03 LucianoGarcía.pmd collective, struggle forhegemonybothwithinpeople’scollective, struggle individual consciousness never completelymonolithicandinwhichdifferent agents,bothindividualand ABSTRACT isabelino, siglo PALABRAS durante lossiglossiguientes. prefigura laimageninteresadayatenta,aunquealgocondescendiente queibaaserlanorma que aparecenenotrasobrasdramáticasdelautor. El revelaquelavisiónshirleiana artículo según suregulación porgenéros.Despuésrevisa brevemente algunosdelostiposespañoles visión shirleiana,pasarevistaalasseisobrasdramáticasconlocalizaciónytiposibéricos en cuentaprimerlugarlosfactores históricoscondicionantesquehicieronposiblela James Shirley delasidentidadesnacionales. dentrodelcampodelaconstrucción Teniendo abordaEste artículo larepresentación delostiposespañolesenlasobrasdramáticas RESUMEN Elizabethan, drama. KEY norm duringthefollowingcenturies. the generallyattentivethoughsomehowcondescendingimagewhichwassoontobe other playsbyShirley. Having donethis,oneperceivesthattheShirleian prefigures view regulated bygenre conventions. Then itbrieflyexaminessomeofthetypesappearingin of thisdramatist’s playswithIberiansettingsandtypesaccording tothewaytheyhavebeen first thehistoricalconditioningfactorsthatmadepossibleShirleianview, six itsurveys ofnationalidentities.Considering works withaviewtoconcentratingontheconstruction This essayendeavourstoanalyseJames Shirley’s depictionofSpanish typesinhisdramatic collective imaginaries discursive processinwhichdifferent linesofforcecrisscrossand aimatcreating given thedialogicalnature ofdiscourse

WORDS A CAROLINE VIEW OFSPANIARDS ANDPORTUGUESE ON THE STAGE:DRAMATICON THE REPRESENTATION THE

From acommunicative perspective,nationalidentitymay bedefinedasa CLAVES : James Shirley, nationalidentities,Anglo-Spanish relationships,17thcentury, XVII OF IBERIAINJAMESSHIRLEY (1596-1666) : James Shirley, identidadnacional,relaciones angloespañolas,drama, R . EVISTA 37 1 C whichsimultaneouslyincludeandexclude. This process, ANARIA Luciano García García

DE E Universidad deJaén STUDIOS I 2 itself, istypicallyasocialpracticewhich is NGLESES , 54;April 2007,pp. 37-53 08/10/2007, 11:39

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LUCIANO GARCÍA GARCÍA 38 the English aspiratical,heretical, andhypocritical, andscheming,butalsotheviewofSpaniardsfanatical, proud,cruel depicting theSpaniards oftheEnglish portraying imaginary the deprecatory asreligiously to reinforce theirrespective nationalidentities.Consequentlyonecanseenotonly try’s own nationalsenseofidentity. imagesoftheother Bothcountriesconstructed andreinforce eachcoun- historical upheavals,couldfitintoanationalimaginary was therefore imagesoftheotherwhich,inevent unavoidabletoconstruct are oftheexclusive practices,it not)orbyassimilatingsomeoftheirvalues.Aspart understanding oftheother, whichprevents counter-definition(weare whatthey practice inrelation totheothermaybecomeinclusivebyeitheracquiringabetter we are) andexclusion (we are whattheyare not). Yet, sometimesthediscursive owes alotinbothcountriestothediscursivepracticeofinclusion(wearenary who againsttheother,tional identitywasconstructed andwecansaythatthisimagi- inclusive andexclusive ofthena- discursivepractices.In thiswaytheimaginary thermore, asmentionedabove, theyhadnoalternativebuttodosoboththrough identitiesoftheirown ofabsolutiststates.Fur-constructing drivenbythethrust conditions oftheirrespective dominantdiscourses,were engagedinaprocessof ther. Bothnations,trappedintheirsocialandhistoricalcircumstances andinthe though, ofcourse,thisprocessmayberesisted andrelativized inbothdirections. somewhat as“the us.” This issomuchsincetheSpaniards andtheEnglish,on margin forinclusive orpositive oftheexcluded views other, i.e.,theotherisseen naturedialogic,thereas already isa mentioned,asdiscourseitselfisbyitsvery and nationalhegemonicidentities hierarchies,theredeconstructive isnowayoutofthisprocess ofbuildingindividual in materialorideologicalterms.However, itseemsclearthat,asinthecasewith and withinbroadlayersofgroupspeoplepeople’s actionsinsocieties,either be, fanatical, proud, cruel, scheming,piratical,heretical,be, fanatical,proud, orhypocritical. cruel, from theimputationthrown upontheother, notbeingtherefore, asthecasemight that therespective discoursecommunity, eithertheEnglishorSpaniards, isfree critical), thoughunderdifferent pretexts. García oftheSpanish (454-86)fortheviews ontheEnglish. of immigration,shouldmakeusaware