THE CONCEPT OF THE GARDEN IN SELECTED SPANISH WORKS OF THE MEDIEVAL AND GOLDEN AGE by LUCIA HOESS B.A. Simon Eraser University, 1980 M.A. Simon Fraser University, 1985 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES Department of Hispanic and Italian Studies We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1994 ® Lucia Hoess, 1994 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholariy purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. (Signature) of Hispanic and Italian Studies Department The University of British Columbia Vancouver, Canada Date October 17, 1994 DE.6 (2/88) ABSTRACT The vision of a beautiful garden has been a constant in man's imagination. Within the Judeo-Christian tradition, that vision was manifest as a longing for a return to the primeval paradise. Throughout the ages, this longing has found expression in art and literature and very often, the image of the garden has become associated, and even synonymous, with Heaven itself. In the Spanish literature of the late Middle Ages, the Renaissance, and the Baroque, the image of the garden as "hortus conclusus" enjoyed wide popularity. During the Middle Ages, that topos was mostly used in an allegorical context with a moralizing intent. In the Renaissance, the popularity of the topos decreased in favour of the concept and landscape of Arcadia, except in mystical literature, where it continued to flourish. The Spanish Counter-Reformation brought about a revival of religious intensity, often not without medieval undertones, and during this time. Arcadian Renaissance elements were carried over into the new epoch, albeit set into a new context, as the aesthetic appeal to the senses was now put in the service of God's praise. A parallel study of the treatment of gardens in literature in contrast with gardens in real life shows whether, in each epoch, real life gardens exerted an influence on imaginary gardens, or whether literary gardens were used as models for the creation of the real ones. From such a study it is possible to hypothesize that both, real and literary gardens can reflect the cultural climate of their times, and that any changes in their ii presentation can be indicative of changes in contemporary beliefs and concerns. The garden, concealed as a literary or philosophic topic, or as a commentary on social issues, can thus represent a place of learning and meditation, a plaisance for love and secrecy, a mere background for dramatic presentations, or an encomium in praise of God's creation. The five Spanish authors selected to test that hypothesis wrote at different periods and with different purposes. Their individual conception of the garden as a literary or ontological place has been studied and contrasted via a string of focal points: the type of garden conveyed, their view of the garden as a sacred place, the contrasting concepts of solitude and isolation related to different gardens; activities inside the garden; the possible changes a garden undergoes through mood perception and temporal variations; the garden residents' relationship to the divinity; and their hope for a return to paradise. Since the function implied by the authors of these five literary gardens reveals the audience they had in mind, it can be said that the garden has also the function of an exemplary text, and can thus be used as 1. a seductive didactic lesson; 2. as an admonitory moral "exemplvim"; 3. as a religious manual; 4. as a reflection on, and praise of, divine harmony; and 5. as a gallery of erudition. A garden is therefore able to disclose the attitudes and values projected onto it by its author and its time, allowing the reader a glimpse into its "Zeitgeist". iii TABLE OF CONTENTS Page ABSTRACT ii TABLE OF CONTENTS iv ACKNOWLEDGEMENTS vi INTRODUCTION 1 0.1 The History of Gardens 1 0.2 Spain: Gardens and Literature 31 CHAPTER I Gonzalo de Berceo's Perfect "Prado" in his Milaqros de Nuestra Senora 64 1.1 The Virgin Mary as locus amoenus 68 1.2 Elements of the "prado" 69 1.3 The Virgin-Garden Allegory 81 CHAPTER II Melibea's Precarious Paradise 95 2.1 First Encounter: A Violation of Space 97 2.2 Melibea's Model 100 2.3 Signs of Instability 106 2.4 Inversions 109 2.5 Shadows over Paradise 114 2.6 Paradise Cursed: The "Anti-Garden" 123 2.7 The Problem of "lujuria" in the Garden 126 2.8 