A MODERNIZED EDITION OF JUAN PÉREZ DE MONTALVÁN’S PARA TODOS EJEMPLOS MORALES HUMANOS Y DIVINOS EN QUE SE TRATAN DIVERSAS, CIENCIAS, MATERIAS Y FACULTADES. REPARTIDOS EN LOS SIETE DIAS DE LA SEMANA Y DIRIGIDOS A DIFERENTES PERSONAS by VALERIE Y’LLISE JOB, B.A., M.A. A DISSERTATION IN SPANISH LITERATURE Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Ted E. McVay Chairperson of the Committee Janet Pérez Sharon Myers Accepted John Borrelli Dean of the Graduate School May, 2005 ACKNOWLEDGEMENTS I would like to express my sincere thanks and gratitude to Dr. Ted E. McVay for his recommendation of the modernization of Para todos as a subject for this dissertation. His advice, careful proofreading, and suggestions throughout this process have made this dissertation possible. Sincere appreciation is also extended to Dr. Janet Pérez and Dr. Sharon Myers for their efforts and assistance. Finally, I offer my heartfelt thanks to my loved ones, especially my husband, Gary, for their patience and support in this endeavor. i TABLE OF CONTENTS ACKNOWLEDGEMENTS i TABLE OF CONTENTS ii ABSTRACT iii LIST OF TABLES v CHAPTER I. INTRODUCTION 1 II. JUAN PÉREZ DE MONTALVÁN’S LIFE AND WORKS 12 III. REVIEW OF CRITICISM 22 IV. THE MODERNIZED EDITION OF PARA TODOS The Content and Structure of Para todos 31 Editions of Para todos 47 Criteria 50 V. THE MODERNIZED EDITION OF PARA TODOS EJEMPLOS MORALES HUMANOS Y DIVINOS EN QUE SE TRATAN DIVERSAS CIENCIAS, MATERIAS Y FACULTADES. REPARTIDOS EN LOS SIETE DÍAS DE LA SEMANA Y DIRIGIDOS A DIFERENTES PERSONAS. 52 VI. WORKS CITED 648 VII APPENDIX PHOTOCOPIES FROM THE ORIGINAL EDITION 654 ii ABSTRACT Juan Pérez de Montalván, an exponent of a variety of genres, gained recognition and a popular following in the seventeenth century with his poetry, autos sacramentales, novelas, and exuberant production of comedias. His works retained their popularity through the inception of the eighteenth century, only to fade into obscurity. Para todos exemplos morales humanos y divinos en que se tratan diversas ciencias, materias y facultades. Repartidos en los siete días de la semana y dirigidos a diferentes personas was originally published in 1632, and the most recent edition of this work was dated 1736. Literary analysis of any known editions of Para todos presents many challenges, especially when pertaining to their availability, as they are rare texts in spite of having twenty editions. Current research pertaining to Montalván has focused primarily on the conflict between him and Francisco de Quevedo, arising from the publication of Montalván’s Para todos and Quevedo’s subsequent response entitled Para todos: La zurriaga de Perinola, y censura del libro que compuso Juan Pérez de Montalván, intitulado ‘Para todos’, wherein he attacks Montalván’s encyclopedic and superfluous assemblage of second-hand knowledge. Montalván’s role as Lope de Vega’s protégé and biographer has also been a subject of study. Para todos exemplifies a true miscellany, defined in A Handbook of Literature as “a collection of compositions on a variety of topics” (Holman and Harmon 295). This extensive heterogeneous compilation containing Biblical doctrine, philosophical treatises, mythological fables, astrological tenets, and astronomical facts, is bound within a frame story presented over a period of seven days. Montalván merges his comedias and novelas into this tremendous collection of information. His poetry, comedias, and novelas display a medley of distinctive iii literary techniques -- amplificatio through Latinisms and definitions, verisimilitude or realistically descriptive passages often utilizing sharp contrasts, juxtaposition of concepts, metaphors, mystery, suspense, historically correct incidents, and strong non-traditional female characters. His writing displays characteristics of redundancy and grandiloquence, frequently within rather conventional plots. The purpose of this dissertation is to provide a modernized text of Para todos, therefore furnishing the readership the opportunity for sustained Montalván studies. This modernization will facilitate future studies of relevant topics, such as determining the degree of intertextuality between Para todos and other works, or investigating the possibility that the conception of the idea for Para todos was prompted by Quevedo’s Libro de todas las cosas. iv LIST OF TABLES 1. Distribution of verse forms 40 2. Editions of Para todos 48 v CHAPTER ONE INTRODUCTION Juan Pérez de Montalván1 was already an accomplished and popular author when Para todos exemplos morales humanos y divinos en que se tratan diversas ciencias, materias y facultades. Repartidos en los siete días de la semana y dirigidos a diferentes personas,2 (hereafter