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The Construction of a Cultural Legacy: Queen María De Molina of Castile and the Political Discourses of Molinismo

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The Construction of a Cultural Legacy: Queen María De Molina of Castile and the Political Discourses of Molinismo The Construction of a Cultural Legacy: Queen María de Molina of Castile and the Political Discourses of Molinismo Janice Renee North Coalport, Pennsylvania MA, University of Virginia, 2009 BA, Indiana University of Pennsylvania, 2005 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Spanish, Italian, and Portuguese University of Virginia August, 2013 ii © Copyright by Janice North All Rights Reserved August 2013 iii Abstract This dissertation is a new historicist approach to studying the cultural legacy of the medieval queen María de Molina of Castile-León (1284-1321). In this study, works of literature are examined alongside historical accounts—such as chronicles and official documents—which are read as literature and analyzed for the political rhetoric which they contain. This study is focused on two things: First, understanding María de Molina’s exercise of queenship, with an emphasis on how that queenship is constructed and represented in texts, and second, evaluating the impact of her queenship and its connection to the so-called cultural movement of molinismo in the thirteenth and fourteenth centuries. In this study, Queen María’s queenship is understood as the combination of her exercise of power in the discursive space of the court, as well as her representation in royal documents and histories. The first chapter explores the origins of what some literary critics have dubbed “molinismo” in thirteenth-century Castile-León, and the explanation of molinismo as a conservative movement back to orthodoxy, contained in literature produced in the court of Queen María’s husband, Sancho IV. This chapter provides an overview of Sancho’s cultural production, but it focuses on an analysis of the king’s cultural politics and the only work that Sancho claimed credit for as an author, Castigos del rey don Sancho IV . Chapters two and three examine María de Molina’s queenship as it is constructed in the royal chronicles written by the archdeacon of Toledo, Jofré de Loaysa, and Alfonso XI’s chancellor, Fernán Sánchez de Valladolid, as well as in other official documentation, such as royal charters, privileges, and ordenamientos from the medieval iv political institution of the cortes . These chapters consider the gendered construction of the queen’s image, the extent of her participation in shaping that image, and the political motivations for her portrayal in these texts. The last chapter returns to the topic of molinismo in Castilian literature produced in the first half of the fourteenth-century. Through an analysis of three works that are connected to the cultural movement of molinismo (Libro del caballero Zifar , Poema de Alfonso XI , and Libro de buen amor ), this chapter attempts to measure the queen’s influence on molinismo and poses the question of whether or not molinismo should be considered a unified cultural movement. v Acknowledgements This project is the product of more than two years of work and it would not have been possible without the assistance and support of professors, friends, and family members. First and foremost, I would like to thank my dissertation director, Michael Gerli, for introducing me to María de Molina and the topic of molinismo and for generally being the best advisor a graduate student in my position could hope for. I needed an advisor like you, supportive and thoroughly knowledgeable in all things medieval, to help guide me through this process. I sincerely appreciate your enthusiastic encouragement and lightning-fast feedback. To my second and third readers, Allison Weber and Randolph Pope, thank you for your advice in helping me limit the scope of this study to something manageable and humble and for your suggestions on how to approach the topic. I am especially grateful to Professor Weber for her advice to be careful in attributing Queen María’s voice to any of the documents she had a hand in composing, which has been a guiding principle throughout my writing process. To my outside readers, Theresa Earenfight and Deborah McGrady, thank you for lending your time and considerable expertise to this project and for your kind words of encouragement and suggestions. I would also like to thank Duane Osheim and Deborah Boucoyannis, for their suggestions of references on this period in Medieval Spain at the beginning of this project. I also need to thank the Department of Spanish, Italian, and Portuguese at the University of Virginia, as well as the Clay Foundation, who generously funded my archival research for this project. vi I could not have completed this project without the support of my friends and family. I would like to thank my “dissertation support