the enchantments of love

8/13/2019 The Enchantments of Love

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Preferred Citation: de Zayas, Maria. The Enchantments of Love: Amorous and Exemplary Novels. Berkeley: University of

California Press, c1990 1990. http://ark.cdli.or!/ark:/1"0"0/ft#"$n"%d/

The Enchantments of Love

Amorous and Exemplary Novels

Maria de Zayas

UNIVERSITY OF CLIFORNI !RESS

Berkeley Los Angeles Oxford

" #$$% The Re&ents of the University of Ca'ifornia

Preferred Citation: de Zayas, Maria. The Enchantments of Love: Amorous and Exemplary Novels. Berkeley: University of

California Press, c1990 1990. http://ark.cdli.or!/ark:/1"0"0/ft#"$n"%d/

C(NO)LE*+MENTS

& sho'ld like to ackno(led!e s'pport fro) the Colle!e of *rts, +')anities, and ocial ciences at

Colorado tate University for s'pport of vario's sta!es of )y (ork on this translation in the for) of asaatical leave in 19$- as (ell as a oseph tern research !rant, (hich enaled )e to have the do!

eared typescript transferred to disk. oyce Cris(ell typed fro) )y lon!hand and ay hort typed to

disk. itho't ay Bodine2s patient and !enero's advice, the co)p'ter )i!ht have s(allo(ed it all 'p.

3')erless st'dents, collea!'es, and friends have contri'ted to the i)prove)ent of )y (ork, inpartic'lar Mary Cro(, Barara 4akin, on 5hie), Marion 6ree)an, and Maria Pilar Pere7 tansfield. *

(ord of special appreciation !oes to 8'th l affar (ho, as director of a 3ational ndo()ent for the

+')anities s'))er se)inar that & attended in 199, enco'ra!ed )e to 'ndertake this task and (ho hasprovided inval'ale s'pport ever since. 5he participants in that se)inar and in the first 3+

5ranslation &nstit'te at anta Cr'7 ;19$< helped in solvin! n')ero's ticklish prole)s. 6inally, & (ish

to e=press partic'lar thanks to athleen Mc3erney for her )any insi!hts, 8'ssell Coerly for ein! a

faithf'l reader, and cott Mahler at the University of California Press for his !'idance.

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INTRO*UCTION

5he life of Maria de Zayas y oto)ayor re)ains lar!ely a )ystery. 5he only facts kno(n ao't her are

that she lived in Madrid d'rin! the first half of the seventeenth cent'ry and (as a reco!ni7ed literary


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fi!'re. he (rote )'ch occasional poetry, at least one play, The Betrayal of Friendship, and t(o est

sellin! collections of fra)ed novellas, The Enchantments of Love: Amorous and Exemplary Novels

(Novelas amorosas y ejemplares, 1#"< and its se?'el, The isenchantments of Love (esen!a"os

amorosos, 1#@


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)ana!ed to eco)e hi!hly literate and set pen to paper. he p'lished her (orks in a society (here, as

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a r'le, (o)en had no place in p'lic life and had no voice. Zayas felt it necessary to defend herself as

a (o)an (riter in her fore(ord to theEnchantments, F5o the 8eader.F 5he need for for)al ed'cation

of !irls and the i)portance of (o)en havin! a voice, of ein! ale to co))'nicate, infor) othcollections of novellas. Beca'se of her co))it)ent to these tenets, Zayas has een reco!ni7ed as a

(o)en2s advocate and a fe)inist in the )odern sense of the ter).

Zayas read (idely and kne( thoro'!hly the literat're of her day, (hich she 'sed as a ase for herfictions. 5o appreciate her art, it is helpf'l to have so)e infor)ation on the !enres she c'ltivated.

Cervantes, in the prolo!'e to hisExemplary Novels;1#1"


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trite that it (as no( entirely o't of fashion.F o, in spite of the (ork2s title, the stories the)selves are

called Fenchant)ents.F

5he panish (ord & have translated as Fenchant)ent,F maravilla, accords (ith the oftstated ai) of

Golden *!e literat're to Ffill (ith (onder, to a)a7eF ;)aravillar


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(ork, a )an2s )ost vile deception (as the a'se of this sacred pro)ise that allo(ed hi) to have his

pleas're (hile it left the tr'stin! (o)an dishonored and, like *)inta, faced (ith death. &nterestin!ly,

ho(ever, in F*)inta Heceived and +onor2s

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8even!e,F *)inta aven!es her dishonor and finds a happy )arria!e, as does doa +ipolita in F'stHesserts,F s'!!estin! that the loss of vir!inity does not necessarily r'in a (o)an forever.

&n 1#09, 4ope de Ee!a (rote that honor (as the est dra)atic s'%ect, and every one of Zayas2s

novellas treats so)e aspect of this 'nhappy the)e. ;&t is i)portant to distin!'ish et(een conventionalliterary treat)ent of co'rtship, honor, and )arria!e and act'al social practices.< Zayas2s characters,

'nlike Calderon2s, do not typically rail o't a!ainst the loody honor code, altho'!h several do acc'se

)en of e=a!!eratin! its i)portance in order to oppress (o)en, as (e see in the epi!raph to this ook.&n the novellas, honor represents (o)en2s v'lneraility, that (hich !ives )en po(er over the). 6or

this reason, there is insistence that (o)en ass')e responsiility for their o(n honor, to s'ch a de!ree

that they sho'ld e trained in s(ords)anship so they can properly defend the)selves and (o)en2s!ood na)e. 5his )essa!e 'nderlies the enchant)ents, as in F*)inta Heceived and +onor2s 8even!e,F

and eco)es e=plicit in the disenchant)ents.

5he honor code )ay strike the )odern reader either as too artificial and literary, or as characteristic of

a araric, F)acho,F society. 3evertheless, !iven that )en2s violence a!ainst (o)en is still a reality ineven the )ost advanced societies, honor, insofar as it represents )en2s po(er over (o)en, contin'es to

e a deeply e)otional iss'e. 6or that reason, the the)e of honor is rich in dra)atic and tra!ic potential,

partic'larly (hen presented fro) the (o)an2s point of vie(. &n theEnchantments, (e find fe)ale

characters deceived and so)eti)es dishonored, 't the e)phasis is on ho( these (o)en cope (ithdeception. 5hey e=plore their options and atte)pt to control their destinies in a variety of (ays, not the

least of (hich is (ithdra(al into the convent. 5heisenchantments, ho(ever, foc's al)ost

e=cl'sively on 'n%'stified (ife a'se, tort're, and killin!, often in the na)e of honor. &n this (ork, the

central the)e is (o)en2s po(erlessness and inaility to cope, e=pressed in e=tre)e and i7arre casesof fe)ale victi)i7ation and )ale cr'elty.

Zayas2s artf'lly foc'sed e=a)ination of se= roles as depicted in literat're )akes her (ork coherent and

'ni?'e. hereas earlier (riters, like Boccaccio and Mar!'erite de 3avarre, playf'lly e=ploited theattle of the se=es and a less ri!id version of the honor code, Zayas refined the iss'es and their

i)plications. he did, ho(ever, 'se her reno(ned predecessors as )odels in str'ct'rin! her t(o

collections aro'nd one

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central fra)e, (hich !rad'ally develops into an e=e)plary tale in itself. hile oth collections clearlyco)e fro) the sa)e pen, their stories are as different fro) each other as day and ni!ht. 5he

Enchantmentscontains ten co'rtly novellas narrated y five (o)en and five )en at a series of fivelavish Christ)as soirees held for the p'rpose of entertainin! the lovely 4ysis, ill (ith the ?'artan fever.

5his co'rtly fra)e develops the character of the ten narrators, provides opport'nity for co))entary on

the stories, and, eca'se it contin'es thro'!ho't the second part, serves to 'nify Zayas2s t(o collections

of novellas. 5heisenchantmentsrepeats the str'ct're of the first part in that there are ten e=e)plarytales narrated y characters fro) the ori!inal fra)e story.

&n theEnchantments, the fra)e see)s )ostly decorative as it descries cost')e and elaorate


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entertain)ents consistin! of )'sic, skits, )asked alls, and s')pt'o's an?'ets. 5he plot presents the

a)oro's intri!'e of don 'an2s chan!e of affectionfro) the hostess, 4ysis, to her co'sin 4isarda

and is co)plicated y the fact that don 'an2s friend, don Hie!o, e!ins to co'rt 4ysis. *t the end of the

Enchantments, the 3arrator concl'des: F& end )y (ellintentioned and entertainin! soiree, pro)isin! asecond part if this one is received (ith the pleas're & hope. &n the second part, (e shall see don 'an2s

in!ratit'de, 4isarda2s chan!e of heart, and 4ysis2s (eddin!. & hope )y (ork is appreciated, val'ed, and

praised, not )y ro'!h style, 't the (ill (ith (hich it has een (ritten.F5he second set of soirees (as planned for 3e( Kear2s Hay to celerate 4ysis2s )arria!e to don Hie!o.5he occasion !ets postponed for over a year in the fra)e, altho'!h ten years separate the p'lication of

the t(o parts. An this occasion, the hostess 4ysis estalishes r'les: only (o)en (ill narrateD the tales

)'st e tr'e Fcase historiesF to enli!hten, or disenchant, (o)en ao't )en2s deceptionsD and they )'ste in defense of (o)en2s !ood na)e. *fter hearin! the ten disenchant)ents, told accordin! to her

stip'lations, 4ysis sees the li!ht and decides not to )arry her adorin! s'itor. he prefers to retire fro)

the (orld to live a sec'lar life in the convent. 6o'r other ladies %oin her. *fter the soirees end, the3arrator concl'des the ook y statin!: Fthis end is not tra!ic 't rather the happiest that one co'ld

have asked for, eca'se she, (anted and desired y )any, did not s'%ect herself to anyone.F 5his

st'nnin! concl'sion, so si)ilar to the end of M)e de 4a 6ayette2s'rincesse de %leves, (as p'lished

so)e thirty years prior to the 6rench )asterpiece.

