La Lozana andaluza
La Lozana andaluza ( Retrato de la Loçana andaluza ; dt. Literal : "Portrait of the Andalusian 'lascivious'") is a novel in the form of a dialogue published in Venice in 1528. The author is probably the Spanish cleric and publisher Francisco Delicado , who had fled Rome a year earlier after the anti-Spanish currents there had prevailed as a result of the Sacco di Roma by the troops of Emperor Charles the Fifth .
The book was published anonymously and describes the life of the underworld of Rome in the first third of the 16th century, especially within the community of Spanish Jews, who increasingly settled in Rome because the "Santo Oficio" ( Inquisition ) was always in Spain from 1481 onwards became more intrusive.
The work is in the tradition of the novel La Celestina by Fernando de Rojas . With him he shares the form of dialogue as well as the themes and genre of the picaresque novel . In addition, the work itself often refers to that of Rojas and La Lozana even repeatedly quoted directly.
In addition to its special grace and value as a portrait of the society of Hispanic Roman society, La Lozana andaluza is also a document of the vernacular of this transition period of inestimable value. It draws its inspiration from the author's experiences in the brothel districts of Rome and uses many Italianisms that were in use in this segment of the population, both lexically and syntactically . The chapters are called mamotreto ( German notebook ). The author also appears as a character in the novel, although the main character is the Andalusian prostitute "Aldonza" and her boyfriend "Rampín". The work reports on all the traps, frauds and obscenities of the oldest trade in the world in Rome before the "Sacco die Roma". In a way it also pretends to be an excuse because the moral degradation of the "Eternal City" was so advanced. But it has a good stock of popular wisdom, folklore and proverbs . With great liveliness and realism and a crude, naturalistic language, it tells of the time of the Renaissance and is a great document of the customs and mentality of the popular milieu from which it comes.
In 1976 Vicente Escrivá created a film based on the novel and edited by Alfonso del Vando . The film was a Spanish-Italian co-production. The main actress was the Italian actress and writer Maria Rosaria Omaggio .
In 1983 there was an adaptation for the television series Las pícaras . Norma Duval played the main role in this film.
content
The work begins with the introduction of Aldonza, a very young girl from Córdoba who was orphaned at an early age but soon learned to "weave" and "plot" (tessere e tramare). She lives alone in an aunt's house, then goes with Diomedes and begins a long journey with him to the Levant. In the east she changed her name to Lozana. She has some children with her husband. However, on returning to France, she is separated from her husband. She comes to Italy, meets Rampín, her loyal servant and companion, and manages to get in touch with the right people and learn the best arts in order to become the most sought-after prostitute in Rome. She is always busy talking to women and men who are involved in the world of prostitution. She entertains and helps and cheats all kinds of prostitutes and other people, not only because of the money, but also because of the thrill and the desire to know and experiment. Lozana lives happily from her work and her scams. Over the years, she decides to retreat to Lipari, where she lives in peace with a new name: Vellida.
The two protagonists of the work become a solid couple in mamotreto XI and never give up again. At their first meeting there is a short dialogue in which the woman predicts the future of Rampín and emphasizes the masculinity of the barbitaheño . Their relationship is well defined by the woman herself from the start:
“I want you to be my son and when you sleep with me look at me. Don't let me show you are already a capon. "
The “milk beard” (Barbiponiente) becomes a servant for the public and a lover for his mistress in silence.
In this case, it is the woman who commands and guides the man who sets the rules of their relationship, thus reversing the traditional man-woman relationship in which the woman was viewed as a weak person and subject to the will of the man. The three-part work clearly shows the development of the protagonist, who only begins as a public woman and then develops further professionally (by waiting for customers in her own home and becoming the epitome of Rome). There are moments when the protagonist ponders important issues such as the rights of prostitutes and anticipates a topic that will only be considered in later centuries. One example of this is Lozana's monologue in mamotret XLIV. In this monologue, the prostitute category is associated with the category of soldiers who do their craft for the sake of merit, and from this attitude they become good servants of the government. The Lozana was also a "Curandera" or "Saludadera" (healer). She is portrayed as an excellent representative of alternative medicine, which coexisted with official medicine at the time. Her name refers not only to her status as a prostitute, but also to her healing power, if the name is emphasized differently (lo çana). The diseases that it best cures affect the male and female genitals. In fact, she's always ready to help her clients' pain. But this expression also has a double meaning: The "father's pain" is often understood as sexual desire and in Mamotret L, passionate love is represented as a form of an illness that can only be cured by the Saludadera Lozana.
output
The first edition was only discovered in the 19th century and is now in the Austrian National Library in Vienna . This contains neither the place nor the date nor the name of the author and the publisher. It is written in Gothic letters and contains various woodcuts. It is characterized by a pronounced polysemy . Right from the start, erotically charged words are played with, for example “obra” (to work) is used for sexual intercourse, “razón”, “pincel” and “matter” for the male genitals and the like. There is only a brief introduction to prose at the beginning; most of the work is written in dialogue form.
