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• The Poetics of Friendship in Early Modern Spain: A Study in Literary Form by Donald Gilbert-Santamaría
• Shai Zamir

THIS STUDY explores literary representations of ideal friendships and friends. The author argues that such representations were part of a poetic form that emphasized the impossible quest to achieve such sublime relationships in actual, lived human experience. A growing awareness of the scriptedness of literary friendships pushed Spanish writers to question longstanding notions of such ties. Cervantes's novella "El curioso impertinente," intercalated in Don Quijote, Parte 1, delivered the ultimate blow to this tradition: "The betrayal and death of the two friends, Anselmo and Lotario, and the attendant destruction of the tale of two friends paradigm, may be read … as a symbolic act designed to clear the way for the new literary order of the novel's main narrative" (10).

The book begins with a compelling introduction to the fundamental questions and canonical texts related to friendship, above all Aristotle's Ethics and Cicero's more skeptical responses to it. While Aristotle portrayed friendship as an idealized relationship between the good, Cicero suggested a more pragmatic vision, in which friendships change over time, and friends must adjust themselves accordingly. Such a realist approach allowed Cicero to escape the more general "problem of epistemological alienation" described by Gilbert-Santamaría (15): that too perfect of a friendship, for the sake of the friend alone, will lead us to say nothing of importance about the friend, because the friend who is loved for his particular attributes will not be loved for himself (the paradigmatic friend in this tradition is male). The perfect friend is therefore known through acts of self-sacrifice. Cicero, however, chose a different path. In his epistolary writings, he was able to combine the ideals of perfect friendship with the instrumentalist practices of epistolary and gift exchange; one could enjoy friendship and benefit from it aesthetically and rhetorically without giving up on the entire enterprise of virtuous friendship.

The plot thickens: Petrarch brought Ciceronian friendship to the attention of early moderns, who practiced the writing and reading of intimate letters in imitation of both him and Cicero. In chapter 1, Gilbert-Santamaría [End Page 413] demonstrates that Petrarch's friend, Boccaccio, while at first glance seeming to simply write his own version of perfect friendship in the Decameron, was in fact somewhat satirical. In the story of Gisippus and Titus, what Boccaccio presents as the "law of human friendship" might surrender to the "laws of love" (39), as when the beautiful Sophronia stands between the two male friends. Even when the two friends commit ultimate acts of self-sacrifice for each other, they still give voice to obstacles to friendship such as passion. Boccaccio's perfect friendship is stained by "the practical idiosyncrasies of human desire" (41).

In this genealogy, Cervantes's La Galatea (1585), discussed in chapter 2, continues Boccaccio's parody by showing that "representations of the chaos, unpredictability, and complexity of everyday life repeatedly disrupt the fulfillment of the orthodoxy of perfect friendship" (56). La Galatea mocks the heroic and selfless acts of pure friendship with typical Cervantine humor. When the friend Timbrio wishes to turn himself in to the authorities to save his friend, he is warned that no one is interested in such gesture, and that the priests who arrested his friend would only get more annoyed by this dramatic act of amity. Gilbert-Santamaría guides the reader to identify several other moments within the plot as the friends deviate from what is expected of them as perfect friends, as when Silerio has to accept a marriage to Blanca, Timbrio's wife's sister. Instead of using the scene to support the notion of the friend as a second self and friendship as a loving act of free will, Cervantes shows how friendship forced Silerio to compromise his true feelings for Timbrio's wife. Friendship stops being the autonomous site of authentic expression.

Silerio and Timbrio, like the two friends of the later "El curioso impertinente" discussed...

 审阅者：

• 
  现代早期西班牙的友谊诗学：唐纳德·吉尔伯特·桑塔玛丽亚的文学形式研究
•  沙伊·扎米尔

本研究探讨理想友谊和朋友的文学表现。作者认为，这种表述是一种诗歌形式的一部分，强调在实际的、生活的人类经验中实现这种崇高关系的不可能的追求。人们越来越意识到文学友谊的脚本性，促使西班牙作家质疑长期以来对这种关系的看法。塞万提斯的中篇小说《El curioso unpertinente》插入《堂吉诃德》第一部分，对这一传统造成了最终的打击：“安塞尔莫和洛塔里奥这两个朋友的背叛和死亡，以及随之而来的对两个朋友故事范式的破坏，可以被解读为……一种象征性的行为，旨在为小说主要叙事的新文学秩序扫清道路”（10）。

这本书首先对与友谊有关的基本问题和经典文本进行了引人入胜的介绍，尤其是亚里士多德的《伦理学》和西塞罗对此提出的更为怀疑的回应。亚里士多德将友谊描述为一种理想化的善意关系，而西塞罗则提出了一种更务实的愿景，即友谊会随着时间而变化，朋友必须相应地调整自己。这种现实主义的方法使西塞罗摆脱了吉尔伯特-桑塔玛丽亚（15）所描述的更普遍的“认识论异化问题”：过于完美的友谊，仅仅为了朋友，将导致我们对任何重要的事情都无话可说。朋友，因为因其特殊属性而被爱的朋友不会因为他自己而被爱（这个传统中的典型朋友是男性）。因此，完美的朋友是通过自我牺牲的行为而被认识的。然而，西塞罗选择了一条不同的道路。在他的书信著作中，他能够将完美友谊的理想与书信和礼物交换的工具主义实践结合起来。人们可以享受友谊，并在审美和修辞上从中受益，而不必放弃整个良性友谊的事业。

情节变得更加丰富：彼特拉克让西塞罗的友谊引起了早期现代人的注意，他们模仿他和西塞罗练习写和读亲密信件。在第一章中，吉尔伯特-桑塔玛丽亚[结束第413页]表明，彼特拉克的朋友薄伽丘虽然乍一看似乎只是在《十日谈》中写下了他自己版本的完美友谊，但实际上有些讽刺意味。在吉西普斯和提图斯的故事中，薄伽丘所提出的“人类友谊法则”可能会屈服于“爱情法则”（39），就像美丽的索弗洛尼亚站在两个男性朋友之间一样。即使这两个朋友为彼此做出了最终的自我牺牲，他们仍然表达了友谊的障碍，例如激情。薄伽丘的完美友谊被“人类欲望的实际特质”玷污了（41）。

在这个谱系中，第二章讨论的塞万提斯的《加拉泰亚》（La Galatea，1585）延续了薄伽丘的戏仿，表明“对日常生活的混乱、不可预测性和复杂性的再现不断地破坏了完美友谊的正统观念的实现”（56）。 《加拉蒂亚》以典型的塞万丁式幽默嘲讽了纯粹友谊的英雄无私行为。当朋友廷布里奥希望向当局自首以拯救他的朋友时，他被警告说没有人对这种举动感兴趣，而逮捕他朋友的牧师只会对这种戏剧性的友好行为感到更加恼火。吉尔伯特-桑塔玛丽亚引导读者找出情节中的其他几个时刻，因为朋友们偏离了人们对他们作为完美朋友的期望，例如西莱里奥不得不接受与廷布里奥妻子的妹妹布兰卡的婚姻。塞万提斯没有用这个场景来支持朋友作为第二个自我和友谊作为自由意志的爱的行为的观念，而是展示了友谊如何迫使西莱里奥妥协他对廷布里奥妻子的真实感情。友谊不再是真实表达的自主场所。

Silerio 和 Timbrio，就像后来的“El curioso unpertinente”中的两个朋友讨论的那样......