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La Sátira Política En Fray Gerundio (1837-1842) De Modesto Lafuente

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La Sátira Política En Fray Gerundio (1837-1842) De Modesto Lafuente LA SÁTIRA POLÍTICA EN FRAY GERUNDIO (1837-1842) DE MODESTO LAFUENTE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mònica Fuertes-Arboix, Licenciada * * * * * The Ohio State University 2006 Dissertation Committee Professor Salvador García Castañeda, Adviser Professor Rebecca Haidt Professor Donald Larson Approved by Professor Stephen Summerhill ____________________________________ Adviser Graduate Program in Spanish and Portuguese Copyright by Mònica Fuertes Arboix 2006 ABSTRACT Fray Gerundio is a satirical newspaper, written by Modesto Lafuente y Zamalloa between 1837 and 1842, whose object was to criticize contemporary politics and society. There has been little written about this weekly, in the first place because Lafuente’s extraordinary reputation as a historian overshadowed his journalistic work. As well, a complete study of the fifteen volumes of Fray Gerundio is a monumental task, due mainly to obscure and arcane references to events and figures of society, politics and local customs of the Spain of the period. Lafuente was immersed in the pettiness of the political and literary world of the capital, and was aware of the instability of the Spanish political situation of the moment. Faced with this chaotic political and economical circumstances writers took to satire as the best lens through which to view reality. In this dissertation, I study Lafuente’s periodical and analyze it considering the style (satire and “costumbrismo”), topics, structure and the two characters, who were the main reason for the immediate success of the publication: Fray Gerundio, from whom the periodical took its name, and the lay brother Tirabeque. Fray Gerundio is a friar forced from his convent as a result of a law promulgated by the ii minister Juan Alvarez Mendizábal in 1835 mandating the sale of all church property. Lafuente made him into a man of letters, a suitable alter ego and spokesman for his ideas. In contrast, the lay brother Tirabeque is an ignorant rustic who has no comprehension of politics. But under this simple appearance is a sharp wit whose comical criticisms hit the nail on the head. Fray Gerundio appeared weekly and was composed of articles written entirely by Lafuente, grouped under the heading “Capilladas”. I am writing this study of the satirical periodical Fray Gerundio with the ultimate goal of incorporating Modesto Lafuente into the canon of Spanish literature. Although he is already a fundamental figure for historical studies, in my opinion he deserves to be included among the most important authors of satire, “costumbrismo” and political commentary of the 19th century. iii Dedicated to my beloved parents, Joan and Dolors, and my dear brother Juanjo. iv ACKNOWLEDGMENTS This dissertation would have not been written without the intellectual support, encouragement, enthusiasm and guidance of my beloved and dear friend, my adviser Salvador García. I am indebted to his interesting and important commentaries, which will never be forgotten. I wish to thank my Godmother Montse Marrugat for her encouragement and support now and always. I thank Kevin Poole and Carmen Grace for their friendship and support in this long and painful process of being away from home and fulfilling a dream. I am grateful to Stephen Summerhill and Donald Larson for their knowledge, accessibility and encouragement these last five years. I also wish to thank Rebecca Haidt for enlightening this dissertation with her thoughtful commentaries. I thank Susan García for her time and patience with my English and me. I am deeply obliged to Susan Karpus whose logistical support made possible the writing of this dissertation. I am also grateful to Montse Amores and Sergio Beser for giving me the chance to continue growing intellectually. I also wish to thank my family and friends in Spain who have always supported me and believed in me no matter how far away I was. v I am grateful to the Department of Spanish and Portuguese at the Ohio State University, specially the Chair, Fernando Unzueta for his support and consideration of my endeavors. vi VITA October 19, 1970 ……………………….. Vilafranca del Penedès, Barcelona, Spain 1994 …………………………………….. Licenciatura, German Language and Literature, Universitat Central de Barcelona 2000 ……………………………………. Licenciatura, Spanish Language and Literature, Universitat Autònoma de Barcelona. 2001-2004 ……………………………….. Graduate Teaching Assistant, Department of Spanish and Portuguese, The Ohio State University. 