The Christian Plays of Antonio Enríquez Gómez
1987; Liverpool University Press; Volume: 64; Issue: 1 Linguagem: Inglês
10.1080/1475382872000364039
ISSN1469-3550
Autores Tópico(s)Spanish Literature and Culture Studies
ResumoClick to increase image sizeClick to decrease image sizeBSS Subject Index: ENRÍQUEZ GÓMEZ, ANTONIO (1600–1663)RELIGION [AS LITERARY, CULTURAL & IDEOLOGICAL THEME] Notes 1. Adolfo de Castro, ed., Poetas líricos de los siglos XVI y XVII, II BAE, XLII (Madrid: Rivadeneyra, 1857), xxx–xxiii, lxxix–xci. José Amador de los Ríos, Estudios históricos, políticos y literarios sobre los judíos de España (Madrid: 1848), 523–69. Ramón de Mesonero Romanos, ed., Dramáticos posteriores a Lope de Vega, I BAE, XLVII (Madrid: Rivadeneyra, 1858), xxxii–xxxiv. Marcelino Menéndez Pelayo, Historia de los heterodoxos españoles (Madrid: Biblioteca de Autores Cristianos, 1956), II, 258–64. 2. Mesonero Romanos, xxxiii. The anti-Semitism of most nineteenth-century scholars is patent in their comments on works of authors considered Judaizers. The typical attitude is condescending at best, but usually disparaging. 3. Stephen Gilman, The Spain of Fernando de Rojas (Princeton: Princeton U.P., 1972), 27. 4. I. S. Révah, ‘Un pamphlet contre l'Inquisition d'Antonio Enríquez Gómez: La seconde partie de La política angélica (Rouen, 1647)’, Revue des Etudes Juives, CXXXI (1962), 81–168. Antonio Enríquez Gómez, El siglo pitagórico y vida de don Gregorio Guadaña, édition critique avec introduction et notes par Charles Amiel (Paris: Ediciones Hispanoamericanas, 1977). See also Constance H. Rose, ‘Las comedias políticas de Enríquez Gómez’, Nuevo Hispanismo, II (1982), 45–56, which firmly establishes Enríquez Gómez as the author of the Zárate works. 5. Révah, ‘Un pamphlet’, 83. Also, ‘Comme nous le montrerons dans notre étude sur Antonio Enríquez Gómez et sa famille, à l’époque où il composait cette seconde partie de la Política angélica notre auteur était toujours un Judaisant et il le restera jusqu’à son entrée dans les cachots de l'Inquisition de Séville’ (101). 6. In addition to the works cited in note 3 see also: Timothy Oelman, ‘Antonio Enríquez Gómez's “Romance al divin mártir Judá Creyente” ‘, journal of Jewish Studies, XXVI (1975), 113–31; his Marrano Poets of the Seventeenth Century (Rutherford, N. J.: Fairleigh Dickinson Press, 1982); and his ‘The Religious Views of Antonio Enríquez Gómez: Profile of a Marrano’, BHS, LX (1983), 201–09; Judith Rauchwarger, ‘Antonio Enríquez Gómez's Épístolas Tres de Job: A Matter of Racial Atavism’, Revue des Etudes Juives, CXXXVIII (1979), 69–87; and Constance H. Rose, ‘Antonio Enríquez Gómez and the Literature of Exile’, Romanische Forschungen, LXXXV (1974), 63–77. 7. Oelman, Marrano Poets, 170–71. 8. Oelman, Marrano Poets, 190. This work apparently circulated only in manuscript for obvious reasons. 9. Amiel, Siglo pitagórico, xvii. Another work of Enríquez Gómez that appears to have circulated only in manuscript is ‘La ynquisiçion de Luzifer y uisita de todos los diablos’, portions of which have been edited by M. P. A. M. Kerkhof in Sefarad, XXXVIII (1978), 319–31. 10. El médico pintor San Lucas: Comedia famosa de don Fernando de Zárate (Sevilla: Francisco de Leefdael, n.d.), 21. 11. El vaso y la piedra (Escogidas, Parte veinte, Madrid, 1668), 84, 85–86. 12. Recent work has tended to side-step the question of the Zárate plays. Révah and Amiel ignore it. Oelman, an acknowledged authority on Enríquez Gómez's Marranism, in his Marrano Poets was not ready to accept entirely the Enríquez Gómez-Zárate identification—'In Spain he took on the alias of Fernando de Zárate (identified by some with the fervent Catholic playwright of that name)’ (139). In a later work Oelman seems to accept that Enríquez Gómez was the author of the Zárate plays but concludes ‘I have yet to be convinced that all the Zárate plays are by our author’, in ‘The Religious Views’, 207, note 2. Mesonero Romanos lists thirty-one plays to Zárate's credit but notes that there are some questions of attribution, as is the case with the majority of seventeenth-century playwrights. I believe that the Zárate plays cited in this article are the works of Enríquez Gómez. 13. Mesonero Romanos, Dramáticos posteriores, xxxiii. 14. Much has been made of Enríquez Gómez's paternal line of Judaizers; however, both his mother and wife were Old Christians and it seems reasonable to assume that they had some influence upon his life although any possible Christianizing element upon his life has generally been ignored. According to Jewish law Enríquez Gómez was not a Jew because his mother was a gentile, a distinction, of course, not recognized by Old Christians. One of the many ironies of his life thus was that he was persecuted for Judaizing without really being considered a Jew by other Jews. 15. See Amiel, Siglo pitagórico, xix, for an account of how Enríquez Gómez upon his clandestine return to Spain consulted his Old-Christian in-laws concerning the possibility of a voluntary presentation before the Inquisition. 