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* principal difference et(een the t(o parts, then, is the (ay theisenchantments'nfolds fro) the

EnchantmentsD the fra)e story elaorates a coherent fe)inist )essa!e, (hich prod'ces a !reater 'nityand ho)o!eneity in the ten stories. 5heEnchantments, on the other hand, is characteri7ed y the

variety of the ten stories and a hi!hly s'tle fe)inis). 5he distinctions et(een the five tales narrated

y (o)en and the five y )en, and the variation in plots, tones, and te=t'res de)and readerinterpretation. *s in Cervantes2sExemplary Novels, the ten enchant)ents represent a )i= of very

different kinds of novellas: there are a pastoral and a By7antine tale, t(o satires, t(o )iracle stories,

and honor pieces (ith cloak and da!!er ele)ents. hen read fro) a fe)inist perspective, these storiesand their ironies raise a host of ?'estions (hich are left to the reader to ans(er. hat, for e=a)ple, do

(e kno( ao't the fra)e narratorJ +o( are )ale and fe)ale characters depictedJ ho is the central

characterJ hat does the end )eanJ

Besides raisin! provocative ?'estions, each of the ten enchant)ents relies on so)e sort of catchydevice intended to enchant and a)a7e ;)aravillar


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e=ercises po(erf'l spells to keep her don 6ernando en

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chanted. *n appealin! dra)atic device is the (o)an dis!'ised as a )an (ho sets o't to redress so)e

(ron! ;Fverythin! Eent'red,F F*)inta Heceived and +onor2s 8even!e,F and F'd!e 5hyselfF == >

sta!ed or any &oo* printed that is not a total offense a!ainst +omenNitalics )ineO.F 5here (as, of

co'rse, at least one e=ception: Zayas2s o(nEnchantments, p'lished ten years efore.

3e( in Zayas2s (ork is the conscio's fe)ini7ation of a tre)endo's array of )otifs taken fro) a hi!hly

refined, )aleprod'ced literat're. &n theEnchantments, this fe)ini7ation is seen in the differenceet(een the five stories narrated y (o)en and the five narrated y )en, in the perspective of the

prota!onists, in the (ay the characternarrators portray )ale and fe)ale characters, and in thepervasive irony. *ll five of the (o)en2s stories have stron! fe)ale prota!onists (ho are nole in

character, constant in love, and perfor) so)e heroic deed. 5he )en2s prota!onists reveal serio's )oral

fla(s. Anly t(o of the five )en2s tales have fe)ale prota!onists: doa +ipolita, in F'st Hesserts,F is of

d'io's )oral fier, and stela, in F'd!e 5hyself,F attri'tes her heroic valor to her love for donCarlos, as opposed to the (o)en2s self)otivated prota!onists like *)inta. &ronically, after stela

eco)es viceroy of Ealencia and reveals that she is, in fact, a (o)an, the honors she has (on thro'!h


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her herois) are transferred to her less valiant h'sand. &n the other three )en2s tales, the (o)en in

so)e (ay deceive or etray the )ale prota!onist.

&n F5ri')ph Aver the &)possile,F don 8odri!o stands o't as one of the )ore a)i!'o's of the )en2s

prota!onists. &n order to )erit the hand of his tr'e love, doa 4eonor, he !oes off to (ar in 6landers,(here he ind'l!es in a hi!hly 'nconventional dalliance. +e ne!lects to (rite to doa 4eonor and

ret'rns ho)e )ore than a year later than he had pro)ised. 5hen he la)es doa 4eonor for her

etrayal in )arryin! another )an, even tho'!h he kno(s that her parents, in order to force her into the'ndesired )arria!e, treachero'sly told her that he had )arried in 6landers. 5his tale, narrated y a )anfro) the perspective of its fla(ed )ale prota!onist, rin!s into contrast the advent'reso)e, novelistic,

lives of )en and the cloistered, restricted, and 'ninterestin!, lives of (o)en.

5he )en2s tales differ si!nificantly fro) the (o)en2s in )any other (ays. 5hey have a )ore artificial,

literary ?'ality, (ith a polish and an intellect'al control in their )anip'lation of traditional so'rces(hich tend to distance the reader fro) the action and the characters. 5hey see) )ore a)i!'o's,

perhaps eca'se they are narrated y those F)asters of deception,F perhaps eca'se of the ironic

'nder)inin! of )asc'linist disco'rse. Af the t(enty novellas, the only three that contain h')or are)en2s tales. F5he Miser2s 8e(ardF is a (itty

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satire of a )an2s avarice. F6ore(arned 't not 6orear)edF satiri7es a )an (ho, fearin! that a clever(o)an (ill dishonor hi), delierately )arries a )indless (o)an and, too late, learns his lesson. ith

delicio's h')or, oth foc's on the )ale prota!onist (ho deceives and is hi)self deceived. Both (ere

translated into 6rench y carron and so, indirectly, ca)e to serve as inspiration for Moliere2sL,avare

andL,ecole des femmes. &t is interestin! to note, fro) a c'rsory revie( of Zayas2s stories adapted into6rench and n!lish, that the five )en2s tales have far o'tstripped in pop'larity the fifteen (o)en2s

tales.

*nother fre?'ently adapted )en2s tale (ith several hi!hly co)ic )o)ents is F'st Hesserts.F 5he

prota!onist, doa +ipolita, deceives her !ood h'sand, 'lti)ately ca'sin! his death. he is raped yher rotherinla(, (ho) she )'rders. &n the end, she )arries the co)passionate !entle)an (ho

resc'ed her fro) certain death, and, (e are ass'red, they lived happily ever after. hen (e ponder

(hat he kno(s ao't her character, ho(ever, (e )'st (onder (hat kind of )arria!e they (ill have.5he conventional happy endin! (ith )arria!e as the sol'tion to a (o)an2s prole)s, as (ell as the

title itself, appear to e hi!hly ironic.

*s the )en2s tales vary in type, so do the (o)en2s. everal stress (hat happens after )arria!e ;F5he

Po(er of 4oveF and FHisill'sion)ent in 4ove and Eirt'e 8e(ardedF


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and so, in effect, resc'e the)selves, aleit (ith the assistance of

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a )an. Beca'se the novellas tend to e ipartite rather than 'nitary, (ith t(o separate parts to the plot

and at least t(o distinct )essa!es ;e.!., FHisill'sion)ent in 4ove and Eirt'e 8e(ardedF ==iii >

!et his (ay (ith her. 5his tale, narrated y the hostess2s )other, is in fact a prototypical )asc'line storyreco'nted in si)ilar for) y Boccaccio ;, I< and y Cha'cer ;F5he 6ranklin2s 5aleF


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*s previo'sly )entioned, the enchant)ents ca'se the reader to ask ?'estions. 5ales like F'd!e

5hyself,F F5he Ma!ic Garden,F and F5ri')ph Aver the &)possileF co'ld and, perhaps, sho'ld e

narrated fro) a different point of vie(. 5hat is, the fact that a fe)ale narrator tells a )asc'linist story,

and a )ale narrator tells a fe)inist story, accent'ates the i)portance of the identity and reliaility ofthe narrator and, conse?'ently, of the a'thor. Ane of the )ore intri!'in! ?'estions (e can ask is: (hy

this detailJ ach story contains p'77lin! and see)in!ly !rat'ito's details that )ay e fra'!ht (ith

si!nificance. &n the )en2s stories, !enerally )ore ti!htly knit, the ?'estions refer to fla(s in character;e.!., doa +ipolita, don 8odri!o< (hereas, in the (o)en2s stories, the ?'estions 's'ally relate to plot

ele)ents. hy, for e=a)ple, doesn2t acinta )arry her resc'er 6aio at the end of Fverythin!

Eent'redFJ Ar, (hy did 4a'ra spend three ho'rs in the charnel ho'seJ 5his kind of ?'estion, soe=ploited y television series, rin!s alive the character of the narrators, involves the reader, and

re)oves the stories fro) neat predictaility.

&n her fe)inis), Zayas (rote (ithin the tradition of the )edieval F(o)an ?'estionF deates that

flo'rished in pain and else(here in 'rope and inspired a n')er of a)'sin! comedias;seeMat'lka2s article


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po(erlessness is s'ch an i)portant the)e in Zayas2s novellas. *)inta2s reven!e, stela2s heroic

e=ploits, even

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Clara2s constancy, represent fantasies rather than options availale to the avera!e panish (o)an.

