This document provides a critical analysis of the novel Rinconete y Cortadillo by Cervantes in 5 sections. It argues that the plot represents an escape from ordinary society for the main characters. It also asserts that the novel serves as a social satire and criticism of Seville through its ridicule of the city and manipulation of reality. The characters, including the narrator and Monipodio, are analyzed as satirical devices that mirror and critique real social norms. The document hypothesizes that Cervantes may have been criticizing or exalting aspects of the city through the novel based on his own experiences there.
2. Away from reality
• The plot in the novel follows a pattern that
may represent some kind of refuge for the 2
main characters: a escape from ordinary
society
• Rinconete and Cortadillo seem rather distant
from both the «cofradia» and the rest of the
society
3. Social criticism: satire
• Social satire
• Ridicule of Seville
• Innkeeper’s wife: condones the boys’
behaviors for her own amusement (card trick)
• The two boys also fail to denounce the
confraternity of thieves and eventually
become part of it
4. The narrator
• No character within Rinconete and Cortadillo
actually narrates the text
• BUT several appear as being observing the
action.
• Series of intermediaries who collide with the
main characters throughout the story (conflict
of interests)
5. The main characters: satire
• Manipulators of their reality and
manipulators of the reader: “señor
gentilhombre” and “señor caballero”
• The types themselves —thieves,
prostitutes, cutthroats— are real, but
the words they utter are completely
out of place
• Monipodio’s house = microcosms that
mirrors the real society
• Monipodio acts as a judge and uses
sophisticated language
• Good social norms at Monipodio’s
house = satire
6. Personal experience
• Maybe Cervantes is criticizing the city in which
he lived and suffered for some time
• But may also be exalting the rectitude of the
rest of his homeland
• Is Cervantes Rinconete?
7. • La Sevilla que no vemos…
http://www.galeon.com/juliodominguez/2004b/
acce1.html