ANTONIO ENRÍQUEZ GÓMEZ ( 1600- 1663) Courtesy of Special Collections, Van Pelt Library, University of Pennsylvania Antonio Enriquez Gómez by Glen F
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GLEN F. DILLE Antonio Enriquez Gómez Boston: Twayne Publishers, 1988. ANTONIO ENRÍQUEZ GÓMEZ ( 1600- 1663) Courtesy of Special Collections, Van Pelt Library, University of Pennsylvania Antonio Enriquez Gómez By Glen F. Dille Bradley University Twayne Publishers A Division of G. K. Hail & Co. · Boston Antonio Enriquez Gómez Glcn F. Dille Copyright 1988 by G. K. Hall & Co. AU rights reserved. Published by Twayne Publishers A Division of G. K. Hall & Co. 70 Lincoln Street Boston, Massachusetts 02111 Copyediting supervised by Barbara Sutton. Book produaion by Janet Zietowskl. Book design by Barbara Anderson. Typeset in 11 pi. Garamond by Williams Press, Inc., Albany, New York. Printed on permanent/d urable acid-free paper and bound in the United States of America. Library of Congress Cataioging-in-Publication Data Dille, Glen F., 1940— Antonio Enriquez Gómez / by Glen F. Dille. p. cm.—(Twayne's world authors series ; TWÀS 803) Bibliography: p. 184 Includes index. ISBN 0-8057-8234-6 (aik. paper) 1. Enriquez Gómez, Antonio, 1600-1663—Criticism and interpretation. I. Title. II. Series. PQ6388.E5Z64 1988 862'.3—dc!9 87-35097 CIP To Dean W. McPheeters, Emeritus of Newcomb College, Tulane University: teacher, scholar, and good friend. Contents About the Author Preface Chronology Chapter One Historical Background: Jews and New Christians in Iberia 1 Chapter Two The Life of Enriquez Gómez 9 Chapter Three The Twenty-two Plays of the First Epoch Chapter Pour The Moral Academies of the Muses 44 Chapter Five The Pythagorean Century 63 Chapter Six The Tower of Babylon 85 Chap ter Se ven Samson the Nazarene 104 Chapter Eight Various Works 122 Chapter Nine The Zarate Plays 142 Notes and References 167 Selected Bibliography 184 index 192 About the Author Glen F. Dille received his B.A. and M.A. from the University of Colorado. After a period of service with the U.S. Air Force he returned to graduate studies at Tulane University where he received his doctorate in 1973. His doctoral dissertation, A CHtical Edition of the "Comedia Serafina” (1521), was later published by Southern Illinois University Press. Dille is the author of several articles and papers concerning sixteenth- and seventeenth-century Hispanic literature on topics ranging from Celestinesque literature to Sor Juana Inés de la Cm 2. For the past few years his investigations have concentrated on the Golden Age drama and, in particular, on the works of Antonio Enriquez Gómez. Dille has been awarded fellowships to attend two summer seminars sponsored by the National Endowment for the Humanities as well as a Fellowship for Independent Study. He is currently associate professor of Spanish at Bradley University, Peoria, Illinois. Preface A study of so prolific a writer as Antonio Enriquez Gómez in so small a volume as this cannot pretend to be more than a general and rapid look at one of the most representative New Christian writers of the seventeenth century, a man whose life seems to be die distillation of all the trials that society reserved for the Jew or, in this case, a person of Jewish descant. While the following nine chapters are not exhaustive or definitive, they will give an introduction to the breadth and depth of Enriquez Gomez’s works through descriptions of the various compositions, con sideration of the salient themes, and identification of the continuity of thought that unites his work. It is hoped that this volume will stimulate further investigation in all aspects of the author’s life and work, for, although Enriquez Gomez was relatively popular in his day, the nine teenth and early twentieth centuries have not been very kind to his memory. Now, however, his work is fast gaining critical attention. The past few years have seen the appearance of several of his compositions with excellent introductory studies, and there is the promise of more in the near future. Enriquez Gómez was an exceptionally personal writer who viewed his compositions as vehicles to address his own vital concerns. Because the repressive atmosphere of his day dictated the often obscure manner in which he wrote, the author’s feeling are quite difficult to interpret. The opinions expressed in this work concerning the troublesome question of Enriquez Gomez’s religious beliefs are, as I see them, the best approximations to the truth that available evidence allows. Others will disagree, and I welcome that as constructive consideration long overdue this author. Enriquez Gomez's major works are presented in separate chapters in a roughly chronological order by publication data except for several less extensive compositions that are considered together in chapter 8. For die sake of convenience, in spire of its oversimplifications, I