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Thesis Spanish Theatre from the Golden Age and Its THESIS SPANISH THEATRE FROM THE GOLDEN AGE AND ITS THEMATICAL INFLUENCES IN THE DEVILS SLAVE BY ANTONIO MIRA DE AMESCUA Submitted by Elisabeth Despain Department of Foreign Languages and Literatures In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2010 COLORADO STATE UNIVERSITY March 23, 2010 WE HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER OUR SUPERVISION BY ELISABETH DESPAIN ENTITLED SPANISH THEATRE FROM THE GOLDEN AGE AND ITS THEMATICAL INFLUENCES IN THE DEVILS SLAVE BY ANTONIO MIRA DE AMESCUA BE ACCEPTED AS FULFILLING IN PART REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS. Committee on Graduate Work ________________________________________ Fabiola P. Ehlers-Zavala ________________________________________ Francisco Leal ________________________________________ Advisor: José Luis Suarez-Garcia ________________________________________ Department Chair: Paola Malpezzi-Price ii ABSTRACT OF THESIS SPANISH THEATRE FROM THE GOLDEN AGE AND ITS THEMATICAL INFLUENCES IN THE DEVILS SLAVE BY ANTONIO MIRA DE AMESCUA The daily life of the Spanish golden age, with its history, society, and socioeconomic problems, presents itself in a particular genre of theater produced during this era. The Baroque theater breaks the Aristotle formula used until this time, and defines the Spanish comedy as the voice of the people. Antonio Mira de Amescua’s El esclavo del demonio is a clear representation of this style. It addresses the topics of honor and religion, two popular topics among the Spanish people during the Baroque period, through the ancient theme of selling your soul to the devil. This topic has been used in literature at different times, including Goethe’s Faust two centuries later. El esclavo del demonio has the polished form and content for the Baroque literature enthusiast. Elisabeth Despain Department of Foreign Languages and Literatures Colorado State University Fort Collins, CO 80523 Spring 2010 iii TABLE OF CONTENTS EL TEATRO DE LOS SIGLOS DE ORO Y SUS INFLUENCIAS TEMÁTICAS EN EL ESCLAVO DEL DEMONIO DE ANTONIO MIRA DE AMESCUA LA VIDA COTIDIANA DE LOS SIGLOS DE ORO: RENACIMIENTO....................... 1 HISTORIA Y SOCIEDAD..................................................................................... 2 CAMBIOS SOCIOECONÓMICOS....................................................................... 3 LA LENGUA ESPAÑOLA EN EL RENACIMIENTO ........................................ 6 LA VIDA COTIDIANA DE LOS SIGLOS DE ORO: BARROCO.................................. 8 HISTORIA Y SOCIEDAD................................................................................... 10 PROBLEMAS SOCIOECONÓMICOS ............................................................... 15 LA VIDA TEATRAL EN LOS SIGLOS DE ORO ......................................................... 18 EL PANORAMA DRAMÁTICO DEL SIGLO XVI: RENACIMIENTO .......... 20 BARROCO: TEATRO ......................................................................................... 21 EL ESCLAVO DEL DEMONIO DE ANTONIO MIRA DE AMESCUA........................ 29 ANTONIO MIRA DE AMESCUA: BIOGRAFÍA Y OBRAS............................ 29 RESUMEN DE EL ESCLAVO DEL DEMONIO ................................................. 30 iv PERSONAJES .......................................................................................... 30 ACTO PRIMERO..................................................................................... 31 ACTO SEGUNDO.................................................................................... 31 ACTO TERCERO .................................................................................... 33 LA CRITICA FRENTE A EL ESCLAVO DEL DEMONIO ................................ 34 ANALISIS TEMÁTICO DE EL ESCLAVO DEL DEMONIO......................................... 42 HONOR ................................................................................................................ 42 RELIGIÓN............................................................................................................ 45 LIBRE ALBEDRÍO.............................................................................................. 57 LA JUSTICIA POETICA..................................................................................... 61 BIBLIOGRAFIA .............................................................................................................. 