Lázaro ante el espejo: subversión y reescritura en una adaptación escolar

The main purpose of this paper is to analyse –by comparing with the original text– the school version of Lazarillo recently published by Saldaña Press, not only with respect to the specificities it shows –for instance, the relevance of pictures or meta-enunciative elements–, but also because the close date of publication –2008– allows us to study the version from current sociocultural approaches. Thus, the writing strategy, the characterization of the protagonist, the reason of the story, the "matter", the ironies or the duplicities, among other aspects, permit to conclude, not only that the text alternates between the respect towards the original novel and the distortion of the primitive purpose, but also that, generally speaking, the school version harmonises with the critical trend that rejects apriorisms and assumptions to analyse the original Lazarillo, finding in this literary work only all that is verifiable in a positivist way.

La omnipresencia del ciego y su impronta en la vida de Lázaro de Tormes

Our proposal tries to analyze the links between Lázaro and the blind man in The Life of Lazarillo de Tormes and of His Fortunes and Adversities, exploring in detail the relationship between both, assuming the hypothesis that the latter has great relevance in the life of the former, even more if we consider that his presence transcends the limits of the first episode when both characters part their ways. So, this article tries to reflect on the importance of complementing and enriching the points of view that have been offered about this question. To this end, we inquire in the established links between these two characters throughout the literary work and the transcendence which has resulted in the creation of a legendary literary couple.

Lázaro y Margutte entre burlas y hambre

In a comparative perspective between Spanish and Italian literature, it is considered a possible intertextual dialogue between Lazarillo de Tormes and the figure of the medium giant Margutte, proposed by Luigi Pulci in his Morgante (published between 1478 and 1483). This figure is actually examined as it appears in the Spanish translation of Pulci's work by Jerónimo de Aunés. This translation is divided into two volumes, both published in Valencia, the first in 1533 by the printer Francisco Díaz Romano (canti from I to XVII of the Italian original); the second in 1535 by the printer Nicolás Durán de Salvanyach (canti from the XVIII to the XXV). With regard to the second volume, which includes Margutte's episode, there are no modern editions and therefore I used a its facsimile. My research tries to highlight some points of contact between Lazarillo and the translation of Aunés, both at content and linguistic level. Therefore, this study also tends to integrate the corpus of literary knowledge of the anonymous author of Lazarillo.

¿Lazarillo Libertin? Sobre la primera recepción en Europa del Norte: traducciones e inspiraciones anticlericales

It has often been argued that the picaresque genre derived from the Lazarillo castigado, if not from the Guzmán de Alfarache, more than from the original Lazarillo. Such an assumption neglects the fact that the first French and English translations did rely on the 1554 text, whose influence, conveyed by the 1555 sequel also translated in French in 1598, did last until the early 17th century. Probably designed in an Erasmian circle, the anticlerical satire, enhanced by provoking allusions to certain catholic dogmas, did not pass unnoticed: the marginal comments of the translations, for instance, testify for a strong interest for this theme. It is no wonder, therefore, if the first satirical narratives freely inspired by the Lazarillo, such like The Unfortunate Traveller by Nashe, the Euphormio Lusinini Satyricon by Barclay, or the Première journée by Viau, adapted its religious satire to their own actuality: in the context of the rise of libertine thinking, characters of Jesuits and Puritans could become new targets for novelistic scenes based on an obviously “lazarillesque” model.

Elementos lingüísticos que plantean problemas de traducción a la lengua inglesa en el Lazarillo de Tormes

This paper focuses on the analysis of some linguistic elements that pose problems in the English translation of the famous novel: El Lazarillo de Tormes. To carry out the analysis we have chosen the Spanish version of the bilingual edition (Spanish-Galician) recently reviewed by Rodríguez López-Vázquez in 2019 as initial text. The three English versions are the ones translated by Merwin in 1962, Frye in 2015 and Torres Aguilar in year 2018. Given the reduced characteristics of this format, we will base our approach on two concrete examples. The first analysis focuses on macro-structural aspects which are observed throughout the whole work and that we demonstrate through the Prologue. There are transmission errors caused by an incorrect choice of the initial text and as a consequence of that, a wrong translation of the texts in the English language. The second example focuses on an expression contained in the initial text: “San Juan y ciégale” and how it has also been wrongly translated into English. This paper finishes with our own proposal, a series of conclusions and suggestions for future research, and the mandatory references required to continue deepening in the field.

Del Lazarillo a la tercera parte de Guzmán de Alfarache de Félix Machado de Silva y Castro: desarrollo y final del género picaresco

Since the anonymous author of Lazarillo laid the foundations of a long tradition and the mischievous Guzmán de Alfarache gave it its greatest moments of splendour, between the 16th and 17th centuries, the genre we know as picaresque, with its conditions and specificities, begins a long process of wear and tear in which, step by step, novel by novel, will accuse more of the lack of elements that had defined it from the germ: The social criticism and the stark realism that characterised the first works were gradually replaced by an increasingly ostensible instructive intention that implacably showed how the new Tridentine morality was also dissolved in our prose. With the very special exception of Estebanillo González - the last great upturn in tone and style not at all in tune with his contemporary works - we could draw a chronological line from 1554 (the year of the first preserved edition of Lazarillo) to 1650 (the year of composition of this third part) to mark the birth and death of all our picaresque prose. It is the continuation of Machado de Silva, the latest model of a tradition that, conserving only part of its resources and form, manages to separate itself completely from its own picaresque intention in order, on the contrary, to offer Guzmán the path of purge and sanctity that Mateo Alemán and the rules of the genre would have always denied him.

El Lazarillo en euskera

Basque literature and cinema have made use of and re-appropriated the Spanish classic text Lazarillo on several occasions and, thus, have participated in its continuation in different cultural and historical contexts. At present, the Basque cultural field counts with a Spanish-Basque bilingual version of the Lazarillo published in 1929 in which "Orixe", the translator, adapts and rewrites some passages of the work both in Spanish and Basque. We also count with a critical reedition of the aforementioned version published by A. Zelaieta in 1984, as well as with a comic created by Cornejo y Fuente and translated into Basque by J. A. Berriotxoa (1990). Finally, we count with a cinematographic adaptation of 2012 by J. Berasategi. In this short essay we comment on all those versions of the Lazarillo, contextualizing their publication in order to understand why their authors created those versions and the reasons for the adaptations, censored passages, specific graphic ingredients or other elements that characterize the versions and make visible the intertextual dialogue created among the versions of the Lazarillo.

La primera traducción catalana del Lazarillo de Tormes: un caso anómalo de fijación textual

From the linguistic comparisons, and other textual considerations and confrontations between the first Catalan translation of the Lazarillo de Tormes and the different editions, both in Spanish and French, we conclude that the work produced by Antoni Bulbena y Tusell in the late 19th century was poor, and we discovered that his textual setting was not made from any edition in Spanish, but rather from a French edition from 1886.