have considered Enriquez Gomez’s work as divisible into three epochs: the Madrid period, the period of the French exile, and the Seville period. In chapters 3 and 9, dealing with his dramatic compositions, I felt it more valuable to discuss in relative detail representative titles of each ANTONIO ENRIQUEZ GOMEZ period rather than to try to squeeze into the book a very short summary of each of his fifty-odd plays. In these two chapters general comments do supply at least some information on the plays not selected for more detailed discussion. Except for Professor Oelman’s translation of the poem on Lope de Vera used in chapter 8, all translations from primary and secondary sources are my own. My translations concentrate on intention and meaning and certainly neither do justice to Enriquez Gomez’s poetic ability nor convey the eloquent nature of his prose. I also recognize that the translations of titles of his works are often especially stilted. They are not artistic renderings, but instead are intended to be as dose as possible to the original tide. At first I had thought not to indude many citations and their translations, but I later dedded that since the majority of his works are not readily available, it would be well to let the author speak for himself as much as possible, even if only in translation. Many people and agendes have aided in this project, more than such a short work would seem to indicate. The National Endowment for the Humanities and the Bradley University Board for Research have been vety generous in their support. Above all, I must give credit to my esteemed professor and good friend, D. W. McPheeters, for suggesting the topic and thank him for his continuous support over the years. Additionally, professors B. W. Wardropper, S. A. Armistead, Michael McGaha, and John Wooldridge have all been supportive and most helpful in this project. Technical assistance was vital to dus effort, and for that I gratefully acknowledge the skill and patience of the staff of the Bradley University library— Marina Savoie, Elisabeth von Glasenapp, Laura Corpuz, and especially Barbara Tunks who cheerfully and carefully copied hundreds of pages of microfilm for me. My friends and colleagues Helen D. Goode, Warren Dwyer, and Margaret Carter kindly read the manuscript and tried to correa its worst passages. The infelicities that remain are my own. Finally, the preparation of die numerous revisions of the manuscript was undertaken by my wife, Lee, and by Kathie Strum, ro both of whom I owe a vety special acknowledgment of thanks. Glen F. Dille Bradley University Chronology 1600 Antonio Enriquez Gómez bom in Cuenca. 1618 Marries Isabel Basurto in Zaira.. Three children are bom of this marriage: Diego Enriquez, Leonor, and Catalina. 1624 Establishes as a merchant in Madrid. 1625 Attempts to recover property confiscated when his father was arrested by die Inquisition. 1633 18 May, Fernán Méndez Pinto staged in Madrid; 22 May, Diego de Camas staged in Madrid. 1634 12 May, testifies before the Inquisition in the case of Bartolomé Febos. 4 December, El capitán Chinchilla staged in Madrid. 1635 5 August, La soberbia de Nembrot staged in Madrid; 9 December, El capitán Chinchilla staged in Madrid. 1636 His sonnet included in commemorative volume on the death of Lope de Vega. ca. 1636 Abandons Spain for France. 1637 15-25 February, mentioned in a literary academy celebrated at the Buen Retiro. 1 November, his play El rayo de Palestina in possession of a theatrical agent. 1641 Triunfo lusitano. 1642 Academias morales de las musas. ca. 1643 Moves to Rouen with his wife, son, and daughter Leonor. 1644 La culpa del primer peregrino and El siglo pitagórico y vida de don Gregorio Guadaña. 1645 lotis dado de Dios. 1647 La política angélica. Academias morales reprinted in Valencia. 1649 La torre de babilonia. Engañar para reinar (play) published in Lisbon. ANTONIO ENRIQUEZ GOMEZ ca. 1649 El rey Salomón (El trono de Salomón) (play) smuggled into Spain. ca. 1649 Clandestine tecum to Spain. 1650 La bija del aire (part 2), attributed to Enriquez Gomez. 1652 Celos no ofenden al sol, Contra el amor no hay enganos; and No hay contra el honor poder (plays). 1656 Sansón nazareno (all but the last canto written before 1649). 1658 Contra el amor no hay enganos. W rites La loa de los siete planetas, 1660 Academias morales reprinted in Madrid, El valiente Cam- puzano printed in Spain. April, effigy of Enriquez Gómez burned in an auto-da-fe in Seville. 5 April, autograph MS of El noble siempre es valiente, 24-26 April, El maestro de Alejandro staged in Madrid; 27-28 April, El valiente Cam- puzano staged in Madrid. 1660 20, 23 May, A cada paso un peligro staged in Madrid. 26 July, autograph MS of La montañesa de Burgos. 1661 Entremés del zapatero, Entremés del alcalde de Mayrena, and the play El obispo de Crobia. 10 March, autograph MS of Las misas de S. Vicente Ferrer.