Age’s concept of love begins with Petrarch, who combines two similar philosophies: Cortezia and Neoplatonism.
1. Cortezia
This represents an impossible, unattainable love directed towards a superior woman. Unrequited and unconsummated, this love remains secret.
2. Neoplatonism
This philosophy views the world as a reflection of supreme beauty. Exiled humans should strive for happiness through love and contemplation of beauty,
Read MoreJoan Oliver’s Catalan Theater: A Critical Analysis
Joan Oliver’s Catalan Theater
Bourgeois Comedy and Social Criticism
Bourgeois comedy emerged in 19th-century France as a successful formula for dramatic theater. This “well-made play” structure entertained the bourgeoisie while reinforcing their ideology. It is a genre known for its careful construction and impactful effects.
Frivolous vs. Critical Theater
In contrast to frivolous, French-inspired “magazine” plays showcasing societal vices, a more critical form of theater emerged. This genre offered
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