4. Taste, Cognition, and Redemption in Guzmán de Alfarache

Theater as Metaphor

“…Theatrum and scena in the German-Speaking Sphere small figures, indicating through their distinctive proportions a spatial distance, also reminds us of T. Stern's much-discussed hypothesis of an early modern practice of presenting plays with human actors and puppets at the same time. 30 This altar might give us an idea of how these mixed performances might have looked: using the puppets in structures like the discovery space 31 not as a breach of aesthetic devices, but rather to signal and demonstrate spatial and temporal dimensions.…”

“…This figurative use of the word "picaro" fits Alemán's way of employing metaphors, such as taste metaphors, to show the extent to which picaresque life enables the protagonist to perceive the world through thought, emotion, and physical sensation. 31 Need drives Guzmán from his home. Born to a father of Jewish origin who converted to Christianity, a prominent topos of picaresque storytelling, 32 Guzmán takes his mother's maiden name Alfarache and, having lost his servant's job, walks around in torn clothes.…”

“…It is most difficult for anyone excluded to be admitted, or admitted to be excluded, as long as he wears this muddy vesture of decay. 31 30 John of Salisbury, Policraticus, ed. and tr.…”

“…As to the further five roles, Benserade took care that Louis had a "good" part to play that allowed him to merge fiction and history: the King represents one hour of the twelve, but the most beautiful one (as the shining sun is considered most beautiful compared to the ugly creatures of the night). 31 In this part of the ballet, the King appears on the stage as an allegory of play ("jeu"), and he enters the stage directly after Venus, which is to convey that he is omnipresent in time, quite as the goddess who is at the same time the (brightest) morning star and the (brightest) evening star.…”

“…He glorified Catherine II's deeds and thanked her on behalf of the Senate and the people. 30 Vyazemsky names the Russian empress the "wonder of the century" 31 ; he then speaks on her achievements (the protection of Orthodoxy, the propagation of civil justice, the introduction of laws that encourage prosperity amongst the nobility as well as the merchants, the building of cities, etc.). 32 He goes back to the time of Peter the Great in order to recall the emperor's much less fortunate fight for the Black Sea, which enables him to describe Catherine (in a manner quite customary for the ideology of her rule) as the one who succeeded in achieving what Peter had intended to do.…”