Acceso usuarios
Lourdes Albuixech
Mi trabajo trata de las representaciones del matrimonio en la narrativa pastoril española, y más específicamente de la tradición de la malcasada. Casi todos los acercamientos que se han hecho a la ficción bucólica del siglo de oro resaltan las influencias clásicas e italianas en la misma, principalmente de Virgilio y de Sannazaro, pero la literatura pastoril española sirve de intersección a diversas tradiciones y motivos, como el de la bella malmaridada, conocido sobre todo a través de sus numerosas manifestaciones en la lírica popular (romances y canciones). Como explica Eukene Lacarra Lanz, el matrimonio en la España medieval y en la temprana edad moderna �required two basic steps, the betrothal and the formalized marriage in the Church� y �in Spain most couples started marital life after the betrothal, unconcerned with the wedding and Church ceremony, which was often delayed for years or never celebrated at all� (162). Debido a que los matrimonios eran en muchas ocasiones concertados por la familia, y que la hiperginia era bastante frecuente, muchas mujeres (y podemos asumir que muchos hombres, como el Grislado de La Galatea) se encontraban malcasadas o malmaridadas. En la narrativa pastoril española, hay mujeres como Diana-protagonista de La Diana de Jorge de Montemayor-que se ve forzada a casarse con Delio, o como Galatea-de La Galatea de Cervantes-cuyo padre tiene la intención de casar con un rico pastor portugués, un futuro que a ella le aterroriza. De modo general, las novelas pastoriles ofrecen a los lectores una visión negativa del matrimonio que contrasta con las uniones idealizadas reservadas en muchas instancias al final de dichas ficciones.
My paper focuses on representations of marriage in Spanish pastoral romance, and specifically on the tradition of the malcasada. Most critical approaches to bucolic narrative of Spain�s Golden Age have noted Classical and Italian influences, namely Virgil and Sannazaro, but Spanish pastoral literature stands as a crossroads to many literary traditions and motifs, such as the malcasada one, known to most through its numerous manifestations in lyric poetry (ballads and songs). As Eukene Lacarra Lanz explains, marriage in medieval and early modern Spain �required two basic steps, the betrothal and the formalized marriage in the Church� and �in Spain most couples started marital life after the betrothal, unconcerned with the wedding and Church ceremony, which was often delayed for years or never celebrated at all� (162). Because marriages were in many instances prearranged by families, and hypergyny was not uncommon, many women (and, we can assume, men, like Grisaldo in La Galatea) found themselves malcasadas or malmaridadas. In Spanish pastoral romance, there are women like Diana-from Jorge de Montemayor�s work-whose father has forced into marrying Delio, or Galatea-from Cervantes� La Galatea-whose father plans to marry to a rich shepherd, a future she absolutely abhors. Generally speaking, pastorals offer the readers a negative view of marriage that contrasts with the idealized unions reserved in many instances to the end of such fictions.
