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Universidad De Murcia UNIVERSIDAD DE MURCIA ESCUELA INTERNACIONAL DE DOCTORADO Shakespeare’s Juliet and her Representations in Spanish Theatrical Culture (1600s – 1890s) La Julieta de Shakespeare y su Representación en la Cultura Teatral Española (desde el Año 1600 hasta Finales de la Década de 1890) Dª Jennifer de la Salud Ruiz Morgan 2021 ii UNIVERSIDAD DE MURCIA FACULTAD DE LETRAS DEPARTAMENTO DE FILOLOGÍA INGLESA Shakespeare’s Juliet and Her Representations in Spanish Theatrical Culture (1600s – 1890s) Jennifer de la Salud Ruiz Morgan Supervised by Dr. Keith Gregor and Dr. Laura Campillo Arnaiz 2021 iii iv To my loving parents and sisters v vi Acknowledgments / Agradecimientos Tracing the steps of the tragic lovers of Verona on the Spanish stage, from the early 1600s until the late 1890s, has allowed me to experience one of the things that I enjoy doing the most: travelling back in time. It has been a very long journey – exhausting at times – but also extremely rewarding. I would not have been able to undertake this literary enterprise without the support of my supervisors, Keith Gregor and Laura Campillo. I am hugely indebted to them for their selfless generosity to accompany me throughout this voyage. Without their advice and great dedication, this thesis would not have been possible. I am extremely grateful to Ángel-Luis Pujante, Keith Gregor, Laura Campillo, Juanfra Cerdá, and Elena Bandín for having offered me back in April 2015 what has turned out to be the best opportunity in my life: the possibility to join the research project “The Reception of Shakespeare’s Works in Spanish and European Cultures”. It is a real privilege and an honour to be part of such a wonderful team. From the first minute I joined in, they welcomed me with open arms, always encouraging me to take part in the different activities organised by this thriving research project. I have been able to conduct research in the best environment that I could have ever imagined, surrounded by lecturers whom I truly admire, and from whom I continue to learn every single day. One of the best experiences that I have had as a result of my position as research assistant has been the opportunity to visit national and international archives to consult bibliography for my doctoral thesis. I am grateful to all the staff members that guided me and helped me during my research stays at the Shakespeare Institute, the Folger Shakespeare Library, the Fundación Juan March (especially Celia Martínez and Gema), the Instituto Nacional de las Artes Escénicas y de la Música, and the Biblioteca Nacional de España. In particular, I have very fond memories of my research stay in Washington D.C. Despite not being a Folger fellow, a Spanish flag was added by the librarians to a vii collection of flags representing the countries of each Folger fellow, a varied assemblage displayed at the entrance of the main Reading Room. This totally unexpected gesture still puts a smile on my face. I am very grateful to Francesca Rayner and to Lisanna Calvi for reviewing the full manuscript of this thesis as external informants. I specially want to thank Paco Florit, whose valuable suggestions and expertise were of great help while I was writing the chapter devoted to the Spanish Golden Age. Thanks are also due to Clara Calvo, whom I have always admired, and with whom I had the privilege of teaching fourth-year students what had been my favourite subject during my undergraduate days: “Románticos y Victorianos”. Teaching for two consecutive years was a great joy that I equally shared with Joaquín Martínez, who has been a fundamental source of support, kindness, and generosity throughout all these years. I am grateful to Jeannie and Jo, who allowed me to stay at their cozy and lovely house while I was conducting my research stay in Stratford-upon-Avon. Whenever I have travelled back to attend BritGrad (one of my favourite conferences), their home is still the place where I sojourn. I am also grateful to Janice, my American landlady, for being caring and for introducing me into the world of old dance movies. And to Shuan and Gil, my American friends, whom I was very fortunate to meet during my memorable stay in Washington D.C. Special thanks to Isa Guerrero, who has been a great friend and role model since we first met, back in January 2012, when we were both students helping at the registration desk of a conference organised by the research team that I am now a member of. I cannot thank Isa enough for giving me the best advice, ever since I joined the world of academia. Advice that is often given, to make it doubly sweet, in the presence of a delicious cup of coffee and a slice of cake. Me siento muy agradecida por haber podido habitar durante una temporada ese rinconcito especial de la Facultad