Ginés de Pasamonte y Pedro de Urdemalas en la escritura esperpéntica de Ramón del Valle-Inclán

Valle-Inclán constantly dialogues with Cervantes in terms of hypertextuality, as defined by Genette. Specifically, in the farces La Marquesa Rosalinda and Farsa italiana de la enamorada del rey he resorts to the paradigm of Ginés de Pasamonte/Pedro de Urdemalas in order to show us the dissolution of the Modernism in meta-theatrical terms. Later on, in the epoch of the esperpento, Divinas palabras and Los cuernos de Don Friolera celebrate the defeat of any possibilities to transform the sordid reality by means of the theatre (Urdemalas), and the triumph of the picaresque paradigm of the puppeteer and demiurge Ginés de Pasamonte/Maese Pedro, one of the main models of Valle’s titiriteros.