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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margin^ and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and confirming from left to right in equal sectionssmall with overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300North Zeeb Road.Ann Arbor.Ml 48106-1346USA 313/761-4700 800/521-0600 THE MARY SYMBOL IN THE ROMANCES OF DON FRANCISCO DE MEDRANO DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Jorge Washington Suazo-Jaque, B.A., M.A. ****** The Ohio State University 1996 Dissertation Committee: Approved by J.A. Giordano D.R. Larson S.J. Summerhill Department of Spanish and Portuguese UMI Number: 9620076 UMI Microform 9620076 Copyright 1996, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 To My son Andre, My Mother, and In Memoriam Jose Segundo Suazo Navarrete (1922-1993) Y aungue la vida murio, nos dej6 harto consuelo su memoria. Jorge Manrique ACKNOWLEDGMENTS My utmost gratitude goes to Dr. Donald R. Larson for his significant effort and valuable comments during the completion of this dissertation. Special thanks are due to the other members of my committee, Drs. Jaime Giordano and Stephen Summerhill for their willingness to serve on my committee. Finally, I wish to express my deepest appreciation for my colleague, Dr. Donnie D. Richards, for his suggestions and support throughout the writing of this work. 111 VITA October 20, 1953 .............. Born - San Carlos, Chile 1979 ........................... B.A., Universidad de Chile-ChillSn, Chilian, Chile 1986 ........................... M.A., Ohio University, Athens, Ohio 1992-93 ....................... Visiting Instructor, Grand Valley State University, Allendale, Michigan 1993-Present .................. Assistant Professor of Spanish, Georgia Southern University, Statesboro, Georgia PUBLICATIONS "The Virgin Mary: Religious Symbols in a Villancico of Sor Juana In£s de la Cruz." Rocky Mountain Council for Latin American Studies Proceedings 1993 and 1994. Ed. Theo R. Crevena. Alburquerque: University of New Mexico- Alburquerque, 1995. FIELDS OF STUDY Major Field: Department of Spanish and Portuguese TABLE OF CONTENTS DEDICATION ........................................... ii ACKNOWLEDGMENTS ..................................... iii VITA ................................................. iv CHAPTER PAGE I. THE POET AND HIS W O R K S ................. 1 Introduction ........................... 1 Biographical Data .................... 2 Medrano within the tradition of the Spanish Renaissance .................. 9 Medrano and the two Literary Schools: Salamanca and Sevilla ................ 14 Medrano as Imitative Poet .......... 20 Early Editions and Manuscripts of Medrano's Poetry .................. 25 Critical Studies of Medrano ........... 27 Dissertation Project .................. 37 Justification ......................... 38 Scope and Purpose ................. 41 M e t h o l o g y .......................... 41 II. THE MARY MYTH AND THE RELIGIOUS SYMBOL .. 44 Introduction ......................... 44 Limit-experiencies and the Experience of Sexual Differentiation ................ 44 The Mary Symbol: Four Paradigms.... 56 Origins of the Mary C u l t ........... 58 Symbols, Signs, and the Nature of Religious Symbols ..................... 67 III. MARY AS MADONNA .......................... 75 Introduction ......................... 75 Text of Romance 4: "De la Natividad" . 76 Discussion of Greeley's constituent aspects of the Madonna Symbol of Mary and Romance 4: "De la Natividad".... 77 v Romance 5: "En la misma fiesta a la Virgen Madre"............................. 108 IV. MARY AS V I R G O .................................. 121 Introduction ........................... 121 Greeley's VirgoSymbol .................. 122 The Feast of the Assumption of Mary . 130 Romance 32: "Assumpsion de Nuestra S e f i o r a " ................................. 133 Romance 8: "De la Natividad de X Nuestro Sefior" ........................ 146 V. MARY AS SPONSA ................................. 161 Introduction .......................... 161 Text of Romance 36: "Otro super illud api mihi etc." ........................... 162 Greeley's Sponsa Symbol ................ 166 The Nuptial Imagery in Christian T r a d i t i o n ................................ 173 Romance 36: "Otro super illud api mihi e t c . " ............................... 180 CONCLUSION ..........................................200 BIBLIOGRAPHY ....................................... 204 vi CHAPTER I THE POET AND HIS WORKS Introduction The present dissertation centers on the romances of the Spanish Golden Age poet Francisco de Medrano. These poems, primarily religious in theme, are products of the poet's early years, and they have received little attention from contemporary scholarship. One reason for their neglect is undoubtedly that the vast majority of them were not published until the relatively recent date of 1969. Another reason is that scholars in recent times have preferred to focus upon the works of the poet's later years, works that are principally secular in orientation. The first part on this chapter will provide the essential facts of Medrano's life. Subsequently, we shall situate our poet within the period of the Spanish Renaissance and define his place among his contemporaries. We shall then discuss the various manuscripts that embody Medrano's poetic corpus, as well as the most important editions of Medrano's works, starting with the posthumous Palermo edition of 1617. Finally, we shall survey the criticism devoted to Medrano's 1 2 poetry ranging from several early critics of the seventeenth century to those of the present time. Biographical Data Francisco de Medrano (c. 1570-C.1607) was a Spanish poet born in Seville.1 Although he died at an early age, approximately thirty seven, his premature death did not prevent him from having a notable place among the great poets of his time. Although we presently know a great deal about his life, there are some obscure aspects. We can only speculate about those areas of Medrano's life that remain unclear. In pursuit of information about the poet, a most valuable source of information is the family register in the archives of the Cathedral of Seville.2 D&maso Alonso, the foremost student of the poet, utilized this register in his 1 Francisco de Medrano's exact birth date has never been discovered, however, D&maso Alonso arrived at the date 1570 by comparing the records of the poet's life which appear in the Cataloai triennalis with references written by Francisco de Pacheco and other Sevillian contemporaries. The complete biographical information is given in Vida v obra de Medrano, vol. 1 (Madrid: Consejo Superior de Investigaciones Cientificas, 1948) 17-25. The first volume of this book is entirely Alonso's work. The second part, published in 1958, was written in collaboration with the English critic Stephen Reckert. All succeeding references to this book will be appropriately designated by author, volume, and page number. 2 Most of the information about Medrano's family was obtained by Alonso from the Cathedral of Seville as a result of a visit of three days in December, 1947. While there, he examined the files of two of Medrano's descendants who were priests in Seville, his brother Diego Herber de Medrano and his nephew Miguel de Medrano. For more information on Medrano's ancestry, see Alonso, Vida, vol. 1, 317-21 and 323- 25. 3 book entitled Vida y obra de Medrano, where he provides the following facts about the poet.3 Francisco de Medrano was the eldest of six children born to Miguel de Medrano and Maria de Villa. Doha Maria was a member of the Herber family, who were wealthy Sevillian bankers.4 It is also altogether possible that Don Miguel himself had quite a large amount of money.5 Lending credence 3 In writing this chapter, besides using Alonso's book as a source of information about Medrano, we have also relied a great deal on the study of the poet's biography and literary background contained in Constance Moneer Kihyet's first chapter of her dissertation, "A Stylistic analysis of the Imitative Sonnets of Francisco de Medrano," diss., Florida State U, 1979. 4 The information

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