María de Zayas y Sotomayor and hernovela cortesana: a re-evaluation
1978; Liverpool University Press; Volume: 55; Issue: 4 Linguagem: Inglês
10.1080/1475382782000355301
ISSN1469-3550
Autores Tópico(s)Comparative Literary Analysis and Criticism
ResumoClick to increase image sizeClick to decrease image sizeBSS Subject Index: DESENGAÑOS AMOROSOS/PARTE SEGUNDA DEL SARAO Y ENTRETENIMIENTO HONESTO [M. DE ZAYAS Y SOTOMAYOR]NOVELAS AMOROSAS Y EJEMPLARES [M. DE ZAYAS Y SOTOMAYOR]WOMEN/GENDER ISSUES — SPAIN & PORTUGALZAYAS Y SOTOMAYOR, MARÍA DE (1590–1661?) Notes 1. This term was first used by Agustín González de Amezúa y Mayo in his discourse, Formación y elementos de la novela cortesana (Madrid 1929), 11–12. 2. For a study of sources see Caroline Bourland, ‘Boccaccio and the Decameron in Castilian and Catalan literature’, RHi, XII (1905), 1–232 and E. B. Place, ‘María de Zayas, an Outstanding Woman Short Story Writer of Seventeenth-Century Spain’, University of Colorado Studies, 13 (1923), 1–56. 3. This aspect is stressed by Caroline Bourland in her studies ‘Aspectos de la vida del hogar en el s. XVII según las novelas de Doña Mariana de Carabajal y Saavedra’, in Homenaje a Menéndez Pidal (Madrid 1925), II, 331–68 and The Short Story in Spain (Northampton 1927), especially pp. 23–44, ‘The Novela as a picture of the times’. 4. This is the attitude of Peter Dunn, Castillo Solórzano and the Decline of the Spanish Novel (Oxford 1952). See his ‘Conclusion’, 128–31. 5. For a listing of authors and works see Joaquín del Val, ‘La novela española en el Siglo XVII’, in Historia general de las literaturas hispánicas, ed. Guillermo Díaz-PIaja (Barcelona 1953), III, xlv–lxxx. 6. In Anatomy of Criticism: Four Essays (1957; rpt. New York 1969) in the third essay ‘Archetypal criticism: theory of myths’, where romance is discussed as ‘The mythos of summer’, 186–206, and the fourth essay, ‘Rhetorical criticism: theory of genres,’ 303–07. Frye's theoretical consideration of romance is further elaborated in The Secular Scripture. A Study of the Romance (Cambridge, Mass. 1976). 7. For the chronological trajectory from the ‘realistic’ to the ‘idealistic’ tales of Cervantes and an interpretation of this development see Ruth S. EI Saffar, Novel to Romance: A Study of Cervantes's ‘Novelas ejemplares’ (Baltimore 1974). 8. See the ‘Apéndice bibliográfico’ of Agustín G. de Amezúa's edition of the Novelas amorosas y ejemplares (Madrid 1948), xlvii–1. Reference to the Novelas amorosas y ejemplares is indicated by the Roman numeral I, and reference to the Desengaños amorosos (Madrid 1950) is indicated by the Roman numeral II. 9. In Colección de las obras sueltas (Madrid 1776), I, 165. 10. For this facet of her work consult Lcna E. V. Sylvania, Doña Maria de Zayas y Sotomayor : A Contribution to the Study of Her Works (New York 1922), 7–17 and Irma V. Vasileski, María de Zayas y Sotomayor: Su época y su obra (New York 19721),52–55. 11. In Colección escogida de obras no dramáticas de Frey Lope Félix de Vega Carpio, BAE, XXXVIII (Madrid 1872, 14. 12. These critical terms are used by M. H. Abrams, The Mirror and Lamp: Romantic Theory and the Critical Tradition (New York 195.3), and discussed on pp. 8–21. For the transformation of the system of Aristotle from a ‘poetic’ to a ‘rhetorical’ one see the articles of Bernard Weinberg, ‘Robortello on the Poetics’ and ‘Castelvetro's theory of poetics’, in Critics and Criticism, ed. R. S. Crane (Chicago 1952), 319–48 and 349–71 respectively. 13. El Patrañuelo, ed. Rafael Ferreres (Madrid 1971), 41. 14. For a discussion of ‘exemplariness’ as a literary topos and a study of the antinomy between literary theory and practice consult Walter Pabst, La novela corta en la teoría y en la creación literaria, trans. Rafael de la Vega (Madrid 1972). The short novels of Cervantes and of Lope de Vega are analysed in the section on Spain and Portugal, 184–295. 15. Teatro popular (novelas), ed. E. Cotarelo y Mori (Madrid 1906), 23. 16. El ingenioso hidalgo Don Quijote de la Mancha, ed. Francisco Rodríguez Marín, Clásicos castellanos (Madrid 1912), IV, 229–30. 