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The Mythological Image of the Prince in the Comedia of the Spanish Golden Age

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The Mythological Image of the Prince in the Comedia of the Spanish Golden Age University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2014 STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE Whitaker R. Jordan University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jordan, Whitaker R., "STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE" (2014). Theses and Dissertations--Hispanic Studies. 15. https://uknowledge.uky.edu/hisp_etds/15 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Whitaker R. Jordan, Student Dr. Moisés R. Castillo, Major Professor Dr. Haralambos Symeonidis, Director of Graduate Studies STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE ________________________________ DISSERTATION ________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Whitaker Roy Jordan Lexington, Kentucky Director: Dr. Moisés R. Castillo, Associate Professor of Hispanic Studies Lexington, Kentucky 2014 Copyright © Whitaker Roy Jordan 2014 ABSTRACT OF DISSERTATION STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE This dissertation uses the seventeenth-century Spanish plays which employ an array of mythological stories of Theseus to analyze the Early Modern ideology of the Prince. The consideration of the different rulers in these plays highlights different aspects of these sovereigns such as their honor, prudence, valor, and self-control. Many of these princes fall well short of the ideal explained in the comedia and in the writings of the arbitristas. By employing the hylomorphic theory in which everything can exist in either its matter or its form, it is shown that in order to have the form of a prince, rulers must act in certain ways to reach that ideal or perfect state. Many princes in the plays, however, at least at certain times, only have the matter of a prince and fall short of the form. By drawing from mythological theories which describe the need for a mediation or an alleviation of an irresolvable contradiction within a society, it is shown that despite the imperfections of the flawed princes that are put on stage, these plays still defend and glorify the monarchical system in which they were created as well as the specific imperfect princes. The six plays examined here in which Theseus is a primary protagonist are El laberinto de Creta, Las mujeres sin hombres, and El vellocino de oro by Lope de Vega; Los tres mayores prodigios by Calderón de la Barca; El labyrinto de Creta by Juan Bautista Diamante; and Amor es más laberinto by Sor Juana Inés de la Cruz and Juan de Guevara. These plays span a large portion of the seventeenth century and although the authors wrote some of them for the corrales, they created others to be performed before the court. KEYWORDS: Theseus, Comedia, Prince, Mythology, Spanish Golden Age Whitaker Roy Jordan Student’s Name April 23, 2014 Date STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE By Whitaker Roy Jordan Dr. Moisés R. Castillo Director of Dissertation Dr. Haralambos Symeonidis Director of Graduate Studies April 23, 2014 Dedicated to the memory of Elijah Jonathan Jordan They shall mount up with wings like eagles ACKNOWLEDGMENTS The following dissertation, while an individual work, benefited from the insights and direction of several people. First, my Dissertation Director, Dr. Moisés R. Castillo, has been an invaluable resource, guide, and motivator. He has had to work a lot to bring me to where I am now. Next, I wish to thank the complete Dissertation Committee, and outside reader, respectively: Dr. Aníbal Biglieri, Dr. Haralambos Symeonidis, Dr. Susan Larson, Dr. Gretchen Starr-Lebeau, and Dr. Jonathan Allison. Each individual provided insights that guided and challenged my thinking, substantially improving the finished product. In addition to the technical assistance mentioned above, I received equally important assistance and encouragement from family and friends since it is not all about me. This project would have been impossible without them, and I am truly grateful for the many things throughout the years that they have done. I would specifically like to mention my siblings Linnea and Peter, my parents John and Glenda, and my wonderful wife Nicole. U_ Finally, I would like to thank God, the King of Kings and Prince of Peace. iii TABLE OF CONTENTS Acknowledgements.... ........................................................................................................iii Chapter One: Introduction The Prince...... ..........................................................................................................1 Hylomorphism........... ............................................................................................12 Mythology...... ........................................................................................................23 This Dissertation: Chapters and Dramas........ ........................................................31 Chapter Two: The Honorable Prince Introduction and Background ................................................................................50 The Plays with Theseus......... ................................................................................71 1. El laberinto de Creta by Lope de Vega..... ............................................71 2. Las mujeres sin hombres by Lope de Vega........... ................................81 3. El vellocino de oro by Lope de Vega.....................................................89 4. Los tres mayores prodigios by Calderón de la Barca........ ..................102 5. El labyrinto de Creta by Juan Bautista Diamante. ..............................108 6. Amor es más laberinto by Sor Juana Inés de la Cruz and Juan de Guevara.......... ..............................................................................113 Conclusion..... ......................................................................................................120 Chapter Three: The Prudent Prince Introduction and Background ..............................................................................121 The Plays with Theseus......... ..............................................................................153 1. El laberinto de Creta by Lope de Vega..... ..........................................153 2. Las mujeres sin hombres by Lope de Vega........... ..............................161 3. El vellocino de oro by Lope de Vega...................................................171 4. Los tres mayores prodigios by Calderón de la Barca........ ..................179 5. El labyrinto de Creta by Juan Bautista Diamante. ..............................189 6. Amor es más laberinto by Sor Juana Inés de la Cruz and Juan de Guevara.......... ..............................................................................193 Conclusion..... ......................................................................................................200 Chapter Four: The Valiant Prince Introduction and Background ..............................................................................202 The Plays with Theseus......... ..............................................................................216 1. El laberinto de Creta by Lope de Vega..... ..........................................217 2. Las mujeres sin hombres by Lope de Vega........... ..............................227 3. El vellocino de oro by Lope de Vega...................................................234
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