&n contrast, a )an2s life, his identity, (as not circ')scried or even li)ited y )arria!e. Given the a!e

old do'le standard, )en (ere al(ays free to (o)ani7e, to en!a!e in the chase in an effort to con?'er

a (o)an2s chastity. 5o a )asc'line p'lic, the Fhappily ever afterF )arria!e in literat're sy)oli7ed

the )ale con?'est of the fe)ale ;other(ise called Fsocial order restoredF


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of the ti)e, depict the e=ternal constraint that characteri7ed (o)en2s lives. B't, (hen (e consider the

derivative plots, the co'rtly characteri7ations, and Zayas2s ai) to entertain and instr'ct y e=posin! the

!ender )essa!es in literat're and dra)a, (e )'st ackno(led!e the pri)acy of the literary and the

aesthetic over any desire to depict life as it really (as. Certainly art reflects life, as (as s'!!ested in)y co))ents on the )eanin! of love, co'rtship, and )arria!e for )en and (o)en, 't art also filters

and p'rifies the (ay s'ch concepts are presented, in accord (ith the c'lt'ral cli)ate of the ti)e. &n

practically every story the character narratin! it insists that it is a truetale and often provides elaorateproof, 't this conventional insistence 'pon the literal tr'th of the tales has a Bor!eslike rin! (hen it is

follo(ed y the ironic disclai)er: only the na)es and the places have een chan!ed.

ven if (e resist the te)ptation to elieve that Zayas is speakin! personally (hen, in fact, her

characters are speakin!, (e can still dra( parallels et(een the novellas and her e=perience. Clearlythe oftrepeated pleas for the for)al ed'cation of !irls reflect a deep personal conviction. 8eiterated is

the state)ent that (o)en sho'ld have access to c'lt're thro'!h literacy and access to po(er thro'!h

learnin! and s(ords)anship. 5here is insistence that (o)en )'st e responsile for their o(n honorand e ale to defend it (ith the s(ord. Zayas (ielded her pen as a s(ord. 5he re)arkale e=istence of

theEnchantmentsand theisenchantmentsattests to the i)portance of (o)en havin! a p'lic voice

(ith (hich to defend their !ood na)e and their honor. 5hese t(o (orks added a ne(, fe)inist

di)ension to the reco!nition of the (ays literat're affects perception, thinkin!, and val'es,

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a the)e central to the panish )asterpiece,on uixote, as (ell. Zayas2s !eni's lies in her )asterf'l

'se of )asc'line disco'rse to s'vert )asc'line literat're.

5he novellas are co'rtly and pertain to the life of the noility, as opposed to the variety of social classes(e find depicted in Boccaccio, Cha'cer, Mar!'erite de 3avarre, and Cervantes. 5his is 'ndo'tedly

the only (orld Zayas e=perienced directly. +er class and !ender denied her freedo) of )ove)entD she

co'ld not !et o't and )ake contact (ith other (ays of life as co'ld any )an. Given the traditional

cloisterin! of (o)en in pain, the sheltered leis're and astonishin! isolation of Zayas2s fe)alecharacters )ost likely reflect her o(n life. 5his )i!ht e=plain (hy there is not a shred of io!raphical

infor)ation ao't this re)arkale (o)an. Zayas2s 'nflatterin! treat)ent of the lo(er classes indicatesan elitist attit'de. ervants and other FordinaryF people, e they co'rtesans, )atch)akers, or noles

co)e do(n in the (orld, tend to act i!noly, 't then so do a s'rprisin! n')er of the noles.

hockin! to 's is the racis) (e find in F6ore(arned 't not 6orear)ed,F a story that also presents(o)en in a d'io's, if co)ic, li!ht, in the spirit of theecameronand the/eptameron.

Zayas2s narrators apolo!i7e for their ine=perience in tellin! stories, for their 'se of everyday lan!'a!e,

and their artlessness, as she herself does in F5o the 8eaderF and in the concl'din! (ords of the

Enchantments. 8epeatedly, they 'r!e their a'dience to appreciate the s'stance of (hat they say andtheir F(ill,F (hich (e (o'ld call )essa!e, )eanin!, or intention, and not critici7e ho( they say it,

eca'se they are 'nschooled (o)en. 5hese state)ents are, & elieve, oth acc'rate and ironicappraisals of the style of oth parts. hile (e (o'ld not consider her ele!ant prose FeverydayF

lan!'a!e, it is prose, and it does see) FeverydayF in co)parison (ith the refined and her)etic poeticlan!'a!e of her conte)poraries like L'evedo and Gon!ora.

5he novellas are lierally laced (ith a (ide variety of poetry, so)e of (hich is so co)ple= that it

defies ade?'ate translation. 5he poetry of theEnchantmentsvaries !reatly and is of hi!h ?'ality,

partic'larly the lon! love allads. &t serves several p'rposes. 6irst, in the 8enaissance and inseventeenthcent'ry pain, prose (as re!arded as an inferior !enre, de)onstratin! little art in


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co)parison (ith poetry. &n this connection, (e (ill recall that the comedia(as ?'intessentially poetic

and the p'lic (ent to the theater to FhearF a play rather than to FseeF it. 6or this reason, (riters dressed

'p prose (ith poetic adorn)ent to prove their art and also to co)ple)ent the content, to add

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variety and e)otional n'ance. *lso, as the novellas often stress, co)petence in sin!in! and co)posin!)'sic and verse (ere hall)arks of the (ell ro'!ht 'p nole)an and, so)eti)es, nole(o)an. 5hey

(ere an i)portant di)ension of co'rtship and of everyday diversion. Zayas achieved reno(n as a poete!innin! in 1#-1, and, y incl'din! so )'ch poetry, she offsets criticis) of her Fro'!h style,F she

depicts the i)portance of poetry and )'sic in the life of the noility, and she revels in her o(n talent.

o)e technical aspects of panish poetry (ill e f'rther descried in the F5ranslator2s 3ote.F

5he style of the t(o parts is po(erf'lD the lan!'a!e is sparse, dyna)ic, and vi!oro's. 5he dialo!'e islively, the description vivid, the narration fastpaced. 5he stories have a dra)atic, oral ?'ality that

al)ost de)ands that they e read alo'd, acted o't, that the son!s e s'n!. Given the (idespread

illiteracy in that day and especially a)on! (o)en, this is 'ndo'tedly ho( the ook (as read. e canenvision a !ro'p of (o)en doin! their needle(ork (hile one read alo'd fro) Zayas2s novellas. ith

this scene in )ind, (e can i)a!ine the listeners2 disc'ssion of the stories, (hich (o'ld contrast sharply

(ith the fra)e characters2 co))entary.

*nother, )ore s'tle, aspect of Zayas2s (ritin! is that each of the characternarrators has a distinctive)anner of narratin! consistent (ith his or her characteri7ation. 5his contri'tes to the rich te=t're and

variety of the t(o (orks. 5he characteri7ation of the fra)e narrators develops )ore f'lly in the

isenchantments, 't, even so, there are )arked stylistic differences et(een the novellas. 5his can e

seen, for e=a)ple, in the (ay narrators do or do not 'se s'ch ele)ents as poetry, poetic lan!'a!e,classical all'sion, vis'al i)a!ery, e=cla)ations, h')or, irony, parenthesis, and s'%ective editorial

co))entary. o)e of this variation derives fro) the nat're of the stories 't )'ch reflects conscio's

differentiation.

*s a res'lt of the )'ltiple layers of disco'rse in the novellas, it is so)eti)es diffic'lt to identify thespeaker. 5he o)niscient 3arrator controls the fra)e and see)s to speak for Zayas at the concl'sion of

oth ooksD this voice )ay also intr'de on the stories the)selves. 5he nat're of the fra)e characters

deter)ines the kind of story they tell, and their personality is revealed in their attit'des to(ardcharacters and events, e=pressed (hen they introd'ce or concl'de the story and editoriali7e or

co))ent on it. 6ro) (ithin the stories, the perspective of the prota!onist contrasts (ith that of the

other characters in the story. *ny of these perspectives )ay e s'verted y irony. Beyond

> ==i= >

the te=t are reco!ni7ale s'te=ts, or ele)ents re(orked fro) other so'rces, (hich serve asco'nterpoint. e )ay also incl'de the i)a!ined di)ension of co))entary y a seventeenthcent'ry

a'dience, s'ch as a se(in! circle or a )en2s cl'. &n addition to these interpenetratin! levels, there is astron! sense of a'thorial presence in )any of the tales (hich has led scholars to affir) that FZayas says

this or that.F 5he sporadic e=cla)ations, FPoor !irl, if only yo' kne( (hat yo' (ere !ettin! intoQF,

co))ents s'ch as F& don2t kno( if it (as ca'sed y . . .F or F(hen & think of (here she (ent, it fills )e

(ith horror,F serve to re)ind 's of the fiction (ithin the fiction. 5he co)ple= str'ct'rin! andartic'lation of Zayas2s t(o collections of novellas attest to her )astery of the for), despite her apolo!y

for her ro'!h style.


