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Montemayor's "Diana": a Translation and Introduction

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Montemayor's City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1977 Montemayor's "Diana": A Translation and Introduction RoseAnna M. Mueller The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3934 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] INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler's Green High Wycombe, Bucks, England HP10 8HR I I 77-23,180 MUELLER, RoseAnna M., 1948- MOMTEMAYOR'S DIANA: A TRANSLATION AND INTRODUCTION. City University of New York, Ph.D., 1977 Literature, comparative Xerox University Microfilms , Ann Arbor, Michigan 48106 © COPYRIGHT BY ROSEANNA M. MUELLER 1977 j J MONTEMA YOB'S DIANA s A TRANSLATION AND INTRODUCTION RoseAnna M. Mueller A dissertation submitted to the Graduate Faculty in Comparative literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York, 1977 Thia manuscript has been read and accepted by the Grad­ uate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. [Signature] 23 /?77 % date Chairman of Examining Committee [Signature] .*k 2 ?. /??? / / ' date y ifccecutive Officer Professor Pred J. Nichols Professor Gregory Rabassa Professor Patrick Cullen Supervisory Committee The City University of New York iii ABSTRACT MONTEMAYOR'S DIANA: A TRANSLATION AND INTRODUCTION by RoseAnna M. Mueller Adviser: Professor Fred J.. .Nichols Jorge de Montemayor's Los siete libros de la Diana (1559) was one of the more popular Renaissance pastoral ro­ mances. This Spanish pastoral romance written by a Cas- tilianized Portuguese had many continuations. It influenced other pastoral works in England, and enjoyed a wide reader­ ship throughout Europe, as its many editions and transla­ tions witness. The Diana is a transitional work and an exam­ ple of what writers of prose fiction were striving for in the middle of the 16th century. The Diana retained elements of the chivalric romance, integrated Petrarchan influences that had hitherto been reserved for the lyric, adhered to Neoplatonic love casuistry that had hitherto been reserved for courtly circles, and synthesized the plot into a pas­ toral setting. It is the successful blending of these ele­ ments that make the work unique. The only complete English translation was don by Bar­ tholomew Yong in 1598. This translation, however, is a response to euphuistic Elizabethan tastes. Yong used ar­ chaic expressions, added adjectives, made the simple prose of the Diana more "poetic," and generally expanded on the text. Because of its seminal qualities, the Diana should be more accessible to a wider audience. This translation of the Diana is a literal one based on the Barcelona 1561 text, one of the first dated editions. It is intended for the reader who has little or no knowledge of Spanish. I have sacrificed rhyme and meter in the poetry in the in­ terest of retaining meaning, and have tried to reproduce Montemayor's style by adhering to the original syntax. TABLE OP CONTENTS Abstract iv Jorge de Montemayor 1 The Diana 4 The Diana as Pastoral.. 10 Structure 14 Setting and Theme 17 Character Development 24 Influence 32 About the Translation. 39 About the Edition 51 Dedication and Laudatory Sonnets.... 53 The Outline of the Book 56 Book 1 57 Book II 105 Book III 164 Book IV 190 Book V 223 Book VI 252 Book VII 271 Bibiliography 287 Spanish Editions of the Diana....................... 292 Translations of the Diana 294 V 1 Jorge de Montemayor Little is known about the author's life.*'' He was born in Montemor-o-Velho near Coimbra, Jortugal, circa 1520. He describes his birthplace in Book VII of the Diana. After emigrating to Spain, he Castilianized has name to Montemayor. Nothing is known about his family, and "the little we know about his life has been pieced together from correspondence. His education was limited. Judging from his works, he was familiar with Ovidian mythology and perhaps he knew Italian. He most likely did not know Latin, which may have proved an asset rather than a liability according to Atkinson "Montemayor, having the good fortune not to know Latin, writes a leisurely, cultured Spanish, castizo always, the style of ———— 2 one who is both courtier and artist by temperament." The Liana is written in a simple style. There may be several reasons for its simplicity- Montemayor may have been limited in his use of Spanish. Certainly, the mparts of the Diana written in Portuguese show more complexity of style than do the Spanish parts. On the other hand, Montemayor may have written in a simple style because he thought it appropriate for a pastoral work. Montemayor confesses to devoting most of his time to love and poetry, but above all, to music, "En musica gaste mi tiempo todo."^ His knowledge of music eventually led to his joining the court of Charles V. In 1543 Montemayor accompanied the Princess lar^a of Portugal when she journeyed to Spain to marry Prince Philip, later to become King Philip II. Montemayor became a Spanish subject, writing in a Castilian so pure that Menendez Pelayo claims he -wrote like a native. 2 "La diccion de Montemayor es purisima, sin rastro de provin- cialismo, sin que en parte alguna se trasluzca que el autor no hubiese tenido por lengua familiar la castellana desde la cuna."4 It may be that the many bilingual editions published in Paris were meant as teaching aids. If this is so, then Montemayor*s writing was being used as an example of proper Spanish. His first work, Dialogo espiritual, written in 1548 end dedicated to John III of Portugal, remained unpublished, and it points to the beginnings of Montemayor*s predilection for the spiritual and the mystical. His first published work, Exposic^on moral sobre el salmo LXXXVI, a biblical commentary, was published in Alcala in 1548. Once in Spain, Montemayor became the chapel singer or <v / chorister to Dona Maria of Castile, a daughter of Charles V. He later served the Infanta Dona Juana in this capacity until 1552. In that year Dona• (\) Juana married Prince Philip of Portugal, and Montemayor accompanied her to his native country. When the prince died in 1554, Montemayor returned to Spain and published his Cancionero, a poetry collection in Antwerp. Also during this year Prince Philip went to England to woo Mary Tudor, and Montemayor may have been part of the entourage. If this was so, and if the Sireno of the Diana is Montemayor*s pastoral disguise, then this would account for one of the motives for writing his pastoral romance. Although the identity of Sireno remains disputed, it is possible that the author fell in love with a lady from the court of Charles V. She may have married during his trip to England, as Diana married while Sireno is out of the country on business. This would validate Sireno/ Montemayor*s claim that he had no choice but to follow "great shepherd." 3 We next find Montemayor in Valencia, where he wrote the Diana and published it in 1559. The setting for the novel is the banks of the Esla River in Leon, where Juan de Castella, his patron, lived. A year later in Valencia Montemayor published his translation of Ausias March*s Cantos de Amor. Once the Diana was published Montemayor became the center of the court*s attention. It remains unclear if he was made oi* if he elevated himself to the rank of hidalgo, or nobleman.
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