2004-2005……………………………….. Spanish Instructor, Department of Modern Languages, Denison University, Ohio. 2005-Present…………………………….. Graduate Teaching Assistant, Department of Spanish and Portuguese, The Ohio State University. vii PUBLICATIONS 1. “Creación literaria y culinaria: evolución de un único concepto en Para amantes y ladrones de Pedro Zarraluki”. Monographic Review. Feasting, Fasting and Gastronomy: Food and its uses in Hispanic Literature. Volume XXI, Spring 2006. 2. Una passejada per la Barcelona del XIX”. Review article of the book by Antoni Vilanova, Emili Vilanova i la Barcelona del seu temps. Avui (Catalan Newspaper), p. 17. February 2001. 3. “La seducció de la ploma”. Review article of the book El mirall i la màscara by different authors on the work of Carme Riera. Avui (Catalan Newspaper), p. 28. December 2000. FIELDS OF STUDY Major Field: Spanish and Portuguese. viii ÍNDICE Página Abstracto……………………………………………………………………. ii Dedicación…………………………………………………………………... iv Agradecimientos………………………………………………………….…. v Curriculum Vitae ………………………………………………………….....vii Índice ………………………………………………………………………...ix Índice de Figuras…………………………………………………………......xi Capítulos Introducción…………………………………………………....... 1 1. Un costumbrista satírico: Modesto Lafuente y Zamalloa (1806- 1866) ……....……………………………………………………. 16 2. Prensa y sociedad en España entre 1837 y 1842………………... 44 3. Fray Gerundio. Periódico satírico de política y costumbres….... 71 3.1 Estructura y forma ………………………………………...... 71 3.2 Personajes .………………………………………………….. 82 ix 3.3 Temas de Fray Gerundio ........................................................ 89 3.4 Fray Gerundio, un costumbrismo diferente………………....125 4. La sátira de Fray Gerundio…………………………………....... 153 4.1 Características de la sátira de Fray Gerundio………………. 170 4.2 La sátira romántica o la tragedia del periodismo satírico …... 195 5. Las ilustraciones en Fray Gerundio…………………………….. 202 Conclusión……………………………………………………………........... 232 Bibliografía ………………………………………………………………......238 x ÍNDICE DE ILUSTRACIONES Ilustración Página 1 Tomo V, capillada 128, Pág. 383…………………………207 2 Tomo IV, capillada 103, Pág. 381……………………….. 208 3 Tomo I, capillada 1, Pág. 3 ……………………………….211 4 Tomo III, capillada 65, Pág. 175 …………………………213 5 Tomo II, capillada 42, Pág. 232 …………………………. 213 6 Tomo VIII, capillada 190, Pág. 124 ……………………...216 7 Tomo IX, capillada 229, Pág. 315 ……………………….217 8 Tomo IX, capillada 231-231, Pág. 368 …………………..218 9 Tomo IX, capillada 231-232, Pág. 360…………………...221 10 Tomo X, capillada 254, Pág. 307…………………………224 11 Tomo XII, capillada 296, Pág. 133 ……………………….225 12 Tomo XI, capillada 285, Pág. 375 ………………………..226 13 Tomo VI, capillada 155, Pág. 432 ………………………..228 xi INTRODUCCIÓN BAJO EL YELMO DE MAMBRINO “-¿Cómo me puedo engañar en lo que digo, traidor escrupuloso? -dijo don Quijote-. Dime, ¿no ves aquel caballero que hacia nosotros viene, sobre un caballo rucio rodado, que trae puesto en la cabeza un yelmo de oro? -Lo que yo veo y columbro -respondió Sancho- no es sino un hombre sobre un asno pardo, como el mío, que trae sobre la cabeza una cosa que relumbra. -Pues ése es el yelmo de Mambrino -dijo don Quijote-. Apártate a una parte y déjame con él a solas: verás cuán sin hablar palabra, por ahorrar del tiempo, concluyo esta aventura y queda por mío el yelmo que tanto he deseado”. Don Quijote de la Mancha, primera parte, capítulo XXI. La verdad la hacemos entre todos, pero la mera verdad, es que la verdad no existe. La verdad es que Don Quijote creyó que la bacía de barbero era la que ganó Reinaldos de Montalbán matando al rey moro Mambrino, y verdad es también que Sancho veía que se trataba de una vulgar bacía de barbero. La autenticidad, la certeza son una creación artística, no una cualidad de las cosas. En las obras de arte, verdad y certeza son posibilidades que no se pueden demostrar porque sólo son propuestas que nos ofrece el artista. Esta ambigua relación de la obra artística con lo verdadero abarca todos los ámbitos de la cultura y la sociedad. Así, lo que no se sabe con certeza se puede 1 interpretar con historias ficticias protagonizadas por personajes literarios o artísticos, sin dejar por ello de ser verdaderas, como sucede con la historia. Cualquier historia de cualquier país está plagada de mitos que explican conceptos sencillos como el origen de los colores de la bandera, o más complejos como la falta de libertad, el carácter de un pueblo, las características raciales o la ausencia de una historia y de una identidad propias. “Un mito es una raíz, una boca de sombra, un eco fosilizado. Un mito es como un hombre que habla en sueños, lúcido y sonámbulo…La suprema ficción que en la antigüedad el poeta interponía al horror que le inspiraba lo desconocido o la invención que hizo brotar la Europa de las naciones en el siglo XIX. Los mitos se entretejen, tejiendo y destejiendo el tapiz de la historia, entre disputas teológicas, delirios de progreso, sueños racionalistas y recuerdos de esperanzas.
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