Hispania

Volume 73, Number 4, December 1990

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Articles on Language and Literature

The Blindman's New Function: An Exemplum of the Capital Sin of Anger in Lazarillo de Tormes

Pennsylvania State University, Allentown

The Blindman of Tractado Primero serves many functions within the structure of the Lazarillo². As a Teiresian seer, he prophesies Lazarillo's condition in Tractado Séptimo and, in the very first episode, anticipates Lazarillo's life with him through the seven episodes of the first tractado. He will also prophesy the structure of the seven episodes as they prefigure the seven tractados of the Lazarillo. The seven primary masters, in their respective chapters, will represent seven exempla of the seven capital sins. The task here is to focus on the Blindman as an exemplum of the capital sin of anger³. The Blindman is guilty of other sins, however, his character is dominated by anger.

Others have noted the violence which characterizes the relationship between Lazarillo and the Blindman; Bjornson, for example, notes, «the entire episode of the blind beggar exists within a framework of blows» (31). Mancing observes, «throughout the period of apprenticeship with the sadistic blind beggar the reader shares Lazarillo's physical misfortunes...» (427). None, however, has viewed the violence as a manifestation of the capital sin of anger, nor placed it within the larger context of the seven tractados representing seven exempla of the seven capital sins.

Setting out from Salamanca, Lazarillo leaves his mother and formally starts his pilgrimage at a bridge -a rite of passage. This crossing will mark his awakening from childhood, the ante-journey portion of his narrative, and the beginning of his learning from his masters, the journey proper. This first episode with the Blindman presages his experiences with his initial master and reveals the Blindman's anger. The violence associated with the Blindman acquires additional significance by being coupled with the water imagery of rebirth from the river.

It is critical that the episode takes place prior to the crossing, to mark Lazarillo's second birth from the river. He says, in the ante journey portion of Tractado Primero, «Mi nascimiento fue dentro del río Tormes, por la cual causa tomé el sobrenombre... De manera que con verdad me puedo decir nascido en el río» (12-14). This water imagery will reappear as «el llover no cesaba... un arroyo, que con la mucha agua iba grande... muy ancho» (44), in the last episode of the first tractado. Water imagery is also referred to in relation to Tractado Séptimo, which he anticipates in describing his life's struggles to «Vuestra Merced» in the prologue:

The water imagery serves a unifying function

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by appearing at the beginning and end of Tractado Primero and being recalled in Tractado Séptimo. The association of the «birth from the river» suggests his being reborn to his new «parent», the Blindman; it will also determine the nature of the «buen puerto» Lazarillo reaches in the recapitulation of his family history -the ménage à trois of Tractado Séptimo.

The mention of the entrance to the bridge draws on all of these associations. The stage is set for the journey proper to begin. As suggested by Guillén, «the learning process begins abruptly with a crisis, or rite of passage» (88). Although Lazarillo's education had begun much earlier, with his family of origin, this rite of passage marks the beginning of a new level of learning appropriate to the autobiographical intent of his narrative. The transition to this new level is evidenced by the four references to Salamanca in Tractado Primero. Lazarillo will learn from his significant others, in this case his «tío», to whom he was given by his mother. The description of the learning he undergoes will be more detailed in relation to the Blindman than it was to his family. It will also be presented in the more clearly delineated structure of specific episodes.

The Blindman «sees» the bull and tells Lazarillo to place his ear next to the statue and listen. Lazarillo «simplemente» complies, placing his head next to what he refers to as «un animal», which «casi tiene forma de toro», and again, «animal:» The three conditional references stand in marked contrast to the Blindman's definite reference to «este toro», which identifies the Blindman as seer, before the first episode and Lazarillo's journey proper begins. The stone statue of the bull, against which Lazarillo has his head banged, is a complex symbol of anger, joining the hard unforgiving stone with the irrationality associated with the image of the «bull.»

