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OR, the SPANISH BAWD. a TRAGI-Comedyj and the BAWD

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OR, the SPANISH BAWD. a TRAGI-Comedyj and the BAWD TWOEIGHTEENTH-CENTURY ENGLISH ADAPTATIONSOF THE CELESTINA. CELESTINA: OR, THE SPANISH BAWD. A TRAGI-COMEDYj AND THE BAWDOF MADRID by Jeremy Newton Westfield College Thesis submitted for the degree of Doctor of Philosophy in the University of London 1974 1. ABSTRACT The introductory chapter discusses previous studies of Celestina imitations and adaptations, and the position of early Celestinesque works in Spanish literature. I then move further afield to investigate the diffusion of the Celestina in the rest of Europe, especially in England. Chapter II comments on the general influence of Spain on English literature with particular reference to the two eighteenth- century adaptations of the Celestina. Chapter III suggests some implications of the simultaneous appearance of these two adaptations. Chapters IV-VI are devoted to a closer examination of the dramatic adaptation, A_Tragi-Ccmedy; 'an investigation into its sources, and the manner in which it remodels its original for the stages culminates in a discussion of the adapters' identity. Chapters VII-IX deal with The Bawd of Madrid; a biographical sketch of its author, Captain Stevens, is followed by a discussion of which version of the Celestina he used and of the sources for the description of Madrid in his first chapter. Chapter IX looks at the way he reworks the Spanish ZraEi- comedia into a narrative account. I bring together in Chapter X elements from both adaptations for purposes of comparison. The final chapter shows the similarities between the fictional world of the Celestina and the environment of early eighteenth-century London, a:ýd I suggest why these English adaptations may have been particularly apposite at this time. CONTENTS VOLUME I Preface 5 List of Abbreviations .......................................... CHAPTERI- INTRODUCTORY THE LITERARY TRADITION OF THE CELEST331AIN SPAIN ........... 7 VM DIFFUSION OF THE CELESTINA ET. W RE .............. 600* 19 NOTES .................................................... 25 CHAPTERII - THE LITERARY BACKGROUNDOF THE Wo ADAPTATIONS .... 31 NOTES 39 ..................................................... 42 CHAPTERIII - THE PUBLICATION OF THE TWOADAPTATIalS ........... 49 NOTES ..................................................... CHAPTER IV TEE SOURCESOF A TRAGI-COMEDY loo - ....................... 40MI; SOURCES 0 'POSSIBLE ..................................... tlE 57 PRIMARY SOURCE........................................ 72 NOTES .................................................... CHAPTERV- THE REWORKINGOF THE CELESTINA IN A TRAGI-COMEDY... 74 STRUCTURALREWORKING 78 .................... .... TEXTUAL 83 REWORKING ...................... .... ELEMENTS 90 ADDITIONAL ............................... :::: fee CHARACTERISATION 98 ................................. ::...... 108 NOTES ............................................ CHAPTER VI THE AUTHORSHIP 110 - OF A TRAGI-COFTEDY ................. NOTES .................................................... 130 VII 133 CHAPTER - CAPTAIN JOHN STEVENS ............................ NOTES .................................................... 143 CHAPTERVIII - SOURCESOF TIM BAWDOF MADRID .................. 147 SOURCESFOR THE DESCRIPTION OF MADRID .................... 159 NOTES .................................................... 166 CONTENTS(cont. ) CHAPTERIX THE REWORKINGOF THE CELESTINA 321 THE OF 168 - BAWD MADRID .. THE NARRATIVE STRUCTUREOF THE BAWD,OF MADRID 172 ............... CHARACTERISATIM ............................................ 184 THE ADAPTER'S TREATMENTOF ROMANCATHOLIC REFERENCES 190 ........ THE MORAL 321TENTIONSOF THE ADAPTER ......................... 193 NOTES 198 ........................... *. ** ....... 0 ............. .., ** CHAPTERX-A LITERARY CUIPARISON OF TWOADAPTATiais THE ......... 200 CHAPTERXI - THE CEIESTINA AND EIGI=iTH-CENTURY LONDON.......... 214 LONDON RUFFIANS ............................................. 222 BAWDSAND 224 BAWDY-HOUSES...................................... WHORESAIM CULLIES .......................................... 228 THE SUBVERSIOll OF TIM YOUNG ................................... 230 NOTES 238 ....................................................... APPENDIX 1-- BIBLIOGRAPHICAL 241 DESCRIPTIONS ........................ ADDENDUM.......................................................... 246 249 SL7MT BIBLIOGRAPHY ............................................... Plate 1- Title-page of James Mabbe's The RoE!!e (London, 1634) facing page 52 VOLUMEII APPENDIX-2 Prefatory Material to The Life of Guzman and the Text of Albagi-Comedy. APPINDIX 3 Prefatory Material to The Spanish Libertines 6nd the Text of The Rawd of Madrid. 