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Deviant Women in Courtly and Popular Medieval Castilian Poetry

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Deviant Women in Courtly and Popular Medieval Castilian Poetry Durham E-Theses Deviant Women in Courtly and Popular Medieval Castilian Poetry HOOGESTEGER, NAOMI,MAY,JENSEN How to cite: HOOGESTEGER, NAOMI,MAY,JENSEN (2012) Deviant Women in Courtly and Popular Medieval Castilian Poetry, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3368/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 DEVIANT WOMEN IN COURTLY AND POPULAR MEDIEVAL CASTILIAN POETRY PhD Naomi May Jensen Hoogesteger Department of Hispanic Studies, University of Durham 2011 ABSTRACT DEVIANT WOMEN IN COURTLY AND POPULAR MEDIEVAL CASTILIAN POETRY NAOMI MAY JENSEN HOOGESTEGER This thesis is a study of the figure of the deviant woman in the poetry of medieval Spain; it outlines and establishes paradigms of acceptable and unacceptable attitudes and behaviours. The ideal comportment of woman in the Middle Ages is decreed by the Church and the aristocracy. However, woman is wont to rebel against the strict norms of patriarchy laid down for her. Through close poetic analysis, this thesis aims to expose and analyse women who deviate from the ideal, an axis which is based upon the ideal woman of Fray Martín Alonso de Córdoba’s Jardín de nobles donzellas (1469) and supported by historical contextualisation. Due to the expanse of the medieval poetic corpus, I focus specifically on women in the forms of medieval poetry that were sung: villancicos , canciones , and also serranillas , a strand of the erudite canción . The poems originate in Iberian songbooks (cancioneros ), and loose leafs ( pliegos sueltos ). The modern editions that I use are Brian Dutton & Jineen Krogstad’s El cancionero del siglo XV : c. 1360-1520 (1990-91) and Margit Frenk’s Nuevo corpus de la antigua lírica popular hispánica (siglos XV a XVII ) (2003). Initially, I establish the paradigm of the ideal late-medieval woman, whose subservience, chastity, and beauty are at the fore of her representation. Throughout the thesis, deviant women are seen to subvert these expectations in a variety of ways; principally through their promiscuity and dominant manner. Although for the most part, deviant women are portrayed in lyrics, the canciones also provide portrayals of deviant women that are less perceptible, yet still fascinating. An overall typology of deviant women has been established through the thesis, but equally significantly, close readings of many of the poems will augment the comprehension of the wider corpus. TABLE OF CONTENTS ACKNOWLEDGEMENTS i PREFACE iii CHAPTER I : INTRODUCTION TO MEDIEVAL CASTILIAN POETRY AND ITS FORMS 1 CHAPTER II : INTRODUCTION TO WOMAN IN THE MEDIEVAL PERIOD 23 CHAPTER III : WOMAN AND LOVE (T HE MALE -VOICE REPRESENTATION ) 52 CHAPTER IV : WOMAN AND LOVE (T HE FEMALE -VOICE REPRESENTATION ) 87 CHAPTER V : WOMAN AND GENDERED ORTHODOXY 140 CHAPTER VI : WOMAN AND THE PUBLIC ARENA 176 CHAPTER VII : WOMAN AND RELIGION 194 CHAPTER VIII : WOMAN AT THE MARGINS 228 CONCLUSION 267 APPENDIX : LIST OF POEMS ANALYSED AND THEIR SOURCES 271 BIBLIOGRAPHY 281 The copyright of this thesis rests with the author. No quotation from it should be published without prior written consent, and information derived from it should be acknowledged. ACKNOWLEDGEMENTS The undertaking of this thesis has been facilitated by a grant from the Arts and Humanities Research Council, as was my Masters thesis, completed in 2006. I am indebted to the Arts and Humanities Research Council for such help during my academic career. The support from the School of Modern Languages at the University of Durham has been magnificent, and above everyone, I would like to thank my supervisor, Dr Andrew Beresford. He was an inspiration as an undergraduate, hence I chose to pursue academia, and I have been ever-since grateful for his amicable pedantry. His guidance through what can only be termed an unorthodox academic career has been unparalleled, and I will remain eternally grateful for the rock that he has represented throughout. I am also very grateful to my secondary supervisor, Professor David Cowling, who has given me clarity at challenging points during the thesis, and also to Dr Manuel Hijano who has provided me with expert input and opinion. I would like to thank also Dr Kathryn Banks, Professor Lucille Cairns, Professor Carlo Caruso, Professor Jan Clarke, Dr Santiago Fouz Hernández, and Dr Mike Thompson for their roles in monitoring my work, and their valuable comments. The School of Modern Languages at the University of Durham has provided me with a most supportive postgraduate community; I am continually appreciative of my peers, Dr Sarah Buxton, Dr Laura Campbell, and Dr Natalie Watkinson, who have contributed, challenged, and stimulated