This video examines Iberian frame tale narratives, and how magic is portrayed in 17th century Iberia.
A beautiful young married woman is courted by a duplicitous womanizer.
María de Zayas y Sotomayor, La inocencia castigada
English translation: María de Zayas y Sotomayor. The Disenchantments of Love: A Translation of Desengaños Amorosos. Trans. Harriet Boyer, SUNY P, 1997. Google Books snippet view, p. 175.
English translation of Picatrix: A Medieval Treatise on Astral Magic. Trans. Dan Attrell and David Porecca, Pennsylvania State UP, 2019. Google Books snippet view, p. 146-7 and 193-4
Aljamiado libro de dichos maravillosos: Libro de dichos maravillosos (Misceláneo morisco de magia y adivinación). Spanish Trans. Ana Labarta, CSIC, 1993. Google Books snippet view, p. 64. More information on this manuscript in Spanish.
Brownlee, Marina. The Cultural Labrinth of María de Zayas. U of Pennsylvania P, 2000.
Wacks, David. Framing Iberia: Maqāmāt and Frametale Narratives in Medieval Spain. Brill, 2007.
Rogríguez-Rogríguez, Ana M. “Early Modern #MeToo: Maria de Zayas’s Response to Women’s Confined Lives,” Hispanic Issues Online (25:2020), Confined Women: The Walls of Female Space in Early Modern Spain, article 10.
- What comparisons can be made with earlier Iberian texts featuring older women go-betweens? Consider Trotaconventos with Don Melon y Doña Endrina in Juan Ruiz’s 14c Libro de bueno amor, and Celestina with Calisto and Melibea in Fernando de Rojas’s 16c La Celestina/La Tragicomedia de Calisto y Melibea. Consider strategies used by the go-betweens, the linguistic or material tools used, the punishments that occurred, and possible motivations.
- Why is the necromancer portrayed as Moorish in the historical context of the Morisco expulsion (1609-1614)? What does distancing of magical practice do?
- Compare this novela and earlier or contemporaneous Iberian Arabic grimoires. Consider love spells in texts like the Picatrix (13c translation of 10c Arabic Ghāyat al-Hakīm) or the 16/17c Aljamiado Libro de dichos maravillosos. What items were necessary for the spells—both in the novela and the grimoires—and what were the intended results? Are such comparisons fruitful?
- Consider the novelas in the context of contemporary movements like #metoo. Are these stories similar? How is the complexity of gender relations nuanced as both men and women contributed to doña Inés’s unjust suffering?
Menaldi, Veronica. “María de Zayas, Magic, and #MeToo,” Middle Ages for Educators, April 20, 2020. Accessed[date]. https://middleagesforeducators.princeton.edu/node/246