Ilustración 1 Vista De Sevilla, Atribuído a Claudio Sánchez Coello (Museo Del Prado, Madrid)
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Ilustración 1 Vista de Sevilla, atribuído a Claudio Sánchez Coello (Museo del Prado, Madrid). SEVILLA COMO ESPACIO DRAMÁTICO EN LA COMEDIA DEL SIGLO DE ORO DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Judith García-Quismondo García, M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Professor Donald R. Larson, Adviser Professor Vicente Cantarino _______________________ Professor Salvador García Adviser Professor Donald M. Terndrup Spanish & Portuguese Graduate Program ABSTRACT When discussing the typical Spanish commedia—especially the palatine or urban one dealing with duels, swords, and cloaks to conceal identities, and focused mainly on the interaction of citizens with the Baroque buildings of an urban surrounding (palaces, particular houses, gardens, churches)—Madrid, as the capital of the Spanish Empire, always stands out. Countless studies about the interplay between the city and the private spheres of its citizens have been written and discussed, all of them centered on the city of Madrid. As far as Sevilla is concerned, only Héctor Brioso Santos has examined the city in depth during the Golden Age period, centering his approach on narrative fiction and considering the city as a locus for turmoil. My study, however, is focused on the public sphere of Seville in the Spanish Golden Age, and its cultural representation in the existing dramatic corpus. Through literary, social and urbanistic depictions I confront the portrayal of Seville as a magnificent and thriving commercial emporium within the pages of the Spanish comedia, in contrast to the portrait of crime and vice permeating the Golden Age narrative. In fact, Seville in the theater reveals a compendium of topics regarding the city worthy of examination and a less reductionist approach. As the major Spanish trading port, it soon became a shelter for those in search of a better fortune. The competitive struggles derived from an overcrowded city illustrated, and accounted for, the ii pages of countless picaresque narrations. Despite the ever-present connection between Seville and past glories and splendor in most of Golden Age plays, the present perception of the city is ultimately linked to the narrative genre. Although the dramatic corpus on Seville is fairly broad, the limited reception of the plays may account for the ephemeral association of Seville and wealth. Most of the plays considered in my study have not been published and presumably were on stage only briefly. I have limited my study to sixteen comedies, which I have centered on four major themes: economic and commercial life of Seville; historic and legendary origins of Seville; Seville as a shelter or door to other spheres; and Seville as a locus of crime. All of them justify a more complete and precise analysis of the role of Seville in the redefinition of national cultural and aesthetical values. Although the Seville of crime and necessity is often shown in some comedias, it is always in an oblique way and concealed by the triumph of the character representing the existing political and religious ideogram. The central question of my dissertation lies in the analysis of the portrayal of Seville within the pages of the Spanish comedia, as opposed to the scope of crime and vice glimpsed at the Golden Age narrative. Presently in Spain, the second vision of Seville seems to have lingered and I try to point out if the restricted sphere of Spanish plays has been the responsible for the ephemeral link of Seville to past splendors. iii Dedicated to my whole family for their support and affection, especially to my parents for the example they set on me. To my brother Abraham for his photographer skills in Seville and his editing excellence at the States. In gratitude to Samuel, for his love and patience. iv ACKNOWLEDGEMENTS I wish to thank my adviser, Dr. Donald R. Larson, for his advice, his support and his great doses of patience dealing with my procrastination. I am also thankful to both my adviser and my professors Dr. Salvador García and Dr. Vicente Cantarino for their dedication, for their stimulating suggestions and comments, and especially for their interesting approaches and discussions in former classes of Spanish Literature. I am indebted to all my friends, colleagues, and professors who contributed with their ideas and alternatives to broaden my mind and approach my analysis under different lenses. I also wish to thank all my students at The Ohio State University and in the Columbus area, in general, who were tolerant and sensitive with my mood changes during the process of writing the dissertation and contributed to my easiness due to their great spirit. Among them I deeply thank my group of seminarian students and friends at the Pontifical College Josephinum for their enthusiastic and loyal response to my work. This research was supported by several grants from The Ohio State University such as the Karpus Grant and Loann Crane Fund from the Department of Spanish and Portuguese, the Tinker Grant from the Office of Latin Studies and the International Dissertation Award from the Office of International Affairs. Without their generous contribution I would not have been able to cover the expenses of my archival work in Spain. v VITA June 9th, 1972 .............................................. Born – Cadiz, Spain 1995 ............................................................. B.A. English Language and Literature, University of Seville. 1996 ............................................................. Teaching Certificate, University of Cordoba, Spain. 1997 – 1998 ................................................. Teaching Associate, The College of the Holy Cross. 1998 – 20005 .............................................. Graduate Teaching Associate, The Ohio State University. 2000 .............................................................. M.A. Spanish Literature, The Ohio State University. 2004 – 2005 .................................................. Spanish instructor, Pontifical College Josephinum. PUBLICATIONS Research Publication 1. García-Quismondo García, Judith, “La creación del “Fénix”. Recepción crítica y formación canónica del teatro de Lope de Vega by Enrique García Santo-Tomás.” Review. Crítica Hispánica, Duquesne University, vol. XXV, (2003). vi 2. García-Quismondo García, Judith, “El Manuscrito encontrado en Zaragoza: el bazar de los espejos”. Monstruosidad y transgresión en cultura hispánica. Universitas Castellae, (2003). 3. García-Quismondo García, Judith, “Ay, Carmela! o ¿el poder de la palabra?”. Actas de Semiótica de la Universidad a Distancia. UNED, (2002). 4. García-Quismondo García, Judith, “Representaciones visuales de la ciudad de Sevilla en el Siglo de Oro”. Relaciones trasatlánticas entre el Occidente y el Oriente. Universitas Castellae, (2003). FIELDS OF STUDY Major field: Spanish Literature vii TABLE OF CONTENTS Page Abstract .....................................................................................................................................ii Dedication.................................................................................................................................iv Acknowlegments.......................................................................................................................v Vita............................................................................................................................................vi Lista de ilustraciones.................................................................................................................x Chapters: 1. Introducción: cómo se concibe una ciudad: ..................................................................1 1.1 La ciudad como estructura física............................................................................11 1.2 La ciudad como "morada vital"..............................................................................22 1.3 La ciudad barroca...................................................................................................30 1.4 La ciudad escenario................................................................................................38 1.5 La ciudad como "imaginario"................................................................................46 2. Sevilla en su historia y su arte: ...................................................................................55 2.1 Origen histórico y actividad comercial..................................................................55 2.2 Población................................................................................................................71 2.3 La Sevilla física......................................................................................................81 2.4 La Sevilla imaginada: comentarios, elogios y vituperios......................................94 viii 2.5 Sevilla en su representación visual......................................................................106 3. La Sevilla del claroscuro:..........................................................................................174 3.1 Sevilla en la prosa del Siglo de Oro....................................................................174 3.2 Sevilla en el teatro del Siglo de Oro....................................................................179 4. Núcleos temáticos de comedias en torno a Sevilla:...................................................202