referred to as Para todos) was first published on February 3, 1632 (Rico 92). This work demonstrates his talent as an advocate of multiple genres and reflects the culmination of his experiences and exposure to literature as the youngest son of the king’s bookseller and the protégé of Lope de Vega. This complex and multifaceted work designed for and dedicated to “everyone” lacks definitive study as an entity in and of itself, conceivably due to the paucity of available texts, and to Montalván’s ongoing relegation to the “second order of Golden Age authors” (J. Parker, Juan Pérez Preface). Since its publication, Para todos has primarily attracted the attention of critics because of Montalván’s disciple-like relationship with Lope de Vega, and the feud that its publication incited between him and Francisco de Quevedo, a prominent literary satirist, who, as a courtier during the reign of Felipe IV, advised strict adherence to the ideology of social and literary hierarchies (Vivar 279). George W. Bacon, a mid-twentieth-century critic, and Montalván’s most thorough biographer, identified Para todos as a “hodge-podge of miscellanies” (Bacon, Life 15). He mildly paraphrased Quevedo, 1 I have chosen to spell of the name Montalván with the letter v, rather than with the letter b, for this publication. Jack Parker identifies spelling discrepancies that occurred in seventeenth- century between the aforementioned letters and states that Montalván’s signature on the Most Sacred Host of Alcalá is clearly that of the letter v (Juan Pérez 135). 2 The original title format, that of including the period, has been retained. 1 Montalván’s contemporary rival, who described the work as a “mélange” (Bacon, Essay 4). Jaime Moll credits Montalván’s creation as an attempt to circumvent the edict issued by the Junta de Reformación, created in 1621, banning the publication of plays in Castilla from 1625 to 1634 (97). Isabel Colón Calderón reaffirms and expounds upon this premise in her Novela Corta en el siglo XVIII, and states that the “[impresores] se evitaban el término ‘novela’ en las colecciones, o se enmascaraban el contenido narrativo; la posibilidad de que se estuviera burlando a la censura incluyendo novelas y comedias en conjuntos misceláneos ocasionó polémicas, como la que tuvo lugar con respeto al Para todos” (25). Montalván is a recognized dramatist, poet, novelist, Doctor of Theology, priest, notary of the Inquisition, and the protégé and first biographer of Lope de Vega. In this light, the formulaic and encyclopedic nature of Para todos becomes more understandable, especially in regard to the diversity of its contents, as its components are literary, philosophical, theological, mythological, astronomical, and astrological, juxtaposing the erudite and the mundane. An effective and fresh study of this multifaceted compendium, containing four comedias, two autos and four novelas, various prologues, discursos, and poetic forms, will contextualize its primary components, specifically the comedia and the novela, and modernize the archaic elements, thus providing a text that lends itself more easily to sustained study. Agustín de Amezúa’s research incorporated Joaquín de Entrambasaguas’s observation from 1947 that “la personalidad literaria de Pérez de Montalván está muy necesitada de una monografía en que se fije definitivamente el valor y la extensión de su verdadera obra,” and along with the research available from the primary Montalván critics, the modernization and explication of Para todos will contribute toward filling this void (Sucesos x). Simply defined, Para todos is a frame tale interspersed with four novelas -- La introducción a la semana; Al cabo de los años mil; El palacio encantado; and El piadoso 2 bandolero -- revealing not only the influence of the success of the Novelas ejemplares by Miguel de Cervantes, but also reflecting the popularity of the frame-story technique made popular in such works as Boccaccio’s Decameron (1350) and Tirso de Molina’s Cigarrales de Toledo, published in 1624. The shrewd, business-like bookseller’s influence of Montalván’s father is also discernible. The inventive incorporation of novelas would remove any economic restrictions Montalván may suffer from the 1625 ban on the publishing of plays. A concise review will aid in the comprehension of the novela as one of the organizing structures in Para todos. I will draw from Marcelino Menéndez y Pelayo, Caroline Bourland, Robert Clements, and Joseph Gibaldi, who extensively address the novela as a “new” genre within the Spanish literary milieu. Recovering the nature of the novela (the chosen term for explication within this text) and situating it within the context of the seventeenth century Spanish