SP2: Lecture on Cárcel de amor

SPANISH: 1^st edition (Seville, 1492); 2^nd edn inc. short continuation by Nicolás Núñez (1496) - 22 edns before 1600

· Cancioneros (Song book collections), courtly lyric poetry (coplas and decires): 1) ideology of love; 2) initial situation; 3) allegory; 4) imagery

· Chivalric romance (episodic narrative of some length, with fantastic & supernatural elements, such as the legend of Arthur & the Knights of the Round Table): 1) travel long distances over short time; 2) accusation of heroine; 3) imprisonment & release of heroine; 4) society opposes the relationship

· Italian fiction (e.g. Giovanni Boccaccio's Fiammetta, 1343-44; late 15^th C Castilian trans): 1) female voice; 2)view of love; 3) confessional/ autobiographical

· Scholasticism (university tradition of learning): 1) debate on moral worth of women; 2) Tefeo's attitude to cures for love; 3) rhetorical set pieces, e.g., letters, allegory, speeches, laments; 4) psychology of lover.

Juan de Flores (fl. 1480s), Grisel y Mirabella (also much translated) & Grimalte y Gradissa (1 French translation)

Diego de San Pedro, Arnalte y Lucenda (1480s; publ. 1491; trans French, English, Italian, bilingual edns)

Fernando de Rojas, Comedia (1499) reworked as Tragicomedia de Calisto y Melibea y de la vieja puta Celestina (1502): urban setting; realistic speech; language & imagery of cancionero; developed female characters; consummation of the affair; tragic ending.

· Pascual de Gayangos (1857): subcategory of chivalric romance for female reader with 'menos de guerra y militares proezas, y un poco más de amor y galanteos'

· Marcelino Menéndez Pelayo (1905-15): invented Spanish term novela sentimental; 'mezcla de caballeresco y erótico, combinación del Amadís [1^st native romance; hero emulated by Don Quijote] y de la Fiammetta'.

· Alan Deyermond (1975): subcategory of romance (no equivalent term in Spanish); develops one episode to logical conclusion in more realistic setting

· Barbara Weissberger (in press): assumptions about readership & content sexist & anachronistic; reflects contemporary social and ethical concerns about 1) desire and marriage; and 2) justice, corruption and abuse of political power.

4) Intertextuality (allusions to other literary works); in CA to accusations against Guinevere in Mort Artu (Deyermond 1993); use of Diego de Valera's Tratado en defensa de las virtuosas mugeres for Leriano's defense of women (Round 1989)

Minor features: 1) identification of author with narrator; 2) emotional involvement of narrator; 3) fictional character as metonym for whole book; 4) re-evaluation of past experience calls objectivity of narrator into question; 5) rhetorical use of language (to persuade)

'Celestina was quite clearly the most successful piece of fiction of the entire Golden Age, eclipsed only if we allow Amadís to embrace its sequels. Second and third in the fiction class come Guzmán de Alfarache [a picaresque novel; delinquent recounts his sinful life] and Montemayor's Diana [chaste, pastoral exploration of love]. Trailing behind these, equal fourth with Amadís and Cárcel de Amor, comes Don Quijote.' (Whinnom 1994: 166).

· Strong influence on Fernando de Rojas' Celestina (1499/1502), including direct borrowing; Celestina in turn influenced Lope de Vega's El Caballero de Olmedo (1620-25; 1^st publ. 1641)

· Many refs & quotations in Golden-Age Spanish literature, including the possibility that it may have been known by Cervantes.

· DSP influenced style of French 16^th- & 17^th-century roman sentimental (Reynier 1908)

· DSP influenced English prose style & early English novel (Crane 1937; Schlauch 1963).

B.1.1 15^th C period of considerable social and political unrest; including several attempts to usurp throne, civil war and urban unrest.

