Miguel de Cervantes' is famous, in both his epic work 'Don Quixote" and also in his other works of literature, for making comic capital of the sentimental conventions of courtly literature. "Los Trabajors de Persiles Y Sigismunda" similarly makes use of this parodying technique. This paper will specifically analyze the four narratives known as the 'Mediterranean' narratives in Book I of "Los Trabajors de Persiles Y Sigismunda" and demonstrate their narrative commonalties in and analyze their relationship to the larger project of Cervantes' narrative technique. The beginning of "Los Trabajors de Persiles Y Sigismunda" demonstrates to the reader that a highly personable and involved narrator will tell the tales that shall unfold. The tales unfold through a specifically constructed narrative framework that is clearly told, clearly narrated by a wry, observing humorous "I" (or Yo) who has a distinct perspective upon the tales he will tell.

Yo, Jeronimo Nunez de Leon, escribano de Camara del rey nuestro senor, de los que en su Consejo residen, doy fee que, habiendose visto por los senores del un libro intitulado Historia de los trabajos de Persiles y Sigismunda, compuesto por Miguel de Cervantes Saavedra, que con licencia de los dichos senores fue impreso, tasaron cada pliego de los del dicho libro a cuatro maraved's, y parece tener cincuenta y ocho pliegos, que al dicho respeto son docientos y treinta y dos maraved's, y an este precio mandaron se vendiese, y no a mas, y que esta tasa se ponga al principio de cada libro de los que se imprimieren.

The constructed narrator affects certain artlessness in unfolding his background, and puts forth a rather humorous reference to the actual author of the story. The tongue-in-cheek narration is thus set forth from the beginning, and the reader is indirectly counseled not to take anything that transpires with any undue seriousness. As the tale of the two lovers begins to unfold, the narrator continues to step in and continues to convey the events with a mocking tone, rather than simply relating the romance...

This attitude of mocking both the genre and the characters itself is skillfully combined in the following passage:
Mira, oh gran gobernador, lo que haces, porque ese varon que mandas sacrificar no lo es, ni puede aprovechar ni servir en cosa alguna a tu intencion, porque es la mas hermosa mujer que puede imaginarse. Habla, hermosisima Auristela, y no permitas, llevada de la corriente de tus desgracias, que te quiten la vida, poniendo tasa a la providencia de los cielos, que te la pueden guardar y conservar, para que felicemente la goces.

The authority figure, in this case, the governor, is referred to ironically as grand, and the superlative nature of the adjectives employed, such as "hermosisima" in such a way to convey a lack of seriousness through their extremity. The narrator addresses the characters he is creating as if he is observing them from afar, and watching the amusing events they are taking part in from a great distance. Even the young woman who forms the protagonist of the first and primary romantic tale is 'sent up' slightly in the language that is used. Wealth, as authority was in the earlier, is also mocked:

-- Yo, segun la buena suerte quiso, naci en Espana, en una de las mejores provincias de ella. Echaronme al mundo padres medianamente nobles; criaronme como ricos. ..(Capitulo quinto)?

Even though the girl is Spanish and will eventually become involved with non-Spaniards to comic effect, she is not immune from Cervantes' wit. Both Spanish and other Mediterranean nationalities are mocked, as can be seen in the following version of the tale of 'el barbaro' who cannot speak Italian and is thus xenophobically miserable on an island.

Uno de los prisioneros dijo que el barbaro que los habia libertado, en lengua italiana les habia dicho todo el suceso miserable de la abrasada isla, aconsejandoles que pasasen an ella a satisfacerse de sus trabajos con el oro y perlas que en ella hallarian, y que el vendria en otra balsa, que alla quedaba, a tenerles compania, y a dar traza en…