Since the root meaning of "picaro" is "rogue," if we were to demand of such a character that he/she be a model of propriety, we would be denying the picaresque form its motivating agency.    From Wordnik.com.  [Narrative Strategies] Reference

The picaresque story -- derived from the term identifying the protagonist of such stories, the "picaro" -- was introduced by Spanish writers of the 16th and 17th centuries, and is essentially a journey narrative in which the picaro, usually a rogueish character, embarks on a journey in which, literally, one thing happens after another.    From Wordnik.com.  [Narrative Strategies] Reference

He is a real "picaro" and would use it in a situation like.    From Wordnik.com.  [Si Dios me permite......] Reference

Maradona is the classic "picaro" character of 16th century Spanish literature, a scoundrel who lives by his wits and rebels against the establishment.    From Wordnik.com.  [Brownsville Herald :] Reference

It is based on the tales of Flemish picaro avant-la-lettre Renard the Fox.    From Wordnik.com.  [Sly as a fox, or, picaros avant la lettre « Jahsonic] Reference

It might be that Catherynne Valente reacted as she did to Famke because she failed to consider that Breath and Bones is essentially a picaresque novel, Famke its picaro.    From Wordnik.com.  [Narrative Strategies] Reference

Comic actors, whom Meeker models on the picaro in contrast to the tragic or pastoral hero, are not at odds with the world because they do not think in terms of oppositions or polarities.    From Wordnik.com.  [Joanna Baillie’s Ecotopian Comedies] Reference

They belonged mostly to that class of realistic fiction which is called picaresque, from the Spanish word 'picaro,' a rogue, because it began in Spain with the 'Lazarillo de Tormes' of Diego de.    From Wordnik.com.  [A History of English Literature] Reference

It's the "adventures" of the picaro that solicit our attention in this kind of fiction, and whatever change or enhancement of character that emerges is secondary to the experiences to which the character is submitted, to the process by which change or growth might (or might not) occur.    From Wordnik.com.  [Narrative Strategies] Reference

Nothing but a general will do for the picaro -- well, he shall have a general to talk to.    From Wordnik.com.  [A Set of Six] Reference

"No! But only listen to this picaro, caballeros," he pronounced with affected scorn, and was answered by a chorus of derisive laughter.    From Wordnik.com.  [Nostromo, a Tale of the Seaboard] Reference

He then ordered me back to prison, where he said I should lay and rot, calling me a carracho picaro, and similar names, which I did not regard.    From Wordnik.com.  [Pattie's Personal Narrative, 1824--1830] Reference

In Meeker’s words, “superior mentality merely permits the picaro to become a better animal, not to transcend his animality” (62).    From Wordnik.com.  [Joanna Baillie’s Ecotopian Comedies] Reference

(though ever-innocent Candide never exactly becomes a sly picaro) in the kind of circular (or spiral) storytelling theatrical process that's become the troupe's hallmark.    From Wordnik.com.  [The Berkeley Daily Planet, The East Bay's Independent Newspaper] Reference

picaro said.    From Wordnik.com.  [Dungeons and Dragons 4th Edition: Player's Handbook] Reference

"Speak -- thief -- scoundrel -- picaro -- or --".    From Wordnik.com.  [Nostromo, a Tale of the Seaboard] Reference

"oidor" instead of "juge" or "membre de la cour royale," "escribano" instead of "notaire," (8, 9.) "Hospital de niños" instead of "hospice des enfans orphelins," "olla podrida" three times "marmalada de berengaria," (9, 4,) and "picaro" instead of "fripon," (4, 10, 12.).    From Wordnik.com.  [Blackwood's Edinburgh Magazine - Volume 55, No. 344, June, 1844] Reference

In the basic form, where low status translates to low duty and low strength-of-will we might see them as the comic scapegoat, the pharmakos, but more dramatic potential seems to be gleaned by subverting this form: the alazon or miles gloriosus pretends to a duty they lack the strength-of-will to enact; the picaro is indifferent to any sense of duty, is strong-willed in terms of desire but generally weak-willed in terms of controlling it; where they find that strength-of-will and set themselves at odds with the deontic imperatives of their worldscape, the picaro may become an out-and-out antihero.    From Wordnik.com.  [A Theory of Modes and Modalities] Reference