B.1.2 The reign of the Catholic Monarchs (1474-1516) began with civil unrest but brought considerable stability. Isabel, Queen of Castile (1474-1504), Fernando II, King of Aragón (1479-1516). Achievements include:

· formally constituted the Consejo de la Santa Hermandad in 1476 from the town hermandades (law-enforcing brotherhoods within and between towns)

· established the Consejo de la Suprema y General Inquisición in 1483 to enquire into the activities of conversos (Jewish converts to Christianity)

B.1.3 Their two most significant acts took place in 1492, the same year Christopher Columbus returned from America & Antonio Nebrija published the first grammar of Spanish:

B.1.4 Diego de San Pedro may have fought in the war against Granada; CA devotes over 1/3 of its space to civil unrest.

Laureola, sole heir to the throne of Macedonia, is approached by the Auctor on behalf of Leriano and, by answering his letters, reciprocates the latter's interest. Persio, in love with Laureola, convinces himself that she and Leriano are lovers:

Persio, hijo del señor de Gavia, miró en ellas [las mudanças de los dos] trayendo el mismo pensamiento que Leriano traía; y como las sospechas celosas escudriñan las cosas secretas, tanto miró de allí adelante las hablas y señales de él, que dio crédito a lo que sospechava, y no solamente dio fe a lo que veía, que no era nada, mas a lo que imaginava, que era el todo' (San Pedro 1995: 30-1; unit 18)

Persio tells the King, who has Laureola imprisoned and condemned to death under the Ley de Escocia. The King interrupts a judicial duel between the rivals. All this leads to a civil revolt during which Leriano rescues Laureola and kills Persio, thereby destroying the agent of the obstacle between himself and the princess but not the obstacle itself. Laureola's honour is vindicated but any further contact with Leriano will led to the court believing the charge against her: her honour is a final unmovable obstacle. However, note:

No pongas en peligro tu vida y en disputa mi onrra, pues tanto la deseas, que se dirá muriendo tú que galardono los servicios quitando las vidas; lo que, si al rey venço de días, se dirá al revés; ternás en el reino toda la parte que quisieres; creceré tu honrra, doblaré tu renta, sobiré tu estado, ninguna cosa ordenarás que revocada te sea (San Pedro 1995: 62-3; unit 41)

SO in Cárcel de amor the origin of social violence is sexual love BUT the former is compounded by deceit (Persio), injustice and discrimination (the King) and despair (Leriano).

· Auctor: may mean author, actor, instigator, or one to be admired and imitated (Wardropper 1952, Whinnom 1982)

· Reliability: Auctor is emotionally committed to the affair and feels guilty about its failure & so is emotionally biased. Our interpretation, therefore, must depend upon description of reactions and not Auctor's analysis. Degree of emotional involvement similar to that in L. P. Hartley's The Go-Between (1953) and of culpability to that of Ana in Carlos Saura's Cría cuervos… (1975) or Briony Tallis in Ian McEwan's Atonement (2001). CA reflects key period of innovation in fiction

· Effectiveness as actor: his intervention causes Leriano's optimism, and possibly triggers the affair's tragic development. His suggestions for the negotiation of Laureola's release all fail.

· Identification with historical Diego de San Pedro seen in accessus (= introductory unit), arrival at Peñafiel & possibly use of the term Auctor (Whinnom & Round). Technical innovation in creation of metafiction (fiction that draws attention to its own nature; problematizes relationship between fiction and lived experience); also seen in authorial appearances in Don Quijote (early 17^th century),Unamuno's Niebla (1914) and many of Almodóvar's films (Gerli 1989). Possibly linked here to rise of printing press.

B.2.1 Persio: inflamed by mimetic desire triggers violence; René Girard's theory of love as a socio-anthropological phenomenon (Grieve 1987); desire is triangular as it involves a subject, an object and is mediated by a)role models & social codes; b) a rival; and/ or c) an obstacle

La=Laureola; Lo= Leriano; mediator 1=code of courtly love; 2=Auctor; 3=Persio, obstacle; 4= code of courtly love.

B.2.2 King's intervention in favour of Persio curious. What motivates it? Religious persecution? Favouritism?

B.2.3 King's persecution of Laureola is curious. What motivates that? Over-protective father? Sexual jealousy?