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*ove and eyond the co)ple= styli7ed literary (orld depicted in these novellas there are characters

and )o)ents of i))ediate and to'chin! h')anity, for e=a)ple, 4a'ra and her pli!ht in F5he Po(er of

4ove.F Zayas2s characters are not si)ple typesD there is a (ide ran!e of sensile and !ood characters,

oth )ale and fe)ale, %'st as there are evil )en and evil (o)en. * si!nificant n')er have 'nsettlin!fla(s, partic'larly in the )en2s tales. 5here is harsh criticis) of evil (o)en, like 6lora and Cla'dia

(ho etray their se= ;F*)inta Heceived and +onor2s 8even!e,F F'd!e 5hyselfF


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E&, no. " ;19"I

-ISTORICL .C(+ROUN*

ith the discovery of the 3e( orld in 1@9-, pain e!an a cent'ry of i)perial e=pansion. 5hesi=teenth cent'ry opened 'nder the r'le of 6erdinand and &saella, the FCatholic Monarchs.F 5hey

ro'!ht political 'nity to the disparate panish kin!do)s. ith the Con?'est of Granada, they also

so'!ht to estalish reli!io's 'nity y e=pellin! the e(s and Moors (ho did not convert toCatholicis), and they estalished the &n?'isition in Castille to ens're orthodo=y. *t the sa)e ti)e, the

ne( tho'!ht and the ne( aesthetic of the &talian 8enaissance e!an to flo'rish in pain as a res'lt of

panish do)ination of icily, 3aples, and Milan.

&n 1I1#, their !randson Charles & of pain, later Charles E, +oly 8o)an )peror, s'cceeded to the

throne. +is rei!n (as t'r'lent, characteri7ed y al)ost constant (ars in 'rope and in northern*frica. stela, prota!onist of F'd!e 5hyself,F participated in )any of Charles2s ca)pai!ns and rose

hi!h in his favor. ince the colonies in *)erica are scarcely )entioned in Zayas2s novellas, (e shallonly re)ind the )odern reader that, in that a!e of discovery, e=ploration, and advent're, life s'rely

see)ed )ore fantastic than any fiction, even to the stayatho)es (ho only heard or read ao't s'ch

)arvelo's e=ploits.

&n 1II#, Charles E adicated the panish throne in favor of his son Philip &&. 5his kin! contin'es to ea le!endary and controversial fi!'re proaly eca'se his (as an a!e of e=tre)es, a colorf'l and

e=citin! period that served as inspiration to )any nineteenthcent'ry


16/238

> ===iii >

8o)antic (riters. Philip &&2s r'le also (as characteri7ed y constant (arfare, especially in 6landers, the

3etherlands, and &talyD )any yo'n! !allants in Zayas2s novellas !o off to (in fa)e and fort'ne in these(ars, or, 'nhappy in love, to find !lorio's death. 5he )'ltifario's effects of pain2s )ilitaris) on

society in !eneral hold a pro)inent place in Zayas2s (orks. acinta is (ido(ed eca'se of )ilitaryactionD *)inta2s etrothed is asent, doin! )ilitary service in &talyD don 8odri!o en!a!es in an'nconventional dalliance (hile on d'ty in 6landers. 5he constant (ars kept the !overn)ent ankr'pt

in spite of treas're arrivin! fro) the *)ericasD (ealth and poverty are !reatly stressed in the novellas.

3otale events in panish history (ere the naval victory over the 5'rks at 4epanto in 1I1, the

anne=ation of Port'!al and its e)pire in 1I$1, and the disastro's defeat of the &nvincile *r)ada in1I$$. 5his )o)ent traditionally )arks the e!innin! of pain2s 'nrelentin! decline.

Pirates r'led the seasHrake in the *tlantic and the Barary pirates in the Mediterranean. e sho'ld

recall that Cervantes (ent as a soldier to fi!ht in the &talian (ars. +e lost his hand in the naval attle of

4epanto, (as capt'red y pirates, and spent five years as a slave in *l!iers. 5he Moorish andBy7antine ele)ents that see) like ro)antic e=oticis) to 's (ere at that ti)e a reality.

Philip && (as not a (arrior kin! like his father. +e estalished the first per)anent panish co'rt in

Madrid. 5he co'rtly novellas )ake fre?'ent ne!ative reference to the 'rea'cracy, corr'ption, and

dea'chery that eca)e associated (ith the co'rt. 4e!end paints Philip && as a repressive kin! closelyassociated (ith the &n?'isition, (hich had !ained ne( po(ers fro) the 5ridentine 8efor)s ;1I@I

that contains the !reatest a)o'nt of historical detail, perhaps to offset the pastoral artificiality,

Fverythin! Eent'red,F specifically refers to the tra!ic e=p'lsion of the Moors in 1#09, to the attacka!ainst Ma)ora in 1#1@, and na)es )any i)portant nole fa)ilies. F'st HessertsF takes place in

Ealladolid at the ti)e (hen Philip &&& )oved the co'rt there fro) Madrid ;1#001#0#


17/238

7enith in the socalled Golden *!e ;1I$01#$0


18/238

TRNSLTOR2S NOTE

Maria de Zayas (rote The Enchantments of Lovein a Fplain styleF and pri)arily to entertain. & have

)ade )y translation in the sa)e spirit. & have tried to 'se a lan!'a!e appealin! to the !eneral reader

and 'sef'l to the scholar. 5ranslatin! involves diffic'lt decisions, as evidenced in the choice of the title.5he n!lish is faithf'l 't, for the sake of readaility, the lon!, co)ple=, panish sentences have een

roken do(n and reor!ani7ed. 5o sho( the effects of this restr'ct'rin! on the n!lish style, let 's

co)pare a literal translation of one avera!e lon! sentence (ith the ten sentences of the finishedversion:

By this ti)e the )oon had co)pleted her circ'it, and hidden herself in her ori!inal ho)e,

so everythin! (as in conf'sed shado(s and (e N+ipolita and her h'sand don PedroO

s'rrendered to sleepD and so it happened that N)y lover, don GasparO, (anderin! thro'!hthe !arden NchancedO to co)e 'pon the ed in (hich )y h'sand and & (ereD and eca'se

in his !lance he sa( that there (ere t(o people in it, and not elievin! it co'ld e don

Pedro, he lo(ered hi)self to his knees, sayin! to hi)self that his s'spicion (as not in vain,and carried a(ay y ra!e he dre( a da!!er, and as he (as ao't to strike )y innocent

)aster (ith it, a dreadf'l decision advised only y his ra!e, heaven (ho looks on thin!s

(ith )ore pity, per)itted that at this )o)ent, don Pedro, t'rnin! over in ed, si!hed, (ith(hich don Gaspar reco!ni7ed his error, and !'essed (hat it co'ld e, and !ivin! thanks toheaven for its (arnin!, )oved to )y side, and don Pedro2s sleep and his a'dacity

per)ittin! it, he (oke )e. ;F'st HessertsF ===vii >

&t happened that, after sneakin! all aro'nd the !arden, he ca)e 'pon the ed (here )y

h'sand and & (ere sleepin!. &n the di) li!ht, he co'ld see that there (ere t(o persons, 'tit never occ'rred to hi) that & (as (ith don Pedro. +e knelt do(n eside 's, sayin! to

hi)self that his s'spicions had not een false. Averco)e y ra!e, he 'nsheathed his da!!er.

'st as he (as ao't to pl'n!e it into )y innocent h'sanda dreadf'l decision prod'cedy his (rathkind heaven (hich looks on thin!s (ith co)passion, ca'sed don Pedro to

t'rn over and si!h. Hon Gaspar reali7ed his )istake and !'essed (hat )'st have happened.

+e thanked heaven for the ti)ely (arnin!. 5hen, oldly takin! advanta!e of don Pedro2s

deep sleep, he crept over to )y side and (oke )e.

Beca'se seventeenthcent'ry (riters paid little attention to p'nct'ation, the te=t as it stands proalyreflects the printer2s or the )odern editor2s %'d!)ent rather than the a'thor2s ori!inal. ven so, & have

e=ercised license for the sake of readaility and in an effort to capt're the oral rhyth)s that characteri7e

the ori!inal te=t, so that the stories can e easily read alo'd in n!lish. 5he oral ?'ality is reinforced ya variety of devices, s'ch as the lar!e a)o'nt of dialo!'e and indirect disco'rse, the infor)al

s'%ective co))entary, so)eti)es parenthetical, and s'ch infor)al e=pressions as F4et2s let hi) sleep

and !o ack to . . .F or F)ore than yo' )i!ht i)a!ine.F 4on!er and )ore c')erso)e sentences have,

on occasion, een kept in n!lish to slo( do(n the pace, vary the rhyth), and re)ind the reader of theori!inal co)ple=ity. An three or fo'r occasions, & corrected latant errors in the te=t, for e=a)ple

(ron! na)es, or added clarification and it (as often necessary to insert na)es in n!lish to avoid

conf'sion in prono'n reference.


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Ane of the )ore delicate decisions that faces the translator is ho( to )aintain a alance et(een the

flavor of the ori!inal, in this case seventeenthcent'ry aro?'e panish, and )odern n!lish. ithin

the te=t itself there are constant re)inders of its ti)e and place of ori!in, incl'din! the for)'laic story

openin!s that praise a place, the 'se of don and doa (ith the e=otic na)es, the poetry, and the clicheslike Fpearly tears.F & have nor)ally retained the repetitive epithets Fea'tif'l,F Fnole,F F!allant,F

F(ealthy.F 5hese (ords no lon!er have the sa)e )eanin! for 's as they had for the seventeenth

cent'ry p'lic, and several, like FdiscreetF and F)odestF seldo) have !ood e?'ivalents in )odernn!lish. * partic'larly diffic'lt (ord is F(ill,F (hose )eanin! ran!es fro) F(illF to Fpassion,F Flove,F

Fl'st,F F!ood(ill,F Fintention,F F)eanin!,F and so on. & preferred to let stand )any of

> ===viii >

these (ords (hose )eanin! (as roader and )ore s'!!estive then than it is no(, rather than li)it or

red'ce the) to a narro(er sense.

