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Women and Carriages in 17Th-Century Aragonese Burlesque Poetry

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Women and Carriages in 17Th-Century Aragonese Burlesque Poetry City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2017 Women and Carriages in 17th-Century Aragonese Burlesque Poetry Almudena Vidorreta CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/403 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] CALÍOPE Fall 2017 Vol. 22, No. 2 CONTENTS Introducción Introduction Javier Jiménez Belmonte y Nieves Romero-Díaz 7-18 Articles El Cancionero de Dulcinea en el Quijote o la creación coral de un metapersonaje en evolución Dulcinea’s Cancionero in Quijote or Te Choral Creation of an Evolving Metacharacter Mercedes Alcalá-Galán 19-42 Women and Carriages in 17th-Century Aragonese Burlesque Poetry Almudena Vidorreta 43-62 Visibilidad autorial y competencia de las escritoras en justas poéticas de la primera Edad Moderna española Female Writers’s Authorial Visibility and Competence in the justas poéticas of Early Modern Spain María Dolores Martos Pérez 63-99 El anonimato como performance textual: ‘Clarinda’ y Amarilis reconsideradas Anonymity as Textual Performance: Reconsidering ‘Clarinda’ and Amarilis Valeria del Barco 101-117 Poetry As/And Community: The Verses of Two Spiritual Daughters of St. Teresa Stacey Schlau 119-143 “La décima musa portuguesa” and Her Soledades de Buçaco: Gendered Landscape Poetry Dedicated to the Nuns of Santo Alberto Valerie Hegstrom 145-164 Praises and Prayers to Mary in the Writings of Francisca Josefa de Castillo y Guevara Clara Herrera 165-189 Sor Juana, doctora en Teología: La sabiduría y el conocimiento en los villancicos de 1676 Sor Juana, Doctor in Teology: Wisdom and Knowledge in the villancicos of 1676 Elena Deanda-Camacho 191-216 Primero sueño y Segundo sueño, un diálogo poético transatlántico Primero sueño and Segundo sueño, a Transatlantic Poetic Dialogue Dinorah Cortés-Vélez 217-234 Book Reviews / Reseñas Maurizi, Françoise, Ed. Lucas Fernández: Farsas y Églogas Julio Vélez Sainz 235-238 Reynolds, Philip L. How Marriage Became One of the Sacraments: Te Sacramental Teology of Marriage from its Medieval Origins to the Council of Trent. Michael S. Carlin 239-2 4 1 William R. Manson and C. George Peale, Ed. Vélez de Guevara, Luis. La niña de Gómez Arias. Anna-Lisa Halling 241-243 Elizabeth R. Wright. Te Epic of Juan Latino: Dilemmas of Race and Religion in Renaissance Spain. Mercedes Blanco 244-249 Contributors 251-254 WOMEN AND CARRIAGES IN 17TH-CENTURY ARAGONESE BURLESQUE POETRY Almudena Vidorreta The Graduate Center, City University of New York ABSTRACT: During the 17th century, literature turned the growing number of carriages into a burlesque topic. Tere were countless poems written about trafc jams, accidents, or the proper way to ask a friend for a carriage, often considered a symbol of status. Literary references to carriages can tell us many things about the men and women who used them, as well as about gender stereotypes. Women and carriages were understood as interconnected elements in Early Modern Spain; carriages appear as a means to conquer feminine muses as well as a recurrent satirical topic even for women poets. Tis article analyzes some rarely studied burlesque poems by Aragonese writers José Navarro, Alberto Díez, José Tafalla and Ana Abarca de Bolea, among others, that can help us understand the range and extension of some oversimplifed topoi on womanhood that have survived until today. RESUMEN: El incremento del número de coches marcó su impronta en la literatura del siglo XVII. Testimonios poéticos de género diverso dan cuenta de temas burlescos muy acusados como el tráfco abundante, los accidentes o la forma de pedir prestado un vehículo que no todos podían permitirse. Estas referencias literarias a los coches aportan valiosa información sobre la sociedad de su tiempo y la confguración de ciertos estereotipos femeninos. En la España del Siglo de Oro, coches y mujeres llegan a entenderse como elementos interconectados: los carruajes aparecen como medio para conquistar a las mujeres que inspiran estos poemas burlescos, cuya escritura debemos incluso a una pluma femenina. Este artículo analiza en su contexto algunos poemas apenas estudiados de los aragoneses José Navarro, Alberto Díez, José Tafalla Negrete y Ana Abarca de Bolea, entre otros, que ilustran el alcance de tópicos sobre la subjetividad femenina que han pervivido hasta nuestros días. KEYWORDS: Carriages, Women, Aragonese Poetry, Ana Abarca de Bolea, José Navarro PALABRAS CLAVE: Coches, mujeres, poesía aragonesa, Ana Abarca de Bolea, José Navarro CALÍOPE Vol. 22, No. 2, 2017: 43-62 44 Almudena Vidorreta rban reforms, road construction, maintenance and paving in Spain in the 17th century went hand in hand with technical innovations that improved the comfort and sturdiness of vehicles, as can be Uobserved in original archival material as well as in a