In addition to latent eroticism and obvious multilingualism, two other elements give the work its special meaning: It gives women a voice that is at the lowest social level and that is depicted without being dependent on a male person. In addition, it is the special approach of the author who intervenes in the work as a character, in direct contact with his characters, who are also aware of being pieces from a literary work. There are also a number of pseudo-prophecies in the text about the Sacco di Roma .
Time and environment
Both Francisco Delicado, the author, and Aldonza, his main character, come from Córdoba. And there are similarities in other aspects and experiences as well: for example in the representation of the Jew Trigo (it is said that Delicado himself was a Jewish convert), or in the representation of the symptoms of syphilis , from which some of the characters suffer, as well as the Author himself, as well as the habits and customs that were necessary to practice as a doctor (a profession that Delicado also practiced alongside his work as a writer and cleric).
The design reveals an unusual way of using the language, which partly slips into macaronic (macarrónico), because Italians, Genovese, Catalans, Jews, Moors, Spaniards and others talk to each other in their own mother tongues and communicate as best they can live together and have no other option.
Ambivalent terms that hide a sexual meaning are abundantly used to maintain "discretion" in rhetoric. Only in some places is this rhetoric abandoned. An example of this is the conversation between the aunt and Rampin about whether he will have sex with Lozana. There are plenty of quotes that suggest education. Ancient texts such as Plotinus and Apicius are mentioned and Latin expressions are repeatedly inserted. Many idioms are used, and often they are used with justification:
“Who made you a whore? The wine and the fruit. "
The picaresque ruse is seen as a virtue to enable the protagonist to live a tolerable life. This is comparable to the novel La vida de Lazarillo de Tormes , where cunning enables the villain to lead a good life without begging or suffering.
As in other picaresque works, the decline of Spain is emphasized in several places: The old prosperity on the Iberian Peninsula has been lost, so the servants had to steal from their masters and act cleverly in order not to be surprised and to get away after the theft without consequences. They don't find the masters they want because circumstances do not allow the nobles to be wasteful.
In the context of time, La Lozana Andaluza is rich in gastronomic references: empanadillas , berenjenas mojíes , cabrito apedreado con limón are just a few examples of dishes, and a large number of terms are mentioned that have gained different meanings over time: lencero , cambiador , trapero , fantescas , almalafas , batículo , batirrabo , paños listados . The emergence of phrases that has been encouraged by the application of the Inquisition since 1481 can also be observed.
“LOZANA: ¿Y vuestra madre?
RAMPÍN: ¡Que la quemen! "
Another field deals with the subject of sorcery. Lozana practices palmistry with Neapolitan children (monte de Venus - mountain of Venus, Mercurio - Mercury, Luna - moon) and superstitious customs are described that are reminiscent of magic: the Jew wants to sweep the house to fill it with happiness; Lozana cheats on people by pretending to know spells.
The female environment depicted in the story is hostile. Women react with fear to the danger of having a beautiful and smart woman next to them. The fights between them are constant, but when money comes into play, their behavior changes to the other extreme. The female professions mentioned in the story are, besides wife and laundress, prostitute and hairdresser, which were rejected by society at the time, but were carried out by a large number of women in order to have a living.
expenditure
- 1969 La Lozana andaluza . Bruno Damiani , ed. (Madrid: Castalia [Clásicos Castalia]).
- 1985. Retrato de la Lozana andaluza . Claude Allaigre , ed. (Madrid: Cátedra).
- 1988. La Lozana andaluza . Ángel Chiclana , ed. (Madrid: Espasa-Calpe [Austral])
- 2004. La Lozana andaluza . Carla Perugini , ed. (Seville: Fundación José Manuel Lara [Clásicos Andaluces])
- 2007. La Lozana andaluza . Jacques Joset y Folke Gernert , ed. (Barcelona: Galaxia Gutenberg)
- 2008. Retrato de la Loçana andaluza . Tatiana Bubnova, ed. (Doral (Florida): Stockcero). OCLC 262894085
Individual evidence
- ↑ La lozana andaluza (1976). IMDb June 23, 2015.
- ↑ Quiero que vos seáis mi hijo y dormiréis conmigo y mirá no me hagáis que ese bozo d'encima demuestra que ya sois capón. (XII, 60).
- ↑ ¿quién te hizo puta? El vino y la fruta.
literature
- Antonio Alatorre: Lot 1001 años de la lengua española. México: Fondo de Cultura Económica 2002.