thatthesubjectofnationalismisandwillbealife-longissue. nationalism, especiallyafterthe1989demiseofCommunisminEastern Europe andtherisingissue Essays van DjikandFairclough, thoughIdonotshare theirexplicitpoliticalbias. identity andracism,Ihave ofCritical profitedfrom Discourse thetheory Analysisasexpoundedby For thediscursive aspect,thoughmainlyappliedtothecloselyconnectedphenomenonofethnic . In seventeenth-century England(andSpain)In seventeenth-century there wasnoalternativeei- 5 4 3 2 1 Note how both“nations” accusedeachother ofthesamevice(schemingandbeinghypo- ofbothoneachother, See forinstance,theimaginary Cruickshank, andHerrero Recent KingorHuntington, booksby andallthepoliticaldebateevents surrounding See Bakhtin’s notionofthedialogicnature ofdiscoursein The imaginedcharacterofnationalismhasbeenaptlypointedoutby Anderson(5-7). 38 3 throughaninclusive and exclusive process, 4 withtheimpliedassumption 08/10/2007, 11:39 Speech Genres andOther Late 5 However, 03 LucianoGarcía.pmd negative dominantprototype oftheSpaniard. influentialminorityofso-calledhispanophilesthatcouldassuagethe a somewhat tion thefactthatonEnglishsoil(butnotreciprocally ontheSpanish one)there was of stereotypesandprejudices asfarnationalidentityisconcerned. discursive formswhichgreatly assistedthecreation ofideologyandthecirculation tural Materialism andNew Historicism. way asthedichotomyconformityvs.subversion proposed inthedomainofCul- stices forpotentialinterpretation ofinclusiveorpositiveviews,inmuchthesame possibly inthetreatment ofotherminoritiesandforeigngroups, thereare inter- the seventeenthcentury. OnecanstatethatnotonlyinthecaseofSpain butalso that Spain enjoyed prestige acertain asaleadingEuropean power inthefirsthalfof is, nottheirreduciblealien,perpetualenemy, white raceandChristendom, account oftheircommonEuropean andChristianstocktheirbelongingtothe this factwehave numerousexamplesoftheatricalactivityoftendealingwithboth Bellany, Raymond,andDemetriou Demetriou. more clearlyhispanophobicattitudethandrama,andShirleian dramainparticular. See Onega Jáen, agreatexerted influenceintheStuart Court. the topicofEnglish Catholics(Havran, Gillow). What iswithoutadoubtthatthisminority orpoliticalbiographies(Russell, Huxley,1965), literary Burner, Barbour), andbooksdealingwith in generalbooksaboutAnglo-Spanish relations ofthetime (Underhill, literary Ungerer, 1956 and extensive studyasfarIknow. books(Gardiner), Agreat dealofinformationcanbefound inhistory 466-86), thetopicofEnglish fairnessgoingbacktoPope Gregory theGreat andhisfamous appearance (contrastedsometimeswiththeirallegedinnerugliness)bySpaniards (Herrero García Cantabrian region onthesameaccount. The Englishthemselves were praisedfortheirfairphysical with nomixedbloodofMoors orJews, andthegeneralhighesteemforBasques andnativesofthe the ancientGoths),pridetakenby botharistocracyandplainpeopleinbeing“castellanos viejos,” iard (“hacersedelosgodos” wasasetphraseofthetimeforonetopasshimselfoffasdescendant of womaninthePetrarchan ofthegeneralSpan- tradition,theglorifyinginavague ancestry Gothic which wecannotdiscusshere. Suffice tonotethegeneralpreference forthewhite-facedblondetype commentary by Jamescommentary Howell ( and fromtheirown pointof view, were aware ofbeing“tawny” or“swarthy.” Inthisrespect the (white)-Moor andeven theexceptional blackhero, andtheSpaniards, asseenfrom theEnglishside anity, there exceptions have alwaysbeenliterary infavouroftheblack-haired, black-eyed lady, the butdistortedandalleviated by Christi- its proto-formthephenomenonwasnotwhollyarticulated, “non Angli,sedangeli,”“Not Angles,butangels!”However, theissueisnotasimplisticone,sincein saying, OwhenshallwehaveaKingagainofourown Colour!” telling. Howell thus,“for finisheshiscommentary oneshallhearthe the former“black-hair’d andofaSpanish hue” ratherthanofa“Flemish” complexionisrather general preference oftheSpaniards forDon Carlosbefore hisroyal brother, KingPhilipIV, forbeing In seventeenth-century England,dramawasnodoubtoneofthesocial In seventeenth-century 8 7 6 9 Another literary oratleastwrittendiscursive formwaspamphleteeringwhichdisplayed a Anotherliterary References tothehispanophileminority inEngland have notbeenthesubjectofany See Marienstrass (105-17). There ismuchevidenceofaprofessed proto-racisminSpanish (andEuropean) letters, 39 Epistolae Ho-Elianae. Familiar Letters 6 mightsometimesbepresented asthe“other us,”that 8 Andtothisonemustaddthefact 7 theabsoluteother. Not tomen- , BookI,ix,109)aboutthe Spaniard 08/10/2007, 11:39 sighandlament, 9 Attestingto dictum :

