View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Repository @ Iowa State University World Languages and Cultures Books World Languages and Cultures 4-2013 Imperial Stagings: Empire and Ideology in Transatlantic Theater of Early Modern Spain and the New World Chad M. Gasta Iowa State University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/language_books Part of the Performance Studies Commons, Playwriting Commons, and the Spanish Literature Commons Recommended Citation Gasta, Chad M., "Imperial Stagings: Empire and Ideology in Transatlantic Theater of Early Modern Spain and the New World" (2013). World Languages and Cultures Books. 9. https://lib.dr.iastate.edu/language_books/9 This Book is brought to you for free and open access by the World Languages and Cultures at Iowa State University Digital Repository. It has been accepted for inclusion in World Languages and Cultures Books by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL DEPARTMENT OF ROMANCE LANGUAGES NORTH CAROLINA STUDIES IN THE ROMANCE LANGUAGES AND LITERATURES Founder: URBAN TIGNER HOLMES Editor : FRANK A. DOMÍNGUEZ Distributed by: UNIVERSITY OF NORTH CAROLINA PRESS CHAPEL HILL North Carolina 27515-2288 U.S.A. NORTH CAROLINA STUDIES IN THE ROMANCE LANGUAGES AND LITERATURES Number 296 IMPERIAL STAGINGS EMPIRE AND IDEOLOGY IN TRANSATLANTIC THEATER OF EARLY MODERN SPAIN AND THE NEW WORLD IMPERIAL STAGINGS EMPIRE AND IDEOLOGY IN TRANSATLANTIC THEATER OF EARLY MODERN SPAIN AND THE NEW WORLD BY CHAD M. GASTA C H A P E L H I L L NORTH CAROLINA STUDIES IN THE ROMANCE LANGUAGES AND LITERATURES U.N.C. DEPARTMENT OF ROMANCE LANGUAGES 2 0 1 2 Library of Congress Cataloging-in-Publication Data Fraser, Benjamin Encounters with Bergson(ism) in Spain : reconciling philosophy, literature, film and urban space / Benjamin Fraser. p. cm. – (North Carolina studies in the Romance languages and literatures ; 295) Includes bibliographical references and index. ISBN 978-0-8078-9299-2 1. Spain – Civilization – 20th century. 2. Spain – Intellectual life – 20th century. 3. Bergson, Henri, 1859-1941 – Influence. I. Title. DP233.5.F753 2010 194-dc22 2010014283 © 2012. Department of Romance Languages. The University of North Carolina at Chapel Hill. ISBN 978- IMPRESO EN ESPAÑA PRINTED IN SPAIN ARTES GRÁFICAS SOLER , S. L. - L A OLIVERETA , 28 - 46018 V ALENCIA www.graficas-soler.com TABLE OF CONTENTS Page –––––– INTRODUCTION : E MPIRE AND IDEOLOGY : A ESTHETICS AND DESIGN IN EARLY MODERN THEATER OF SPAIN AND THE NEW WORLD ........ 13 Political Playwrighting .................................................................. 20 Empire and Theater ...................................................................... 38 CHAPTER ONE . A GRICULTURE , E CONOMICS , AND REVOLT IN LOPE ’S FUENTEOVEJUNA ............................................................................. 58 Economic Imperialism and the International Wool Trade .......... 66 Poetizing Violence and Generating Nationalism ......................... 87 CHAPTER TWO . F ALLING STARS : K INGSHIP AND THE LAW IN RUIZ DE ALARCÓN ’S EL DUEÑO DE LAS ESTRELLAS ........................................ 101 Public Opinion and Privanza .............................................................. 108 The Rise of the Count-Duke of Olivares and Discourses on Pri- vanza .......................................................................................... 123 Setting Legal Precedents ................................................................. 134 Suicide as Symbolic Resolution .................................................... 155 CHAPTER THREE . ‘A R OSE BY ANY OTHER NAME :’ P OLITICS AND DYNAS - TIC SUCCESS (IONS ) IN CALDERÓN ’S LOA TO LA PÚRPURA DE LA ROSA . 159 Calderón, Early Opera, and the Spanish Imperial Agenda ....... 163 Visual History in La púrpura de la rosa ....................................... 182 CHAPTER FOUR . N ARCISSISTIC IMPERIALISM : R ELIGION AND RECON - QUEST IN SOR JUANA ’S EL DIVINO NARCISO .................................... 202 Transatlantic Ideology in Sor Juana’s loa ...................................... 207 An (Un)Orthodox loa : Counter Reformation Cultures, Neo-Scho- lasticism, and State Control ...................................................... 214 7 8 IMPERIAL STAGINGS Page –––––– The Christianization of Indian Customs: Cross Threading Ame- rican and European Belief Systems .......................................... 227 El Divino Narciso and the Counter Reformation Context: Mytho- logical Histories and Theological Debates ............................... 235 CONCLUSION : EMERGING PATTERNS : W RITERS AND THE IMPERIAL STATE .............................................................................................. 