group,” Natalie McManus, Ashley Kerr, and Allison Libbey, who helped me through all aspects of the dissertation writing process, both academic and emotional. I would have been lost without you. I would also like to thank my sister, Emily North, my adopted sister, Susan Eger, and my fiancé Michael Hortesky, all of whom listened to my theories and ideas about medieval queenship, patiently acting as sounding boards at different points during this process. Also, I want to thank my family and friends for their support and encouragement, not only during the period which I was writing this dissertation, but throughout my graduate studies. vii Table of Contents Introduction 1 Chapter 1 Culture Wars: Sancho IV and the Politics of Medieval Spain 16 Chapter 2 Laying the Foundations for a Cultural Legacy: María de 81 Molina as Queen Consort and Queen Mother (1282-1300) Chapter 3 The Architecture and Architects of Queen María’s Legacy: 144 The Majority of Fernando IV and the Minority of Alfonso XI Chapter 4 Molinismo in the Literature of Fourteenth-Century 219 Castile-León Conclusion 279 Works Cited 292 1 Introduction You know what “legacy” means? It’s what you pass down to your children, and your children’s children. It’s what remains of you when you’re gone. —Tywin Lannister (character from HBO’s Game of Thrones) ∗ This study examines the cultural legacy of the medieval Castilian queen María de Molina (1284-1321) in an attempt to appreciate the impact of her rule on the cultural politics of Castile at the turn of the fourteenth century. We sometimes talk about historical figures as having a “cultural legacy” or even make reference to the “cultural legacy” of an entire civilization (as in “the cultural legacy of Ancient Greece”). When speaking of historical figures, the term usually indicates the way in which that person is remembered and what it is they are remembered for. It also often indicates the impact that an historical figure had on society or on certain culturally-held beliefs. As a queen regent of Castile-León, María de Molina had a significant impact on the society in which she lived and ruled. She exercised a considerable power and influence during her time as queen and she is remembered by history (if only in certain restricted disciplinary circles) as an exemplary Castilian queen who supported her family’s interests and managed to hold on to the crown for her son and her grandson. And yet, María’s cultural legacy is more than just the way in which she is remembered by history. Oxford English Dictionary defines the term “legacy” as “anything handed down by an ancestor or predecessor” and Merriam Webster defines it as “something transmitted by or received from an ancestor or predecessor or from the past.” 1 Besides the crown of Castile-León, Queen María was able to hand something more down to her descendants. By María’s ∗ David Benioff and D.B. Weiss, “A Man Without Honor,” Game of Thrones , season 2, episode 7, directed by David Nutter, aired May 13, 2012 (Burbank, CA: Warner Home Video, 2013), DVD. 1. Oxford English Dictionary , 2nd ed., s.v. “legacy.”; Merriam-Webster’s Collegiate Dictionary, 10th ed., s.v. “legacy.” In both cases, these are secondary definitions. 2 cultural legacy, I mean the ways in which her rule as queen was perceived and represented by her contemporaries, how it was recorded for posterity, and above all how it was used—both by her supporters and by her descendants—to promote a political discourse and set of beliefs and ideas about monarchy that served the interests of the crown, and which some literary critics have come to describe as the “cultural movement” or the “cultural model” of “molinismo.” 2 We all know something about the more famous Iberian queens like Isabel the Catholic and her daughter Juana the Mad. For many years I have been drawn to the historical figures of queens like these because they appeared to me to be saying something about the way in which all women—not just queens—were perceived by the society in which they lived. Some queens in Medieval and Early Modern Iberia were respected authorities who were able to wield power and others were not. Some were admired by their contemporaries and remembered as great monarchs in the royal chronicles; while others were vilified and belittled, or condemned to obscurity by the writers of history. Either way, the rule of these queens and the manner in which their rule was portrayed and understood had an impact on culturally-held beliefs about women and politics, including the nature of women and their aptitude for ruling. And this had larger repercussions regarding ideas about women in general—such as their place in the family and society, and even woman’s capacity for good or evil. As Theresa Earenfight argues, “the royal family was the framework for the transmission and exercise of lordship, as well as a model and source for attitudes and structures and behavior towards women in 2.
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