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Tristán, Sosia and Centurio as Burlesque Figures

Tristán, Sosia and Centurio as Burlesque Figures TRISTAN, SOSIAAND CENTURIO AS BURLESQUE FIGURES Amanda J.A. Tozer University of Exeter The figures of Tristan and Sosia seem to have been confined to the marginalia oí Celestina studies, perhaps unsurprisingly, if we measure their contribution to the momentum of die plot from a quantitative standpoint. The figure of Centurio, on the other hand, has received more detailed critical analysis, most notably by Maria Rosa Lida de Malkiel, because unlike the other characters he seems to have been conceived as an intrinsically comic figure created widi die sole object of exciting burlesque laughter, and also the carnivalesque laughter observed by Louise Fothergill-Payne as "a 'rire de fête', a shared joke and universal in that it mocks the world and its institutions" (32). In this article, I will analyse the functions of this rough-hewn trio, not in relation to their inferior status as secondary characters who spring forth with no apparent pre-history, that is to say, with none of the carefully constructed biographical background of Celestina or Pármeno, but as textual evidence to support the possibility that Rojas may have intended to experiment widi literary and dramatic strategies such as fictional pseudo-narration and comic characterisation.1 1 The term 'fictional http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures La corónica: Journal of Medieval Hispanic Languages, Literatures & Culture

Tristán, Sosia and Centurio as Burlesque Figures

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Publisher
La corónica: Journal of Medieval Hispanic Languages, Literatures & Culture
Copyright
Copyright © MLA Division on Medieval Hispanic Languages, Literatures, and Cultures
ISSN
1947-4261
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Abstract

TRISTAN, SOSIAAND CENTURIO AS BURLESQUE FIGURES Amanda J.A. Tozer University of Exeter The figures of Tristan and Sosia seem to have been confined to the marginalia oí Celestina studies, perhaps unsurprisingly, if we measure their contribution to the momentum of die plot from a quantitative standpoint. The figure of Centurio, on the other hand, has received more detailed critical analysis, most notably by Maria Rosa Lida de Malkiel, because unlike the other characters he seems to have been conceived as an intrinsically comic figure created widi die sole object of exciting burlesque laughter, and also the carnivalesque laughter observed by Louise Fothergill-Payne as "a 'rire de fête', a shared joke and universal in that it mocks the world and its institutions" (32). In this article, I will analyse the functions of this rough-hewn trio, not in relation to their inferior status as secondary characters who spring forth with no apparent pre-history, that is to say, with none of the carefully constructed biographical background of Celestina or Pármeno, but as textual evidence to support the possibility that Rojas may have intended to experiment widi literary and dramatic strategies such as fictional pseudo-narration and comic characterisation.1 1 The term 'fictional

Journal

La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures – La corónica: Journal of Medieval Hispanic Languages, Literatures & Culture

Published: Apr 4, 2004

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