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LUCIANO GARCÍA GARCÍA 40 on hisCatholicism. Phillip voices thesenseofdeclineandexhaustionfeltinsideoutsideSpain duringtheperiodof Demetriou Demetriou(79and254-55);James Howell, thoughingeneralhispanophile,sometimes Spaniards. See alsoHeinemmann and Limonfor (Dekker, seeLópez-Peláez Casellas)were anegative highlyinfluentialinconstructing imageofthe such as such as character, controversies we canmentionsuchcontemporary arisenduetotherepresentation ofplays ups-and-downs. Broadly speaking,afterthepeacesignedwithSpain byJames already changedduringtheJacobean andtheCarolineperiodwithsomenotable of harmlesshumourandevencomplaisance. being blatantlypositive,redirected theviewsofSpanish characterstowards afeeling oftheSpaniards,of perceptioninrelationtotheEnglish imaginary which,without (1596-1666), aCaroline dramatist,issignificantbecausehebestexemplifies achange less, Lucow (13-37), Wolf, Burner. Baugh, Radtke,Armstrong (xiv-xvii),Morillo, Taylor, Riemer(3-35),Bas (27-36,497-509),Law- degrees ofcertainty.tholicism, thoughwithvarying See, forinstance,Nason (31-34,158-162), kingdoms. Ontheotherhand,mostofacceptedbibliography aboutShirley agrees onhisCa- national andinternationalpolitics,viceversa. dramatic practice, and hasbeentheauthormostextensivelycircles related ofthecourt toSpain inhis check byitsmanyenemies. oftheEnglishpeople,thatSpainungrounded onthepart wasapower keptin of allianceshadbeenessayed. To thisonemustaddaperception, notwholly sion epitomizedbytheArmadahaddefinitivelyfadedaway, interplay andacertain dramatic thanduringtheprevious Elizabethan period,oncethedangerofreal inva- between theEnglishandSpaniards duringtheCaroline reign were muchless city, thepuritanpreachers andthemiddle-classesofLondon.Atanyrate,relations withintheEnglish Parliamentporters and,ingeneral,amongthemerchantsof work againstabackdrop ofpopularanti-Hispanism whichfoundmostofitssup- due tomutualexhaustionandconcernforothermore urgentmatters.Allofthis the Anglo-Spanish warof1625-1630,andfinally, apeacefulperiodofcoexistence plish theso-calledSpanish match(till1624)toasuddenreversalofattitude with ing three goingfrom fluctuationsoffortune, theenthusiasticattempttoaccom- socio-political backgroundtoCarolinedrama(1625-1642)maybeseenassuffer- and thingsmainlySpanish were ingeneraleitherneutral(thoughslightlyhumor- wright under discussion, partook ofaprovenwright underdiscussion,partook relationship withthehispanophile III A Game atChess Sir Thomas Wyatt andPhillip This was possible in part becausetheEuropeanThis waspossibleinpart politicalatmosphere had 13 12 11 10 This beingso,andalsotakingintoaccountthatJames Shirley, theplay- See Burner andBas amongmanyotherspecialistsonShirley, who,however, focusmore See thewords oftheanonymousauthorpamphlet Of thecomplexinterrelation ofdramaandpoliticsinthe representation oftheSpanish In 29oftheusual 38playShirleyancorpus,there are socio-textual allusionstoIberian 40 IV 13 itisnotsurprisingthathisrepresentations ofIberian characters . , by Thomas Middleton in1624,butnodoubtotherpoliticallyloadedplays (Dekker and Webster), 11 Believe as You List A Game atChess 10 In thisrespect,James Shirley . 08/10/2007, 11:39 (Massinger), or Considerations Lust’s Dominion (c.1617)in I , the 12 03 LucianoGarcía.pmd Vega, two features. exoticism proper topalatinetragicomediesand tragedies. The term“Iberia” clearlysuggestedthese littleawarewas probably ofthis,for themainpurposeofthesenameswastosuggestremoteness and ofmodernGeorgia.Iberia, moreorlesscoinciding witheasternandsouthernparts The audience (Armenia), itismore likelythattheIberia referred tohere istheoneusuallytermedasCaucasian life andcareer. palatine tragicomedy( hadbegunarevolt toregainwhen thiscountry itsindependence. nial alliancesbetweenprincesoftheindependentstatesSpain andPortugal, just Spain represented in in thekingdomofNavarre whichisconfederatedandatwarwithAragon.Even the ing countriesof Valencia andAragon;thetragicactionof Murcia withtheneighbour- againstabackground ofpoliticalandromanticrivalry other palatineShirleian (ornon-Shirleian) tragicomediessuchas much so,thattheycouldbeeasilyinterchangeableforthecharactersofany intragicomedieswhichtakeplaceItaly,high birth France orDenmark. This isso undifferentiatedters ofhighbirth, andundistinguishablefromothercharactersof Thus, fromthepointofviewnationalidentity, theyare neutral. They are charac- asrepresentativeconstructed ofaclassanditsidealsnotasnationalscountry. that matter, isinlinewiththeconventions of thepalatineworldview. They are corded totheSpanish characters,andtothecharacters ofanyothernationalityfor teristically, the same wayastheIberia ofBeaumontandFletcher’s sentations ofkingdoms,eitherrealorimagined,pre-modern Spain inmuchthe SecretCourt with anIberiansetting( state whichatthetimewasdenominatedSpain. Thus, ofthefiveShirleian plays but ratherbecauseinmanyinstancestherewaslittleawareness ofthecontemporary And thisisso,notsomuchbecauseofthefactthatPortugal wasalsorepresented, image projected byShirley ofthePeninsular typesisIberianratherthanSpanish. pending mainlyonconventional andgenre mechanismsofdramaticrepresentation. that hispositive isnever view uncompromising ordirect, butratheroblique,de- ous), orpositive.But somethingthatmustbenotedimmediatelyinthisrespect is place inPortugal asaseparatestate( termed Spain ( of theirbackdropscomeclosetothephysicalspacewhichmightlooselyhavebeen ral (Sicilian andNapolitan setting), Don LopedeCardona Of thefive playsmentionedabove, twofall clearlywithinthescopeof Another thingthatneedsclarificationisthetermbestdefines 15 14 16 However, onaccountofcharacters’ mentionedinthisplay namesand theothercountry We mustnotforgetthatPortugal oftheSpanish waspart State duringmostofShirley’s The YoungAdmiral , 1642; The Brothers The DoubtfulHeir The Brothers The CourtSecret 41 The Doubtful Heir aswasfirstrevealed by Stiefel. Shirley changedtheSpanish setting(the The Maid’s Revenge , however, isbasedonaSpanish palatinetragicomedybyLopede and , 1626?or1641;and The Court SecretThe Court , apalatinetragicomedy, issetinthekingdomof 16 The Maid’s Revenge