number of literary testimonies.1 Whereas owning a carriage in 16th-century Europe was rather uncommon, their number eventually increased and their presence became more prevalent within the aristocracy and the nascent bourgeoisie (Paulicelli 211-12; Newman 73). As María de Guevara argues in her Warnings to the Kings and Advice on Restoring Spain, around 1663 there was “no city supplier, merchant, or craftsman who does not ride around in a carriage” (61). Documents depicting the social uses of carriages can be an important and unique source of information, and the history of transportation can reveal important details about the development of urban space, social mobility, socialization, and human behavior and mores. Literary references to carriages, often considered a sign of social privilege and a symbol of status, can shed light on people’s civil customs and uncover gender stereotypes. While art history has traditionally portrayed the evolution of coaches and carriages in paintings and engravings, literature has consistently turned them into a burlesque topic. Conventional ideas about carriages and women are found in diferent literary genres, especially in comedies and entremeses (Brioso 227-36; Fernández Oblanca 105-24), but also in poetry, a genre where events, experiences, assumptions and beliefs could be quickly chronicled and shared. Tis is the case, for instance, with Quevedo’s “Sátira a los coches,” written in response to the “Pragmática en que se da la forma cerca de las personas que se prohibe andar en coches, y los que se pueden andar en ellos, y cómo se ayan de hazer, y que sean de quatro cauallos” (1611), and considered one of the most famous Spanish-language satirical poem against carriages.2 Te poem presents itself as a trial in which carriages are personifed, while pinpointing many of the central issues associated with their expansion and development in the burgeoning urban spaces. Te frst issue described in the poem deals with role of carriages as procuress:3 “Acúsome en alta voz / (dijo) que ha un año que sirvo / de usurpar a las terceras / sus derechos y su ofcio” (vv. 17-20).4 Ignacio Arellano has detailed several of Quevedo’s enduring topics about carriages in this satire: carriages steal the procuress’ prostitution business, ruin the pretentious and conceited people, sacrifce essential qualities to ostentation, and, fnally, expose women’s vanity and obsessions (39). CALÍOPE Vol. 22, No. 2, 2017: 43-62. ISSN: 1084-1490 Women and Carriages 45 Te purpose of this article is to examine the poetic implications of the carriage trope in some Aragonese burlesque poems from the 1650s in relation to some other texts by canonical writers like Luis de Góngora or Francisco de Quevedo, in order to demonstrate the range and extension of the trope all over the country. Tis analysis will reveal the social attitudes towards this new fashion, its gendered construction, as well as its historic and aesthetic impact. Tis essay will also examine unexplored poetic representations of new urban practices associated with carriage use, such as the growing ubiquity of trafc jams and accidents (Deleito y Piñuela, Sólo Madrid 224-5), the proper etiquette for borrowing a carriage for courtship purposes, and the laws regulating carriage ownership and maintenance. Trough this analysis, I will shed light on the surreptitious presence of the feminine gaze in texts written by both male and female poets, focusing on writers such as Alberto Díez, José Navarro, José Tafalla y Negrete, and Ana Francisca Abarca de Bolea, among others. By imitating royal manners, customs and clothing, objects associated with women quickly came to include decorative items such as coaches and carriages. In the frst decade of the 17th century, Queen Margarita added all kinds of accessories and embellishments to her vehicles, and equipped them for multiple purposes. Showing his concern for the lack of etiquette, Philip III passed a series of regulations for the use of carriages and coaches in 1603; these laws afected those allowed to accompany the Queen, and were also responsible for regulating the behavior of servants (López de José 213-4, 224; López Álvarez 488). Some decades later, in 1649, Philip IV issued almost identical regulations, which reveals the prevalence of such concerns throughout the century in Spain (López de José 227). All over the country, noblemen and women wanted to imitate the royalty in their public appearances, as refected in the literature written at the time, and mostly studied in relation to the theatre of Tirso de Molina, Lope de Vega or Agustín Moreto (López Álvarez 490-502). Tis can also be observed in poems where carriages serve as a representation of wide social and fnancial gaps, like in the case of one of Góngora’s many satirical poems, his letrilla “A toda ley, madre mía”: Basta un señor de vasallos y un grave potente fraile; los demás los lleve el aire, si el aire quiere llevallos; CALÍOPE Vol.
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