Structure From

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Structure From the structural viewpoint, the key is “conversion” of Guzman in the last chapter of the book, then definitely on narrative and moral planes of their merger, as well as the Rogue and Guzman Guzmanillo moral philosopher. Now with the misadventures was beginning to see the light of those who follow virtue … . From where I came to consider and one night I told myself to myself: “See here, Guzman, the summit of the mountain of misery, where you upload your clumsy sensuality Already up and take a leap into the depths of hell or easily, raising his arm, reach the sky. … Go back and look at that, although it is true your sins have brought you here, put these penalties in place that you are of fruit. … In this speech and others that were born of him, spent much time in the evening, not a few tears, I fell asleep and when I remembered, I found myself other, not me or with that old heart than before. ” Guzman Alfarache II, III, 8 Although as needed to end the book, there are elements that cast doubt on the sincerity of this conversion, the fact is that from now on the few remaining Guzman travels only be object (not subject) of thefts and help uncover professional acts of others. Somehow, the rogue is dead and with it, the story.Despite promises that a third party, if it exists (we have not reached such) only have two possibilities: the new relapse to continue with the engine of progress in history (fall and purposes of amendment, which seeks more than moral commentary put the whole episode as exemplum ex otherwise) or conversion into hagiography (the author wrote a Life of San Antonio de Padua), with one example Guzman relieved and now I beatific. Engraving of the 1681 Antwerp ion, pp. 201. It has been commented on extensively the paradoxical duality of adult-Guzman implacable moralist, and the rogue, which channels Guzmanillo a life of crime, “and the contradiction of these two consciousnesses in the person of the narrator. However, in the seventeenth century may digress posed by moral commentary posed no hindrance to the enjoyment of reading, even at European level. The sheer number of reissues of the book confirms this.Not until the eighteenth century, when the novel begins to have the exclusive entertainment of fiction, published a French translation Lesage (1732) ‘purged of superfluous moralities “ing approach continued until the mid-twentieth century, that the re-ed Guzman in its original form. In short the book, as Matthew German designed it, is an ambitious mixture of narrative and didactic materials.Among the former are not only the rogue’s personal trajectory but involving various stories and anecdotes facecias popular (the “fables” according to the statement in the foreword to “The discreet reader” of the work: “Do as you read what read and do not laugh of the board and you pass the board ‘), among which include the novel Moorish History of Ozm n and Daraja’ in relation to the didactic material, are moralizing admonitions (the “Governing ‘), which include all kinds of digressions critical, satirical or moral reflections as ranging from the genre of sermon oratory or sacred to the maximum sentence. Points, also from the preliminary intentions, appeal to you, a recipient of the message reader training but also complicit in the adventures of the rogue, which influences the whole structure and contributes to the enhancement of moral purpose.A “curious reader” who goes in the very first chapter of the work that remains to narratee throughout it. Even talks with him about the very status of the literary work: “I warn you, to let me or you arm yourself with patience” (I, I, 2), “I tell you preach and what a fool cured with medical illness'(II, I, 1). Sometimes this use of the second person responds to the unfolding of the narrator’s voice Guzman, speaking to himself as an inner dialogue, it appeals to reflectively. Thus, both the “I” as the “you” take multipurpose functions. It should be noted that the influence was the emergence in 1602 of Juan Guzman apocryphal Marti, hidden under the pseudonym of Matthew Luxan de Saavedra.German Mateo introduced on the cover of the second part the addition of ‘by Matthew German, its real author “and made it appear from the beginning of his work from 1604 to a certain Sayavedra in order to give accomplished revenge. In this character he branded as “stingy and bajamanero ladroncillo” and just going mad and drowning in the course of a sea crossing without the slightest Guzman feel sorry for him.

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