5he forty son!s and poe)s (hich adorn the fra)e and the stories contri'te an e)otional and an

aesthetic shadin! hi!hly pri7ed in 8enaissance literat're. Zayas displays a (ide ran!e of poetic artistry:there is a patriotic sonnet in honor of the kin!, a 'rles?'e )adri!al to Fsister flea,F several co)ple=

aro?'e poe)s that re?'ired e=planatory notes, and several )ordantly sophisticated personal attacks in

the fra)e. My favorite poe)s are the lon! love allads, (hich are hi!hly lyrical and effective in

co))'nicatin! the feelin!s and pan!s of love.

Zayas2s poetry co)es fro) the 8enaissance &talian tradition and e=ploits its love the)es, pastoral

settin!s, Petrarchan i)a!ery, and for)s. *ll the poetry in theEnchantmentsis learned, or )annered,

rather than pop'lar, even tho'!h so)e pop'lar for)s are 'sed. panish poetry differs fro) n!lish

poetry in several i)portant (ays. 8hyth) is )arked y syllales rather than feet, and the asic ei!htsyllale line that characteri7es )'ch of the poetry here is characteristic of the ancient and rich allad

tradition in pain, a tradition that contin'es to infor) panish poetry, as (e can see in 4orca2s rilliant

F!ypsy allads.F *nother standard feat're of the allad for) is assonant rhy)e, that is, the repetition of

only the endin! stressed vo(el and the final vo(el in even lines, (ith odd lines ein! free. 6or e=a)plein the first poe) of theEnchantments, there is the follo(in! rhy)e ;So< in all even lines of the

allad: v'elvo, contento, fresnos, Celio, celos, arroy'elos, cielo, presto, and so forth. *ssonant rhy)e,therefore, is s'tler and )ore )'sical than consonant rhy)e.

&n translatin! the poetry, & have so'!ht )eanin! first, eca'se the poe)s 's'ally relate to the characters

and the action, and poetic effect second. 6or this reason, so)e of the translations )ay see) prosaic,

partic'larly in the case of the )ore )annered and diffic'lt poe)s like the sonnets. 5he panish sonnetis Petrarchan in for), (ith t(o ?'artets, *BB*, t(o tercets, CH, consonant rhy)e, and each line

co)prised of eleven syllales, so)eti)es follo(ed y an e=tra stan7a. 5he si)pler love allads tended

to co)e across into n!lish )ore lyrically. & tried to )aintain an appropriate rhyth) (itho't co'ntin!syllales. hen possile, & 'sed irre!'lar internal rhy)es ;for e=a)ple seaicyD a!ainfei!ndisdain - >

)i!ht even e sharper eca'se (e2re of a colder h')or, and intelli!ence partakes of the da)p h')or.

5his yo' can see in o'r spontaneo's responses and in o'r clever thinkin!, for everythin! (e do (ith

skill, (hether or not (ith er'dition, sho(s talent.

&f this e=planation doesn2t restore o'r crediility, let history de)onstrate it. 4et2s e=a)ine (hat2s eendone y (o)en (ho, y so)e chance, eca)e (riters. hile their (ork doesn2t e=c'se )y i!norance,

let it serve as a )odel for )y darin!. 5he poet 4'can relates of his (ife, *r!entaria, that she helped

hi) in the revision of the three ooks of the'harsaliaand (rote )any poe)s that passed as his o(n.Pytha!or's2 sister, 5he)istoclea, (rote a very learned ook of aphoris)s. ocrates venerated Hioti)a

for her e)inence. *spano !ave theoretical lessons in the acade)ies. 'do=a left a ook of political

theoryD Zenoia, a co)pendi') of oriental historyD Cornelia, *frican's2 (ife, fa)ily epistles of

e=ceptional ele!ance. 5here are infinite n')ers of (o)en fro) anti?'ity and fro) o'r o(n ti)es(ho) & pass over in silence so as not to !o on forever, and eca'se yo'2ll kno( ao't the) even if

yo'2re an 'ned'cated lay)an. *fter that, there (ere the'olyantheasin 4atin and #ummas moralesin

the vernac'lar so that (o)en and lay people co'ld eco)e literate. ince these thin!s are tr'e, ho(can it e said that (o)en aren2t apt for ook learnin!, partic'larly (hen (o)en have )y inclinationJ

5he )o)ent & see a ook, ne( or old, & drop )y se(in! and can2t rest 'ntil &2ve read it. 6ro) this

inclination ca)e infor)ation, and fro) the infor)ation !ood taste, and fro) this the (ritin! of poetry,and then the (ritin! of these novellas, perhaps eca'se they see)ed easier or )ore interestin! to (rite.

Books that aren2t er'dite can e !ood if they have a !ood s'%ect, (hile )any (orks filled (ith s'tletyare offered for sale 't never o'!ht eca'se the s'%ect is 'ni)portant or not pleasin!. & don2t need to

ca'tion yo' ao't the piety yo' sho'ld have eca'se, if )y ook is !ood, yo' do nothin! in praisin! it,and, if it2s ad, yo' )'st respect it o't of the co'rtesy yo' o(e to any (o)an. ho can co)pete (ith

(o)enJ 5he person (ho doesn2t respect the) is foolish eca'se he needs the)D the person (ho ins'lts

the) is thankless, for he fails to appreciate his first ho)e. 'rely yo' don2t (ish to e r'de, foolish,i!nole, or 'nappreciative. & offer this ook to yo', tr'stin! yo'r !enerosity and kno(in! that if it

displeases yo', yo' (ill e=c'se )e eca'se & (as orn a (o)an, (ith no oli!ation to (rite !ood

novellas 't a !reat desire to serve yo' (ell. 6are(ell.

> " >

!ROLO+UE .Y N O.3ECTIVE RE*ER

Ko', cr'el or enevolent reader, in the tri'nal of yo'r sittin! roo), (ill %'d!e )odestly or oldly theleast details of (hat yo' read. * rilliant talent in o'r co'ntry, a portent of o'r a!e, a (onder of all

ti)e, and a )arvel a)on! the livin! offers this ook to yo'. & e=a!!erate little if yo' take into acco'nt

the fact that heaven has placed s'ch cons'))ate ailities in the (eak se= of a (o)anD ailities that

s'rpass everythin! talent praises and appla'se celerates. Ane nor)ally e=pects only clear intelli!ence,


22/238

nole respect, and pr'dent co)port)ent in a lady ;acco)panied y the chaste )odesty that accent'ates

these ?'alities to the enhance)ent of her nole 'prin!in!

her ac'te tho'!ht, stripped of the invidio's affectation for (hich yo' cens're those (riters (ho don2t

ear the safe cond'ct of ein! a lady. 3ot only )'st yo' do this, yo' )'st also pro)ote the a'thor2s

fa)e. Ko'r lirary sho'ld not e (itho't her ook, and not orro(ed 't p'rchased (ith yo'r o(n)oneyD no )atter (hat it costs, it (ill e )oney (ell spent. hile &2) on the s'%ect, & (ant to

descrie those readers (ho read at no e=pense to the)selves 't at !reat cost to ooksellers.

Parasitic readers are like !l'ttons at the tale. 5hey !o to ookshops and, so as not to spend the pittance

a ook costs, they lean 'p a!ainst the co'nter and hastily !ole 'p a ook (ith their eyes. 5he)aterial !oes thro'!h their )inds as ?'ickly as a cat (alkin! on hot coals, (hich is (hat their

co))entary is like after(ards. 5hey aren2t othered y the fact that people co)in! into the shop to 'y

ooks st')le over the) (hile they2re !l'ed to the spot, or y the an!ry e=pression on the ookseller2s

face on seein! the) so at ease, or y the snortin! of his assistants. 5hey2ll p't 'p (ith anythin! to readin this fra'd'lent (ay and st'dy y spon!in! (itho't ever havin! to spend a cent.

Athers take advanta!e of the !ood nat're and !enerosity of the ookseller y askin! to orro( a rand

ne( ook and, after they2ve (orn it o't, instead of praisin! the (ork, they conde)n it and speak ill of

it.

till others hope that those (ho do 'y ooks (ill read the) ?'ickly so they can orro( the) to read.

5he res'lt of this is that, if they2re i!norant or haven2t 'nderstood the s'%ect or haven2t liked it, they

dispara!e the ook and )ake it hard for the ookseller to sell it. * ook !alloped thro'!h or hastily

sa)pled efore p'rchase is like secondhand love, (hich loses )erit for the lover, or like castoffclothin!, (hich no lon!er serves its p'rpose.

