Dark Laughter: Liminal Sins in Quevedo's Entremeses Item Type text; Electronic Dissertation Authors Yancey, Jason Edward Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 05:36:48 Link to Item http://hdl.handle.net/10150/195236 DARK LAUGHTER: LIMINAL SINS IN QUEVEDO’S ENTREMESES by Jason E. Yancey ______________________ A Dissertation Submitted to the Faculty of the DEPARTMENT OF SPANISH AND PORTUGUESE In partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN SPANISH In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Jason E. Yancey entitled Dark Laughter: Liminal Sins in Quevedo’s Entremeses and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy ____________________________________________________________ Date: 4/24/09 Dr. Amy R. Williamsen ____________________________________________________________ Date: 4/24/09 Dr. Robert L. Fiore ____________________________________________________________ Date: 4/24/09 Dr. Richard P. Kinkade Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ____________________________________________________________ Date: 4/24/09 Dissertation Director: Dr. Amy R. Williamsen 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department of the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Jason E. Yancey 4 ACKNOWLEDGMENTS Praise the bridge that carried you over. (George Colman, The Heir at Law , 64). Like many graduate students, I have overcome innumerable obstacles during my journey to this point in my life and in my career, a feat made possible by the innumerable and well-placed bridges of kindness and support along the way. I express my gratitude in particular to the members of my dissertation committee: to Dr. Amy Williamsen, my teacher, mentor, and friend since the day I met her and who continues to provide me with tremendous opportunities that have helped make me the person I am today; to Dr. Robert Fiore, who taught me to expand my horizons and to ever search for knowledge and never find it; and to Dr. Richard Kinkade, who not only introduced me to Quevedo’s theater but taught me the meaning of excellence in scholarship. In addition to these I have benefited from many other teachers and advisors that have freely shared their knowledge and insight with me, including Dr. Laura Gutierrez, Deborah Dickey, Dr. Valerie Hegstrom and Dr. Dale Pratt. I also express heart-felt gratitude to my graduate student compatriots, including Jonathan Wade, Errol King and Susan Divine, who made the journey with me always with the reassurance that I would eventually arrive at my destination. My family, both immediate and extended, has always been an invaluable source of strength in everything that I do and my greatest source of joy. To my parents and siblings I offer my love and appreciation. I am particularly grateful to my four beautiful 5 and precious children, London, Sonnet, Page and Knight, who have made my life, even in its darkest moments, worth living. I cannot begin to express even the smallest part of my feelings of gratitude to my wife, Aleece. She is my universe, my biggest fan, my best friend and my cherished companion. Ten years later and you’re still my sweetheart, now more so than ever. Thank you. 6 DEDICATION For London, Sonnet, Page and Knight: you are my life’s greatest work. 7 TABLE OF CONTENTS ABSTRACT ........................................................................................................................ 9 CHAPTER 1: FRANCISCO DE QUEVEDO AND THE ENTREMÉS.......................... 10 Lope de Rueda (1510?-1565?) ...................................................................... 20 Miguel de Cervantes (1547-1616) ................................................................. 24 Antonio Hurtado de Mendoza (1586-1644) .................................................. 28 Luis Quiñones de Benavente (1595?-1651) .................................................. 31 Francisco de Quevedo (1580-1645) .............................................................. 36 Interludes positively attributed to Quevedo: ................................................. 40 Lost or fragmentary works positively attributed to Quevedo: ...................... 48 Works falsely attributed to Quevedo: ............................................................ 49 CHAPTER 2: AGENTS OF SIN , THE PURGING POWER OF LIMINALITY ............ 57 CHAPTER 3: DESIRES OF THE EGO (PRIDE, SLOTH AND WRATH) ................... 91 Entremés famoso «El Marión» ...................................................................... 93 Entremés de la ropavejera ........................................................................... 102 Entremés de los enfadosos .......................................................................... 108 Entremés del marido fantasma .................................................................... 116 CHAPTER 4: DESIRES OF OWNERSHIP (GREED AND ENVY) ............................ 125 Entremés de la venta .................................................................................... 128 Entremés de la vieja Muñatones .................................................................. 133 Entremés de la destreza ............................................................................... 141 8 Entremés del niño y Peralvillo de Madrid ................................................... 145 La polilla de Madrid .................................................................................... 153 CHAPTER 5: DESIRES OF THE BODY (LUST AND GLUTTONY) ........................ 162 Entremés de los refranes del viejo celoso ................................................... 164 Entremés de Diego Moreno ......................................................................... 173 Entremés de Barbara ................................................................................... 184 CONCLUSION ............................................................................................................... 192 WORKS CITED ............................................................................................................. 200 9 ABSTRACT This dissertation investigates two areas rarely treated in Early Modern studies. First, it explores the origins, functions and importance of the entremés as a performance genre historically relegated to what Victor Turner has called the “liminal” spaces of social and scholarly discourse. These marginalized places of ambiguity in between one space and another provide the artist with a less restrictive creative setting in which to explore the otherwise difficult and even unmentionable social themes. Literally placed in between acts of the comedia performance experience, as well as chronologically placed in between the medieval pageant theater and the emerging early modern theater houses, the entremés serves as an entertaining breed of performance monster, building upon a thematic foundation “betwixt and between” acceptable and objectionable forms of theater. Second, the dissertation examines in detail the 12 lesser-known entremeses of Francisco de Quevedo as examples of liminality in the development of early modern theater practices. Specifically, the study analyzes these theater pieces as they subscribe to three categories of cardinal sin: desires of the ego (pride, wrath and sloth); desires of ownership (greed and envy); and desires of the body (lust and gluttony). As a result, this work hopes to demonstrate the aesthetic value of the interlude and the ways in which Quevedo’s various manifestations of this liminal genre, based heavily on the construct of sin, both complement and contradict the model of the entremés as established by his predecessors. 10 CHAPTER 1: FRANCISCO DE QUEVEDO AND THE ENTREMÉS De los farsantes que han hecho farsas, loas, bailes, letras, son Antonio de Morales, Grajales, Zorita, Mesa, Sanchez, Rios, Avendaño, Juan de Vergara, Villegas, Pedro de Morales, Castro, y el hijo de la tierra, Caravajal, Claramonte y otros que no se me acuerdan. (Augustin de Rojas. Viaje Entretenido , Libro I) It is a simple fact of life that middle often plays synonym to trouble