Luis Vélez de Guevara (1 August – 10 November ) was a Spanish dramatist and However, Vélez de Guevara is most widely known as the author of El diablo cojuelo (, “The Lame Devil” or “The Crippled Devil”), Charles Dickens refers to El Diablo cojuelo in The Old Curiosity Shop, chapter thirty-three. El diablo cojuelo: Luis Vélez de Guevara: His fantastic satirical novel, El diablo cojuelo (; “The Crippled Devil”), became well-known from its adaptation by. Buy El Diablo Cojuelo Por Luis Velez de Guevara Primary Source ed. by Luis Velez De Guevara (ISBN: ) from Amazon’s Book Store. Everyday .
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He studied art at the University of Osuna, graduating in During his lifetime, he was highly celebrated by his literary peers; although his fame as a writer increased with his participation in literary academies and poetry contests, his poor economic situation remained the same. He died on November 10,having penned more than dramas, of which exist today eight of his comedies were written in collaboration with other playwrightsalong with the work by which he is best known: Undoubtedly, this is cojeulo aspect that must be taken into account when explaining his literary choices at all levels: The case of The Limping Devilhowever, is quite different.
This persona likewise is a man of many surnames, whose lineage on all sides is as insubstantial as the wind: As he flings himself through the window of an attic, he comes upon a tiny devil with a pumpkin-shaped head and a big mouth with only two fangs for teeth. When the student releases him from his confinement, the mischievous devil promises to repay him by revealing to him the true nature of Spanish society.
Throughout the novel, from the observations about actors, poets, the nobility and society in general, we are presented with a striking parody and a dark overview of the grotesque Spanish life of the time. Upon his first look at the city, the student does not miss ee opportunity to point out that he knows the faces of rich men, but not the contents of their purses, thus labeling them stingy.
We are then presented with an unflattering view of the aristocracy, along with that of lawyers, cuckolded husbands, fops, old crones in the business of repairing hymens, hypocrites, thieves, unscrupulous tavern keepers, alchemists, lotharios, cardsharps, matchmakers, misers, and others of the same ilk. We encounter various groups of pretenders here as well, from lowly men and women contracted as footmen or squires velex pretend-ladies, to those who take on false viablo of nobility.
Then, on another street, the student and the devil come upon clothiers, who sell garments they removed from the exhumed bodies of the recently deceased. Another lurch and an inn later, the student and the gimpy devil find themselves defending the Spanish king before travelers from France, England, Italy, and Germany.
Luis Vélez de Guevara
After they rid themselves of these foreigners, they are visited by a company of actors. Other followers include thieves, astrologers, matchmakers, and madmen. This scene is intended to depict a decaying society, particularly by exposing its highest and most powerful members. As the motley crowd disappears, the devil and the student go on a sightseeing tour of Seville.
This is one of the few episodes where the author does not strike a heavy satirical blow on society, perhaps in realization that his economic survival rests with this very group. Finally, the gimpy demon and his friend visit a literary academy in Seville, a milieu with which the author was well acquainted, since he presided over a burlesque academy called the Buen Retiro in After a side trip to a den of beggars, the pair returns to the academy to address the assembled group.
A bailiff who accompanies her arrests the student and the devil, but later releases them after accepting a bribe. The scribe goes to Hell, but is then released after he is forced to vdlez the Limping Devil inside him.
The novel ends with a wonderfully executed burlesque scene in which everyone, the gimpy devil included, receives their just desserts. This acrid criticism of the different professions and social groups—their picaresque ways, misbehavior, misery, pretension, obsession with ethnic purity or with appearing to be of a higher social status reveals that maintaining appearances was a major concern of the period.
The Limping Devil was written over a period of years, from approximately to Though traditionally considered a picaresque novel, it lacks, however, a common characteristic of that genre: Both are, at the beginning of the story, marginalized from their social cljuelo. Thus, at the conclusion of their adventures, each returns to his natural environment: Furthermore, George Peale, and other critics have questioned whether The Limping Devil is a true novel, proposing instead that it is a Menippean Satire because it lacks the unity expected in a novel trancos or leaps, instead of chapters.
Along these lines, Margarita Levisi has analyzed the interaction of novelistic and dramatic traits in this work: Lesage’s adaptation includes the same characters as the Spanish original and part of the plot, but he also takes some authorial liberties. Lesage also turns the spirit into a combination of devil and Cupid who presides over several love affairs, both successful and disastrous.
Le diable boiteux is still published today, and it has also been adapted for the stage. In fact, only one year after publication of Le diable boiteux an anonymously translated version appeared, entitled The Devil Upon Two Sticks diab,o As further evidence of the widespread influence of The Limping Devil in English literature, we find Charles Dickens opening chapter 33 of his The Old Curiosity Shop in the following way: As the course of this tale requires that we should become acquainted, somewhere hereabouts, with a few particulars connected with the domestic economy of Mr.
Sampson Brass, and as a more convenient place than the present is not likely to occur for that purpose, vvelez historian takes the friendly reader by the hand, and springing with him into the air, and cleaving the same at a greater rate than ,uis Don Cleophas Leandro Perez Zambullo and his familiar travelled through that pleasant region in company, alights with him upon the pavement of Bevis Marks.
Our purpose, then, is to finally bring this original Spanish work to light for English readers. This novel and other Spanish works became the basis for the European modern novel and, as such, velze are worthy of attention well beyond that of Spanish-language readers.
Virtual Miguel de Cervantes. Biblioteca Virtual Miguel de Cervantes. Miguel de Cervantes, Digital edition based on C.
The Old Curiosity Shop. Virtual Miguel de Cervantes, John Benjamins Publishing Company, Dos notas sobre el haz y el. Biblioteca Virtual Miguel de Cervantes, This dichotomy is even more pronounced in dramas deliberate use of term that are often anthologized or staged in the U. Nevertheless, even plays written in a largely comic vein such as the comedia de capa y espada cape and sword playshave coujelo that do not respond to a purely comic caricature.
He encompasses a humor that often leads us to the pathos of the work.
Formats and Editions of El diablo cojuelo : novela 
Indudablemente, este es un aspecto que hay que tener muy en cuenta a la hora de explicar sus opciones literarias en todos los niveles: Cojudlo uno como otro se encuentran al inicio del relato al margen de su medio social. The Devil upon Two Sticks: Three Serious and Two Comiccomposed by Mons.
Roger ; Devil upon Two Sticks: The Devil upon Crutches in England: If you would like vrlez copy or reprint these articles for other purposes, please contact the publisher to secure permission.