The Coronation issetagainstapoliticalnetwork ofmatrimo- and , 1626; The CourtSecret ). The otherthreeplayseithertake A KingandNo King The Doubtful Heir (Greek, Epire), The Cardinal ) orare anachronisticrepre- 08/10/2007, 11:39 The Cardinal ). The treatment ac- treatment ). The The , 1641)onlytwo The Imposture

Young Admi- , 1640; . 15 Charac- unfolds The 14 ,

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LUCIANO GARCÍA GARCÍA 42 generosity andlenientpunishmentofthewickedcharacters,etc. flict betweendutyandlove, defenceofone’s honour, knightlypunctilio,noble forpower,guage andloftyspeeches(intheserioussubplot),politicalstruggle con- values oftheEuropean aristocracyofthetime:anidealizedworldview, exaltedlan- type oftragicomedyisnottoillustratenationalcharacteristics,butpublicizethe (Italian, Mantua), and of thenamesSpanish characters. action takesplacein Valencia andinvolves thekingdomsofAragonandSicily), thoughhekeptmost were beginningtocomeintofashionatthetime:passionateanddecorousSpanish comic genretoappearassomewhatconformingSpanish commonplaceswhich Roderigo, Carlo,Mendoza, etc.sometimesescapethedullneutralityoftragi- the Spanish names.CharacterssuchasAntonio,Maria, Clara,Manuel, Piracquo, Doubtful Heir to thepalatinegenre, onemustacknowledge thatthisplayisnotasneutral Montesquieu...) thefashionforOrientalismwastorage. answer is examples ofMuslim, African,Americanor Orientalsettingsinthisgenre. The feature oftheEuropean palatinetragicomedywouldbetotestwhetherthere are ing touchstonetodecidewhetherthisracial-religious senseofsharingisreally a of thetimethoughtsoaswell,atleastinrespect toSpanish aristocracy. Aninterest- scendants ofoldCastilians(“castellanos viejos”). Apparently, theEuropean society Castilian orBasque; farmers or“labradores” tookeven more prideinbeingde- the nobilitywasnotatallmongrel anddescendedfrompure stock,preferably Gothic, diffuse proto-racismpermeatingSpanish societyofthetimetookforgrantedthat completely outofquestion.In thisrespect, aspointedoutinfootnote16,the belonging tothewhiteraceandpoliticalspacethencalledChristendomwas intermarriages andtointernationalalliances,and,ofcourse,doubtsastheir something feasiblebecausetheEuropean nobilitywastraditionallyusedto or not,theywere presented asequaltothenationalEnglish aristocracy. This was highborn characterswere concerned,irrespective ofwhethertheybore Spanish names oftheimageSpaniardsstruction ontheEnglishstagewasthat,asfar asthe in thisdramaticgenre. acters, isacommonidealizedandunreal featureofEuropean decadentaristocracy fittingforSpanish char- sessed withaknightlysenseofhonourwhich,thoughvery genre, are nobleandloftytotheextreme bothinactionsandwords, andarepos- comedy. The characters,inaccordance withtheideologicaltenetsofthiskind remoteness ofthestockandtradethiskindtragi- andexoticism whichispart the Spanish namesandallegedSpanish nature ofthecharactersistoaddatouch 17 Even though However, animportantsideeffectofthisgenericconstraintforthecon- See GarcíaGarcía, “Towards.” no , asfarIknow, Aphra afterwards (Dryden, Behn, thoughshortly , sinceitcontainsagooddealofIberiancharacterizationfarbeyond 42 The Court SecretThe Court The Politician (Danish).Ofcourse,themainpurposeofthis hasbeenclassifiedinthisessayasbelonging 08/10/2007, 11:39 17 The functionof The 03 LucianoGarcía.pmd The LadyofPleasure account andre-evaluation ofthesubjectShirley andthecomedyofmanners.See alsoRoeloffs. second to the playwhichdisplayslargestcatalogueofSpanish socio-textualitemsonly desperado pirate Piracquo whoconformstotheidealized Spanish nobleman-turned-banditor toavoidtherevelation ofastatesecret),servant andtheadventurous nobleman- secret (hethinksofpoisoninghisownit comestokeepingthecourt innocent Spanish noblemanMendoza, who,thoughhonest,shows when asombreundertone lady represented bothbytheInfanta María andby Clara,thepoliticgravityof Restorarion. Jonsonian comedyofhumoursandtheensuingmanners The of there are noclear-cutSpanish charactersinthesetypesofplays,withtheexception bly in ness andexoticism ofthetypicalFletcherian tragicomedy. which isSpanish enoughto make itdistinguishablefromtheusualneutralremote- SecretCourt or palatinetragicomedy,can besummedupbysayingthat,thoughacourtly where theMoorish inheritanceofSpain ismentioned byaforeign writer. This play Madrid ofHabsburgSpain. But surely instances thisisoneoftheearliestandfew cult tofitthisbizarre andisolatedappearanceofamooronstageintothepalatine wouldbereluctant, tofighthiminduel.Itsubject Manuel, whootherwise isdiffi- of Spain, appearsdisguisedasamoortoconcealhisidentityinorder toprompt his of Don Ramyres, fathertoFernando andFrancisco, toensure therightchoiceofhis “realistic comedy” (Bas 876,Index). The mainplotinvolvesthewisemanoeuvring scenes”important (Nason 339);a“romantic comedy” (Forsythe: xiii,Index); anda of thelovers inthemajorplot,”anda“poetic qualityofmanypassagesinitsmost with Spanish namesandsetting” with“almost aromantic treatment ofthefortune (Nason 292)or“primarily acomedyofLondonlifeandmanners,thinlydisguised modern times of thegenres inwhichShirley remains originalandbywhichhehasbeeneditedin setting andSpanish charactersinabundance. nicelywithinone The playfallsvery The Brothers The LadyofPleasure Shirley sometimesdisplaysSpanish namesinseveralofhiscomedies(nota- In thisplaythere isacuriousanachronisticepisodeinwhichCarlo,Prince ( Al senorillustrisimodonPedro! How towritethee, willitjoy myheart The kingshallknighttheetooofCalatrava. 19 18 by apersonal See Chapter Ofhisthree “commercial” ormore easilyavailableplays( The Brothers isremarkable becauseitdisplaysanatmosphere andcharacterization 19

18 The Brothers . In thisplayweare presented withawell-documented Spanish : hispre-comedy ofmannersasadramaticgenre inbetweenthe ), thelasttwoare pre-comedy ofmanners. XII 43 , including a very characteristic: , includingavery , “Shirley etlacomediedeRestauration” (Bas 433-481) forauseful vendetta : Celestina,Isabella, Mariana andBellamaria).However, hasbeenvariously definedas“a comedyofmanners” . Significantly enough, II , ii,p. 455) The Court SecretThe Court The Cardinal 08/10/2007, 11:39 , Hyde Park is,indeed, The and