C.1.1 Disposition of the lover; choleric or sanguine; imbalance of heat or moisture

LOWER FACULTIES/ POTENCIES

Appetites, Moral & Sensual

Five Senses

Produce perception

HIGHER FACULTIES

perception Imagination and/or memory

Reason AND Understanding

process/ evaluate perception

Will (volition)

produces action

SO Sexual love requires an imbalance of the humours AND/OR the surrender of will, against reason. Medically it is an illness and morally, madness.

'The second [spiritual reason for marriage] was to avoid the sin of lust, which a married man, who desires to live properly, can do better than another.' (Alfonso 2001: iv, 886)

· Ovid (43BC-18AD), Ars amatoria: treatise on the arts of love, including seduction; only the noble are capable of love

· Andreas Capellanus (fl. 1170), De amore (The Art of Courtly Love); contrasts amor purus (without consummation) and amor mixtus (consummation may be achieved but is not the aim)

· New attitude to love adopted by Occitan Troubadours, led by Guilhem de Poitou, 7^th Count of Poitiers & 9^th Duke of Acquitaine; fin' amors: 1) love is illicit; 2) lover has almost religious devotion to lady; 3) he practises moral & mental discipline; 4) feeling grounded in sexual passion, unlike amor purus

· medieval: 1) lover and the lady noble in birth and conduct; 2) the marital status of the lady not often mentioned but marriage not precluded & she may reciprocate; 3)affair kept secret; 4) lover views himself as inferior to the lady; 5) experiences his suffering as ennobling; 6) hopes for physical reciprocation; 7) consummation hindered; and, 8) often tragic (Deyermond 1971)

· Neoplatonic love: 1) beauty of beloved is a manifestation of the goodness of God; contemplation of her beauty is spiritually ennobling & so no conflict exists between love & reason nor between love & religion; 2) subjugation of sensuality & faithful service of remote lady promotes suffering which is both like death and desired & pleasurable; 3) there is no hope of consummation BUT must be constant; 4) his living death in suffering from love better than no love at all (Parker 1985; repr 1994).

· Vocabulary largely abstract (muerte, gloria, paz, fe) but ambiguous: muerte & gloria= euphemisms for sexual orgasm in court poetry (Whinnom 1981).

· Linked to classical arts of memory (Yates & Carruthers); system of memorisation using architectural symbols

· religious & theological writing (Chorpenning 1978-79 & Kurtz); architectural symbols represent each part of spiritual doctrine (as in St Teresa's Moradas del Castillo interior, 1577).Colour symbolism often plays an important role.

· Plastic image represents allegorically Leriano's experience transferred to the level of narrative

C.2.3.3 Nature of Desire 'me crié entre honbres de buena criança, usaré contigo de la gentileza que aprendí y no la braveza de mi natural' (pp. 83-84)

Thomas á Kempis' Latin Imitatio Christi (1420s) idea that Christian should imitate Christ's life

'vi en medio della una silla de fuego, en la cual estava asentado aquel cuyo ruego de mi perdición fue causa […] dos dueñas lastimeras con rostros llorosos […] poniéndolo con crueza en la cabeça una corona de unas puntas de hierro sin ninguna piedad (p. 86)

hizo traer una copa de agua, y hechas las cartas pedaços echólas en ella … testimonio de su fe' (p. 176)

'After this, Jesus knowing that all things were now accomplished, that the scripture might be fulfilled, saith, I thirst. Now there was set a vessel full of vinegar; and they filled a sponge with vinegar, and put it upon hyssop, and put it in his mouth. When Jesus therefore had received the vinegar, he said, It is finished: and he bowed his head, and gave up the ghost.'

D.1.1 Is Leriano an ideal lover (Rey 1981) or does he infringe the courtly code (Whinnom 1979; Brownlee 1990)?

D.1.2 Is Laureola in love with Leriano? Is she the ideal lady (Whinnom 1979)? Or is she a belle dame sans merci (cold and haughty)?