16. Joseph Silverman criticizes this either/or approach in his introduction to J. V. Ricapito's Bibliografía razonada y anotada de las obras maestras de la picaresca española (Madrid: Castalia, 1980): ‘Hoy en día un número nada despreciable de prestigiosos críticos han preferido adoptar para sus análisis literarios el exclusivismo de la vida mientras desoyen la voz de la literatura en su espléndida diversidad unitaria. Nada de lo uno y lo otro; hay que preferir lo uno o lo otro. A consecuencia de tal maniqueísmo crítico nos vemos obligados a escoger entre interpretaciones opuestas y apasionadamente reñidas de numerosas obras clásicas de la literatura española’ (9–10). 17. I have not included La culpa más provechosa y vida y muerte de Poncio Pilatos even though A. J. Cid praised it highly in his ‘Judaizantes y carreteros para un hombre de letras: A. Enríquez Gómez (1600–1663)’, in Homenaje a Julio Caro Baroja (Madrid: Centro de Investigaciones Sociológicas, 1978) 271–300. This play is probably by Francisco de Villegas. Subsequent references to the Zárate religious plays are included in the text and refer to the following: La escala de la gracia (Madrid: Antonio Sanz, 1753), El médico pintor, San Lucas (see note 9), El vaso y la piedra (see note 10), La conversión de la Magdalena (MS. 16,732, Biblioteca Nacional, Madrid), El obispo de Crobia, S. Estanislao (Escogidas, Parte quince, Madrid, 1661), La defensora de la reina de Hungría (Parte veinte y nueve, 1668), Santa Pelagia, La Margarita de los cielos, y más firme penitencia (Parte cuarenta y cuatro, 1678). San Antonio Abad (Escogidas, Parte treinta, Madrid, 1668), Mártir y rey de Sevilla, San Hermenegildo (Valencia: Viuda de José de Orgá, 1763), Santa Taez (MS. 17,047, Biblioteca Nacional, Madrid), Las misas de S. Vicente Ferrer (U. N. Carolina suelta, TA 25, 8, n.p., n.d.). 18. N. D. Shergold's A History of the Spanish Stage from Medieval Times until the End of the Seventeenth Century (Oxford: Clarendon Press, 1967), 372, 374–75, comments on Enríquez Gómez's delight in impressive stage effects, citing examples from five Zárate plays, among them Las misas de S. Vicente ferrer, S. Antonio Abad and Santa Pelagia. 19. See J. García Valdecasas, Las Academias morales de Antonio Enríquez Gómez (Sevilla: Anales de la Universidad Hispalense, 1971), 79–80, 85. 20. The question of the Immaculate Conception of Mary was fiercely debated in the seventeenth century to the point of provoking violence between immaculatists and maculatists. Nancy K. Mayberry addresses the topic in a forthcoming essay ‘Esther as a Prefiguration of the Immaculate Conception in Golden–Age Drama’, which she kindly allowed me to read. 21. Oeltnan, ‘Romance’, 117—18. 22. Original Sin is a constant of Enríquez Gómez's exile literature, in which it is related to the persecution that New Christians suffered because of accident of birth. La culpa del primer peregrino (Rouen: Maurry, 1644) is his most extensive composition on the subject. Oelman writes ‘The converso condition is epitomized by two poetic symbols: Original Sin (the stigma of birth) and that of the peregrino’, ‘The Religious Views’, 204. The peregrino motif, so prevalent in Enríquez Gómez's exile compositions and in some of his earlier plays is notably absent in the Zárate plays. 23. In spite of the fact that Barrera lists a suelta of this play, I have only been able to identify the existence of two manuscript versions, La gran comedia de la bida y muerte de la Madalena, both in the Biblioteca Nacional (Madrid), nums. 16,955 and 16,732. 24. In ‘Judaizantes y carreteros’ (288) A. J. Cid writes ‘La necesidad de ocultar su personalidad para Enríquez no incluía, como para otros, el oficiar de malsín contra los de su propia raza’. 25. For more on this play see my article, ‘A Black Man's Dilemma in Las misas de S. Vicente Ferrer’, Romance Notes, XII (1979), 387–91; and David Gitlitz, ‘La angustia vital de ser negro: tema de un drama de Fernando de Zárate’, Segismundo, XI (1975), 65–85. 26. The dilemma of the author's situation is expressed among other places, in the following lines from his Culpa del primer peregrino: Si rezo, soy hipócrita de estado;Si no rezo, me llaman ateísta, y de cualquier suerte soy culpable. Si acuso al malo, dicen que me vengo, Si no lo acuso, cómplice me llaman, y todos dicen que verdad no tengo (114) and in the Política angélica: ‘El que padece inocente … se halla en el tormento, confiesa que es hereje, siendo cristiano; y muchas veces, con la desesperación, ni queda uno ni otro’ (Révah, ‘Un pamphlet’, 122). 27. A. J. Cid, ‘Judaizantes y carreteros’, 201. Nevertheless, while he speculated on the possibility of a conversion to Christianity or at least synthesis, Cid bowed to Revah's conclusions and continues in the next paragraph ‘por lo que ahora se sabe del último período de su vida … el judaismo del autor parece haberse mantenido firme hasta el final’ (291). 28. Oelman, ‘Romance’, 114, note 5. The publication of Oelman's thesis on Sansón nazareno and ‘Romance al divín mártir’ would make a valuable contribution to the study of Enríquez Gómez.
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