Guzmán de Alfarache, o la vida en perspectiva.

Abstract

Abstract

The memorial narrative of the galley save Guzmán has two clearly differentiated narrative levels, which can be compared with that of the historian and that of the painter. The former primarily documents distant events, the latter imaginatively recomposes the present, illustrates with those experiences of distant youth and indoctrinates. This double point of view is equivalent, analogously, to the foreground of a painting and the background, often called perspective, distant spots, shadows or distance. Eventually, that historicist detailism contradicts the universalism that is required of literature; But according to Alemán, in order to write good (and moral) literature, it is necessary to document oneself as a historian; to be able to paint close-ups and achieve virtuosity, it is necessary to have painted many backgrounds.

Keywords: foreground, background, documentation, memorialism, perspective, doctrine