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The Invention of the Sequel

The Invention of the Sequel: Expanding Prose Fiction in Early Modern Spain

WILLIAM H. HINRICHS
Series: Monografías A
Volume: 299
Copyright Date: 2011
Published by: Boydell and Brewer,
Pages: 264
https://www.jstor.org/stable/10.7722/j.cttn348v
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  • Book Info
    The Invention of the Sequel
    Book Description:

    This book proposes a new way of tracing the history of the Early Modern Spanish novel through the prism of literary continuation. It identifies and examines the Golden Age narratives that invented the sequel and the narrative genres that the sequel in turn invented. The author explores the rivalries between apocryphal and authorized sequelists that forged modern notions of authorship and authorial property. The book also defines the sequel's forms and functions, filling a major gap in literary theory in general and Peninsular literary studies in particular. Notably, the author demonstrates that the sequel develops first and foremost in Early Modern Spain, an unacknowledged and unexamined contribution to Western letters. With its panoramic scope, this study serves as an introduction to the central novelistic genres and texts of Early Modern Spain. From this foundational starting point, it also offers a general framework for understanding imaginative expansion in subsequent time periods and literary traditions. William H. Hinrichs is a founding faculty member and Assistant Professor of Modern Languages at Bard High School Early College, Queens.

    eISBN: 978-1-78204-002-6
    Subjects: Language & Literature

Table of Contents

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  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-vi)
  3. PREFACE
    (pp. vii-xiv)
  4. ACKNOWLEDGMENTS
    (pp. xv-xvi)
  5. 1 The Birth of the Sequel: The Celestina’s Maculate Conception
    (pp. 1-45)

    Arguably, Fernando de Rojas’s Celestina (1499/1502) “invented” not only the modern novel and drama but also the modern sequel. While numerous Peninsular critics have asserted the former contribution to Western letters, none has asserted the latter.¹ Yet it is the first claim that is the more tenuous and the second that is the more certain. Rojas’s Celestina may have only offered the outlines of the modern novel and drama, but it definitely contained two fully formed types of literary continuation: allographic and autographic sequels. Continuing an anonymous one-auto work with fifteen autos of his own in 1499, Rojas defined how...

  6. 2 From Knights Errant to Errant Women: The Sequels of Feliciano de Silva
    (pp. 46-93)

    Two best-sellers were without rival in fifteenth-century Spain, Garci Rodríguez de Montalvo’s Amadís cycle (1496)¹ and Fernando de Rojas’s Celestina (1499).² One author was without rival in sixteenth-century Spain: Feliciano de Silva. Silva’s five continuations of Amadís revived romances of chivalry and ranked the Mirobrigian as the Golden Age’s best-selling novelist.³ Silva’s sequel to the Celestina seeded a new genre and proved the most enduring and productive response that Rojas’s work would ever receive.

    Though famous for his powerful and prolific pen, Silva wrote always and only for the most noble of reasons: love and honor. When a primitive author...

  7. 3 A Cannon Shot from the Margins: The Segundo Lazarillo’s Unexamined Role in the Story of the Sequel and the Picaresque
    (pp. 94-130)

    Mateo Alemán did not write the second picaresque novel in 1598, nor did Juan Martí write the first picaresque sequel in 1602. A half-century before either responded to Lazarillo de Tormes’s challenge, the anonymous author of the 1555 Segundo Lazarilllo had already beaten them both to the punch. His work, not Alemán’s Part I of Guzmán, was the second picaresque novel and the first consciously picaresque novel. His work, not Martí’s Part II of Guzmán (1602), was the first picaresque sequel and the first picaresque novel with an open ending. His work, and no one else’s, expanded and extended Lazarillo’s...

  8. 4 The Author Strikes Back: Alemán’s Picaresque Revenge
    (pp. 131-177)

    A century after the publication of Fernando de Rojas’s extraordinarily influential Celestina, another novice Spanish writer changed the generic and formal course of Western Letters: Mateo Alemán. His success was at least as improbable as Rojas’s and his impact nearly as overwhelming.¹ In 1598, Alemán’s Part I of Guzmán de Alfarache singlehandedly revived and reinvented the picaresque novel.² In 1604, Alemán’s Part II of Guzmán single handedly revived and reinvented the sequel. The former fulfilled the forgotten promise of Lazarillo de Tormes (1554) and its continuation (1555) with the creation of a generative generic template. The latter fulfilled the Inquisition-suppressed...

  9. 5 From the Galatea to the Quijote: Cervantes’ Quest for Closure
    (pp. 178-222)

    Literary continuation is a little considered and even less understood element of Don Quijote. This is all the more unfortunate because the sequel plays a central role in the creation of Don Quijote and Don Quijote in the creation of the sequel. The same holds for Don Quijote’s elected precursors and the genres they founded, namely the chivalric, pastoral, Celestinesque and picaresque novels. This chapter proposes a new lens for reading Don Quijote and its antecedents: a focus on the form and function of the sequel and the means and motivation of the sequelist. Indirectly, it suggests a way of...

  10. SELECT BIBLIOGRAPHY
    (pp. 223-234)
  11. INDEX
    (pp. 235-244)
  12. Back Matter
    (pp. 245-245)