(DOWNLOAD) "Cipion, Berganza, And the Aesopic Tradition." by Cervantes: Bulletin of the Cervantes Society of America * eBook PDF Kindle ePub Free

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eBook details

• Title: Cipion, Berganza, And the Aesopic Tradition.
• Author : Cervantes: Bulletin of the Cervantes Society of America
• Release Date : January 22, 2003
• Genre: Language Arts & Disciplines,Books,Professional & Technical,Education,
• Pages : * pages
• Size : 214 KB

Description

When near the end of "El casamiento enganoso" Campuzano tells his friend, the licentiate Peralta, that while he was in the hospital he overheard two dogs speaking to each other, Peralta reacts with an outburst of frank incredulity: "!Cuerpo de mi!--replico el Licenciado--. !Si se nos ha vuelto el tiempo de Maricastana, cuando hablaban las calabazas, o el de Isopo, cuando departia el gallo con la zorra y unos animales con otros!" (2: 294). (1) Despite his friend's disbelief, Campuzano insists that the dogs were in fact talking, and that he was not dreaming what he heard. He then gives his friend a notebook containing a near word-for-word transcription of the dogs' conversation, and the contents of the notebook become the "Coloquio de los perros," the story framed by the "Casamiento enganoso." Peralta's mention of Aesop (2)--whose name will come up again later, this time mentioned by the dog Berganza in the "Coloquio" itself--and the fact that the interlocutors of the "Coloquio" are two talking dogs, have led readers of the novella to speak of it in terms of the work of the ancient Greek author of animal fables. Such comparisons between the "Coloquio" and Aesop have not gone very far, however. Commentators who cite Aesopic fables asa source of the "Coloquio" do it in one of two ways: either they are content to mention Aesopic fables as one of many sources of the novella, and leave it more or less at that, or they mention the Aesopic tradition only to dismiss it as a serious influence on Cervantes in his creation of the dogs Cipion and Berganza. While some of the discussions in the former category have been suggestive, they have not gone far enough in bringing out the important links that exist between the Aesopic fable--the most traditional of genres--and Cervantes' experimental narrative in the form of dialogue.

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