The unequivocal reference to a bull, not an animal, by the Blindman, in contrast to Lazarillo's equivocation, suggests that the event was premeditated. He has specifically chosen to teach Lazarillo a lesson at the beginning of their journey, immediately after receiving Lazarillo, «no por mozo, sino por hijo» (22). The «nuevo y viejo amo» (22) -a new father- will indeed teach him a painful lesson. The nature of his didactic function is high lighted by the four references to Salamanca in this tractado; Gilman notes, «Lazarillos itinerary is not only geographical... in its movement away from Salamanca, it represents a journey away from education, in a sense a negative education» (162). Gilman goes onto say, «the 'course' of humanistic... and religious salvation at Salamanca creates by contrast an 'anti-course' of physical salvation and spiritual perdition, that of Lazarillo's carrera de vivir» (162-63). The Blindman functions, within his negative context, as Lazarillo's «gran maestro» (87).

The premeditation of so violent an act, in the name of teaching a lesson to his newly acquired son, demonstrates the irrational nature of the Blindmans anger and the appropriateness of the bull imagery. This association is made the more intense when the Blindman bangs Lazarillo's head into the stone of the statue. The pain from the «gran calabazada» Lazarillo receives will last him «tres días» three symbolic days, which imply a descent into hell. Even the reference to the source of his pain, «el dolor de la cornada» augurs Lazarillo's condition, his «buen puerto», in the final tractado as a victim of another set of horns-those of a cuckold. Finally, the fact that the injury is to Lazarillo's head focuses on the learning he must undergo, and it anticipates the suffering Lazarillo will experience as a result of his master's anger.

Lazarillo says of the Blindman, «rió mucho la burla.» As the Blindman enjoys his bitter laughter at his new son's expense, Lazarillo awakens to a feeling of isolation and disillusionment: «despertó de la simpleza en que, como niño, dormido estaba» (23). This painful awakening is intensified for Lazarillo by the unex pectedness of the event, which will be echoed again in the central episode of the tractado, «jarrazo» and further, by the lack of reason for such cruel treatment. Lazarillo will make references to completely irrational beatings that are excessive in relation to his offenses.

Prior to the next episode, Lazarillo ad dresses «V. M.» and describes the Blindman as, «con todo lo que adquiría y tenía, jamás tan avariento ni mezquino hombre no vi; tanto, que me mataba a mí de hambre, y así no me remediaba de lo necesario» (27). Although reference is made to the Blindman's stinginess and avarice and how he would kill Lazarillo with hunger, critics, since Tarr initiated the perspective in his pivotal article, frequently cite this reference in relation to the «hunger motif» of the first three tractados, and neglect to focus on the Blindman's anger.

In the second episode, «fardel», all turns out well for Lazarillo as he manages to pilfer «no por tasa pan, mas buenos pedazos, torreznos y longaniza» (28-29), from the Blindman's sack. Lazarillo, in the same episode however, refers to the Blindman's withholding punishment, «Y ansí buscaba conveniente tiempo para rehacer, no la chaza, sino la endiablada falta, que el mal ciego me faltaba» (29). The third episode, «blancas», is positive, brief, and serves as a contrast to the violence of the central episode.

The fourth episode, «jarrazo» introduces the «wine resurrection» theme⁴ and serves to intensify the irrational excesses of the Blindman's anger. As Gilman notes, «the organic immortality of the first tractado is given tangible representation in wine» (162). The significance of this theme, within the context of the Blindman as an incarnation of the capital sin of anger, is that Lazarillo is revived by wine on a number of occasions: specifically, after he has suffered physical abuse as a result of his master's anger. The «jarrazo» episode, in particular, represents the low point in the tractado; it is in this episode that Lazarillo is closest to death. Lazarillo says that the Blindman, «cayó en la burla; mas así lo disimuló como si no lo hubiera sentido» (32). The suddenness of the event-from «mi cara puesta hacia el cielo, un poco cerrados los ojos por mejor gustar el sabroso licor» (32) to «de nada desto se guardaba, antes, como otras vezes, estaba descuidado y gozoso, verdaderamente me pareció que el cielo, con todo lo que en él hay, me había caído encima» (33) recalls the unanticipated «calabazada» of the first episode. The element of the unexpected will contribute to the unity of the first tractado by appearing in the three critical episodes: the first, «puente/toro»; the middle, «jarrazo»; and the last, «poste/toro.»

