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MONSTROSITY and IDENTITY in the COMEDIAS of LOPE DE VEGA Sarah Apffel Cegelski a Dissertation Submitted to the Faculty at the Un

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MONSTROSITY and IDENTITY in the COMEDIAS of LOPE DE VEGA Sarah Apffel Cegelski a Dissertation Submitted to the Faculty at the Un MONSTROSITY AND IDENTITY IN THE COMEDIAS OF LOPE DE VEGA Sarah Apffel Cegelski A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Romance Languages Department. Chapel Hill 2015 Approved By: Carmen Hsu Frank Dominguez Rosa Perelmuter Margaret Greer Valeria Finucci © 2015 Sarah Apffel Cegelski ALL RIGHTS RESERVED ii ABSTRACT Sarah Apffel Cegelski: Monstrosity and Identity in the Comedias of Lope de Vega (Under the Direction of Carmen Hsu) Monstrosity and Identity in the Comedias of Lope de Vega is concerned with the relationship between monstrosity and identity formation in early modern Spain. The monster was a popular cultural phenomenon in sixteenth and seventeenth century Spain, appearing in a variety of scientific and literary genres. The monster was not just an extraordinary and unusual creature that elicited reactions of awe, wonder, and terror; it was also considered a sign from God that required careful interpretation to comprehend its meaning. The monster also embodies those characteristics that a society deems undesirable, and so by contrast, it shows what a society accepts and desires as part of its identity. In Lope de Vega’s (1562-1635) comedias, the playwright depicts characters who challenged the social, political, and religious conventions of his time as monsters. This study of Lope’s monsters intends to understand how and why Lope depicted these characters as monsters, and what they can tell us about the behaviors, beliefs, and traditions that Lope rejected as unacceptable or undesirable parts of the Spanish collective identity. It also seeks to understand, by contrast, what Lope thought Spanish identity was, or what he desired it to be. As the founding father of Spanish national theater and the playwright of the masses, this study of Lope’s comedias and his monsters deepens our understanding of early modern Spanish collective self-fashioning. iii To my parents, without whose love and support this would not have been possible. And to Jeff, Walter, and Sophie, mis almas gemelas. iv ACKNOWLEDGEMENTS I am deeply indebted to numerous people who have supported me during this project and throughout my graduate career. First, I would like to thank Dr. Carmen Hsu, for wonderful semesters spent in her courses on Golden Age Theater and Cervantes; for accepting nothing less than refinement; and for coaching me to become a better writer and scholar. Her expertise, encouragement, and hours spent discussing text analysis and big ideas have informed this project in so many ways. I must also thank my committee, Dr. Frank Dominguez, Dr. Rosa Perelmuter, Dr. Margaret Greer, and Dr. Valeria Finucci for their insightful comments and suggestions. I am also grateful to Dr. Lucía Binotti and Dr. Juan Carlos González Espitia for their ideas and encouragement early in this process. Thank you to Dr. Glynis Cowell, Dr. Josefa Lindquist, and Dr. Anastacia Kohl, who formed me as a teacher over the last five years, which made me a better scholar. A dissertation completion fellowship from the Royster Society of Fellows funded my final year of doctoral studies and the last year writing this dissertation. I am thankful for the financial support and the scholarly community the Society afforded me this past year. My former professors and colleagues Dr. Paul Larson and Dr. Frieda Blackwell have been instrumental in my formation as a scholar and teacher from the very beginning. They also listened to bits and pieces of this project in conferences and conversations and provided helpful feedback. The late Dr. Ricardo Domenech first instilled in me a love for Spanish theater, in a tiny v classroom at the Sede Prim in Madrid during the spring of 2007. I continue to be inspired by his love of the theater. QEPD. So many friends supported and encouraged me throughout various part of this endeavor, especially Sherry Venere, Kate Gilliom, Whitney Castillo, Thomas Philips, Emily Clark, Paco Brignole, Mercedes Baillargeon, Grant Gearhart, Encanri Cruz Jiménez, Anna Bernard- Hoverstad, Martina Adani, April Weintritt, Giuliano Migliori, and my office mates Mary Greenwood, Stella Soojin Kim, and Michele Sguerri. Anna, Martina, April, and Giuliano housed me on many return trips to Chapel Hill during this last year and I will never forget their hospitality. To all of my other dear ones in Chapel Hill and beyond who are too numerous to be named here, you have enriched my life beyond measure. To my parents, I am eternally grateful for your sacrifices, love, and support. I could not have completed this journey without your help. To Walter and Sophie, what would I have done without your sweet companionship while I wrote for hours on end? Thank you for loving me and for reminding me to stop working every once in a while, and smile. And finally, a mi Jefe, mi media naranja, thank you for listening, for your patience, your sense of humor, and for believing in me. vi TABLE OF CONTENTS Introduction………………………………………………………………………………………..1 Chapter: I. Monstrosity and (Dis)Honor in El animal de Hungría and Nacimiento de Ursón y Valentín, hijos del rey de Francia………………………............21 II. Monstrosity and Tyranny in Roma abrasada y crueldades de Nerón and El gran duque de Moscovia……………………………….........................................60 III. Monstrosity and (Re)Conquest in El nuevo mundo descubierto por Cristóbal Colón and Las batuecas del duque de Alba………....