D.1.3 What view of love is expressed? Is there a conflict between the chivalric code & code of courtly love (secrecy; Whinnom 1979; Deyermond 1993)? Or is sexual love a parallel and rival to religion (Cvitanovic 1973)?

D.1.4 Does CA's treatment of love and justice reflect a converso mentality (Wardropper 1953; Márquez Villanueva; Whinnom 1979; Rohland de Langbehn 1989)? Is Laureola's unjust imprisonment parallel the actions of Inquisition? Does CA show the limits of power & right of rebellion (Márquez Villanueva)?

BIBLIOGRAPHY USED TO COMPILE THE LECTURE - SEE SUPERVISION HANDOUT FOR RECOMMENDED READING

Age=The Age of the Catholic Monarchs, 1474-1516: Literary Studies in Memory of Keith Whinnom, BHS, Special Issue, ed. Alan Deyermond & Ian Macpherson (Liverpool: UP, 1989; UL P744.c.6.57(5));

Alfonso XI, el sabio, 2001. Las Siete Partidas: iv, Family, Commerce and the Sea, trans. Samuel Parsons Scott (Philadelphia: Univ. of Pennsylvania Press); UL on order.

Bloch, R. Howard, 1991. Medieval Misogyny and the Invention of Western Romantic Love (Chicago: University of Chicago Press): ML Z9.D.9 ; UL 701:15.c.95.2402

Brownlee, Marina Scordilis, 1990. The Severed Word: Ovid's 'Heroides' and the 'Novela Sentimental (Princeton: UP), chap. 9: UL 744:22.c.95.13; take care as there are some inaccuracies.

Cadden, Joan, 1993. Meanings of Sex Difference in the Middle Ages: Medicine, Science, and Culture, Cambridge History of Medicine (Cambridge: UP): UL 300:13.c.95.151.

Carruthers, Mary, 1990; repr. 1996. The Book of Memory: A Study of Memory in Medieval Culture, Cambridge Studies in Medieval Literature(Cambridge: UP); UL 532:2.c.95.162 & 1993.9.427 (request to be fetched) ML Z4.A.18.

Chorpenning, Joseph S., 1978-79. 'The Literary and Theological Method of the Castillo Interior', Journal of Hispanic Philology, 3: 121-33.

Crane, William G., 1937. Wit and Rhetoric: The Formal Basis of Elizabethan Prose Style (New York: Columbia UP); UL 759.c.38.79.

Cvitanovic, Dinko, 1973. La novela sentimental española (Madrid: Prensa Española, 1973) UL 744:14.d.95.2

Deyermond, Alan D., 1975. 'The Lost Genre of Medieval Spanish Literature', HR, 43: 231‑59.

--, 1993. Tradiciones y puntos de vista en la ficción sentimental, Publicaciones Medievalia, 5 (Mexico: UNAM); chaps 1-3: alternative refs & copy available from Lecturer.

Russell, P.E., 1973. Spain: A Companion to Spanish Studies (London: Methuen); UL 582:1.c.95.67 ML E5A.G.123 & 142.

Gayangos, Pascual de, 1857. 'Discurso preliminary y catálogo de los libros de caballería', in his Libros de caballerías, Biblioteca de Autores Españoles, 40 (Madrid: Rivadeneyra); ML E6C.A.40.

Gerli, E. Michael, 1989. 'Metafiction in Spanish Sentimental Romances', in Age, pp. 57‑63.

Gilkison, Jean, 1994-95. 'Language and Gender in DSP's CA', Journal of Hispanic Research, 3: 113-24; UL P L744.c.86 .

Grieve, Patricia E., Desire and Death in the Spanish Sentimental Romance (1440‑1550) (Newark, DE: Juan de la Cuesta, 1987), chap. 2; UL 744:22.c.95.14.

Haywood, Louise M., 2001. 'Apuntes sobre la CA de DSP: La estructura externa', Ínsula, 17: 17-18; UL pigeonhole 80 in West Reading Room.

Kurtz, Barbara E., 1983-84. 'DSP's CA and the Tradition of the Allegorical Edifice', JHP, 8: 123-38.

