De todas las caras de la novela del capitán del primer Quijote (39-41), la historia de Ruy Pérez de Viedma es también una relación soldadesca, por lo que se propone centrar la mirada no tanto en la segunda parte de la experiencia del personaje («cautivo») sino en su primera condición de militar («capitán»), que suele quedar un tanto esquinada. Y es que, entre todos los elementos enhebrados en el relato, se trata de una suerte de autobiografía que Cervantes conocía bien y que permite entender los ecos biográficos en un contexto genérico, como una experimentación con un esquema narrativo con el que también juega en otros lugares (como El casamiento engañoso y El licenciado Vidriera).

Among the many aspects of the narrative of the “capitán cautivo” in Don Quixote (1.39-41), the story of Ruy Pérez de Viedma’s military life should also be recognized as a soldier’s relación given its express focus not on the secondary aspects of the character’s experience (i.e., being held captive), but on his primary social identity (i.e., being a military captain). Together with other elements, this tale represents the kind of autobiographical account that Cervantes knows well from personal experience, which allows him to better understand its biographical echoes within the context of a genre that he explores in other texts (such as “El casamiento engañoso” and “El licenciado Vidriera”).

Vida del capitán Ruy Pérez de Viedma: la autobiografía soldadesca en Don Quijote (I, 39)

Adrián J. Sáez
2016-01-01

Abstract

Among the many aspects of the narrative of the “capitán cautivo” in Don Quixote (1.39-41), the story of Ruy Pérez de Viedma’s military life should also be recognized as a soldier’s relación given its express focus not on the secondary aspects of the character’s experience (i.e., being held captive), but on his primary social identity (i.e., being a military captain). Together with other elements, this tale represents the kind of autobiographical account that Cervantes knows well from personal experience, which allows him to better understand its biographical echoes within the context of a genre that he explores in other texts (such as “El casamiento engañoso” and “El licenciado Vidriera”).
2016
36
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/3703299
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