256 WORKS CITED ...................................................................................... 263 INDEX ................................................................................................... 277 ACKNOWLEDGEMENTS HIS study has been generously financed and supported in a va - Triety of ways by Iowa State University. My own Department of World Languages and Cultures provided me with a reduced teach - ing load to complete initial research and writing. Similarly, the uni - versity awarded me a Faculty Professional Development Assign - ment that afforded additional time for research and writing. Finally, an Iowa State University Publication Subvention Grant assured its publication. I am very grateful for each of these sources and, more generally, to my colleagues at Iowa State for their support and en - couragement. I owe a debt of gratitude to several colleagues and friends for helping me see this study through, and I am pleased to acknowl - edge them here. Early on, my mentor, Robert L. Fiore critically read the entire manuscript and offered constructive and insightful comments. His subtle praise for my initial work and his valuable guidance helped keep me on track on many occasions. No one in my career has impacted me so profoundly both personally and pro - fessionally like Bob Fiore. Several conversations and a very timely phone conversation with Edward H. Friedman helped the project progress. I will forev - er be grateful for his very judicious advice about this book and many other projects I have worked on. He and the editors of the Bulletin of Comediantes offered many excellent suggestions for chapter 1, which appeared in a very different form in volume 55, number 1 (2003) of that journal. I also wish to thank the University of North Carolina’s Studies in Romance Languages and Literatures series, its Editor, Frank Domínguez and Managing Editor, Greg Severyn, for considering 11 12 IMPERIAL STAGINGS the project and for seeing it through. I would particularly like to thank the anonymous readers for their insightful comments that greatly improved the final manuscript. I especially thank my family on both sides of the Atlantic, who warrant special praise for their love and support. This is particularly true of my daughters, Sofía and Victoria, who selflessly endured their father’s impatience and distraction while working on this pro - ject, but who nonetheless managed to remind me that playing is im - portant, too. I also thank my mother and father, who were forever interested in my work, for their unremitting encouragement. My dad did not live to see this project completed, but his spirit adorns it. Finally, my most heartfelt appreciation goes to my wife and col - league, Julia Domínguez, my most steadfast supporter and a truly outstanding reader whose own scholarly work has served as an in - spiration to me. Without her critical eye, enthusiasm, empathy, and unwavering and cheerful encouragement, this project never would have been completed. I owe to her more than I can ever express. INTRODUCTION: EMPIRE AND IDEOLOGY: AESTHETICS AND DESIGN IN EARLY MODERN THEATER OF SPAIN AND THE NEW WORLD Ya tan alto principio, en tal jornada, os muestra el fin de vuestro santo celo y anuncia al mundo, para más consue lo, un monarca, un imperio y una espada. Hernando de Acuña, Soneto al Rey nuestro Señor N often-quoted poem from Spain’s Golden Age, Hernando de AAcuña’s Soneto al Rey nuestro Señor is emblematic of Spain’s enterprising and imperial spirit during the early modern period. 1 The sonnet depicts Charles I as holy shepherd of his Spanish con - gregation, anointed by God to extend the Christian faith beyond the boundaries of Iberia by divine will, diplomacy, or force. 2 Acuña envisions Charles I as master of the world, engineer of a seaborne and land based power, and a heroic representative of Spain’s uni - 1 The epigraph is taken from José Manuel Blecua’s Poesía de la Edad de Oro (140-41), the remaining verses of the poem follow: Ya el orbe de la tierra siente en parte, y espera en todo vuestra monarquía, conquistada por vos en justa guerra. Que a quien ha dado Cristo su estandarte, dará el segundo más dichoso día en que, vencido el mar, venza la tierra. 2 Some argue that the sonnet was written in honor of Philip II, not Charles I. See Christopher Maurer’s “Un monarca, un imperio, una espada: Juan Latino y el soneto de Hernando de Acuña sobre Lepanto.” 13 14 IMPERIAL STAGINGS versal greatness: “Que a quien ha dado Cristo su estandarte, / dará el segundo más dichoso día / en que, vencido el mar, venza la tie - rra.” A soldier in the service of Charles I