Adam and Eve in the "huerto" 128 2.9 Three Views of the "huerto": Melibea, Elicia, Pleberio 133 CHAPTER III "Serving the Lord of the Garden" 146 3.1 Active Meditation: Drawing the Water from a Well 153 IV Page 3.2 Prayer of Quiet: Drawing Water with a Windlass 157 3.3 Prayer of Recollection: Water Flowing from Stream or Spring 162 3.4 Prayer of Union: Rain from Heaven Sent by God 167 CHAPTER IV Voices of Praise in the Gardens of Aula Dei 187 4.1 The Gardens of Aula de Dios 192 4.1.1 "Claustro" 192 4.1.2 "Sepulcro" 193 4.1.3 "Pensil" and "huerto" 196 4.1.4 Poet's Private Garden 200 4.1.5 Names of the Virgin Mary 206 4.1.6 "Campana" 212 4.2 Sounds and Silence in the Garden 214 4.2.1 Silence and Solitude 214 4.2.2 Silence that Speaks: Sounds within the Silence 219 4.3 Silent Voices of Praise and Admiration 223 4.3.1 Praise by Nature—for Nature 223 4.3.2 Praise by Nature—for Man 225 4.3.3 Praise by Man—for God 226 4.3.4 Praise by Nature—for God 228 CHAPTER V Love and Restraint in the Garden: The Presence of the Female in Soto de Rojas' Paralso cerrado para muchos. iardines abiertos para pocos 237 5.1 Mansiones 1-7 241 5.2 Art and Nature in Soto's Garden- Paradise 298 CONCLUSION 314 BIBLIOGRAPHY 351 ACKNOWLEDGEMENTS This thesis is dedicated to Dr. Arsenio Pacheco, the "angel venerable" who, as teacher, supervisor, and inner guide has given me sufficient inspiration to last a lifetime. I thank him for his infinite patience, care and dedication, and for allowing me to take root, grow and develop in his vast hortus sapientiae. Many thanks also to the other members of my Supervisory Committee, Dr. Karl Kobbervig and Dr. Maria Tomsich, for reading this thesis, to Dr. Derek Carr for his role as topiarius of style, in trimming this dissertation into shape, to Beth Howarth for her cheerful assistance during the final formatting of this thesis, and to my husband Gary for his continued support and tolerance throughout my years of study. Last but not least, a very special thanks to all the members of the Department of Hispanic and Italian Studies for providing their students with an atmosphere conducive to peace and work. VI INTRODUCTION 0.1 The History of Gardens Gardening is an art of peace that harbours a dream of paradise. The idea of the garden originated in societies that had achieved stability and could afford the time necessary for the cultivation of plants (Cowell 5) . * Only when a society had moved beyond agrarian survival and possessed the necessary surplus funds, as well as the desire to embellish one's surroundings, temples, and public buildings could gardens be planted and properly cared for (Vercelloni 9). ^ During periods of relatively high civilization, gardens could be established and enjoyed for their aesthetic purposes. With continual care and effort, a garden could develop from mere economic utility to fulfil man's "quest for beauty, peace, contentment and delight", and show that in the art of gardening, the hand, the head, and the heart of man must work in unison (Cowell 8). To enjoy a garden and its plants for fragrance and for visual pleasure was a sensual appeal that came to Europe from the Middle East (Vercelloni 9). Around 2500 B.C. in Egypt a high government official named Methen, who lived during the Fourth Dynasty under the reign of King Sneferu, gave orders to have his future tomb frescoed with a record of his life's work, and his story, told in hieroglyphics, clearly shows that his garden was very important to him. The description of the same implies that it was a pleasure garden containing ornamental and fruit trees, vines and ponds. As far as we know he was the first human being 2 to describe a garden and his testimony proves that there existed a tradition of gardening as an art as far back as 25 centuries before the beginning of the Christian era (Cowell 11). According to Luise Gothein in A History of Garden Art, a typical garden site of those times appears as follows: The house stands inside the garden, enclosed by a wall. The entrance door leads straight into the garden . and the visitor proceeds to the house, which has garden all around it. The most conspicuous place . is allotted to the vine arbour, where ripe grapes hang on a pergola . and among the trees are figs, pomegranates, and sycamores, which in their own avenue provide fruit and .