Abstract

Fueron varias las revueltas, motines y conspiraciones que tuvieron un especial protagonismo en la monarquía hispánica durante el siglo XVII, sobre todo las de Cataluña, Portugal, Nápoles o Mesina, entre otras. Habitualmente, la historiografía se ha detenido en el análisis de sus causas, desarrollo y consecuencias y no tanto en las estrategias para ponerles fin. En este aspecto, Tácito, sus traductores e intérpretes, ofrecieron un buen número de consejos para hacer frente a tales sublevaciones con diferentes medios: rapidez, negociación, disimulación, engaño… El objetivo de este trabajo es analizar cuáles fueron las soluciones aportadas por Tácito y por los autores tacitistas y si estas fueron adoptadas por los gobernantes para hacer frente a tales movimientos de subversión política.

Abstract

The Portuguese reality is part of the thematic heritage of the Spanish Golden Age theatre which highlights from the Lusitanian their courage at war and their excess in passion. Literary interactions took place in two senses: the Lusitanian tradition was treated in Spanish pieces, and Portuguese playwrights wrote in Castilian following Lope de Vega in his Arte nuevo de hacer comedias en este tiempo (1609). Although history and hagiography will be the most exploited aspects due to the impact of their protagonists, on other occasions Portugal will be used as a setting to universal conflicts. Kings such as D. Afonso Henriques, D. João II and D. Sebastião star in works of Tirso de Molina, Lope de Vega or Cubillo de Aragón; and El príncipe constante by Calderón and Caer para levantar by Moreto, Matos Fragoso and Cáncer relate, respectively, the lives of two Portuguese saints, S. Fernando and S. Gil. We will analyse El príncipe constante and A secreto agravio, secreta venganza by Calderón and Las quinas de Portugal by Tirso de Molina, with the aim of discovering the degree of involvement between the dramaturgical approaches and historical context that includes or propitiates them, in order to try to reveal the elements that motivated the rise and the decline of Portuguese topics in the seventeenth century Spanish theatre.

Abstract

Throughout his works, Bartolomé Jiménez Patón mentions Portugal and some of its writers on a number of occasions. In the books that have been recovered of his Comentarios de erudición (1621), he cites authors such as Fernando López de Castañeda or Joao de Barros, who are associated with the popular vogue of the period for portentous works, of which the Spanish Humanist was so fond of. A large number of his commentaries concerning Portugal center on justifying dynastic unity, based on his interpretation of the history of Gregorio López Madera, who he admired so much, which has as its background the image of Hispania. To a certain extent, the new government of Olivares would try to carry out this policy. Of no less interest is his description of the city of Lisbon in which he presents the idea of ‘exemplariness’, a notion he has in common with other descriptions by Mateo Alemán, Cervantes or Tirso, although in Patón’s, such exemplariness appears in contrast with the picturesque depiction of the rogues of the Rua Nova.

Abstract

«Portuguese matter» is a subject that inspired a large amount of plays of the Spanish Golden Age. This is especially the case in the period of the dual monarchy, in which the outstanding episodes in the history of Portugal and their main protagonists are dealt, in general, from a Castilian-centered perspective. This article specifically focuses on the events involving the dukes of Braganza. These events were of great importance not only for the history of Portugal but for the Austrian monarchy. They also served as the source of a number of comedies of the theatre in the Golden Age. Several of Lope de Vega’s plays are analyzed including El duque de Viseo, El más galán portugués, with the intention of contrasting them with the Granada playwright Cubillo de Aragón’s La tragedia del duque de Berganza. The analysis of the dramatizations evidences the different attitudes of both playwrights towards the house of Braganza. It also evidences the different assessment of Portuguese nobility in relation to the historical circumstances that they experienced during the reign of John II of Portugal. In the case of Lope de Vega, during the same time period as the dual monarchy, the plays are written in order to ennoble his image and, in the case of Cubillo, to validate his reputation as a traitor, following the uprise against the monarchy of Phillip IV, which lead to the secession of Portugal.

Abstract

The canonization of the founder of a Catholic religious order constitutes a milestone in the affirmation of authority by that order. As concerns to the Society of Jesus, it was a double canonization. Such an uncommon fact as this, clearly both demonstrates the power the Society had at the time at the Curia, and explains its intention of celebrating the auto-glorification. Its scenography, thus, aimed more to praise the triumph of the Society of Jesus through the use of allegorical figures such as Religion, Fame, Honour or Pomp, than anything else. The iconography of such festivities framed the first Jesuits saints within the history of the Society. Thus, the Portuguese jesuits paid homage, by means of the staging, to the beatified ones, the first jesuits and the martyrs. Moreover, the set pointed out its main devotions, characteristics and activities such as missionary work and teaching activities. Often canonizations of a certain figure were intimately related to political power in Early Modern Time. Therefore, Portuguese Jesuit festivities exalted, with a great vigour, feelings of nationalism during the Iberian Union’s time. In order to transmit the various aims, the organizers did not hesitate to use all Baroque celebrative resources (poetry, theatre, dance, music and visual arts). In other words, particularly luxurious and grandiose celebrations, including light, sound, colour, and odour spectacles or events (reference be made to the vases with perfume inside the churches) took place by that time.