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LUCIANO GARCÍA GARCÍA 44 two ofseveralShirleian allusionstothemanyreal orsupposedSpanish plotsandto comical andoldtopicsabound. Thus, intheprologue andtheepilogue,wefind allusions toSpanish characters,alwaysreferred tointhecomicsubplot,are ofcourse notably theChurchofSan Sebastián. Nonetheless, itisacomedy, andmanyofthe details suchasthementioningofSpanish placesinMadrid, habits andparticular plished exampleofSpanish characterizationandlocationwithsurprisinglyprecise inclusive ratherthanexclusive. onceagainisthatShirleyportant isabletodeploy adiscursivestrategywhichis ish playwrightsasMoratín, Jovellanos, or Trigueros. Be thatasitmay, whatisim- ture more Span- thanonehundred andfiftyyears laterinsucheighteenthcentury are concerned,whichwastocomeintoexistenceinthediscourseofSpanish litera- nessing afuturisticMadrid, asfarcharacters,conversation, mannersandthemes produces aspecial“optic” oranachronisticeffect.Onehastheimpression ofwit- much sothat,whenread byanaverage Spanish reader suchasmyself, closer thecharacterizationofSpanish societytotheEnglishmind. This isso lifeofMadriddisplays aviewofthecontemporary underaCarolinelight,bringing ontheEnglish mindisthat,asaconsequenceofthisview,aginary thiscomedy Ancient Regime. consequenceoftheprojectionSpanish Animportant im- middle-class influencedsocietyofMadrid, politicallystillinthe hard gripofthe much moreprogressive thanthecontemporary, muchlessenlightenedand forms ofpre-comedy ofmanners. This playpresents aSpanish atmosphere whichis as agrowing urbanandmiddle-classLondonsocietymightdemandintheexisting backdrop of issues ofthetime,mannersandmarriage.In thisrespect onedares saythatthe ened andreforming spiritwithwhichShirley addresses twoincreasingly important these beingcomic)andthestyleoflanguageusedsufficetoappreciate theenlight- base calculationoffathers(Don Carlos). made sure thatlove andthefreechoiceoflovers triumphsover theambitionand and hisbeloved’s tothetest,hasrestored virtue hiseldestson’s inheritance,andhas Francisco totherichheiressJacinta. At thesametimehehasputFernando’s piety gem offeigninghisdeathDon Ramyres hassecured themarriageofhissecondson proves thesecondweddingofFernando toFelisarda. Indeed, through thisstrata- taken place,Don Ramyres appearsfromhisconcealmentinaconvent andap- riage ofhisdaughtertothenewlymoneyedDon Franscisco. Once theweddinghas obtain theapproval ofDon Carlos,who,afteraseriesofincidentsallows themar- sothathisyoungersonFranciscoopportunely mayreceive theinheritanceand Don hisdaughtertotherichlibertine Pedro.plans tomarry Don Ramyres diesvery household, where shehadbeentakenin,and,inviewofFernando’s disinheritance, Jacinta. The ambitiousDon Carlos,Jacinta’s father, castsoutFelisarda fromhis bequeaths hiswealthtosecondsonFrancisco, whohappenstobeinlove with on discovering Jacinta’s thatheissecretly courting poorcousinFelisarda. He then Fernando totherichheiressJacinta, onaccountofwhichhedisinheritsFernando two sonsinmatrimony. Apparently, hiselderson heisdrivenbyambitiontomarry On theotherhand,itisin ofthemainplot(there areThe summary twoothersubplotsbesides,oneof The Brothers 44 , justlikemanyotherplaysbyShirley, isasfarprogressive The Brothers , thatwe findthemostaccom- 08/10/2007, 11:39 The Brothers 03 LucianoGarcía.pmd works. understood thatthequotationsare taken from theGifford andDyce editionofShirley’s dramatic epilogue: now perceived theiroldandharmlessenemy. Iquoteboththeprologueand the Armada,whichshow thecomicbutratherrelaxed moodinwhichtheEnglish of Spain in ofthisgenre withastrong thatstarted ways incompliancewiththerules stereotype account ofSpanish (andPortuguese) characters, althoughitmustbesaidthatal- ranean, i.e.,Italy (cf. bloody anddoubleoreventreble revenges inaforeign land,usuallyoftheMediter- of Middleton’s and Rosaura, theprototype ofa passionateSpanish ladyfoundearlierinthe Beatrice honest; theCardinal, hisuncle,whoisasJesuitical asheisanItalian Machiavellian, an excessive senseofhisown honourbordering sheerjealousy, butalsonobleand such charactersasDon Columbo,characterized asthehaughtySpanish soldierwith with theinvolvementoftwofederatecountries(Navarre andAragon)alsoin Machiavellian schemertypicaloftherevenge tragedymixed withpolitics,andwhich ably inaduel),whereas theCardinal isacompletevillain. This factexemplifies the andextremelysome goodqualities(heisstraightforward, brave anddieshonour- ruler, exemplified bytheCardinal, theking’s favourite. Columboisbestowed with Columbo, andsuchasthescheming,shrewdnature oftheSpanish prelate and are alsotobefound,suchastheirextreme arrogance,asexemplified byDon characters canbediscerned. Two negativevicescommonlyattributedtoSpaniards, veneer butthrough whichtheoldconventions attributedtothestereotyped Italian It isinrevenge tragedy, however, where Shirley givesthemostunfavourable Here isdonPedro, takenprisonertoo;... Was fir’d andscatter’d: toconfirmittrue, Secure, aswhenourfleet,ineighty-eight, So, so;your danger’s over, andthestate Spoken by EPILOGUE (If notbefore) laughattheplotandplay. I’ll fetchyouoff, andtwohourshenceyou may, Shooting thebridge,letnomanshiftorstir, asyouwereBut donotyouseemfearful; You’re allbetrayedhere toaSpanish plot; Though hepretend fair, Idissemblenot, [...]...Nay, then,Haveatyou,masterPoet: —Gentlemen PROLOGUE 20 When thetitleofcitationisnotsingledoutinSection “Works Cited,”itistobe The Spanish Tragedy The Changeling Don Pedro . The Traitor 45 . Allinall,thisisarevenge playwithaSpanish ) orSpain. There isaslightlocalcolourinthestory . Thus The Cardinal 20 isatypicalexampleofthe 08/10/2007, 11:39

