Carajicomedia: Parody and Satire in Early Modern Spain

Carajicomedia: Parody and Satire in Early Modern Spain: With an Edition and Translation of the Text

FRANK A. DOMÍNGUEZ
Series: Monografías A
Copyright Date: 2015
Edition: NED - New edition
Published by: Boydell and Brewer,
Pages: 609
https://www.jstor.org/stable/10.7722/j.ctt19x3hrt
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  • Book Info
    Carajicomedia: Parody and Satire in Early Modern Spain
    Book Description:

    Since Carajicomedia was published in 1519, it has been largely ignored by critics because of its strong sexual content. The author of Carajicomedia: Parody and Satire in Early Modern Spain/ believes that it is a sophisticated and complex composition that provides as good a vantage point from which to examine the ideology of the period as does La Celestina. In their poems, the writers of Carajicomedia inadvertently reveal the deep worries of the knights and nobles who opposed the regencies of Ferdinand the Catholic and Francisco Jiménez de Cisneros pending the arrival of Charles V. Carajicomedia is therefore a harbinger of the War of the Comuneros, the great popular revolt that convulsed Spain in 1520. In this book's chapters, the author examines the parodic relationship between the text of Juan de Mena's El Laberinto de Fortuna, the glosses of Hernán Núñez's Las Trezientas, and Carajicomedia. He then turns to its actual writers and their settings, and shows how their satirical attitudes towards males, females, and conversos reveals the failure of the societal mechanisms in place to control desire and miscegenation. Carajicomedia: Parody and Satire in Early Modern Spain concludes with a paleographic edition of the text and appendices that contain a modern Spanish version and its English translation, as well as examine Carajicomedia's language. Frank A. Domínguez is a professor of medieval Spanish literature and culture at the University of North Carolina at Chapel Hill.

    eISBN: 978-1-78204-697-4
    Subjects: Language & Literature, History

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Illustrations
    (pp. ix-x)
  4. Preface
    (pp. xi-xxiv)
  5. Part I Las Trezientas and Carajicomedia
    • The Model and the Parody: Las Trezientas and Carajicomedia
      (pp. 3-44)

      Carajicomediacontains two poems that parody different sections ofEl Laberinto de Fortuna, a work composed by Juan de Mena in 1444 that was destined to become one of the most read compositions of the fifteenth century. Although we do not know much about his education, and practically all information about him comes from hernán Núñez’s prologue to his edition ofEl Laberinto, we believe that a trip to Rome and Florence confirmed Mena as a life-long student of the Classics. he used this knowledge to fashion a successful career in government during which he was appointed secretary of Latin...

    • 2 Authorship and Setting: The Fictional Narrators and the Real Author(s)
      (pp. 45-86)

      An analysis ofCarajicomediahas to begin by looking at its narrative complexity.El Laberintohas one author and two implied narrators. Both narrators have the name of the real author: Juan de Mena. One of them appears at the beginning and end of the poem, and occasionally interrupts to comment or to apply its lesson; the other takes part in the vision and describes what he sees. Their name draws the attention of the audience towards the author as a trustworthy spokesman and the fame he claims to be able to impart.

      Las Trezientasdoes not change the text...

  6. Part II Cultural Ideology:: Gender Roles
    • 3 Women and Power: El Laberinto de Fortuna’s Divina Providencia and Carajicomedia’s María de Vellasco
      (pp. 89-124)

      Central toCarajicomedia’s first poem is a concern with the pernicious and emasculating effect that women have on men. This anxiety permeates early modern culture, which considers women to be inherently flawed and the cause of man’s perdition. The authors ofCarajicomediaecho this cultural assessment of womankind.

      Biblical theologians and commentators of Genesis maintained that God had made Adam in his own image from the soil of Paradise. He was therefore a complete and perfect form. Eve, on the other hand, was an afterthought, formed from an insignificant part of Adam’s body, a rib. Although technically, she was also...

    • 4 Men and Power: El Laberinto de Fortuna’s Juan II and Carajicomedia’s Diego Fajardo
      (pp. 125-146)

      In Paradise, Adam had to make the same choice between Will and Reason as Eve. She had to satisfy her curiosity or obey God’s injunction not to eat from the fruit of the Tree of Knowledge. Adam could have observed God’s command, but he chose to reject it for her sake.¹ The consequences of his decision affected subsequent generations in innumerable ways.

      We have seen how Furtmeyr’s illustration of the power of Mary and Eve uses a very standard image (the Tree of Jesse) to illustrate the story of the choice from a more feminist point of view. It does...

  7. Part III Political Satire and Ideology
    • 5 Carajicomedia’s Satire of Individuals
      (pp. 149-200)

      By the timeCarajicomediawas penned, Castilians were already acquainted with many Classical satirists, but the word “satire” as a generic designation did not gain currency until Villegas’s 1515 translation of Juvenal.¹ Before that date, Iberian medieval satirical poetry was referred to as “poesía de burlas,” “de mofa” (scathing), “jocosa” (funny), or “provocante a risa.” Its objective was either to correct behavior, like the Provenzal “sirventés,”² or to insult a person in a veiled or open manner, like the Galician–Portuguese “cantigas d’escarnho e maldizer” (see Appendix B; burlesque songs).

      Carajicomediahas more in common with the biting satire of...

    • 6 Propaganda and Its Uses
      (pp. 201-218)

      In the late Middle Ages, Castilians produced a variety of historical and literary texts that sought to malign political enemies or marginal groups like prostitutes, witches, and conversos, or tacitly admonished those in power for not pursuing the chivalric Virtues and seeking the end of the Reconquest. Some voices, however, combined these objectives to challenge the propaganda generated at court and, in so doing, revealed the deep cultural and political fissures that were dividing the people of Castile on the eve of the War of the Comunidades. The Trastámara dynasty was severely chastised by those who remembered that it had...

    • Conclusion: The Purpose and Fate of Carajicomedia
      (pp. 219-228)

      We actually know very little that is factual about the aims of the individuals who wroteCarajicomedia’s two poems or about its audience, and we do not fully understand their motives—or why the work disparages hernán Núñez, Ambrosio Montesino, Juan de hempudia and others. We also do not know if the original text differs from the version printed in Juan Viñao’sCancionero de obras de burlas. Someone else, perhaps Viñao himself, might have added the initial rubrics to the first and second poems and identified many ofCarajicomedia’s stanzas with their corresponding numbers inLas Trezientas. However, even though...

  8. Part IV A Paleographic Edition of Carajicomedia
    • The Edition: Carajicomedia/Cockcomedy
      (pp. 231-354)

      Carajicomediaappears at the end of an anthology of poems called theCancionero de obras de burlas prouocates a risathat was printed by Juan Viñao on 22 February 1519, in Valencia.¹ The source of most of its poems is theCancionero generalof Hernando del Castillo (Valencia: Cristóbal Koffman, 1511, etc.; General Songbook), which is divided into distinct parts containing (1) religious and moral poetry, (2) poems by individual authors, (3) songs, (4) inventions and jousting poems, (5) mottos and glosses, (6) “villancicos,” (7) questions and answers, (8) minor works, and (9) “burlas” (mocking poetry). TheCancionero de obras...

  9. Appendix A: Carajicomedia: A Modern Spanish Edition and English Translation
    (pp. 356-452)
  10. Appendix B: The Erotic Language of Carajicomedia
    (pp. 453-468)
  11. Bibliography
    (pp. 469-562)
  12. Index
    (pp. 563-585)
  13. Back Matter
    (pp. 586-586)