Ah, dearest readers, let this ook e e=e)pt fro) this kind of treat)ent eca'se of its !reat )erit. Hon2t

let the s(indler !et a(ay (ith readin! it for free. Make the parasite (ho (ants to feast on it pay for it,

and )ake the )iser rela= his )ean and (retched avarice and spend his )oney. 5his ook is not only!ood for the refor) of c'sto)s, it2s a tasty dish in and of itself. 5he provident (it of its discreet a'thor

is every(here evident. +er praises deserve an elo?'ent pen, 't the !reatest praise )y pen can offer isto refrain fro) appla'din! her, leavin! her acclai) to silence (hich, fro) one (ho falls short, is thehi!hest praise of the one (e (ish to celerate. 6are(ell.

> >


23/238

.E+INNIN+&t (as one of those short Hece)er afternoons (hen itter cold and terrile sno(stor)s )ake people

stay indoors to en%oy a fire stoked 'p to prod'ce eno'!h heat to co)pete (ith the )onth of 'ly and(hich even )akes yo' thirsty. Ko' (ant to please the ladies so they (on2t )iss their (alks in the Prado

park or alon! the river or any of the other pasti)es ladies en%oy in the co'rt city of Madrid.

4ovely 4isarda, discreet Matilda, (itty 3ise, and (ise Phyllis, all ea'tif'l, nole, rich, and !ood

friends, !athered to!ether to entertain 4ysis, a (onder of nat're and a )arvelo's prodi!y of this co'rtcity ;her )yriad char)s had een attacked y a no=io's a!'e $ >

Hon 'an, ho(ever, (as attracted to 4isarda, 4ysis2s co'sin, and, since he (anted her to e the )istress

of his affection, he did not ret'rn 4ysis2s love. 5he lovely lady resented havin! the very ca'se of her

%ealo'sy efore her eyes and hated havin! to pretend to e cheerf'l and s)ile (hen in her heart she

harored )ortal s'spicions that had, in fact, occasioned her illness. +er depression (as a!!ravated ythe fact that 4isarda acted over%oyed to e the chosen one and pro'd that don 'an loved her. &n

a)oro's co)petition et(een the t(o co'sins, 4isarda al(ays (on o't eca'se she (as 'nprincipled

in !ettin! her (ay.

5hey did invite don 'an to the party and he, at the ladies2 re?'est and in appreciation of the invitation,ro'!ht don *lvaro, don Mi!'el, don *lonso, and don 4ope, all his peers in noility, ele!ance, (ealth,

and e?'ally fond of passin! their ti)e in pleasant and (itty conversation. 5hey all !athered to!ether

and decided to )ake 4ysis the president of the deli!htf'l entertain)ents. 5hey asked her to or!ani7eeverythin! and to tell each one (hat his or her part (as to e. he tried to e=c'se herself fro) this d'ty

eca'se of her illness and, (hen they insisted, she no)inated her )other to do it for her and th's she

el'ded the d'ties her friends had i)posed on her.

4a'ra, (hich (as the na)e of 4ysis2s )other, (as a (ise and nole lady (ho) death, life2s itter foe,had deprived of her eloved h'sand. 5he lovely (ido( or!ani7ed the party like this: she e=e)pted her

da'!hter 4ysis fro) act'ally participatin! eca'se of her illness, 't she p't her in char!e of or!ani7in!

the )'sic. 4a'ra e=pressly co))anded her da'!hter to !ive the )'sicians all the son!s and alladsthey (ere to perfor) on each of the five ni!hts to )ake the entertain)ent )ore lively. he co))anded

her niece 4isarda and the lovely Matilda to invent a !ay )as?'e in (hich all the ladies and !entle)en

co'ld sho( off their ele!ance, !entility, !race, and talent. An the first ni!ht, after the )as?'e, 4isardaand Matilda (o'ld each tell an Fenchant)ent.F &n 'sin! this ter) she (anted to avoid the co))on

ter) Fnovella,F so trite that it (as no( entirely o't of fashion. 5o keep the !entle)en fro) co)plainin!

ao't the ladies2 pree)inence, she (o'ld alternate their parts. An the second ni!ht, don *lvaro and don

*lonsoD on the third, 3ise and PhyllisD on the fo'rth, don Mi!'el and don 4opeD and on the fifth, don'an and 4a'ra herself (o'ld tell an enchant)ent. 5hey (o'ld end their Christ)as celeration (ith a


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s')pt'o's an?'et, (hich 4ysis, as hostess, (anted to offer all of her !'ests. 5hey (o'ld invite the

ladies2 )others and

> 9 >

the !entle)en2s fathers, for it %'st so happened that none of the ladies had a father and none of the

!entle)en had a )other, as death does not acco))odate the desires of )ortals.

&t (as inc')ent 'pon 4ysis to ina'!'rate the festivities. he sent for the t(o alest )'sicians she

co'ld find to acco)pany her an!elic voice, for that is ho( she planned to contri'te to the

entertain)ent. he notified everyone that, as day took ref'!e and shro'ded itself in ni!ht2s dark )antleof )o'rnin! for the asence of the r'ic'nd lord of Helphi, (ho had departed to take happy dayli!ht to

the &ndies, therey rin!in! dark shado(s to o'r he)isphere, at that ti)e they sho'ld asse)le in

lovely 4ysis2s sittin! roo) to celerate Christ)as ve (ith all the a!reed 'pon entertain)ents. +erparlor (as h'n! (ith heavy 6le)ish tapestries (hose (oods, !roves, and flo(ers depicted e=otic

landscapes like *rcadia and the han!in! !ardens of Baylon. 5he roo) (as cro(ned y a rich dais

piled hi!h (ith )o'ntains of !reen velvet c'shions orna)ented (ith splendid silver e)roidery andtassels. 5o one side of the dais (as a l'='rio's co'ch that (as to serve as seat, sanct'ary, and throne

for the lovely 4ysis (ho, eca'se of her illness, co'ld en%oy this distinction. &t (as !reen rocade (ith

!old tri))in! and frin!e, the !reen sy)oli7in! a hope she did not really feel. *ll aro'nd the hall (ere

ro(s of !reen velvet chairs and n')ero's taorets for the !entle)en to sit on (hile en%oyin! the(ar)th of a silver ra7ier (here incense (as 'rned to perf')e the dais.

*t three that afternoon, the discreet 4a'ra and the lovely 4ysis (elco)ed the ladies (ith !reat pleas're.

3ot only did the special !'ests co)e, 't )any others as (ell (ho had heard ao't the entertain)ent

and decided to attend and occ'py the n')ero's e=tra chairs. 4ysis, dressed in l'e, the color of%ealo'sy, (as reclinin! on her co'ch. 6or the sake of )odesty and appearance, she had insisted 'pon

dressin! 'p in spite of her ?'artan fever. 5he hall looked like a landscape ill')inated y the fair s'n

!od *pollo, so )any (ere the candles that sparkled. &t deli!hted all eyes that eheld the scene and

echoed (ith la'!hter. 5he )'sicians took their seats ne=t to 4ysis2s co'ch and e!an (ith a!allardia)invitin! the ladies and !entle)en to )ove o't onto the floor, each one earin! a fla)in! torch to !ive

effect to the stately )ove)ents of the dance. 5he )'sicians had also prepared the allad for 4ysis tosin! 'pon the concl'sion of the dance.

Hon 'an, as )aster of cere)onies and leader, started the lively dance alone. +e (as so handso)e that

the !'ests co'ld not take their

> 10 >

eyes fro) his ele!ant fi!'re dressed in rich ro(n, (ith his !olden chains and dia)ond 'ttons

sparklin! like stars. 4isarda and don *lvaro follo(ed. he (as (earin! ro(n to )atch don 'an2scolors. Hon *lvaro (ore Matilda2s colors, as he (as in her thrall. Matilda (as dressed in (aln't ro(n

and silver and acco)panied don *lonso, s)artly dressed in lack eca'se that2s the color 3ise (ore.3ise2s dress (as of soft velvet decorated (ith !old 'ttons. Hon Mi!'el led her y the hand. +e too

(ore lack eca'se, altho'!h he (anted to pay co'rt to Phyllis, he did not dare don her colors for fear

of don 4ope, (ho (as (earin! Phyllis2s !reen in hope of ein! accepted y her.

hen 4ysis sa( in his colors ho( don 'an preferred 4isarda, she 'nderstood the )essa!e stated in hisdress and felt disill'sioned in her love for hi). he concealed her sorro( y s(allo(in! her si!hs and

stiflin! her tears and (atched the !race and de=terity (ith (hich her friends danced the spritely )as?'e


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(ith its piro'ettes so intricate, its crosses, rions, and layrinths so stately that everyone (ished it

(o'ld last a h'ndred years. 5hen, (ith tears still in her eyes, 4ysis prepared to display her talent y

acco)panyin! the )'sicians (ith her lovely voice. veryone took a seat to listen (hile she san! this

allad:

6orests, hear )y la)ent:

listen (hile & sin! )y plaints,

for happiness never lastsfor the 'nfort'nate.4on! a!o & testified

to yo'r el) and ash trees,

to yo'r crystal sprin!s,ao't Celio2s faithlessness.

5enderly yo' heard )y plaints

and distracted )e fro) )y %ealo'sy(ith the lovin! )'sic

of yo'r !ently flo(in! rooks.

