Celestina’s Daughters: Conversa, Morisca, and “Old Christian” Descendants of the Medieval Iberian Go- Between By Andrea F. Nate B.A., The College of New Jersey, 2006 M.A., Middlebury College School in Spain, 2007 A.M., Brown University, 2012 Submitted in partial fulfillment of the requirements For the Degree of Philosophy in the Department of Hispanic Studies at Brown University Providence, Rhode Island May 2017 ã Copyright 2017 by Andrea F. Nate This dissertation by Andrea F. Nate is accepted in its present form by the Department of Hispanic Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date Professor Mercedes Vaquero, Advisor Recommended to the Graduate Council Date Professor Laura Bass, Reader Date Professor Israel Burshatin, Reader Approved by the Graduate Council Date Andrew Campbell, Dean of the Graduate School iii CURRICULUM VITAE Andrea F. Nate was born in Camden, New Jersey. She graduated magna cum luade from The College of New Jersey with a bachelor’s degree in Spanish. She received a Master’s degree in Spanish from the Middlebury College School in Spain. At Brown University, she received a Master’s degree in Hispanic Studies. As a Ph.D. candidate, she won the David and Ruth Kossoff Prize for Leadership in Lanuage Teaching as well as J.M. Stuart Fellowship from the John Carter Brown Library. She is an Instructor of Spanish at Truman State University, where she teaches Spanish language, literature, and culture courses, as well as Medical Spanish, Latin dance, and Spanish cooking. At Truman, she is also the faculty advisor for the Club Ñ, the university Spanish club. iv ACKNOWLEDGEMENTS First, I am grateful to my dissertation advisor Mercedes Vaquero for her support during my years at Brown and for teaching me the various ways to read one of Spain’s richest, most enigmatic literary texts: La Celestina. Professor Vaquero's rigor and guidance taught me the importance of thorough scholarship and her insightful medievalist perspective greatly enriched this comparative project. Many thanks to Laura Bass, whose steady patience and encouragement over the years has helped me become a stronger writer and opened a world of opportunities that were essential in helping me become the scholar and colleague that I am now. An additional thank-you for your Fall 2014 Professional Development Seminar, which is where I planted the seeds for this project. Thank you to Israel Burshatin for sharing valuable insights on La Lozana andaluza and morisco literature and culture, as well delightful conversations about the state of the field. Thanks to Julia Chang, whose comments and suggestions were also helpful in developing this project. I am also grateful to Stephanie Merrim, who always encouraged me to be confident in my ideas: your mentorship during my coursework and Major Paper were invaluable in helping me develop my writer's voice. Thank you, too, to Nidia Schuhmacher, Beth Bauer, Tori Smith, Silvia Sobral, and Eva Gómez García for sharing valuable teaching resources and approaches, and for your dedication to our impressive language program. Extra special thanks to Nidia, whose mentorship and friendship have been key in my success as a teacher and mentor for my own students. I would also like to thank Michelle Clayton for teaching me the importance of collegiality and for making possible many academic and professional v development opportunities for my peers and myself. Thank you to Jill Kuhnheim for sharing medical Spanish resources, for smoothly guiding me through the academic job market, and for helping me make professional connections in my new role as a faculty member. I am also grateful to the staff and fellows of the John Carter Brown Library, where I learned to carry out archival and rare book research, and where I further developed as professional scholar. Special thanks are also in order to my colleagues in REMS (Renaissance and Early Modern Studies) and to the ladies of my early modern writing group—Minta Zlomke, Charlotte Buecheler, and Suzy Duff—for reading my work in its messy stages, and for your friendship. I am also grateful to Laura Hess and the Sheridan Center for helping me become a reflective teacher, and to Mary Oliver for making the department run smoothly and for helping to make this defense possible. I am fortunate to have caring friends to whom I know I can always turn. First I extend a heartfelt thank-you to Rafael Castillo, my friend and cohort member, on whom I know I can always count and with whom I shared many joys and challenges during our time at Brown. I'm appreciative to Zoe Langer, Erika Valdivieso, and Carolyn Siegel for their friendship and helpful feedback on parts of this project, which helped me produce a polished product. To Jameleddine Sdiri I must express my gratitude for his encouragement and for teaching me about Tunisian Arabic