Lewis, C. S., 1958. The Allegory of Love: A Study in Medieval Tradition (Oxford: UP, 1958); UL 1995.8.7019 (request to be fetched; a bit out dated but still of some interest)

Mandrell, James, 1983-84. 'Author and Authority in CA: The Role of El Autor', JHP,8: 99-122.

Márquez Villanueva, Francisco, 1977. 'CA, novela política', in his Relecciones de literatura medieval (Sevilla: Univ., 1977), pp. 75‑94; UL 743:12.d.95.25

Martin, June Hall, 1972. Love's Fools: Aucassin, Troilus, Calisto and the Parody of the Courtly Lover, Colección Támesis, A21 (London: Tamesis); UL 701:15.c.95.542 FL E5B.G.17

Menéndez y Pelayo, Marcelino, 1905-15. Orígenes de la novela, Nueva Biblioteca de Autores Españoles, 1, 7, 14 & 21 (Madrid: Bailly‑Bailliere); ML E6C.N.1, 7, 14 & 21.

Nepaulsingh, Colbert I., 1986. Towards a History of Literary Composition in Medieval Spain (Toronto: UP); UL 701:2.c.7.54

Parker, A. A., 1985. The Philosophy of Love in Spanish Literature, 1480-1680, ed. Terence O'Reilly(Edinburgh: UP); UL & ML copies missing - in some colleges.

Reynier, Gustave, 1908. Le Roman sentimental avant 'L'Astrée' (Paris: Colin); not in UL or ML.

Rohland de Langbehn, Regula, 1989. 'El problema de los conversos y la novela sentimental', in Age, pp. 134-143.

Round, Nicholas, 1989. 'The Presence of Mosén Diego de Valera in CA, in Age, pp. 144-154.

Severin, Dorothy Sherman, `Structure and Thematic Repetitions in DSP's CA and Arnalte y Lucenda', HR, 45: 165‑69.

Schlauch, Margaret, 1963. Antecedents of the English Novel, 1400-1600 (Warsaw: Polish Scientific Publications); UL 730.c.96.292.

Solomon, Michael,1997. The Literature of Misogyny in Medieval Spain: The "Arcipreste de Talavera" and the "Spill", Cambridge Studies in Latin American and Iberian Literature, 10 (Cambridge: UP), esp. part 1; UL 743:13.c.95.226 ML E5B.G.42.

Yates, Frances A., 1974. The Art of Memory (London: Routledge & Kegan Paul) UL 9006.c.2360.

Wardropper, Bruce W., 1952. 'Allegory and the Role of El Autor in the CA, Philological Quarterly, 31: 39-44

Whinnom, Keith, 1974. DSP, Twayne's World Author Series, 310 (New York: Twayne); UL 744:22.d.95.1 ML MS7.SAN.P.200 .

--, 1979 Prison of Love (1492) together with the Continuation by Nicolás Núñez (1496), trans. Keith Whinnom, (Edinburgh: UP) UL 744:2.d.95.8.

--, 1981. La poesía amatoria de la época de los Reyes Católicos, Durham Modern Languages Series, Hispanic Monographs, ii (Durham: UP).

--, 1982. 'Autor and Tratado in the Fifteenth Century: Semantic Latinism or Etymological Trap?', BHS, 59: 211‑18.

--, 1994. 'The Problem of the "Best-Seller" in Spanish Golden-Age Literature', in his Medieval and Renaissance Spanish Literature, ed. Alan Deyermond, W. F. Hunter & Joseph T. Snow, (Exeter: Univ. of Exeter Press with the Journal of Hispanic Philology),pp. 159-175; UL 743:12.c.95.131.

Element	Primary characteristic	Secondary one	Humour	Disposition
fire	Hot	Dry	yellow bile	choleric
air	Moist	warm	blood	sanguine
earth	Dry	cold	black bile	melancholy
Water	Cold	moist	phlegm	phlegmatic

[ Supervision Handout ]

Diego de San Pedro, Cárcel de Amor (1492)