University of Oklahoma

UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JACINTO CORDEIRO'S EL JURAMENTO ANTE DIOS Y LEALTAD CONTRA EL AMOR : A CRITICAL EDITION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By JAIME CRUZ-ORTIZ Norman, Oklahoma 2009 JACINTO CORDEIRO'S EL JURAMENTO ANTE DIOS Y LEALTAD CONTRA EL AMOR : A CRITICAL EDITION A DISSERTATION APPROVED FOR THE DEPARTMENT OF MODERN LANGUAGES, LITERATURES, & LINGUISTICS BY _________________________________ Dr. A. Robert Lauer, Chair _________________________________ Dr. Luis Cortest _________________________________ Dr. Nancy LaGreca _________________________________ Dr. Bruce A. Boggs _________________________________ Dr. James Yoch _________________________________ Dr. C. George Peale © Copyright by JAIME CRUZ-ORTIZ 2009 All Rights Reserved. ACKNOWLEDGEMENTS This has been a long and arduous process, one that I could never have completed without the help, encouragement, and support of a lot of people. I hope that they accept these few words of gratitude and understand that I could never fully express how much I appreciate what they have done for me. First, I would like the thank Dr. Robert Lauer for his mentorship, guidance, and, most importantly, for introducing me to Spanish theater. When I started taking classes with Dr. Lauer, I was young, thin, and had a head full of hair. Now, so many years, pounds, and follicles later, Dr. Lauer still challenges and inspires me. I will always consider myself his student. Secondly, I would like to thank my committee for their patience, suggestions, and words of encouragement. I am forever grateful to Dr. Luis Cortest for recruiting me to join the Spanish graduate program at the University of Oklahoma, to Dr. Nancy LaGreca for supporting me during some very tough times with Tierra Tinta , to Dr. Bruce Boggs for helping me discover nineteenth-century Peninsular theater, to Dr. James Yoch for giving me the opportunity to play Don Pedro, and to Dr. George Peale for being so magnanimous with his time and wisdom. Thirdly, I would like to express my gratitude to my parents, Leslie, David, Langston, and Mayra for helping me survive these years of poverty and sleep deprivation. Finally, I wish that I could say that I am the only one that has sacrificed to make this possible. I appreciate everything that my family has done for me throughout the years. I could never repay Séneca for making me laugh, Nani for her freestyle songs, and Turey for the wrestling matches. This achievement pales in comparison to Turey's iv bravery in the face of Autism. When he was diagnosed, around the time of my doctoral exams, my son hardly acknowledged people at all. Consequently, he ignored the doctors and speech pathologists when they explained that he may never speak. He has put me in the unenviable position of being a father who could never measure up to his own son. Most importantly, I thank my wife, Lynés, for her loving support, for keeping me sane, for listening to countless drafts of this dissertation, for indulging me with Star Trek study breaks, for years without vacations or cable, for all of the sleepless nights, and for dreaming with me. After all of this time, I finally concede that in High School I called her every day after work partly because I was already madly in love, but mostly because I wanted the answers to the AP CALC homework. I still love her and need her the way I did when I was seventeen. v TABLE OF CONTENTS I. INTRODUCTION A. Rediscovering Jacinto Cordeiro ........................................................................1 B. Overview of Criticism......................................................................................10 C. Biography.........................................................................................................16 D. Literary Career.................................................................................................20 E. The Spanish Comedia in Portugal....................................................................27 F. Staging El juramento ante Dios y lealtad contra el amor ................................39 G. Methodology....................................................................................................59 H. Copy-Text........................................................................................................64 I. Textual Transmission........................................................................................76 J. Editorial Criteria................................................................................................96 K. Versification.....................................................................................................98 II. BIBLIOGRAPHY................................................................................................103 III. APPENDIX A A. Abbreviations.................................................................................................114 B. Jornada primera..............................................................................................117 C. Jornada segunda.............................................................................................164 D. Jornada tercera...............................................................................................210 IV. APPENDIX B A. Transcription..................................................................................................256 B. Sample Group Used in the Calculation of Variants.......................................383 C. Variants List...................................................................................................397 vi LIST OF TABLES TABLE 1. Props Used in El juramento ante Dios.............................................................51 TABLE 2. More Props Used in El juramento ante Dios...................................................52 TABLE 3. Extant Versions of El juramento ante Dios......................................................66 TABLE 4. Shared Readings in Relation to A....................................................................74 TABLE 5. Shared Readings in Relation to B ....................................................................75 TABLE 6. The M, N, H, and U Family ..............................................................................84 TABLE 7. Shared Readings in Relation to M ...................................................................84 TABLE 8 . The G, C, D, and E Family ..............................................................................88 TABLE 9. Shared Readings in Relation to G ....................................................................88 TABLE 10. Shared Readings in Relation to F ..................................................................90 TABLE 11. The F, I, J, and K Family ...............................................................................90 TABLE 12. The O, Q, R, and S Family .............................................................................92 TABLE 13. Shared Readings in Relation to O ..................................................................92 TABLE 14. Shared Readings in Relation to T ..................................................................93 TABLE 15. Poetic Meters Used in El juramento ante Dios............................................101 TABLE 16. Versification .................................................................................................102 vii LIST OF ILLUSTRATIONS ILLUSTRATION 1. First Possible Relationship Between A, B, L, and P ........................77 ILLUSTRATION 2. Second Possible Relationship Between A, B, L, and P ....................77 ILLUSTRATION 3. Third Possible Relationship Between A, B, L, and P .......................77 ILLUSTRATION 4. Stemma for A, B, L, and P with Missing Intermediary ....................80 ILLUSTRATION 5. Stemma for A, B, L, and P with Two Missing Texts .........................81 ILLUSTRATION 6. Stemma of All Extant and Missing Witnesses ..................................82 ILLUSTRATION 7. Final Stemma ...................................................................................95 viii ABSTRACT Portuguese playwrights who wrote comedias during and after the Dual Monarchy (1580-1640), a period in which the Portuguese and Spanish thrones were united under Habsburg rule, continue to be a largely unexplored group. In a first step toward their recovery and study, this dissertation highlights the contributions of Jacinto Cordeiro, one of Lisbon's most successful seventeenth-century dramatists. In many respects, Cordeiro exemplifies the dominant currents of Lusitanian theater before the restoration of the Portuguese monarchy. This dissertation describes the sparse critical attention that Cordeiro has received, his life, literary career, and historical context. Most importantly, it provides a modern and critical edition of Cordeiro's most celebrated play, El juramento ante Dios y lealtad contra el amor (1630), based on a collation of the 21 extant witnesses that comprise the Juramento textual tradition. This includes an in-depth account of the transmission of the play with a stemma that documents the genealogical relationships between extant versions. It also provides an analysis of the staging of the play based on stage directions and performance cues written into the dialogue. This is complemented by a study of the comedia 's versification. In summary, this dissertation argues that the mastery of seventeenth-century theatrical

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