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James Nemiroff-Final Dissertation

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James Nemiroff-Final Dissertation THE UNIVERSITY OF CHICAGO COMEDIAS JUDAIZANTES: PERFORMING JUDAISM IN LOPE DE VEGA’S TOLEDAN PLAYS (1590-1615) A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ROMANCE LANGUAGES AND LITERATURES BY JAMES MATTHEW NEMIROFF CHICAGO, ILLINOIS MARCH 2016 Table of Contents List of Figures iii Abstract iv Acknowledgments vi Introduction: The Jew as a Dramatic Problem In the Toledan Comedias of Lope de Vega 1 Chapter 1: Toledo as Foundational City: Genealogical Crypto-Narrations in El Postrer Godo de España and La comedia de Bamba 17 Chapter 2: Toledo as a City of Tragedy: Iconographic Crypto-Narrations in El Niño inocente de la Guardia and in El Hamete de Toledo 77 Chapter 3: Toledo as a City of Remembrance: Neo-Platonic Crypto-Narrations in Las paces de los reyes y judía de Toledo and La hermosa Ester 157 Conclusion: The comedia nueva as comedia judaizantte 225 Appendix: Figures 229 Bibliography 235 ii List of Figures Figure 1: Berruguete, Pedro (c.1450-1504) St. Dominic Presiding over the Burning of Heretics (oil on panel), / Prado, Madrid, Spain / The Bridgeman Art Library p. 230. Figure 2: El Greco (Domenikos Theotokopoulos), Greek (active in Spain), 1541–1614 Saint Dominic in Prayer, about 1605 Oil on canvas 104.7 x 82.9 cm (41 1/4 x 32 5/8 in.) Photograph © Museum of Fine Arts, Boston p. 231. Figure 3: (Unknown Architect) Puerta del Perdón, Toledo Cathedral. c. 1222-1223. Source: University of Chicago Art History Department Image Collection. p. 232 Figure 4: Francisco de Zurburán: Agnus Dei (1635-1640) Oil on Canvas. 373 x 62 cm. Prado Museum, Madrid, Spain/ARTSTOR. p. 233 Figure 5: Titian (c. 1488-1576): Ecce Homo (1543) Oil on Canvas 242 x 361 cm. Kunsthistorisches Museum, Vienna/Bridgeman Art Library. p. 244. iii Abstract Comedias judaizantes: Performing Judaism in Lope de Vega’s Toledan Plays (1590- 1615) uses philosophical hermeneutics to explore multiple representations of Judaism in Lope de Vega’s Toledan comedias. The study also examines how figures of Judaism interact with other myths shaping Early Modern Spanish national identity, namely the Mozarabic tradition, Spain’s Gothic heritage and Pauline hermeneutics. Inspired by Paul Ricoeur’s methodology of three-fold mimesis, it claims that certain dramas perform Judaism for sixteenth and seventeenth century Toledan audiences by inserting crypto-narrations, which are perceptible only to particular viewers. I also argue that Lope, by inserting these crypto-narrations, prizes Old Christian readings over Jewish ones in certain plays and Jewish ones in others. Furthermore, this dissertation analyzes to what degree we can analyze this Toledan corpus not only as a stepping stone toward the development of the comedia nueva, but also as a Judaizing chronicle which historiographically imitates the structure and the content of the historical forgeries about the history of Toledo being circulated throughout Spain during the sixteenth and seventeenth centuries. A central figure in this movement is the Jesuit priest Jerónimo Román de la Higuera whose Historia ecclesiástica de la imperial ciudad de Toledo (c. 1600) emphasized Toledo’s multi-ethnic roots, promoting the city’s importance in the providential history of Spain. While Higuera’s audience was primarily Toledo’s literary elite of which Lope formed a prominent part, Performing Judaism claims that Lope’s dramatic historiography popularized the myths discussed in these chronicles for the audiences of the corral. To prove these central arguments, Performing Judaism explores the kinds of crypto- narrations present and then how Lope uses these hidden messages to fashion differing and evolving representations of Toledo and of Judaism. Chapter 1 investigates the presence of iv genealogical crypto-narrations in La comedia de Bamba (1597-1598) and El Postrer Godo de España (1599-1603), depicting Toledo as a foundational city. Chapter 2, which analyzes El Niño Inocente de la Guardia (1598-1608) and El Hamete de Toledo (1606-1612), underlines the importance of iconographic crypto-narrations in fashioning Toledo as a city of tragedy. In Chapter 3, Toledo becomes a city of remembrance in Las paces de los reyes y judía de Toledo and La Hermosa Ester (1610), as the Jewess becomes both a feared and revered figure through a series of Neo-Platonic crypto-narrations. Ultimately, this dissertation presents new approaches to exploring the Jewish question in Early Modern Spanish Literature and the intricate relationships between literature and historiography as genres in sixteenth and seventeenth century Spain. v Acknowledgements What follows is an examination of how Judaism was performed in Early Modern Spain. When I discuss my dissertation topic, I am often asked whether my identity as a Jewish man influences my scholarship. While I am still grappling with that question, I would hope that this dissertation is a