5o'ched, he sa( his folly,

for heaven had (ro'!ht )y constancyDriefly he so'!ht to repay )y affection

't ho( soon he tiredQ

+appy to see )y love re(arded,& hoped to en%oy )y !ood fort'ne,

for even if he didn2t really love )e

at least he see)ed responsive.My so'l %'d!ed its ?'arters

> 11 >

too s)all to contain )y !reat %oy,for it )istook as favors

his disco'rtesy and disdain.

& adored his deceptionD

it served to increase )y desireto (orship his char)s,

(hat )adness and follyQ

Un!ratef'l lover, (ho (o'ld thinkthat these thin!s & relate

(o'ld hasten and increase

yo'r desire to for!et )e.

Ko' are ri!ht to e cr'el,& co)plain 'n%'stly,

eca'se those (ho love least

are the )ost fort'nate.5he villa!e, seein! yo'r tho'!hts t'rned

to a ne( )istress of yo'r affection,

yo'r eyes set on another love,talks ao't yo'r inconstancy,

(hile &, eca'se & love yo',


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la)ent yo'r ne!lect and r'e yo'r disdain.

'ch an ill'strio's a'dience (o'ld not sho( proper !ratit'de if it did not praise the lovely 4ysis for her

ea'tif'l voice. Hon 'an2s father, don 6rancisco, in refined and co'rtly lan!'a!e, spoke for everyone

in sayin! ho( )'ch they appreciated the !reat favor she had sho(n the). 5his ca'sed the lovely ladyto l'sh and, despite her illness, the s'ff'sion of color that r'shed to her cheeks hei!htened her ea'ty.

Hon 'an al)ost repented of his chan!e of alle!iance, 't the )o)ent he a!ain looked at 4isarda, he

eca)e en)eshed in the onds of her ea'ty as he (atched her )ove to the special seat to tell herenchant)ent and th's e!in this first ni!ht2s entertain)ent.

he (aited to e!in 'ntil she sa( everyone h'shed and in s'spense, han!in! on each one of the (ell

chosen (ords her s(eet )o'th (o'ld 'tter. earchin! her )ind for %'st the ri!ht ones, very char)in!ly,

she e!an:

> 1- >

Everythin& Vent,red

Bea'tif'l ladies and nole !entle)en, the na)e of )y enchant)ent is Feverythin! vent'redF eca'se in

it yo' (ill see ho(, (hen a (o)an is 'nl'cky, (hen her star leads her to )isfort'ne, no e=a)ple or

(arnin! can prevent it. +eedin! the lesson in )y enchant)ent sho'ld serve to keep a person fro)

tr'stin! in the frail ark of his (eakness and fro) thro(in! hi)self into the ocean of 'nrestrainedappetites lest he dro(n in it. 5his applies to the frailty of (o)en as (ell as to the clear and heroic

(isdo) of )en, (hose deceptions are ri!htf'lly to e feared as yo' (ill see in )y enchant)ent, (hich

e!ins like this:

5he cra!!y peaks of Montserrat are the )anifestation of God2s po(er on earth and of the (ondro's)iracles of +is +oly Mother, )anifested in +er divine )ysteries, the effects of +er )ercy. +ere at

Montserrat he holds 'p in the air the peak of a %a!!ed )o'ntain that has een aandoned y all other

)o'ntains so that it has no s'pport (hatsoever e=cept that (hich heaven !ives. 3o less a)a7in! is the)irac'lo's and holy ch'rch there, endo(ed (ith inn')erale )iracles and 'no'nded (ealth. 5he

!reatest of these )iracles is e)odied in the tr'e i)a!e of A'r 4ady L'een of *n!els.

A'r hero 6aio paid +er ho)a!e and offered +er his so'l overflo(in! (ith devo't love. +e caref'lly

e=a)ined the ch'rch (alls covered (ith e=votos, shro'ds, cr'tches, and )yriad other si!ns of +erpo(er. 6aio is an ill'strio's son of the nole city of Madrid, a splendid e=a)ple of her !reatness and a

credit to her fa)e. ith his keen

> 1" >

intelli!ence, his reno(ned noility, his !ood nat're, and refined )anners, he adorns and enrichesMadrid2s fa)e as )'ch as any of her rave fo'nders of (ho), as their )other, she is %'stly pro'd.

5ransported to this settin! of Montserrat, 6aio set o't to cli) a)on! the )o'ntain2s peaks.

hat led this virt'o's yo'th thro'!h s'ch r'!!ed terrain (as the pio's desire to visit the holy cells of

the penitent )onks (ho have died for the (orld in order to live for heaven. +e visited several andreceived no'rish)ent for ody and so'l. +e )editated on the saintliness of these )en (ho can even

entice the f'!itive irds to perch on their hands to eat the cr')s they feed the). +e contin'ed hikin!

into the )ost re)ote part of the (ilderness to see the fa)o's Cave of aint *nthony, socalled eca'seof its prodi!io's harshness and eca'se of all the thin!s that have occ'rred there, the re)arkale


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penances of the saintly )en (ho have d(elt there and resisted the devil2s terrile te)ptations. Ane

co'ld say that to (ithstand these te)ptations re?'ires as )'ch spirit'ality as aint *nthony hi)self

sho(ed.

Beca'se the r'!!ed terrain per)itted passa!e only on foot, 6aio had left his )'le and his servant ackat the )onastery. eary fro) cla)erin! 'p the narro( trail, he sat do(n eside a s)all crystalline

rook that spilled forth its pearly drops across the tiny !rasses as, (ith a !entle )'r)'rin! so'nd, it

slipped do(n fro) a lovely sprin! that en%oys its splendid settin! at the very top of the )o'ntain. 5hecrystal )'sic and )elodio's la'!hter of that place see)ed created y the hands of the an!els for therecreation of the holy her)its (ho d(ell there. ven 'nseen y the eye, it co'ld not fail to deli!ht the

ear. 5he lon! (alk on foot, the harshness of the trail, and the (ar)th of the s'n had (orn hi) o't, so

he decided to rest and recover his ener!y.

carcely had he ca'!ht his (eary reath (hen there ca)e to his ears a soft delicate voice (hose lo(tones see)ed not too distant, s'!!estin! that their so'rce (as not far a(ay. 5hinkin! itself alone, that

voice, as )o'rnf'l as it (as lo(, san! this allad acco)panied only y the h')le strea):

ho (o'ld think that )y love,

seared y so )any sorro(s,

(eary of s'ch )isfort'ne,(o'ld die a co(ard2s deathJ

hoever sa( it escape, fleein!fro) s'ch harsh faithlessness,

(o'ld elieve it (o'ld co)e ack

> 1@ >

for ne( and !reater sorro(J

C'rsed e the naked tr'th

of all )y )is!'ided love,

and c'rsed e the one (ho calledall (o)en fickleQ

hen & sho'ld, Celio,

co)plain of yo'r )istreat)ent,love (ill not let )e for!et yo',

love (ills for )e to love yo' )ore.

6ro) the ti)e the da(n e!ins'ntil the s'n departs

to athe the &ndian shores,

& cry, every constant, ever lovin!.5he s'n reappears and finds )e

rene(in! all )y !rief,e(ailin! yo'r folly,

la)entin! yo'r license.& kno( (ell that & tire )yself

in vain s'fferin! s'ch sorro(,

for tears shed in solit'de cost a lotand do very little !ood.

& ca)e to this (ilderness fleein!

fro) yo'r 'n!ratef'l treat)ent


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't, )ore constant than ever, & adore yo',

for lovin! yo' is )y no'rish)ent.

& freed )yself fro) the si!ht of yo',

't & co'ldn2t free )yselffro) )y ene)y i)a!ination,

fro) )y ever constant love.

Ane (ho2s seen a castle esie!ed,one (ho2s seen a ship e)attled,

one (ho2s seen a captive in *l!iers,

kno(s (hat & a) like'nchan!in!.ince & chose yo' for )y )aster,

kill )e, sorro(s, kill )e,

for then at least it can e saidshe died (itho't ever chan!in!.

*las, heartfelt (oes,

yo' are po(erf'l eno'!h to kill )e

't not po(erf'l eno'!h to end )y loveQ

6aio listened to the sorro(f'l voice and the heartrendin! co)plaints (ith !reat pleas're for, altho'!hthe sin!er (asn2t the )ost !ifted he had ever heard, still he (as sorry (hen the son! ended so soon. 5he

ti)e, the place, the (ilderness, and the s(eetness of the son! )ade hi) (ant it to contin'e. +is only

consolation for the fact

> 1I >

that it did not last lon!er (as the tho'!ht that he )i!ht soon deli!ht his eyes and his so'l (ith the si!ht

of the sorro(f'l )'sician %'st as the voice had deli!hted his ears. 3o )atter ho( h')le the sin!er)i!ht e, hearin! s'ch a son! in the (ilderness (hen he had e=pected to hear only the roar of so)e

(ild east (as a !reat relief. o 6aio, feelin! )ore ener!etic than efore, (ent on his (ay hopin! to

catch si!ht of the sin!er. +e tho'!ht that no one (o'ld e=press those e)otions and sorro(f'lco)plaints in s'ch a re)ote (ilderness (itho't so)e po(erf'l reason. hat re)arkale co)passion

and !enerosity to sy)pathi7e (ith so)eone else2s sorro(Q

Ko' can2t i)a!ine ho( ea!er 6aio (as to speak (ith the 'nhappy )'sicianQ *s he didn2t (ant the

'ns'spectin! sin!er to hide, he )oved as ?'ietly as possile. +e follo(ed alon! the ed!e of the rookseekin! its ea'tif'l so'rce, for he s'spected that that place (o'ld hold the %e(el that in his )ind he

(as envisionin!, and that (as e=actly (hat he fo'nd.