64 v LA VIDA COTIDIANA DE LOS SIGLOS DE ORO: RENACIMIENTO El Renacimiento es un período de vuelta al conocimiento y al progreso tras la Edad Media. También es la vuelta del estilo antiguo griego y romano en el arte y la literatura. El hombre va a tener una gran importancia, convirtiéndose en el centro de todas las cosas. El crítico Felipe B. Pedraza Jiménez (13-17) sintetiza esta etapa del Renacimiento como el resurgir del arte y la literatura inspirada por la antigüedad griega y romana. Según él se trata de un movimiento con sus comienzos en Italia que se propaga por toda Europa. Distingue dos tendencias principales que son el Humanismo y la Reforma/Contrarreforma. El Humanismo lo define como una amplia y compleja manifestación del antropocentrismo de la época, donde el hombre y sus posibilidades de realización van a ser el tema preferente. Aunque el Humanismo debería de suponer un desplazamiento de los estudios teológicos, no es así, ya que el Renacimiento va unido a una profunda inquietud religiosa, ya que se vuelve a la primitiva iglesia cristiana, libre de ceremonias y exterioridades. Pedraza caracteriza la Reforma por su gran número de diferentes manifestaciones. Señala a Erasmo de Rotterdam (1466/69-1536), que sin romper con Roma, buscaba una religiosidad mas íntima y sincera basándose en el ejemplo de la antigua Iglesia primitiva. Sin embargo en Alemania, la Reforma iniciada por Martín Lutero (1483-1546) en 1517 sí se rebeló contra Roma y fue un hecho de gran importancia y trascendencia. Otra manifestación fue el Calvinismo, una rama de la iglesia protestante desarrollada por Juan Calvino (1509-1564), que ponía énfasis en la autoridad 1 de Dios sobre todas las cosas, y que condenaba el catolicismo aristocratizante y feudal hacia del lucro comercial e industrial. Pedraza también menciona el Anabaptismo, una corriente existente dentro del cristianismo, que pretendía cambiar el orden social y económico al mismo tiempo de hacer una profunda reforma religiosa. La reforma anglicana se debió a un enfrentamiento de Enrique VIII con el papa en la que se transformó la moralidad cristiana. En España el cardenal Cisneros (1436-1517), Arzobispo de Toledo de la orden franciscana y tercer Inquisidor General, fue quien inicio el movimiento de Reforma con su Biblia políglota complutense. La Reforma católica fue una réplica de las posturas protestantes y recibió el nombre de Contrarreforma. Los cambios de la Iglesia católica en su reforma fueron decididos en varias reuniones celebradas entre los años 1545 y 1563 por autoridades católicas en Trento, Italia, en lo que conocemos por el concilio de Trento. HISTORIA Y SOCIEDAD Pedraza (23-26) habla de los siglos XV y XVI y los altibajos de la hegemonía española que se extendieron desde finales del siglo XV a fines del XVI. Divide esta época en tres grandes períodos que coinciden con los sucesivos reinados de los Reyes Católicos, de Carlos I y Felipe II. En el primer período los Reyes Católicos fortalecen el poder económico de la nobleza a cambio de ceder su antiguo poder político. Ellos intervienen en la política eclesiástica con la reforma del clero que es encargada a Cisneros e instauran la Inquisición. Dejan una comunidad pluriestatal sometida totalmente a la corona y una economía todavía pujante, pese a los dos errores transcendentales que cometen: la 2 desmedida protección a la Mesta1 y la expulsión de los judíos. En el segundo período habla de dos sectores en las comunidades que se unieron durante el reinado de Carlos I, y que fueron la nobleza, nostálgica del poder perdido y la burguesía ciudadana, que se resistía a subvencionar la “idea imperial de Carlos V”. En el último período, habla de la bancarrota de las finanzas españolas que se dio con Felipe II. El gobierno se convirtió en una complicada máquina burocrática que a la larga resultó ser ineficaz. El Santo Oficio suprimió cualquier intento de separación de la común doctrina, creencia o conducta religiosa y acabó con los últimos restos del erasmismo y protestantismo que se dieron en España. CAMBIOS SOCIOECONÓMICOS Pedraza acierta al referirse al Renacimiento como una época que trae consigo dos cambios fundamentales de la estructura socioeconómica, la creación del estado moderno y el capitalismo. Habla de estos dos fenómenos que presentan rasgos muy peculiares. Hay un fracaso de la burguesía donde el capitalismo apenas existe, ya que la burguesía castellana es débil al salir de la Edad Media. Su principal fuente de riqueza es la agricultura y ganadería, que en esa época estaban en manos de la aristocracia. La industria tenía una existencia precaria, ya que los Reyes Católicos dirigieron su apoyo hacia la ganadería y el comercio lanero con los Países Bajos. También había un gran problema de castas, ya que las actividades financieras e industriales se identificaban con los judíos. No fue hasta 1681 que se promulga una ley proclamando que no es deshonroso 1 organización ganadera de la corona de Castilla. (Diccionario de la lengua española. 22.ª Edición electrónica para redes. Madrid: Real Academia Española, 2003. <http://www.rae.es/rae.html>.) 3 dirigir
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