reflection of three major tenets of Judaism Torah (understood here as study, hard work and scholarship), avodah (faith, energy and determination) and gemilut hasadim (acts of loving kindness). While I will let readers recognize and evaluate the presence of Torah and Avodah in this project, this dissertation would not have been completed without the acts of loving of loving kindness of a whole host of friends and family. To the faculty the faculty and staff at the University of Chicago First, a special thank you to Frederick de Armas, the primary reason I came to the University of Chicago. I thank him for taking a chance on me so long ago and seeing me through the steps of this doctoral program. I am also grateful for how he modeled through actions how to be a highly quality academic who is also caring and infinitely patient. My gratitude as well for making yourself present and available whenever I needed you for advice or to just clear my head and get refocused. This project has been enriched in more ways than I can recount here by your wisdom and perspicacious comments on each chapter. I hope that this dissertation is the first of many intellectual ventures we do together. Thanks also to Professor Abraham Madroñal, a truly distinguido caballero, who so willingly put faith into an audacious American academic and introduced him to the world of Early Modern Toledo. Thanks in particular for advising the Master’s version of this dissertation and always holding me accountable for the historical and philological details. Thirdly, I thank Professor Ryan Giles for vi his advice and support through the years and agreeing to serve on my committee and for your comments and conversations on Chapter 3. Fourthly, I wish to extend my sincere gratitude to Miguel Martinez, whose rigor and questions allowed me not only to improve the final product but also shape my professional goals after the dissertation. Thanks as well to Department faculty, in particular Agnes Lugo Ortiz for productively pushing and inspiring countless students by highlighting the importance of ánimo. Thanks as well to Mario Santana for his support of not the project but my growth as an academic through his seminars. Finally, my thanks to Jennifer Hurtarte and Deborah Blumenthal not just for their overall administrative support but all of the conversations over the years, whether it be about the Cubs or Judaism. In addition to my intellectual models who pushed me to fashion a better dissertation, I also wish to thank those faculty members who took the time to consult with me about my work even though Early Modern Spain was not their primary research interest. First, thank you to Professor David Nirenberg, for highlighting the importance of Paul in considering Jewish questions. The rigor of his scholarship inspires many of these pages. Thanks as well to Niall Atkinson for the productive discussions we had both during workshops in Chicago and in Barcelona about the nature of Early Modern cities. My sincere gratitude as well to Bob Kendrick, whose insightful questions relating Lope de Vega to Francisco de Quevedo has helped me develop other avenues for research after the dissertation. My thanks as well to Ariadna García Bryce of Reed College for sparking a young man’s interest a long time ago by assigning El Gran palacio del Retiro and discussing the figure of Judaismo in your Junior Seminar. Furthermore, beyond simply maturing as a scholar, graduate school has also allowed me to examine how teaching and research are mutually dependent enterprises. For helping me realize this fact, I am grateful to Nené Lozada, who has taught me the importance of vii perseverance and experimentation in the classroom through her leadership and mentorship. My thanks as well to Tracy Weiner and Kathy Cochran for their kindness and for showing me how to productively weave together my passion for the liberal arts while also producing high quality research. Secondly, I would like to thank the following institutions for their financial support of this project. First, thank you to the Division of the Humanities of the University of Chicago for many years of financial support as a graduate student and through various teaching positions. Secondly, my sincere gratitude goes to the Community of Madrid for sponsoring a year abroad to study with the scholars at the Spanish National Research Council. Thanks to its financial support, I was exposed to the Philological School of literary criticism; a methodology, which I hope informs these pages. Additionally, that funding permitted me to travel to Toledo and engage with legal documents and testimonies, which has also enriched the project. Many thanks as well goes to Department of Romance Languages and Literatures and the Joseph Gulsoy Travel Fund, which permitted me to return to Spain several times to complete research not only at the CSIC but in Spain’s National Library, the Archive of the Toledo Cathedral as well as well as Toledo’s City archives.
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