me throughout the writing of my thesis. They have made the journey as enjoyable as the end. Further afield, I would like to thank staff at Queen Mary, University of London, especially Dr Rosa Vidal Doval and Dr Jane Whetnall for their organisation of the Medieval Hispanic Research Seminars and annual Colloquium, which have inspired me and proven invaluable for my personal development since I was an academic fledgling. Furthermore, i their support and interest in young academics such as myself has provided an encouraging and nurturing environment away from home. Finally, I dedicate this thesis to the late Professor Alan Deyermond, whose erudition and inspiration has been instrumental in the shaping of my thesis and academic career. Words cannot express my gratitude for his attention, assistance, and complete wisdom over the past decade: beginning from when he was simply a learned scholar whose works I read, to becoming a real-life academic who leant me books from his personal library and commented on my papers. Thank you for the inspiration. ii PREFACE The aim of this thesis is to analyse, compare, and contrast the comportment of deviant women in popular and cultured medieval Castilian poetry. Their representation is a compelling aspect and requires a comprehensive survey. Hence I will draw comparisons between their portrayals in three forms of sung poetry (as opposed to recited forms of poetry such as the dezires ): the shorter traditional lyrics, and the erudite canciones and serranillas , within the milieu of medieval social expectations of women. I contextualise and look at the characteristics of each type of poem to help to understand why and how different paradigms arise, and use conclusions drawn from close textual analyses to draw comparisons. In the analyses, there are a series of questions that I will attempt to answer. To what degree are attitudes and behaviours considered to be acceptable and unacceptable compared to the paradigmatic woman? What attitudes towards women who display such behaviour can be gleaned, in the light of register and narrative voice? Can women be pigeonholed into categories in the late medieval period? The first introductory chapter looks at the characteristics and models of late medieval poetry and then broadly at its constituent parts, which are collated in the cancioneros . The modern sources of cancioneros are then briefly considered, followed by discussions of each of the poetic forms that are used for the basis of analysis of women during the thesis: namely the villancico , canción , and serranilla . Chapter II is also introductory and establishes the axial paradigm to which deviant women compare; it looks at woman and her role in medieval society, and the predominant influence of the Marian ideal that permeates medieval literature. The subsequent chapters trace these women in different ambits, analysing the various depictions that arise in the corpus; the most frequently encountered women are those who subvert social expectations through licentiousness. In Chapter III I consider how the male iii voice, which is principally an erudite projection, represents woman and love, in comparison with the predominantly traditional female-voice representation of woman and love of Chapter IV , which sees how in the game of love, women exploit their physical characteristics in an overtly sexual manner and where more often than not, the natural setting, or locus amoenus , is a catalyst for human fecundity. Two poems by Florencia Pinar, the only named female poet of this study, are contrasted with the traditional villancicos . Chapter V looks at women who renounce the orthodox environment. This looks chiefly at daughters, malmaridadas , and adulterers who jeopardise and reject their role in the central societal pillar of marriage and the family. In Chapter VI , woman and her portrayal in the public arena is considered, especially looking at the freedom that is conferred by the working environment and during fiestas . The following chapter, Chapter VII , addresses the interrelation of deviant woman and religion, namely during her pilgrimages and her function within the religious order. Penultimately, Chapter VIII considers women at the margins of medieval Castilian society, looking at women marginalised on account of their religion, the serrana , whose relationship with the natural environment underpins her sexuality, and prostitutes. These representations are often humorous and satirical, where the sexual provocativeness of woman undermines norms. Finally, a conclusion brings together the deductions made from each chapter. All the poems analysed are accompanied by regularised transcriptions and a full list of poems analysed and their sources can be found in the Appendix.1 1 The value of modern scholars’ transcriptions is immeasurable.
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