In this episode, the consequences for Lazarillo are severe:

What is striking is the lack of correspondence between the act and the punishment. This is a clear example of the Blindman's sadistic anger and represents a realization of the prophecy inherent in the very first episode with the statue of the bull. The most significant references do not, however, refer to the physical consequences, grave though they might be. Immediately following the segment cited above, Lazarillo goes on to say, «Desde aquella hora quise mal al mal ciego, y, aunque me quería y regalaba y me curaba, bien vi que se había holgado del cruel castigó» (33). This emotional pain is underscored by the Blindman's enjoyment of the punishment, and leads to Lazarillo's single most important description of the Blindman's representing the capital sin of anger in the first tractado.

Lazarillo further highlights how out of control his master was, when he relates that the Blindman did not require him to act in order to vent his irrational anger; it was sufficient just to retell his previous transgressions. Lazarillo says,

Immediately after this passage, Lazarillo records how he engaged in a desperate at tempt to retaliate by hurting the Blindman, even at his own expense-anger begetting anger.

This also represents an important developmental stage in Lazarillo's learning from the Blindman. At first he is the recipient of his master's anger, then he is able to punish his master, harming himself in the process, and finally, in the last episode, he avenges himself with impunity. It is also noteworthy that a reference to stone appears in the three episodes -the stone bull, the stones on the path, and the stone pillar. In addition, the popular saying «quebrar un ojo» has been extended and adapted: «quebrar un ojo por quebrar dos al que ninguno tenía.» This variation

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reveals the degree to which Lazarillo shares in the expression of anger.

He is unwilling to abandon the Blindman until he can avenge himself, thereby demonstrating that he has indeed internalized his angry master. He will not leave the Cleric of Tractado Segundo, nor the Squire of Tractado Tercero, even when he is starved by the one and forced to support the other. The message is clear. Lazarillo leaves the Blindman because it is too painful to stay and because he needs to extract his revenge in kind, with impunity. His tenacity in staying with both Cleric and the Squire bespeaks his ongoing need to find a surrogate father who can care for him. His underdeveloped sense of self-esteem drives him to return again and again to what is known, however destructive, rather than face a frightening unknown. This fear is articulated in his reference to having gone from the frying pan with the Blindman to the fire with the Cleric in Tractado Segundo. To leave the Cleric would be to court nonexistence (54).

The «grandísimo entendimiento del traidor» is illustrated in the next episode with the grapes. Even in this essentially positive episode, Lazarillo suggests that the Blindman might have allowed him to succeed in eating more grapes, not only because they were «maltratados» and «muy maduras», which would have soiled his sack, but because «aquel día me había dado muchos rodillazos y golpes» (36). The reference to the punishment, with out cause, again suggests that the Blindmans anger is irrational and unjust.

The sixth episode, «longaniza», is the only rival to episode four, «jarrazo», in describing the sadistic anger of the Blindman. Lazarillo almost pays with his life for pilfering a sausage he never gets to digest.

The brutality of the punishment prepares the reader for the revenge Lazarillo will extract before leaving the Blindman. This, in part, is presaged by Lazarillo's fantasy revenge, in which he bites off the Blindman's nose.

The imagery inherent in the fantasy of biting off the Blindmans nose is more subtle than it might first appear. It occurs just before the Blindman's prophecy concerning Lazarillo's fortunate association with wine. Lazarillo has just returned with wine for his master, after stealing the sausage, when his trick is discovered and he is punished. His good for tune is realized in the short term -the wine he has brought is used to resurrect him- and, in the long term -he is lucky with wine in Tractado Séptimo, where he is noticed by the Archpriest while he is a «pregonero de vinos» Appropriate to the tractado with the Teiresian seer, many of the events which take place will be echoed throughout the Lazarillo, such as the prophecy concerning wine cited above.