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LUCIANO GARCÍA GARCÍA 46 fied asPortuguese. This istheplotassummarizedbyNason (174-176): any case,theactiontakesplaceinPortugal, andallthecharactersmightbeidenti- mild andamiable(Portuguese?) charactersofAntonioandhissisterCastabella.In resolute willforrevenge ofthetwosisters,CatalinaandBerinthiaso-called betweenrelativesacterization appearsonceagainoutoftheprevious andthe rivalry clear distinctionsbetweenSpaniards andPortuguese Iberianchar- andtheonlytrue 26), couldbevaguelytermedIberian.It wasquitedifficultevenforShirley tosetup is nocompletelynegativecharacter. Most ofthemshow aveneerofSpanish values. radically.ters mustbedrawnvery Even so,withtheexception oftheCardinal, there conditioned bytheexpectationsofgenre ofthissomethecharac- andinview cian. Asmentionedpreviously, onecanstatethattheSpanish offered here view is honour, intrigue,andthevindicationofnoblesoldieragainstpoliti- courtly Several otherthemes related tothepalatinegenre appearhere: apunctilioussenseof love forRosaura, takesonhimselfthetaskofexactingrevenge ontheCardinal. of theaffrontinflictedonhimbyDon Columbokillsthelatterinadueland,outof villain. There isalsoanoffendednoblesoldier, Hernado, whoaspartoftheredress of Rosaura even at themomentofdeath,Cardinal mustbeconsidered anarch- extremes, andforacharacterthat,despitebeingCardinal, contrives thepoisoning not evenShirley could escape. The themeofrevenge istwistedheretoincredible plot andthelocalizationwere imposedonShirley by histextualsource, “The Tri- The charactersin As canbeseen,there islittlethatcanbetermed Portuguese orSpanish. The aged Vilarezo tomourn thedead. has shearrived ereSebastiano fallsbyBerinthia’s hand:Castabellaisleftwiththe tohermourninglover.has come,disguisedasapage,toofferherservices Scarcely former, andthenstabsherself. Meanwhile Castabella,sisterofthedeadAntonio, holds jointlyresponsible forthedeathofherlover. She poisonsthe latter, stabsthe The finalactdealswithBerinthia’s revenge uponherbrotherandsister, whomshe brothers andlovers fight.Bothsecondsare slain,andthenAntonio. absolute accord. Despitethe imploringprotestsofBerinthiaandCastabella,their compelled tofightthedeathover amatterinwhichthey, personally, are in theother’ssituation: twoyoungmen,closefriends,eachabouttomarry sister, Sebastiano, onpainofafather’s curse,tokillAntonio;andherewehavethetragic Catalina, however, insistsuponrevenge. Atherinstigation,old Vilarezo orders explanation, andremains towooAntonio’s sister, Castabella. brother andAntonio’s dearest friend,comestodemandsatisfaction,acceptstheir sister Castabellareceives herinallhonor. Sebastiano,whoisatonce Berinthia’s arrives firstuponthesceneandbearsoffBerinthiatohisown castle,where his ried offbyAntonio’s rivalandthenpoisoned. Antonio,warnedbyhisservant, then discovers hisduplicity. She locksupBerinthia,andarrangestohavehercar- toCatalina. married, hepretends topaycourt The latterfallsinlove withhimand that herfatherinsistsBerinthia shallreceivenosuitorstillheroldersisteris other, ofAntonioandhissister, Castabella.Antonioloves Berinthia;but,finding de Vilarezo, histwodaughters,CatalinaandBerinthia,sonSebastiano;the deals withtwonoblefamiliesofPortugal: theoneconsistingofoldlord Gaspar 46 The Maid’s Revenge , oneofShirley’s earliestplays(1625- 08/10/2007, 11:39 03 LucianoGarcía.pmd (Carter 62),orSpanish(Carter “higa” from“hacerlahiga”: temptuous gesture ofbitingthethumborenclosingitbetweenotherfingers” however, twoallusionsto“Spanish figs.” The firstocurrencerefers to“the con- tial evidenceaboutthePortuguese characterizationofthisplay. names whichclearlyare ormightbeSpanish, Portuguese orSpaniards. by theplot,thereisnoparticularreference tothetreacherous charactersofeither in thisplay. But, inspiteoftheseculturalreferences, whichseemclearlydemanded cluding theItalian salad,aswehavealreadyseenabove whendealingwithMendoza Cardinal types withItalian orPortuguese names(Columbo,aclearSpanish typein And tothisonemustaddthefactthatShirley sometimescharacterizesclearlySpanish mayequallybeItalian,names suchasAntonioorAlberto Portuguese, orSpanish. cially forsuchcommongenres asthetragicomedyorpastoral.Besides,some Western Europe (Cassandra,Rosinda, Berinthia,Leonora,Cleona, Clariana)espe- Spanish classicalandfashionableresonance allusedinthewholeof andacertain tion. Ashappenswiththegeographicalsetting,someofnamesshare botha of bothsisters,belongrathertothegeneraldesignrevenge play. this revengetragedyprovoked byCatalina’s feelingsandtherevengeful nature hurt characters, seemtopointaPortuguese characterization,butthetragicdriveof Reynolds (1621).Some details,whichshallbedealtwithbelow whendiscussing umphs ofGod’s andExecrable Revenge Sin AgainsttheCrying ofMurder” byJohn him thus:“ ter, Mendoza, withdeathforexpressing hisdesire to makelove tohismaster’s daughter, heretorts Or inmymorning’s draught:there’s we spiceinyour have closet;/Or Spanish figs.” were twoofthemostnotoriousbanesusedtodispatchanannoying enemy. Gran Capitán”) ortheEnglishversion ofwhatmightbesomethinglikeaSpanish tor , tomakeacasualallusionnootherthanGonzalo Fernández deCordoba “El As farasthecharactersare concernedShirley made useofaboutseventy 21 Indeed, in Italian Sharkino The second,tothefamouspoisonthattogetherwith“Italian sallad” Count Ant. 24 23 22 , “Gonzales” insteadof“Gonzalo,” withaPortuguese spellingin See García García’s “Presencia” (448-450). in When Underlined intheoriginal. However, research intothesourcesusedbyJohn Reynolds mightrender more substan- Ped. You arethenoble count Itoldyou thisafore; butdonotdo’t, sir, aentaSaihfgwa o on e. ( . Icare notaSpanish figwhatyoucountme... Slet,adoron onr issaldei aey. ( figsshalldoeitrarely... Sallests, andourowne Country . Arat,hive himhisbane,wouldyoudestroy aCity, Ihave IV The CourtSecret ,i, 483(Gifford &Dyce Pedro edition)theservant is threatened by hismas- 47 de 23

there isasombre allusiontothispoison,in- monte

Nigro

24 now/ Iratherlookforitinthenextsallad,/ thoughthisneedssomeclarifica- . 22 I , ii,33-34,p. 14) 08/10/2007, 11:39 III , ii,18-20,p. 19) 21 probatinus There are, There The Trai- The of

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LUCIANO GARCÍA GARCÍA 48 play as averb(“to cheator‘do’”), anditdocumentsthetermwithaquotefrom Webster andDekker’s “diego” or“Don Diego,” anegativemeaningof“Don thoughitlistsimmediatelyafterwards Diego” dialogue inthecomicsubplot: consideration. Thus, characteristically, in which stillstriketheearofmodernEnglish andAmericans,mustbetakeninto commonplaces asthedouble-barrelledsurnameofbothPortuguese andSpanish, excessive formalityandceremoniousness inaddressingoneanother. Alsosuch give ahinttooneofthemostrepeated attributionstotheIberians ofthetime,their address, notonlycharacterizethetypesasSpanish (orItalian forthatmatter),but nor” (onceinalltheShirleian canon),“senora,” “don,” “donna” andformsofpolite Portuguese andSpanish characters,titlessuchas“signior,” “signor,” “signiour,” “se- them. frequently,Thus, very the useofsuchcommonplacesasthelongsurnames logical characterizationoftheSpanish typesalludedtorender ageneralappraisalof material andspiritualcultureorhistoricalreference concurwithtouchesofpsycho- Montenigro (Portuguese), and Valasco (Portuguese). Sancho,Alonzo, Alberto, Ferdinand, Rodriguez, Celestina,Allegre orPacheco, Count such asDon Carlos,Luys,Ramyres, Sebastiano, Catalina,Cardona, Diego, Violante, tively Spanish (orIberian)namesscatteredthroughtheShirleian dramaticcanon name learntbyhearingit(Morulla in Spaniard” “diego”with ahumorousor/andderogatory or“Don Diego,” i.e,“a namefora ment oftitleandsurnamesthenakedfactanamethatequatescharacter what makesDiego’s answer comicalisthehugegapbetween thepompousdeploy- “diego” or“Don Diego” were meaning. already tingedwithaderogatory the south-westernsectionofUnited States,” itisclear, asthequotefollowing willshow, that even ifthe Sir Thomas Wyatt The above-mentioned and elements,togetherwithelementsofvocabulary Thus, in 26 25 ( With andmyson? Don Alberto, Car. Probably whatwasatthebackofShirley’s andhisaudience’s mindand Ans But forbrevity’s saketheycallme My nameisSignior Diego. Ansilva. Die. The Spanish: “Beso lasmanos,señora.” OED 26 . Then, Signior . Then, (OED). DonPedro deFuente Caladacominghither,

Bazelez No beggersweet,wouldyou haveitatlength,then doesnotascribeapejorativemeaningtillitacquired themodernform“dago” “in OED May Ibegyourname,sir? 48 The Brothers , dated1607:“A Dondego isakindofSpanish stockfish,or poor John.” Thus, does not explicitly attribute a clearly derogatory connotationtotheword doesnotexplicitlyattributeaclearlyderogatory

manes

Diego Signiora Baltazaro , wefind: , oncemore youare welcome. (...)