de Letras conocido como la Sala de Becarios. El Campus de la Merced ha sido como una segunda casa para mí desde septiembre de 2010, cuando me matriculé en el Grado de Estudios Ingleses; un momento que aguardaba con gran ilusión desde que tenía diez años. Durante mi estancia en la Sala de Becarios, tuve la enorme suerte de coincidir con gente maravillosa, que siempre me ha tratado con viii cariño, y que hizo que las largas horas de trabajo fueran más llevaderas. Mis más sinceras gracias a todos ellos y, en especial, a Belisabeth, Alba, Melania, Isa, Pedro y Carlos. Con mucho cariño, quiero dar las gracias a Enrique, Darío y Nuno, por hacer que el tiempo que paso con ellos sea siempre sinónimo de risas y de diversión. Mil gracias a mis amigas de toda la vida, Mariajo, Stephanie e Irene, por apoyarme y acompañarme desde el colegio y el instituto. Sin duda alguna, constituyen uno de mis pilares fundamentales, y me siento muy afortunada de que formen parte de mi vida. No puede faltar el agradecimiento especial a mis padrinos, mi tía Mari y mi tío Ramiro, por creer en mí desde que era pequeña, por animarme siempre en las decisiones que he ido tomando a lo largo de la vida y por su infinito cariño. I am forever grateful to my dearest English family, grandma Marcia, Whitley, uncle Winston and auntie Christine, uncle Jason, uncle Alvin, and my cousins, Tim and Melly, for making London such a special home. London is synonymous with family gatherings surrounded by delicious Jamaican dishes, laughs, joy, and love, lots of love. Their infinite love and support are invaluable. Last but not least, heartfelt thanks to Papi, Mummy, Elena and Emma, my dearest parents and sisters. I would not be who I am today without them. I am eternally grateful for their boundless love, for their constant encouragement and guidance, and for their strong faith in me. It is to them that this thesis is dedicated. ix x For never was a story of more woe Than this of Juliet and her Romeo. (Romeo and Juliet, act V, scene iii) xi xii Table of Contents Acknowledgments / Agradecimientos ......................................................................... vii Abstract ........................................................................................................................... 1 Introduction .................................................................................................................... 2 1. The Spanish Golden Age....................................................................................... 17 1.1 Comic Beginnings: Lope de Vega’s Castelvines y Monteses (1606 – 1612) and Rojas Zorrilla’s Los bandos de Verona (1640). ................................................ 23 1.2 Tragedy Arises: Rozas’s (or Rosas’s) Los amantes de Verona (1666). ........... 70 2. The Eighteenth Century ....................................................................................... 80 2.1 Britain and Ireland. ........................................................................................... 82 2.2 France. ............................................................................................................. 133 2.3 Germany. ......................................................................................................... 136 2.4 Spain. .............................................................................................................. 141 3. The Neoclassical Adaptations ............................................................................. 146 3.1 Melodrama and Sentimentality: Solís’s Julia y Romeo (1803). ..................... 151 3.2 A Ducisian Revenge Tragedy: García Suelto’s Romeo y Julieta (1817). ....... 179 4. Romantic Echoes ................................................................................................. 206 4.1 In God We Trust: Balaguer’s Julieta y Romeo (1849). .................................. 214 4.2 Dangerous Liaisons: Dacarrete’s Julieta y Romeo (1858). ............................. 228 4.3 Performance Prevails: Viñas y Deza and Sunols’s Romeo y Julieta (1875). 246 4.4 Balaguer Strikes Again: Las esposallas de la morta (1878). ......................... 263 Conclusions ................................................................................................................. 284 References.................................................................................................................... 296 Resumen en español ................................................................................................... 324 xiii xiv Shakespeare’s Juliet and Her Representations in Spanish Theatrical Culture Abstract This doctoral thesis entitled Shakespeare’s Juliet and Her Representations in Spanish Theatrical Culture (1600s – 1890s) examines the early phase
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