5. PREFACE Since the two books concerned are not readily accessible, it has been thought desirable to provide a supplementary volume to this thesis containing xerox copies of the two Celestina adaptations and the prefatory material to the works of which they form part. Unfortunately, it has not been possible at this stage to make direct reproductions of the copies in the British Library (known as the British Museum library until July 1973), because permission to make xerox copies of works before 1800 was withdrawn in October 1973- Since reproduction by photograph or enlargement of a microfilm would have been prohibit- less ively expensive, I have been reluctantly obliged to have a much satisfactory reproduction made from a xerox copy that was taken before permission to do so was withdrawn by the British Library- Specific acknowledgements of indebtedness are made at appropriate debts points in the notes, but I feel bound to acknowledge more general to the staff of the British Library, of the Institute of Historical Research, and of the library at Westfield Colleget for much kind assistance. Mr. Peter Dixon of the English department at the same college commented on early versions of chapters II, III, V, VI, VII, IX and XI, and was largely responsible for detecting extensive gaps in my knowledge of English literature. One overwhelming debt is too all- pervasive to be adequately acknowledged in the notes; Professor A. D. Deyermond has at all times been patient and courteous in hir, many invaluable suggestions and meticulous correction of several drafts. is, in He of course, no way to blame for any errors cof obscurities that remain. 6. LIST OF ABBREVIATIONS AB All for the Better ATC A Tragi-ComedX BHi Bulletin Hispanique BHS Bulletin of Hispanic Studies BL British Library BM The Bawd of Madrid DNB Dictionar of National BioE_raphy _y GC The Generous Choice HR Hispanic Review LG Life of Guzman d'Alfarache NBAE Nueva Biblioteca de Autores Eppdn"oles PQ Ehilological quarterly P141A Publications of the Modern Language Association of America RLC Revue de Litt4rature Comparge RPh Romance Philology Shakespeare Jahrbuch Jahrbuch der deutschen Shakespeare Gesellschaft 0 7. CHAPrER I INTROIXJCTORY THE LITFHARY TRADITICN CF THE CELESTINA IN SPAIN If the number of editions that a work ran to in the early days of printing in Spain is-a reliable yardstick of its popularityt the initial success of the Celestina exceeds even that of the Quixote. In the century after the first Imown printing of the 16-act Comedia in or soon after 1499, the: number is more than twice the total of Spanish Quixote editions during a comparable period of time- Another measure of its popularity beyond the small circle of friends for whom Fernando de Rojas is likely to have intended hi. s Comedia do Calisto-y Melibea,, is the large number of books written in subsequent years that carried on the traditions created by this work. The main body of this literature was written during the next 150 years, but this present century has seen a number of editionst translations and adaptations of the Celestina, which confirms beyond doubt that its influence as an outstanding work of imaginative literature is rot confined to the age for which it was written. It may be appropriate to summarize the plot of the Celestina at this point. In the 16-act Comedial Sempronio, seeing his master Calisto smitten with love for Melibea# seeks the help of an ancient go-betweeng CelAstina. 'She is successful in bringing about the desired meeting between the loversp but because of her covetousnessp she is murdered by Sempronio and his follow-servant Armeno, to whom she had 8. promised part of the reward, given to her by Calisto for services rendered. Both of the servants are very seriously injured while trying to escape from justice, and are summarily executed. After enjoying the favours of Melibeaf Calisto falls to his death as-he leaves the garden of her house, and the grief-strioken Melibea throws herself to her death, requesting her parents to bury her body with that of her lover. With the interpolations that the author inserted at a later datet the nightly meetings'of the tlqo lovers continue for a month afterjthe death of the servants. "Rojas also works into the action a oa"al connection between the death of the low-life characters and that of the loverst the ruffians whose attack on Calisto's other servants fetches him'to their rescue'v bringing about his fatal fallp are carrying out the revenge plotted by Elicia and Aredsa, friends of Celestina and lovers of the'two'dead i3ervantep 'Sempronio and Pilmeno. In the first important study of Celeatinesque literature to appear this century, Men4ndez y Pelayo, declares that the early body of works which continued the tradition of the Celestina 'por su n&ero y su valor'son una de las mIs curiosas y ricas manifestaoiones de la 2 literatura del
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