…………………….….94 Conclusion..…………………………………………………………………………………….131 Works Cited…………………………………………………………………………………….138 vii Introduction “Perhaps it is time to ask the question that always arises when the monster is discussed seriously […] Do monsters really exist? Surely they must, for if they do not, how could we?” ---Jeffrey Jerome Cohen, “Monster Culture” The monster has long been considered a sign to be read and interpreted.1 The word monstruo derives from the Latin “monstrum,” which means portent, an unnatural thing or event regarded as an omen, sign or warning.2 In the Bible, plagues, exterminations and other catastrophic portentos or prodigios are seen as punishments from God, signs of divine anger, warnings to correct certain behaviors. Greek and Roman authors such as Pliny, Cicero, and Augustine rejected monstrous births and other anomalous occurrences as portents of imminent 1 On the history and meaning of the monster from Antiquity through the European Renaissance, see Williams, Wittkower, and Park and Daston (1998). Williams examines the development of the monster in relation to Pseudo-Dionysius’ negative theoglogy, as well as provides a taxonomy of medieval monsters and its presence in three heroic genres. Wittkower focuses his study on the history of monsters on the monstrous races and animals that were believed to inhabit the East, especially India. Park and Daston study the history of wonders and marvels (including monsters) and the ways in which European naturalists from the High Middle Ages through the Enlightenment used wonder and wonders, the passion and its objects, to envision themselves and the natural world. 2 From the Oxford Latin Dictionary. Juan Corominas, in his Breve diccionario etimológico, affirms the meaning of the monster as a sign or a warning. He writes that the word monstruo is: “Tom. del bajo lat. monstruum, alteración del lat. monstrum id., propte. ‘prodigio’ (que parece ser derv. de monere ‘avisar,’ por la creencia en que los prodigios eran amonestaciones divinas” (402). 1 evil. Later, medieval writers reverted back to the well-established religious tradition of prodigies as divine messages and signs of things–usually undesirable–to come.3 For example, Saint Isidore of Seville in his Etimologías (written c. 627-630 A.D.) says: 2. […] Y se conocen con el nombre de portentos, ostentos, monstruos y prodigios, porque anuncian (portendere), manifiestan (ostendere), muestran (monstrare), y predicen (predicare) algo futuro. 3. En efecto, explican que ‘portento’ deriva de portendere, es decir, anunciar de antemano. Los ‘ostentos’, porque parecen manifestar algo que va a ocurrir. Los ‘prodigios’, porque ‘dicen previamente’ (porro dicere), es decir, predicen lo que va a suceder. Por su parte, monstra deriva su nombre de monitus, porque se ‘muestran’ para indicar algo, o porque ‘muestran’ al punto qué significado tiene una cosa. (II: XI, 47) For Saint Isidore, portentos, ostentos, prodigios, and monstruos were special signs from God that announced, manifested, demonstrated, and predicted something about the future. The monstruo in particular is explained as a sign that indicates or displays the meaning of things. This definition of the monster as a sign remained standard throughout the medieval and early modern periods.4 For instance, the French surgeon Ambroise Paré (1510?-1590) in his work Des monstres et prodiges (1575), interprets the monster this way: “Monstres sont choses qui apparaissent outre le cours de Nature (et sont le plus souvent signes de quelque malheur à advenir) comme un enfant qui naist avec un seul bras, un autre qui aura deux testes, et autres membres outre lʼordinaire” (304). For Paré, monstruos are extraordinary beings; manifestations of natural disorder and deviance; and they are still signs, indicators of coming misfortune. Throughout the Middle Ages and early modern period, the monster appears as a sign in a variety of literary genres, from the dragons of Beowulf and Amadís, to Shakespearere’s monstrous Caliban and the imaginary monsters of Don Quijote. One of the monster’s often- 3 On how Cicero, Pliny, and Augustine perceived marvels and portents, see Céard 3-31. 4 See Daston and Park (1998) 50. 2 overlooked dwelling places is in the Spanish comedia, where, continuing the tradition from biblical times, it serves as a sign to be read. Lope de Vega’s (1562-1635) comedias, for instance, are populated with monsters. This dissertation studies these manifestations of monstrosity and their significance. As the embodiment of difference, monsters can provide insights into how Lope and his audience conceived of conventional normality and Otherness.5 A.S.
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