and culture: your company was a welcome respite during my last year in graduate school. Diana Silva Cantillo: many thanks for assisting with my Medical Spanish course. A sincere thank you to Sra. Martínez, my high school Spanish teacher, for teaching me her beautiful language and encouraging me to study abroad: Madrid 2001 was the start of a life-long romance with Spain, its language and vibrant cultures. Finally, I am immensely grateful to my friends and colleagues at Truman State University who cheered me on as I crossed the finish line. vi Last, but most definetely not least, I must thank my parents, brothers, and extended family. Thank you to my mother, who taught me the importance of family, and to my father who taught me the value of preparation, opportunity, and independence. This dissertation would not have been possible without their unconditonal love and support. vii TABLE OF CONTENTS INTRODUCTION 1 CHAPTER 1: 15 Lozana’s Medicine Cabinet: Miracle Drugs and Blood Purity in Francisco Delicado’s Retrato de la Lozana andaluza and El modo de usar el palo de la India Occidental 1.1 From the Pulpit to the Roman Ghetto: Contaminating Alfonso’s Alcahueta 20 1.2 Weaving the Go-Between’s Fate 26 1.3 The “French Disease” and the “Wood of Life:” Contamination and Purity in 41 Delicado’s Medical Writing CHAPTER 2: Inverted Miracles and Misplaced Saints in Feliciano de Silva’s Segunda 63 Comedia de la Celestina 2.1 The Language of Limpieza 72 2.2 The Go-Between Resurrected 81 2.3 Some Comments on Medina del Campo 1534 97 viii CHAPTER 3: From the Tanneries “a la cuesta del río” to the Puerta de Elvira: Celestina’s 114 morisca Daughters 3.1 Nozaita de Kalderán: una Celestina ‘arabiada’ 124 3.2 Una celestina fronteriza: La mora de Úbeda at the Threshold of Christian 132 Spain Conclusion 152 Works Cited 157 ix INTRODUCTION A tal mensajera nunca le digas maça; bien o mal como gorgee, nunca le digas picaça, señuelo, cobertera, almadana, cordaça, altaba, traïnel, cabestro nin almohaça, garavato nin tía, cordel nin cobertor, escofina, avancuerda, [...] nin rascador, pala, aguzadera, freno nin corredor, nin badil nin tenazas nin anzuelo pescador, campana, taravilla, alcahueta nin porra, xáquima, adalid nin guía nin handora; nunca le digas trotera, aunque por ti corra; creo que, si eso guardares, que la vieja te acorra. Aquijón, escalera nin abejón nin losa, traílla nin trechónnin registro nin glosa: dezir todos sus nonbres es a mí fuerte cosa, nonbres e maestrías más tienen que raposa. —Juan Ruíz, Libro de buen amor (vv. 924-927) In Libro de buen amor (c. 1330, 1343), a likely bilingual Juan Ruiz depicts the figure of the alcahueta with a mosaic of parallel Arabic nouns such as xaquima (Arabic for “yoke” or “cord”) and adalid (guide) alongside Spanish terms such as avancuerda and guía (Ruiz 225; 925b, 926b; Armistead 6). Highlighting this character's importance in both languages and cultures, the poet dedicates twenty stanzas to naming the go-between, 1 the figure in question: an old woman who arranged rendezvous for lovers, or affected transactions between prostitutes and clients. The parallel linguistic interplay between Arabic and Castilian exposes the connecting thread between the go-between and Iberian diversity. This intercultural figure is at the core of Ruiz's book, which opens with the poet rhyming from a metaphorical prison and closes with the "Cantiga de los clérigos de Talavera," the clergy's lament of the Papal bull forbidding them from concubinage. Recalling Francisco Márquez's theory in "Juan Ruiz y el celibato eclesiástico" that Libro de buen amor coincides with celibacy laws passed in 1342, we can see that the go- between is tied here to social transition (32). The way the vieja brings about such change is also relevant to later literature. Yet as important as Ruiz's alcahueta Trotaconventos was in his text and in being the progenitor for later literary go-betweens, this figure had already captivated Iberian Christian, Jewish, and Muslim writers and readers for centuries. In Representing Others in Medieval Iberian Literature, Michelle Hamilton points out that writers and storytellers had linked the mediator to exile since Ovid's De amore, and that this character had carried Andalusi traces into Christian literary territory since the thirteenth century (102). In the alcahueta's movement from the Hispano-Arabic and Hebrew maqamat to the Latin Vetula, the tercera defies definition while continuing to engage in activities that do not fit within strict categories (Hamilton 102). Go-betweens played an important role in Ibn Hazm’s Tawq-al-hamama (c. 1023) and other Hispano-Muslim and Hispano-Hebrew poetry. In Christian literature, she also appeared in Alfonso X’s recompilation of the ancient Hindu Calila e Dimna fables (1221-1251) and the Libro del caballero Zifar (c.