The Blindman's nose is an appropriate focus for Lazarillo's fantasy revenge as it violated him and allowed the Blindman to discover the truth concerning the missing sausage⁵. When Lazarillo tricks the Blindman into smashing his head against the stone post in the last episode, his parting invective is «¿Cómo? y olistes la longaniza y no el poste» (45). Although Lazarillo does not literally remove his master's nose, he manages to overcome his master's ability to detect and subsequently punish him for his tricks. His referring to the Blindman's smelling the sausage recalls the painful episode which initiated Lazarillo's fantasy revenge. The reference to the stone post serves to recall the beginning of the journey and the episode with the stone bull.

Lazarillo not only prognosticates a future event in his imagined violence, a function traditionally associated with his Teiresian master, he will also reverse roles in another way. If throughout the tractado, Lazarillo has been the victim and the Blindman the vehicle of anger, in the last episode, the Blindman be comes the victim of Lazarillo's anger. After the Blindman «cayó... para atrás medio muerto y hendida la cabeza» (45), Lazarillo describes the scene, «Y dejéle en poder de mucha gente, que lo había ido a socorrer, y tomé la puerta de la villa en los pies de un trote, y, antes que la noche viniese di comigo

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en Torrijos» (46). This dearly echoes the segment of the «longaniza» episode, where Lazarillo's life is saved by «la mesonera y los que allí estaban, y, con el vino que para beber le había traído, laváronme la cara y la garganta» (42-43). It is entirely in keeping with this reversal that Lazarillo leaves for «Torrijos», a place name which echoes the bull imagery of the first episode and the association with irrationality, through the «puerta» of the village, which parallels the function of the «puente» in the first episode. This time, however, he will face the other side of the symbolic passage through the «puerta» alone.

While Lazarillo faces much of his life alone, with little support from others, throughout the balance of the work, he will acknowledge his indebtedness to his blind master for having taught him so much about life. Two examples are noteworthy. First, in the opening lines of Tractado Segundo, the Cleric asks Lazarillo if he is able to serve Mass. Lazarillo responds: «Yo dije que sí, como era verdad; que, aunque maltratado, mil cosas buenas me mostró el pecador del ciego, y una dellas fue ésta» (46 47). Second, Lazarillo is able to support him self and the Squire for a time in Tractado Tercero by begging. He comments, «este oficio le hobiese mamado en la leche, quiero decir que con el gran maestro el ciego lo aprendí» (87). This mixed metaphor appropriately captures his relationship to the androgenous Blindman who was both mother and father to Lazarillo and his most important «maestro» -a title not given to any other master.

His learning is also evident in the self-inflicted suffering he undergoes, while he waits to take his revenge and vent his anger on his master, and in so doing becomes what he despises. Although he could have escaped at any time, he did not, until he could retaliate with impunity.

The Blindman is appropriately cast in the role of one who is blind to reason, an incarnation of the capital sin of anger. This, combined with his prophetic function, makes the placement of this tractado in this position in the Lazarillo aesthetically and structurally imperative. In addition, the Blindman is more effective as a type, like the other masters who are depicted as exempla of the remaining capital sins, by remaining nameless. Lazarillo, as he encounters each of these masters, will often be guilty of the same sin, although not always in the same tractado, as is the case in Tractado Primero.

It is useful to recall Lazarillo's comment when his younger stepbrother reacted to Zaide's physical appearance in the ante-jour-ney segment of Tractado Primero: «¡Cuantos - debe de haber en el mundo que huyen de otros porque no se veen a sí mesmos!» (18). Lázaro Carreter emphasizes this point, «pero observemos que Lázaro, al igual que su hermanico, huirá de su primer amo -el cual es su segundo padre... sin darse cuenta de que está haciéndose tan evitable como él. Tras la calabazada final, el lector puede recordar el cuentecillo, y repetir la exclamación del niño...» (109). It is clear that Lazarillo is guilty of anger, and although the reader may sympathize with the young Lazarillo as he floes, leaving his half-dead master behind, he is nevertheless guilty of the very sin he suffered at his hands. There will be other instances of this, such as Lazarillo being guilty of the capital sin of pride in Tractado Sexto, where he echoes the Squire's behavior and dress.