Clere 25 The Sisters (Shirley-Carter, Diego II

Mautado , i,p. 214) The Maid’s Revenge . ). But ofcourse,there aredistinc- , II 08/10/2007, 11:39 , i,24-29,p. 18) wehavethefollowing 03 LucianoGarcía.pmd alleged traitsofSpaniards: ter UP, 1975)121n. in Dekkerand Webster’s ish andPortuguese formsofaddresswithsomeabusive clichéssuchascanbefound two instancesofmildandsympatheticcriticismtheallegedpompositySpan- instances ofthe“saturnine” characteroftheSpaniards, especially Volterre in Spaniard. AsRichard Johnson wroteinhis one ofthecharacters,isthat“politic Spaniard,” i.e.,thesecretive, inscrutable andnotconveyed byanySpanishsurveyed by characteronthestage,butreported tribute ofaffectationandceremoniousness. are references further tothesetopicsthatclearlymark theSpaniards withtheat- above dialoguein For ofBeagleon more seethearticle quotesofthissort, ceived ideasby Howell. where heconvincinglyestablishesthe Spaniard’s workasanundetectedSpanish influenceonre- La oposiciónyconjuncióndelosdosgrandes luminares delatierra olaantipatíadefranceses yespañoles The difference oftreatment, evenifcomical,isevidentwecomparethese 28 27 James Shirley theItalian muchmore jocularlymakesoneofhiscourtiers, with another. sations ofhis,haveturnedrathertohisprejudice thanadvantage, takeonetime quel andsuccessofhisactions,dofindthatthisgravity, andtergiver- reservedness, narrowly intothese- inhisproceedings;yetthosewhohavepryed most dilatory Among otherNations theSpaniard isobserv’d tohavemuchphlegm,andbe Howell inhis of amity, betrayingtheinnocency oftheirfriendes,inmaliceinfinite... in theirwords, butkeepingtheirintentionsdissembledvnder disguisedassurance The Spaniards aresubtle,wrappingtheirdriftsinclosesecresie, expressing suretie Another commonplaceaboutSpaniards, lessamiablethantheonewehave We mustbequicktoadd,however, thatthecharactersinvolvedin ( stinckes agen,whatshallawholearmyofDondegoes doemysweeteCountrimen?” blesse vs. There camebutoneDundegointoEngland,andheemadeallPaules what isaDondego[...] isadesperate Castilian,God Viliago, avery [...] aSpaniard isaCamocho,Callimanco,nay, whichisworse,aDondego, and 29 IV Howell, QuotedbyDereck Roper inhiseditionof (205). byCruickshank Quoted , ii,vv. 51-58) The Humorous Courtier Epistolae Ho-Elianae. Familiar Letter... The Maid’s Revenge 29 49 Familiar Letters 27 Sir Thomas Wyatt , expoundtheallegedSpanish fashionindressing are a maid servant andapettycourtier. are amaidservant There statesseveral times,thoughpositively, these (c.1604): Essaies ‘Tis PityShe’s a Whore The Instructions Vol. : II in Instructions forForreine Travell , xvii, 313. There are manymore in relation toCarlosGarcía’s 08/10/2007, 11:39 (Manchester: Manches- 28 . ,

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LUCIANO GARCÍA GARCÍA 50 Volpone and politicsinmuchthesamewayasSir Politic-Would-be doesinBen Jonson’s in acomicregister, appearsin Spanishand reserved Acharactermorelikethefigure of servant. Vasques, though in the world,Spain included, andofthefashionscountry: and anewpersonageappears,thepedantwhoboastsofhisallegedknowledge of heirs. The interesting thingnow isthatShirley includesSpain inthisgrandtour phy, oftheeducationalcareer part ofyoung wealthy hadbecomeanobligatory “the grandtour” through Europe which,asisbestexemplified byMilton’s biogra- ness oftheSpanishespeciallyBiscayans. servants, takably is.Perhaps thisisanunconsciousmanifestation oftheproverbial faithful- Mantua andthere isnot anyevidencethatSancho isSpanish, buthisnameunmis- seraglio orharem oftenprostituteshismasterOrseollo. The actiontakesplacein inchargeofkeeping thesecret anddiscreetservant is thecompletelytrustworthy ‘Tis PityShe’s a Whore ( D Another feature commonlyattributedtoSpaniards, confirmedbyJohn Ford ( in mylife. may beonetown likeanother;butifCivillebenotinFrance, IwasneveratCiville Fresh Rosamond Lord Rainbow our oranges. ince ofAlcantara,somethree leaguesdistantfromCiville,whencewehave Paris, aprettyhamlet,andmuchinthesituation like Dunstable;‘tis intheprov- pass’d theCantons,andGrisons, makingsomestayinthe Valtoline, butIcameto Freshwater There are manyreferences towhatbegan tobeareality ataboutthistime, V V D IV OL OLTERRE EP EPAZZI ,i) referring tothe Venetians: . But whythosethingsSignour? . This elevationoth’ shouldersis Hablas muchaspalabras —nopuedoenveridad Trabajo (conlicenziadivuestra alteza) Lo conoscoporcierto Subtly thus— Is hisparinthasis:whichhedothmanage fe sdi rvalcrusacs (Shirley-Morillo, Often usedintriviallcircumstances. Which youmayfindeoutifcan:andis A pollitickegesture, declaresameaninghid; Of state,whenindiscourse,his Tooth-picke still To express hisfeelinginoccurences Speakes youmostaccurate,ith’ Spanish garbe. . You mayhearmanythings. The peopleare civilthatliveinSpain, orthere . [...]Signiour, Imustdoeyoujustice;theCourt [ 50 Reaches . The . Ihaveheard SevilleisinSpain. . Itellyou,madam;tookashippingatGravesend, andhadnosooner The Ball, steflo a?[ . Is thefellow mad? Spaniard