17. Philosophía antigua poética, ed. Alfredo Carballo Picazo (Madrid 1953), II, 56. 18. Philosophía antigua poética, ed. Alfredo Carballo Picazo (Madrid 1953), II, 61. 19. Cervantes' engagement with neo-Aristotelian literary theory has been studied by William C. Atkinson, ‘Cervantes, El Pinciano, and the Novelas ejemplares’, HR, XVI (1948), 189–208, by E. C. Riley, Cervantes's Theory of the Novel (Oxford 1962), and by Alban Fordone, Cervantes, Aristotle, and the ‘Persiles’ (Princeton 1970). 20. ‘Prólogo al lector’, Novelas ejemplares. 21. For the association made between Mohammedanism and witchcraft and other diabolical arts see M. Herrero García, Ideas de los españoles del Siglo XVII (Madrid 1928), 598. 22. See Forcione, Cervantes, Aristotle, and the ‘Persiles’, 41, as quoted from Discorsi dell' arte poetica e del poema eroico, ed. L. Poma (Bari 1964), 96–97. In connexion with this topic of the ‘Christian marvellous’, Edwin S. Morby,in ‘The Difunta pleiteada theme in Maria de Zayas’, HR, XVI (1948), 238–42, points out that in addition to using the Bandello novella (the forty-first of Part II) as a source for ‘El imposible vencido’, María de Zayas draws upon extant romance versions as well, and, instead of following the possibility of an apparent death in the Italian tale, chooses to adhere to the ‘Spanish tradition of a true miracle’ (241). 23. Philosphía antigua poética, 58. 24. Wolfgang Kayser in The Grotesque in Art and Literature, trans. Ulrich Weisstein (Bloomington 1963), attempting to define the concept of the grotesque, here presents the interpretation of Christoph Martin Wieland in his Unlerredungen mit dem Pfarrer von*** (1775), important because it stressed the psychological effect of the grotesque upon the spectator (31 ). It is to be understood that María de Zayas uses grotesque elements as a stylistic device; they are not symptomatic of her view of the world and do not have the overtones of cynicism or absurdity that Kayser ascribes to the grotesque as an aesthetic category. 25. Ludwig Pfandl, Historia de la literatura nacional española en la edad de oro, trans. Jorge Rubió Balaguer (Barcelona 1933), in his analysis of the development of the short novel after Cervantes, includes María de Zayas within the classification of the ‘romantic novel’, 368–70, but condemns the tales with grotesque details as ‘lascivas, sucias, de inspiración sádica y moralmente corrompidas’ (370). See also Amezúa y Mayo, ed., Desengaños amorosos, xiv, and del Val, ‘La novela española en el Siglo XVII’, xlvi. 26. Hugo states, for example, that ‘Nous dirons seulement ici que, comme objectif auprès du sublime, comme moyen de contraste, le grotesque est, selon nous, la plus riche source que la nature puisse ouvrir à l'art’. 27. Terms used by W.J. Harvey. ‘George Eliot and the omniscient author convention’, Nineteenth-Century Fiction, 13 (Sept. 1958), 90. 28. Anatomy of Criticism, 304–06. In The Secular Scripture Frye prefers the phrase ‘symbolic spread’ to the term ‘allegory’, in order to convey ‘the sense that a work of literature is expanding into insights and experiences beyond itself, particularly as they refer to the conventions of romance itself (59). 29. In Allegory: The Theory of a Symbolic Mode (Ithaca 1964), 48–49. 30. In Allegory: The Theory of a Symbolic Mode (Ithaca 1964), 105. Dunn, in his Castillo Solórzano and the Decline of the Spanish Novel, had commented upon the lack of visual appeal in the style of the novela cortesana and the abstract effect of the imagery (71–72), but did not relate this to the allegorical content. 31. In The Great Mother: An Analysis of the Archetype, trans. Ralph Manheim, 2nd ed. (Princeton 1963), especially Chapters Six and Seven, 64–83, and the diagram, Schema III, facing p. 82. 32. For discussion of the patterns of imagery see Northrop Frye, Anatomy of Criticism: Four Essays (1957; rpt. New York 1969), 141–58. 33. See Melveena McKendrick's Woman and Society in the Spanish Drama of the Golden Age. A Study of the ‘Mujer Varonil’ (London 1974) for a comprehensive description and evaluation of the popular character type. The bandolera is discussed on pp. 109–41.
Referência(s)