a furious satire on the sexual acts of monarchs

We will search in vain for informational ingredients, and instead we will see an expressionist court, which transforms the supposed intelligence matter into an exercise in pure and rounded creativity.

In the historical story, there is nothing more than a diorama of Madrid environments and scenes in the light of the river “with more inspirations than matter”, where power and people converge, both in some violent styles and mixed with nature.

Power is concrete in an anonymous sovereign who studies the influence of divine predestination in bullfights and who is more concerned with God’s power than with peace or war in his realm. The community, a large number of chulapos, lavanders, devotees and ruffians, gathered in the minds, maintains aires zarzuelleros

No portrait of sociological value is present in both social groups, which reflect an unrealistic view of the community. Everything is seen through a different prism, absurdity, chaos and incoherence. Comedy replaces the descriptive or analytical press and Manuel Longares enters the carnival.

Equity trading is not harmless. The author applies a selective criterion that foregrounds the values ​​of the monarchy and signals its distance from the plebs, while the latter, a conceited and insolent people, is part of the dominant class and lives on the fringes of its rude habits.

The marriage between imagination and literary language creates a shocking narrative artifact in “Cortesanos”

The final thread of the director’s demystification is here the pathological lust of monarchs – a generic ruler who occupies the center of the relationship and his wife – which Longares leads to extreme eroticism.

The king goes to sex games for the woods and woods, under the gaze of a heavy vaca for so much “bad ejaculation”.

Meanwhile, if you take a good look at the girl, she tells her to “relax her pupil and her tongue” and retaliate the esqueleto. The story recreates the frenéticas coyundas: “sigue, para, no pares, ven, voy, qué me haces, riamos, Entra, sal, me chispas, me fluyes, me espatarras”.

The community also shares the heritage of the Crown. Some peasants opened the doors of the royal carriage to show their adhesion and “hallaban to the king and the castrati sulfeando en pelota, sharpening the rod or lamiéndezola to the neighbor”.

Theatrical farce after the throne demystifies even the altar. We see it in the blasphemous desacralization of religious dogma: “Father, Hijo and Espíritu Santo, ¿concitan fraternidad o una mano de hostias?”.

This experimental reality is supported by a spectacular stylistic and verbal play that replicates communicative prose. At the same time, dialogues in the texts abound and convey sound and harmony with burlesque effects.

And in the accumulation of alliteration, it is connected with a playful virtuosity: a passage from a pair of pages without rest escalates the sound “ch” (“Al chispún de la charanga, un sochantre chamulla chirigotas”, etc.).

In this way, the irreverent mythic world completely fits the anti-naturalistic style. A marriage between imagination and literary language is created Cortesanos a shocking and unclassifiable narrative artifactand not a little difficult to read.