out inthefigure of Vasques, isthatoftheextremely faithful Par lessantossennor

a

V Tooth-picke ,i, 79) — The Humorous Courtier (signiour) reserves allpassion, (signiour)reserves porque es ]. Aside — .] . His name isSancho, andhe — 08/10/2007, 11:39 IV ,ii,38-53, 152-153) 03 LucianoGarcía.pmd B B B B A Madrid ofthelateHabsburgs andtheAncientRegime in projectionstraightforward ofLondonmannersandthemesover acitysuchasthe and benevolent pictures ofSpanish types,aseriesofpictures thatculminatewitha by meansofhisattentive contribution hasbeentoaddthiscollective imagery for anintegrationoftheSpaniards asthe“other intheEnglishimagery us.”Shirley’s Papist) andwhite(atleastinlargelayers ofthepopulation),conditionsare given seesSpaincollective imaginary astheassimilableother, sinceitisChristian(though Shirley asaCatholicandhispanophilemustcountwell. Provided thatthe seen inadifferent, neutral,andmore sympatheticlight. The personalstanceof involved initsown problems, apossibleallyandmanipulablecountry, itcanbe has fadedaway, andoncetheIberianPeninsula wasaharmlessland,toomuch once thedangerofinvasion,i.e.,real physicalpresence ofSpain inEngland tive ofSpain andSpanish characters.Ofcourse,politicalfactorswere all-important: regulation, responds toalessanxious,more benevolent andsympatheticperspec- mental schemataabouttheIberianpeople,andalsoresponding heavilytogenre that Shirley’s Caroline view, whilecomplyingwithsomepastcommonplacesand B —— “Some New Facts aboutShirley.” A would ultimatelyrecover ofthetwentieth century. forthemostpart has soattractedtheinterest ofEnglishtravellers andscholarswhichHollywood ofprideandpoverty,inefficiency andcorruption, ofexoticismandpassionwhich develop littlebyintothelandofromance anddreams, butalsointothelandof present already inShirley inthesecondquarterofseventeenth century, wasto B B URNER ELLANY EAGLE AUGH AS ARBOUR AKHTIN RMSTRONG NDERSON , George. , AlbertC.“Further Facts aboutJames Shirley.” , Martin. “Hidden Spanish Treasure inaSeventeenth-century Text: The Strange CaseofDr , Sandra A. , Alastair. ““RaylingeRimesand Vaunting Verse”: LibellousPolitics inEarlyStuart Eng- , Mikhail. , Reid. “Thomas Stanley, Reid.“Thomas (September 1625-12April 1678).” don: Macmillan, 1994.285-310. land.” Studies dramatic Poets, Third Series In statedinthispresent analysis,oneisabletoestablish viewofeverything xxx. England García andMrHowell.” , Benedict. , Ray, ed.“Introduction.” James Shirley, 1596-1666:dramaturge caroléen (2001):107-121. Culture andPolitics inEarly Stuart England . Lanham:UPofAmerica,1988. Speech Genres andOther LateEssays James Shirley: AStudy ofLiterary CoteriesandPatronage inSeventeenth-century Imagined Communities 51 SEDERI . Ed. M. Thomas Hester. Detroit:Gale,1993.258-71. The Poems ofJames Shirley WORKS CITED Modern LanguageReview XII . London: Verso, 1991. : Journal oftheSpanish SocietyforEnglish Renaissance . Austin: Uof Texas P, 1986. RES . Diss. Université deParis, 1973. 7(1931):62-66. . Ed. Kevin Sharpe &Peter Lake.Lon- . New York: King’s Cross, 1941.xiv- 17(1922):28-35. Seventeenth-century BritishNon- The Brothers 08/10/2007, 11:39 . This view,. This

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LUCIANO GARCÍA GARCÍA 52 M L L H D H L C L H H G F D C H K H G —— “Towards aDefinitionofEuropean Tragicomedy andRomantic ComedyoftheSeventeenth G ORSYTHE IMON AWLESS UCOW ÓPEZ ING RUICKSHANK ARTER ILLOW ARDINER ARCÍA EMETRIOU IJK UXLEY UNTINGTON OWELL ERRERO EINEMANN AVRAN ARIENSTRASS , Teun van. “Critical Discourse Analysis.” , TeunDiscourse “Critical van. ,

-P Desmond. , Jerzy. , Ben. G , Albert H.ed.“Introduction”, Albert and“Notes.” , Joseph. , Gervas. , Gervas. , Donald S.“A Further Note onShirley’s Religion.” , Martin J. , James. ÉLAEZ G ARCÍA Lewisburg: BucknellLewisburg: UP, 1991.195-210. lish National Drama 1580-1680. and Spanish Characterson theEnglishStage, 1580-168.” 1986. Early Stuarts SEDERI York: Burt Franklin, 1961. lics, from theBreach withRome, in1534,tothePresent Time 1914. lumbia College, iards inEnglish Pamphlets (1617-1624).”Diss. Universidad deJaén, 2003. D. Tannen &H.Hamilton. Oxford: Blackwell. 2001. 352-371. York: Garland, 1980. and Schuster, 2004. 1959. PA1&dq=Epistolae+Ho>. books.google.es/books?vid=LCCN19017449&id=KaLzB3UdCd4C&pg=PP24&lpg=RA1- Society forEnglish Renaissance Studies Century: FashionThe Courtly inEnglandandSpain.” de James Shirley (1596-1666).” Diss. Universidad deJaén, 1999. Hurst andBlackett, 1869. , Robert Stanley. , Samuel Rawson. D ARCÍA , Margot. , Samuel P. , Don W. “Lispingand Wearing Strange Suits: English CharactersontheSpanish Stage James Shirley , Richard. C Dangerous Matters:English Drama andPolitics 1623-24 EMETRIOU , Luciano. “Presencia textualdeEspañaylaliteraturaespañolaenobradramática ASELLAS A Literary andBiographical History, or, Bibliographical oftheEnglish Catho- Dictionary Epistolae Ho-Elianae. Familiar Letter, Domestic andForren , Miguel. Endymion Porter: The LifeofaCourtier. 1587-1649 The Liberty ofStrangers: MakingtheAmerican Nation 9:(1999):203-207. The Catholics inCaroline England 52 . Cambridge:CambridgeUP, 1980. Puritanism and Theatre: Thomas Middleton andOpposition Drama underthe , Jesús. Enemy “The Within: Otherness in Thomas New , Eroulla. “The Spanish, Eroulla. Image “The Match ofSpain andtheLiterary andSpan- Who Are We? The ChallengetoAmerica’s National Identity . Boston: Twayne/G.H. Hall, 1977. Ideas delosespañolesdelsigloXVII The Relations ofShirley’s PlaystotheElizabethan Drama

Perspectives intheShakespearean World Prince Charles andtheSpanish Marriage(1617-1623) Ed. Louise Fothergill-Payne &Peter Fothergill-Payne. The Handbook ofDiscourseAnalysis (1999):131-139. . Stanford: Stanford UP, 1962. The Maid’s Revenge: ACritical Edition Notes andQueries . Madrid: Gredos, 1966. . Cambridge,CambridgeUP, 1985. SEDERI X:Journal oftheSpanish 08/10/2007, 11:39 . London:Chattoand Windus, Parallel Lives: Spanish andEng- . Cambridge:CambridgeUP,

by Joseph Gillow . Oxford: Oxford UP, 2005. . London,1688.

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