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Francis Meres' Rendering of Luis De Granada's Guía De Pecadores

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Francis Meres' Rendering of Luis De Granada's Guía De Pecadores DEPARTAMENTO DE FILOLOGÍAS INGLESA Y ALEMANA FACULTAD FILOSOFÍA Y LETRAS PROGRAMA DE DOCTORADO LENGUAS, TEXTOS Y CONTEXTOS Translation, Anglo-Hispanic Relations and Devotional Prose in the Renaissance: Francis Meres’ Rendering of Luis de Granada’s Guía de Pecadores Miriam Castillo Arroyo Supervised by Dr. José María Pérez Fernández (University of Granada) Dr. Andrew Hadfield (University of Sussex) Granada, 2018 Editor: Universidad de Granada. Tesis Doctorales Autor: Miriam Castillo Arroyo ISBN: 978-84-1306-023-1 URI: http://hdl.handle.net/10481/54069 CONTENTS Introduction……………………………………………………………... 1-19 CHAPTER 1. Luis de Granada and Francis Meres, A Common European Context………………………………………………………. 20-79 1.1 European Conflicts…………………………………………………… 20-26 1.1.1. Devotio Moderna…………………………………………. 26-32 1.1.2. The Bible and its Interpretation…………………………... 32-36 1.2 The European Book Market………………………………………….. 36-79 1.2.1 Material analysis of books………………………………... 42-62 1.2.2 State control, censorship and the legal conditions for book production………………………………………………………... 62-66 1.2.3 Spain and the Index………………………………………. 66-73 1.2.4 England; Decrees and Royal Proclamations……………... 73-79 CHAPTER 2. Early Modern Translation; theory and practice……... 80-128 2.1 Conflicting perspectives in translation theory……………………….. 80-102 2.2 Treatises on translation theory……………………………………….. 103-111 2.3 The role of the translator……………………………………………... 111-121 2.4 English Renaissance Translation…………………………………….. 121-128 CHAPTER 3. The authors……………………………………………... 129-191 3.1 Luis de Granada, a Dominican preacher……………………………... 129-140 3.1.1 Guía de pecadores 1556/7 and 1567……………………... 136-140 3.2 Francis Meres, an Anglican priest…………………………………… 140-191 3.2.1 The Practice of Commonplacing…………………………. 163-175 3.2.2 Meres’ commonplace Palladis Tamia, Wits Treasury….... 175-191 CHAPTER 4. Anglo-Hispanic Literary Relations…………………… 192-229 4.1 The ‘Black Legend’………………………………………………….. 192-206 4.2 Religious publishing and Catholic texts……………………………... 207-221 4.3 The influence of Christian Devotion over English writers…………... 221-229 CHAPTER 5. The Reception of Luis de Granada in England………. 230-248 5.1 English translations of Granada’s prose: Catholic and Protestant editions……………………………………………………………….. 230-237 5.2 Richard Hopkins……………………………………………………... 237-242 5.3 Other English translators of Granada’s prose………………………... 242-248 CHATER 6. Francis Meres’ translation, a case study……………….. 249-342 6.1 Luis de Granada’s intertextual references……………………………. 257-280 6.1.1 The Bible…………………………………………………. 257-268 6.1.2 Fathers of the Church…………………………………….. 268-272 6.1.3 Classical Authors…………………………………………. 272-280 6.2 Meres’ problem of Translatability………..………………………….. 280-296 6.3 The Thirty-Nine Articles of the Church of England in Meres’ text………………………………….………………………………… 297-342 Conclusions and future research………………………………………. 343-368 Works Cited: Primary Sources……………………………………….... 369-381 Works Cited: Secondary Sources……………………………………… 382-428 Translation, Anglo-Hispanic Relations and Devotional Prose in the Renaissance Introduction This study contributes to the understanding of Francis Meres as a controversial, mysterious but also important figure in the history of Early Modern England. Little is known about his family or personal relations. His scant literary production was all published during one single year, 1598, save for Gods Aritmeticke, which appeared a year earlier. The Sinners Gvyde was his rendering of Luis de Granada’s Guía de pecadores, whereas Granados Devotion, and finally Granados Spirituall and Heauenlie Exercises, consisted of selections from the second part of Granada’s Libro de la oración y meditación, all of them based on a Latin source. Meres’ current reputation, however, rests on a single book, Palladis Tamia, Wits Treasury, a collection of quotations on morals, religion and literature where we can also perceive Granada’s influence: more than a hundred entries were taken from his works. As early as 1817, Nathan Drake mentioned him in Shakespeare and His Times. Then, in 1833 Meres’s work is referred to in the 34th volume of Blackwood’s Edinburgh Magazine. Similarly, J. Payne Collier includes Meres in a footnote within the first volume of The Works of Edmund Spenser (1862). In the twentieth century Gregory Smith included Meres’ anthology within his Elizabethan Critical Essays (1904). The same did George Saintsbury in his History of English Criticism (1911) and Herbert E. Cory in The Critics of Edmund Spenser (1911). In 1933 Don Cameron Allen devoted his doctoral research to a comprehensive analysis of the sources and influence of a section within this work, the “Comparatiue