Tutor HuntResources Spanish Resources

Lazarillo De Tormes Coursework Example

Commentary

Date : 18/01/2016

Author Information

Achilles

Uploaded by : Achilles
Uploaded on : 18/01/2016
Subject : Spanish

La Vida de Lazarillo de Tormes is an, assumed, autobiographical picaresque novel, meaning it follows the life story of a rogue, Lazarillo, published in 1554 by an anonymous or unconfirmed author. The anonymity of the novel at this time seems appropriate and logical, as the subject of the piece addresses, in an indiscreet and fairly controversial manner, Spanish society at that time. Bearing this in mind, it would seem to be wise decision from the author to hide his identity in order to save himself from any authority or clergy. At the same time, however, at a time where fame and importance was so crucial, the fact that the author his identity is quite ironic. The novel itself is divided into individual short stories referred to as tratados, of which there are seven. Each tells us a story of the struggles and dangerous encounters of the main character, Lazarillo, as he is forever under the watch of a master and tries to do whatever he can in order to survive each experience. The second tratado is the one I will mainly be focusing on, a short story that tells us Lazarillo’s exchanges with his master who is a priest.

The characterisation of Lazaro is such that despite his being a villain almost, due to the way the novel is written, the reader sympathises with him due to being with him every step of the way as he battles conflicts and tries to survive against tall odds from a very early age, which almost excuses him from any sins that he may commit. He fits the descri ption of the typical main character of this type of novel, as he is indeed a cunning, dishonest rogue who is also a very appealing hero. Throughout each tratado, Lazarillo deceives each and every one of his masters by using tricks of the trade, and develops a trait he would otherwise not have acquired, but desperate measures called for desperate times. For example, in the first tratado, he fools his master, a blind man, into jumping head first into a stone pillar, and ends the tratado by saying ¿Cómo, y olistes la longaniza y no el poste? ¡Olé, olé!, meaning How come you smelt the sausage but not the post? Olé! Olé! This is only after a fair amount of suffering and sinning, but in the end Lazarillo learns lessons from his master, wins and escapes and is an example that despite his fairly horrid trick, we feel relieved and proud of him.

Now in this second tratado, he disguises his actions of stealing Eucharist bread from the priest’s chest, after having bribed a key forger to make a key for him in return for a loaf of bread, through the lie that there are mice invading his container and nibbling away at his food. In all cases, stealing is unacceptable and frowned upon to say the least, however, due to Lazarillo’s exceptional circumstances of his very young age and difficult situation, the reader feels compassion towards the mischievous, young villain, and that he is entirely innocent, even believing that the master is the one who should be regretful, the one in the wrong. Each tratado always pits Lazarillo, a poor, homeless, lower class character, one who will inevitably receive love from the reader due to his underdog nature, against an apparently wise, but mainly wealthy and important master. Regardless of his actions, the reader will always be in Lazarillo’s corner.

Furthermore, the style of narration deepens our empathy and favouritism of Lazarillo. We feel as though the little boy is speaking to us directly about his endeavours and adventures, creating a closer relationship between the seeming villain, while distancing us from the feelings and problems of his masters in turn leading us to only care about Lazarillo and only him. We become aware of his thoughts and self-debates, understanding his need to commit minor sins in order to relieve his almost ever-present hunger or purely and simply, save himself. This is dramatic irony as we are enlightened and know of his pain and struggle, but no one else does, not even his masters, therefore not caring for him as much as we do. In line 2 of the extract, Lazarillo says considerando entre mi, dije... an example where he speaks to himself, where we get to hear his thoughts, and understand what he is being so pensive about. If this had not been written in the first person, this line would not exist and we would not know this piece of information, among similar other ones.

Two principal themes, in my opinion, that are present throughout this novel, are corruption, and deception. The purpose of the novel is clear. It exists to address faults and imperfections of Spanish society at the time, raising issues such as false religion which falls under the corruption of the church. The representation of the church is a negative one, and its appearance is therefore tainted when it may in fact have been perfectly adequate, however it is strange that the main character, who would normally be a representative for most main themes in a novel, never attacks the church or its system or its beliefs as we see him speak and relate to God often. Lastly, and perhaps most obviously, deception. It is a constant theme throughout this work as there would be no story if Lazarillo did not have the ability to deceive and trick his masters in each case of adversity where his life was threatened. Within the space of one passage Lazarillo takes advantage of his master not once, but twice, after concealing his theft of the bread initially with the idea of mice, and then hiding his theft of the cheese with the same reason.

To conclude, this picaresque novel addresses many polemic social and economic issues at the time, while presenting us an appealing villain to follow through the means of clever characterisation and a first person narrative.

This resource was uploaded by: Achilles