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The Magic of Zayas : Slippery Sourcery, Baroque Games with the Devil and Uncanny Miracles in the Novellas of María De Zayas

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The Magic of Zayas : Slippery Sourcery, Baroque Games with the Devil and Uncanny Miracles in the Novellas of María De Zayas ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output The magic of Zayas : slippery sourcery, baroque games with the devil and uncanny miracles in the novellas of María de Zayas https://eprints.bbk.ac.uk/id/eprint/40264/ Version: Full Version Citation: Berg, Sander (2017) The magic of Zayas : slippery sourcery, baroque games with the devil and uncanny miracles in the novellas of María de Zayas. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email THE MAGIC OF ZAYAS SLIPPERY SORCERY, BAROQUE GAMES WITH THE DEVIL AND UNCANNY MIRACLES IN THE NOVELLAS OF MARÍA DE ZAYAS Sander Berg Thesis submitted for the degree of doctor of philosophy (PhD) Iberian and Latin American Studies Birkbeck, University of London 31 March 2017 My thanks go to Carmen Fracchia in the first instance for having been so positive and encouraging throughout these seven years – I haven’t decided whether they were fat or lean yet. I am also very grateful for the words of wisdom from my colleague Sharon Ragaz, who has since moved to greener pastures – although I suspect they are actually white a great deal of the time. I am also in Yolanda Lojo’s debt for having generously allowed me to stay in her flat while I was working in the Biblioteca Nacional in the summer of 2013, and I am sorry I was so caught up in my research that I was not as sociable as I would have liked to have been. I should also mention the Zilkha Fund, who munificently offered their financial support for the first five years of my degree. And lastly I wish to express my gratitude to Westminster School, not only for being such a stimulating place to work but also for allowing me to take half a term off to concentrate on my thesis in June 2016. I hereby declare that the work presented in this thesis is my own. Signature _________________ Place and Date _______________________ Abstract The seventeenth century saw an epistemological shift, which resulted in indeterminacy with regards to the supernatural. This indeterminacy is exploited by María de Zayas, albeit not necessarily consciously. In twelve out of her twenty novellas something happens that falls within the remit of the supernatural sensu lato – in the early modern period a crucial distinction was made between the supernatural sensu stricto (the miraculous) and the preternatural (the marvellous). Sometimes she treats magic as real, sometimes as false, now as a prank, then as a harrowing experience. But even when magic is described as efficacious, her discourse is permeated by indeterminacy. Her stories of the Devil may seem traditional at a first glance, but closer inspection reveals that the author plays a clever game with the reader. The Devil’s purported good deed in one of the tales is nothing but subterfuge, fooling protagonists and modern critics alike. Her miracles share much with classical hagiography, except that in some instances she imbues her tales with an almost Gothic sense of the uncanny. This also applies to other episodes, including premonitory dreams, disembodied voices and the undead. There is no doubt that Zayas uses the supernatural as a means to shock and titillate her audience. As such it ties in with other transgressive aspects of her work. But if she courted the vulgo with her sensationalist stories, some of which were recycled as relaciones de sucesos, she also aimed to impress the culto with her baroque narrative labyrinth where nothing is what it seems. Not only are women innocent victims of irrational male violence, they are subjected to evil spells and the influence of malignant stars more powerful than free will. There really is no way out for them. Word count Text and quotations: 74,040 (including footnotes: 80,471; including bibliography/index: 86,962) Cover illustration Six woodcuts made by Eric Fraser for the English edition of a selection of Zayas’s novellas translated by John Sturrock: A shameful revenge and other stories (London: The Folio Society, 1963). Table of Contents Introduction ............................................................................................................. 6 Chapter 1 ................................................................................................................. 13 The Ghostly Sybil from Madrid ............................................................................................. 13 1.1 ‘Me conocéis por lo escrito’: a writer hidden behind a screen of fiction ............................... 14 1.2 A feminist phoenix from the ashes: fame, oblivion and recognition ..................................... 34 1.3 Magic in Zayas: a review of the literature ................................................................................... 41 1.3.1 Kenneth Stackhouse, ‘Verisimilitude, Magic and the Supernatural in the Novelas of María de Zayas y Sotomayor’ (1978) ........................................................................................................................................................ 42 1.3.2 Susan Paun de García, ‘Magia y poder en María de Zayas’ (1992) ............................................................. 44 1.3.3 Judith Whitenack, ‘“Lo que ha menester”: Erotic Enchantment in “La inocencia castigada”’ (1995) . 45 1.3.4 Yvette Cardaillac Hermosilla, ‘La magia en las novelas de María de Zayas’ (1999) ................................. 47 1.3.5 Margaret Greer, ‘The Undead and the Supernatural’ (2000) ....................................................................... 50 1.3.6 Marina Brownlee, ‘Reading Magic: Mass Printing, Mass Audience’ (2000) .............................................. 52 1.3.7 Ingrid Matos-Nin, Las novelas de María de Zayas (1590-1650): lo sobrenatural y lo oculto en la literatura femenina española del siglo XVII (2010) and various articles ............................................................. 55 Chapter 2 ................................................................................................................. 57 Witches and Watermelons: the Supernatural in Early Modern Spain ..................................... 57 2.1 The natural, preternatural and supernatural orders ................................................................... 58 2.2 Magic: a bird’s-eye view ................................................................................................................. 62 2.3 Magic and sorcery in Golden Age literature ............................................................................... 68 2.4 Hechiceras (sorceresses) versus brujas (witches) ............................................................................ 71 2.5 Inquisitorial responses to witchcraft and magic ........................................................................ 75 2.6 The seventeenth-century epistemological shift .......................................................................... 80 2.7 ‘Betwixt Charybdis and Scylla’: the indeterminacy of magic .................................................... 83 Chapter 3 ................................................................................................................. 91 Slippery Sorcery ..................................................................................................................... 91 3.1 Fraudulent magic in ‘El castigo de la miseria’ ............................................................................ 92 3.2 A wily sorceress and a haunting roadside chapel in ‘La fuerza del amor’ .............................. 94 3.3 A funny spell in ‘El desengaño amando’ ..................................................................................... 99 3.4 Voodoo rape in ‘La inocencia castigada’ ................................................................................... 104 3.5 Verisimilitude and magic ............................................................................................................. 109 3.6 Seeds of doubt: the indeterminacy of the preternatural ......................................................... 112 Chapter 4 ............................................................................................................... 117 Baroque games with the Devil .............................................................................................. 117 4.1 Ugly devils ...................................................................................................................................... 118 4.2 Evil inspirations ............................................................................................................................ 119 4.3 The Devil vanishes in ‘El castigo de la miseria’ ....................................................................... 123 4.4 The Devil bites the dust in ‘La perseguida triunfante’ ............................................................ 126 4.5 The Devil’s purported magnanimity in ‘El jardín engañoso’ ................................................. 130 Table of Contents Chapter 5 ............................................................................................................... 139 Uncanny Miracles ............................................................................................................... 139 5.1 Written in the stars: astrology and the denial of free will ......................................................
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