Beatriz Bernal and Her Cristalián De España: A
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i CHIVALRY THROUGH A WOMAN’S PEN: BEATRIZ BERNAL AND HER CRISTALIÁN DE ESPAÑA: A TRANSCRIPTION AND STUDY ________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board _____________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy ________________________________________________________________________ By Jodi Growitz Shearn August, 2012 Examining Committee Members: Montserrat Piera, Advisory Chair, Department of Spanish and Portuguese Hortensia Morell, Department of Spanish and Portuguese Teresa Scott Soufas, Department of Spanish and Portuguese Stacey Schlau, External Member, Department of Languages and Cultures, West Chester University ii © Copyright 2012 by Jodi Growitz Shearn All Rights Reserved iii ABSTRACT Title: Chivalry through a Woman’s Pen: Beatriz Bernal and Her Cristalián de España: A Transcription and Study Candidate’s Name: Jodi Growitz Shearn Degree: Doctor of Philosophy Temple University, 2012 Doctoral Advisory Committee Chair: Dr. Montserrat Piera This doctoral dissertation is a paleographic transcription of a Spanish chivalric romance written by Beatriz Bernal in 1545. Cristalián de España, as the text is referred to, was printed twice in its full book form, four parts and 304 folios. It was also well-received outside of the peninsula, and published twice in its Italian translation. This incunabulum is quite a contribution to the chivalric genre for many reasons. It is not only well-written and highly entertaining, but it is the only known Castilian romance of its kind written by a woman. This detail cannot be over-emphasized. Chivalric tales have been enjoyed for centuries and throughout many different mediums. Readers and listeners alike had been enjoying these romances years before the libros de caballerías reached the height of their popularity in Spain. Hundreds of contributions to the genre are still in print today and available in numerous translations. Given this reality, it seems highly suspect that this romance, penned by a woman, and of excellent quality, is not found on the shelves next to iv other texts of the genre. Cristalián, despite what scholars of the genre have erroneously posited, was not an obscure text in sixteenth-century Spain. Bookstore and print-shop inventories of its time list numerous copies of Bernal’s romance in bound book form, which confirm that Cristalián was circulating for at least sixty years. The purpose of this dissertation is two-fold. In order for Cristalián to be included in conversations of any nature, it must be made available. This transcription of Book I and II seeks to accomplish that. Secondly, current scholarship must re-imagine erroneous constructions of sixteenth-century reader’s preferences. These prevalent constructions have often excluded noteworthy contributions to literature, especially those written by women. My aim is to redress this imbalance by analyzing Beatriz Bernal’s written text and her writing strategies. The first three sections of the accompanying study more thoroughly address the challenges facing women writers in sixteenth-century Spain while also considering issues of literacy, reader preferences, and text distribution of the period. The last sections of the study are devoted specifically to the chivalric genre, and to Bernal’s exemplary romance, Cristalián de España. Also included in the appendix are woodcuts from both Castilian editions, the proemio from the second edition, the chapter rubrics from Book I and II, and an index of characters from the narration. v ACKNOWLEDGEMENTS I give great thanks to the many teachers and professors who have shaped my ideals as both a teacher and a scholar. Most specifically, Dr. Montserrat Piera, who, for me, opened the door to women writers of the past. She has encouraged me to be ambitious, to take risks and to finish well. She has sacrificed hours of time to help me cultivate my language and writing skills, Spanish, Catalan, and English, and has continually believed in my abilities as a writer, scholar and new mother. This project could not have been realized without her support and friendship. I dedicate this dissertation to my parents, Joanne and Richard Growitz and to my godmother Audrey Larvey who have supported me unconditionally throughout my adventures. Words cannot express the gratitude I have for them. And to my husband Tim who has supported every step of this process, my appreciation for your understanding and encouragement of my commitment to these endeavors is beyond measure. Above all I thank God for lighting the path toward the many outstanding women scholars who have made this goal possible, and toward the commendable women writers of the past like Beatriz Bernal. vi TABLE OF CONTENTS Page ABSTRACT ....................................................................................................................... iii ACKNOWLEDGEMENTS .................................................................................................v CHAPTER 1: APPROACHING THE ROMANCE OF CHIVALRY: Illuminating the Obscured........................................................................................1 2: BEATRIZ BERNAL AND THE WRITERS OF SIXTEENTH-CENTURY SPAIN ................................................................................................................................11 3: CRISTALIÁN DE ESPAÑA: APPROACHING THE TEXT AND ITS POPULARITY IN SPAIN AND BEYOND ...............................................................................................16 The Evolution of the Chivalric Romance ..............................................................33 The Chivalric Code ................................................................................................42 Cristalián de España: Replicating or Refashioning? ............................................47 The Characters of Cristalián de España ................................................................51 Plot-sketch: The Structure of Cristalián de España ..............................................56 4: TRANSCRIPTION PROCESS......................................................................................65 BIBLIOGRAPHY ..............................................................................................................69 APPENDICES ...................................................................................................................78 A. PROEMIO .....................................................................................................................79 B. WOODCUTS ................................................................................................................82 C. PHOTOS .......................................................................................................................86 vii D. INDEX OF CHAPTERS ...............................................................................................89 E. INDEX OF CHARACTERS .......................................................................................110 F. CRISTALIAN DE ESPAÑA: BOOK I ..........................................................................115 G. CRISTALIAN DE ESPAÑA: BOOK II .....................................................................1,011 1 CHAPTER I APPROACHING THE ROMANCE OF CHIVALRY Illuminating the Obscured Stories of fantasy are a fundamental facet of culture both past and present. Fable, myth, fairy tale, legend, fantasy, speculative and science fiction are just a few categories that can be placed under the large umbrella of fantasy literature. All classifications aside, it is irrefutable that tales of fantasy have entertained the masses for centuries. Readers and listeners of sixteenth-century Spain, for example, tirelessly explored the microcosms of the chivalric romances circulating at that time. This same enthusiasm for the fantastic is easily observed in twenty-first century consumers who continue to enjoy the chivalric romances of the past. In fact, contemporary writers still compose epic tales of fantasy, often with chivalric undertones. 1 This considered, one can easily conclude that present- day consumers are attracted to the same chivalric themes (albeit altered) as those presented in sixteenth-century Spanish romances of chivalry. A more concrete example of this connection can be found in a post from the website amadisofgaul.blogspot.com2 on June 11, 2009. This blog site, dedicated to the well- known Spanish chivalric romance Amadís de Gaula, showcased fantasy fiction author and translator José Miguel Pallarés3 and his article entitled “An Approach to Novels of Chivalry”. Upon considering “The Imaginary in Spanish Literature,” Pallarés, through a 1 Concrete examples of this phenomenon are given on page 16. 2 I refer to this blog site solely for the purpose of establishing a useful and telling link between readers and composers of fantasy (romances of chivalry) in the sixteenth century and their present day counterparts. I do not wish to imply that the website mentioned should be recognized as high academic discourse, although I do value Pallares' insights as a reader, writer and translator of fantasy literature. 3 Pallarés is a very appropriate example of this connection. He is not only interested in chivalric romances of the past, but is committed to the translation and publication of popular epic fantasy novels written in English, the Twilight Saga, for example. 2 retrospective