The end of Tractado Primero is yet another rite of passage for Lazarillo, with its rich water imagery suggesting the association with his departure from home across the bridge and the river-his namesake. There he had to leave his mother; at the end of the first tractado he leaves his uncle, who took him as his son and who functioned as his surrogate father. By the end of the Tractado Primero, Lazarillo has learned enough in the world to overthrow the punishing parent in the person of the Blindman. It is appropriate that he be soaked by the rain, which recalls his birth from the river and the crossing in the first episode.

It is clear from the preceding discussion that the Blindman is guilty of the capital sin of anger in his treatment of Lazarillo; it controls the very nature of the relationship between the two throughout the tractado. This is seen clearly in that only the two shorter secondary episodes of the seven episodes in Tractado Primero, two, «fardel» and three, «blancas», are not controlled by anger. These two episodes serve the specific structural purpose of separating the violence of episode one, «puente-toro», from the most violent of the episodes, four, «jarrazo».

Although Lazarillo may be better equipped to survive the world because of his experience with the Blindman, the learning

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has come at great personal expense. In spite of his having acquired a number of skills, he has diminished himself by internalizing what he despised most in his master -his irrational anger. Clearly, the events leading up to and surrounding his departure bode ill for his moral and personal development and seem to prefigure the moral blindness he will experience in Tractado Séptimo. In part, this is a result of the suffering he has experienced as a victim of anger -the most violent of the seven capital sins.

Bataillon, Marcel. Novedad y fecundidad del Lazarillo de Tormes. Trans. Luis Cortés Vázquez. Salamanca: Anaya, 1968.

Bjornson, Richard. The Picaresque Hero in European Fiction. Madison: University of Wisconsin Press, 1977.

Fiore, Robert L. Lazarillo de Tormes. Boston: Twayne, 1984.

Gilman, Stephen. «The Death of Lazarillo de Tormes.» PMLA 81 (1966): 149-66.

Guillén, Claudio. «The Anatomies of Roguery.» Diss. Harvard University, 1953; also in «La disposición temporal del Lazarillo de Tormes» HR 25 (1957): 264-79.

Lázaro Carreter, Fernando. «Construcción y sentido del Lazarillo de Tormes.» Ábaco: estudios sobre literatura española, l. Ed. Antonio Rodríguez-Moñino. Madrid: Castalia, 1969. 45-134.

Mancing, Howard. «The Deceptiveness of Lazarillo de Tormes» PMLA 90 (1975): 426-32.

Piper, Anson C. «The 'Breadly Paradise' of Lazarillo de Tormes» Hispania 44 (1961): 269-71.

Ricapito, Joseph V. Bibliografía razonada y anotada de las obras maestras de la picaresca española. Madrid: Castalia, 1980.

Rico, Francisco. La novela picaresca española, Vol. 1. Barcelona: Planeta, 1967.

—— ed. Lazarillo de Tormes. Madrid: Ediciones Cátedra, 1987.

Sieber, Harry. Language and Society in «La Vida de Lazarillo de Tormes». Baltimore: The Johns Hopkins University Press, 1978.

Tarr, F. Courtney. «Literary and Artistic Unity in the Lazarillo de Tormes» PMLA 42 (1927): 404-21.

Weiner, Jack. «La lucha de Lazarillo de Tormes por el arca». In Actas del Tercer Congreso Internacional de Hispanistas, celebrado en México D. F., del 26 al 31 de agosto de 1968. Ed. Carlos H. Magis. México: El Colegio de México, 1970, 931-34.

Hispania [Publicaciones periódicas]. Volume 73, Number 4, December 1990