Discourse.” This scholar published an article, “The Classical Scholarship of Francis Meres” (1933), with an analysis of his method of composition, and he also edited and prologued the 1938 edition of Palladis 1 Translation, Anglo-Hispanic Relations and Devotional Prose in the Renaissance Tamia. Francis Meres is also mentioned in the works of Gerald E. Bentley (1943) and Peter Blayney (1997). More recently, the works of MacDonald P. Jackson (2005), Robert Detobel and K. C. Ligon (2009), and Katherine Duncan Jones (2009) also focus on the figure of the English writer and translator. Most, if not all, scholarly attention has been centred on two aspects of the work. These are, on the one hand, Meres’ references to contemporary English writers in the “Comparatiue Discourse”, mainly his praise of William Shakespeare and his production, including those works still unpublished when Meres’ text was issued. The other was his modus operandi. Scholars such as Allen or Detobel and Ligon insisted that Meres’ entries were not based on first- hand knowledge but rather that they were culled from secondary sources such as Erasmus’ Parabolae sive similae, Plutarch’s Moralia, Pliny’s Naturalis Historia, Seneca’s De vita beata or De Beneficiis, Cicero’s Tusculanae Disputationes, John Chrysostom’s Homilies, Saint Augustine’s De Civitate Dei, Saint Gregory’s Morals, Jerome’s epistles, William Webbe’s Discourse of English Poetrie (1586) or Puttenham’s Art of English Poesie (1589). This reliance on other sources led contemporary scholars to criticize his method and accuse Meres of plagiarism. The fact that scholarship has focused exclusively on this relatively small portion of Palladis Tamia, or rather on Shakespeare’s references, has occluded other important influences (in particular, non English sources) in the English canon. This thesis focuses on Meres’ The Sinners Gvyde, the first translation of Guía de pecadores into English, both in England and abroad. Meres ranked Guía as the best among Granada’s works, and it was the only one Meres translated completely. His English version did not derive from the Spanish original, though. The text he employed was Michael ab Isselt’s Latin edition published in Cologne under the title Dvx Peccatorvm (1587), which was in turn rendered from an Italian version, not yet 2 Translation, Anglo-Hispanic Relations and Devotional Prose in the Renaissance identified. In his version Meres introduced a number of modifications that hint at his concern about the country’s religious settlement and his aspiration to become a writer. The Sinners Gvyde is, therefore, an excellent case study for the process of adaptive translation which works of literature undergo when they have to fit within a context whose prevailing ideology differs from the original. In this process, certain potentially controversial writings, such as those of Luis de Granada, are expurgated in translation while maintaining the text’s spiritual content and its devotional tenor. It guaranteed the favour of both institutional authorities and the English audience. This will allow a revision of some fundamental notions and concepts on translation studies such as the dichotomy between literalness and adaptation, foreignization and domestication. The choice of a source text for translation, according to Venuti, is always revealing and ideologically biased. In this case, it is apparent that the selection of the friar’s writings was motivated by the popularity religious literature had achieved in England and, above all, by Granada’s singular style, some of whose features showed certain similarities to those admired in Elizabethan culture. Ideological, cultural and social constraints influence the strategies and mechanisms used in the translation process, itself a process of domestic inscription whereby the translator reinvents and reconstructs the target text replacing certain original features with a particular set of values of that language and culture.1 In general terms, this research analyses what these modifications can tell us about the ideas and mentalities of their readers and writers, about the worlds they inhabited and the ways in which the culture of the printed word interacted with their lives and environment. If Meres modified Granada’s contents, the range of domestic meanings which he included in his version may have saved these 1 Venuti 2004, 482. 3 Translation, Anglo-Hispanic Relations and Devotional Prose in the Renaissance texts from confiscation. Meres’ dedications to influential figures contributed to their official acceptance too. The English translator belongs to a difficult period. A variety of beliefs coexisted in the doctrinal continuum between radical Protestants and supporters of Elizabeth’s more moderate Anglican religious settlement, which managed to tread a middle path that successfully averted the wars of religion
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