+e (as not )istaken. +e cli)ed 'p to the little )eado( that (as at the very top of the )o'ntain, a

place inhaited only y (ild creat'res or y the chaste !oddess Hiana. &t (as li)ited at one end y alar!e (hite o'lder fro) (hich e)er!ed a lovely !lassy lake, savory s'stenance for the perf')ed

flo(ers, the !reen rose)ary, and the delicate thy)e carpetin! the )eado(. 4yin! in their )idst he sa(a shepherd lad (ho appeared to e in the sprin!ti)e of his years, dressed in ro(n reeches and a

(hite (ooly la)skin %acket, his pack and his staff at his side. 5he )o)ent 6aio sa( the lad hereco!ni7ed hi) as the )'sician (ho had s'n! the verses, for he see)ed sad and )orose and still (ept

fro) the e)otion he had %'st po'red o't in son!. &f the voice 6aio had heard did not indicate

other(ise, he )i!ht have tho'!ht the lad to e a rare stat'e )ade to adorn the sprin!, so )otionless(as he in his !rief. +is (hite hands (ere clasped to!ether in a knot and they (ere so (hite that they

co'ld have )ade the sno( envio's, if the sno(, sha)efaced, had not already aandoned the )o'ntain.

&f the shepherd had e=posed his face to the s'n, it did not sho( fro) the little effect of its rays, nor had


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his face allo(ed the (eather to (ork any har) a!ainst its !reat ea'ty. cattered a)on!st the aro)atic

!rasses (as a flock of sno(y sheep servin! as a prete=t for his dress. Given the a)o'nt of attention he

(as payin! the), they see)ed like a sta!e settin! arran!ed for hi) in %'st this scene.

5he s'spension of the lovely lad (as s'ch that 6aio (as ale to !et so close that he co'ld see that the(hite flo(er of the lad2s face

> 1# >

elied his dress, for if he had een a )an, !olden do(n (o'ld have e!'n to shado( his lip. B't,

eca'se the place (as so dan!ero's for a (o)an, 6aio really do'ted (hat he (as seein!. +e toldhi)self that that do't only acc'sed hi) of not ein! very rave hi)self. +e dre( nearer and called

o't a co'rteo's !reetin! to the shepherd lad. 5he lad started to his senses and 'ttered s'ch a sorro(f'l

si!h that it al)ost see)ed to e the last of his )ortal days. 5he (ilderness had not yet ro'!hened his)anners, ho(ever, so (hen he sa( 6aio, he stood 'p and co'rteo'sly ret'rned the !reetin!, askin!

ho( he had co)e to s'ch a place. 6aio thanked hi) for his co'rtesy and responded in this (ay:

F& a) a native of Madrid. & ca)e to Barcelona on i)portant 'siness and, (hen & finished it and (as

ret'rnin! ho)e, & didn2t (ant to pass y (itho't visitin! the )irac'lo's )onastery of Montserrat. 5osho( )y devotion, & visited the )onastery and then & decided to see the her)ita!es here on the

)o'ntain. hile & (as restin! in the fra!rant thy)e, & heard yo'r sad son!. &t affected )e deeply and

)ade )e (ant to see the )'sician (ho san! s'ch a sorro(f'l la)ent. By yo'r son! & can tell that yo's'ffer fro) tr'e love and that yo' (eep eca'se of a faithless lover. & fo'nd yo' and & notice that in

yo'r face and in yo'r earin! yo' are not (hat yo'r dress indicates: yo'r face does not )atch yo'r

clothes, nor do yo'r (ords !o (ith the dis!'ise yo' (ear. Ko'r face !ives everythin! a(ay. Ko'2re too

old to e a oy, and yet the lack of a eard reveals that yo'2re not a )an. o, (ith all d'e respect, &2dlike to ask yo' to settle )y do'ts. 4et )e first ass're yo' that if & can help to re)edy yo'r sorro(s,

don2t dis)iss that as i)possile or send )e a(ay disconsolate. &t tro'les )e to find a (o)an in this

(ilderness and (earin! s'ch a dis!'ise 't, (itho't kno(in! the ca'se of yo'r e=ile, & can do nothin!

to help.F5he shepherd lad listened attentively to 6aio and, fro) ti)e to ti)e, a la!!ard tear (o'ld slip slo(ly

do(n his cheek and drop to the !ro'nd. hen he sa( that 6aio had finished and (as (aitin! for an

ans(er, he said:

Fir, heaven )'st not (ant )y sorro(s to re)ain hidden, either eca'se there2s so)eone (ho can help)e to ear the), or eca'se &2) dra(in! near to the end of )y (eary life and it (ants )y pain to serve

as an e=a)ple and a lesson for others. hen & tho'!ht that only God and these o'lders (ere listenin!

to )e, heaven ro'!ht yo'r Christian co)passion to this place to hear )y la)ents and )y sorro(s(hich are so !reat and so varied, havin! co)e to )e fro)

> 1 >

every direction, that & think it (o'ld e a !reater favor to yo' not to tell yo' than to tell yo' and !ive

yo' ca'se to sorro(. 6'rther)ore, )y story is so lon! that if yo' stay to hear it, yo'2ll lose a lot ofti)e.F

FAn the contrary,F 6aio replied, Fyo' have aro'sed )y interest and )y sy)pathy. ven if & tho'!ht &2d

t'rn into a sava!e fro) stayin! a lon! ti)e hi!h a)on! these peaks, as lon! as yo' are here, & shall not

leave 'ntil yo' tell )e yo'r story so that, if it2s possile, & can e=tricate yo' fro) this (ay of life. &insist on it. 6ro) (hat & can tell, yo' are sensile eno'!h not to )ake it hard for )e to pers'ade yo' to


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choose a )ore appropriate and less perilo's life. Ko'2re not safe here eca'se of the (ild ani)als and

the andits (ho inhait these (ilds. &f they discover yo'r ea'ty, as & have, yo' can e s're they (on2t

sho( the sa)e respect for yo'r person as do &. Please don2t deprive )e of this favor. & intend to (ait all

the years of Ulysses2 asence to hear yo'r story, (hich & shall listen to (ith relish.F

Fell, if that2s ho( it is,F the lad responded, Fplease, kind sir, sit do(n and listen to (hat, 'ntil this

very )o)ent, no one has ever heard )e tell. Understand ho( )'ch & tr'st in yo'r !ood (ill and yo'r

discretion y tellin! yo', (hen & have %'st )et yo', s'ch prodi!io's and 'nheard of thin!s as happenonly to those orn to e=tre)e )isfort'ne. hen yo' learn (ho & a), the honor and !ood na)e of )y)any nole relatives r'n !reat risk, as does )y very life, for they (ill have to kill )e to aven!e

the)selves and cleanse their honor.F

6aio thanked hi) as est he co'ld for confidin! his secrets in hi), and he did it very nicely. +e told

the shepherd his na)e and reass'red hi) ao't any dan!er. 5hey sat do(n to!ether eside the sprin!,and the ea'tif'l shepherd e!an his story like this:

FHiscreet 6aio, )y na)e is acinta. Ko'r eyes (ere not deceived in reco!ni7in! )e as a (o)an. & (as

orn in Bae7a, a nole city in *ndal'cia, and )y parents (ere like(ise nole, (ith s'fficient property

to )aintain their noility and their honor. * rother and & (ere orn in )y father2s ho'se, he is to its

eternal sorro( and & to its dishonor. e (o)en are ro'!ht 'p so deficiently that very little stren!th ise=pected of 's si)ply eca'se (e have ea'tif'l eyes. ere (e orn lind, the (orld (o'ld have less

dra)a, for (e (o'ld live safe fro) deception. My )other died at the (orst ti)e for )e. +er loss (as!reat eca'se her co)pany, 'prin!in!, and vi!ilance (o'ld have een etter for )y )odesty than )y

father2s ne!li!ence in lookin! o't for )e and arran!in! )y )arria!e. ;&t2s a terrile )istake for parents

to (ait for their da'!hters to take s'ch a step on their o(n. 1$ >

My father loved )y rother dearlyhe (as )y father2s one and only passion. +e never !ave a tho'!ht

to )e and & have no idea (hat his intentions for )e (ere. +e had plenty of )oney to do anythin! he

)i!ht have (anted or desired to do.

F& (as si=teen (hen, one ni!ht (hile & (as sleepin!, & had a drea). ;oe is )eQ *nd even (hen & (as

a(ake & relieved that drea).< & (as !oin! thro'!h a lovely forest and in the very depths of the forest, &

)et the )ost handso)e )an & had ever in )y life seen. +is face (as shado(ed y the ed!e of a fa(n

cape (ith silver hooks and catches. *ttracted y his appearance, & stopped to !a7e at hi). a!er to seeif his face looked as & i)a!ined, & approached and oldly p'lled aside his cape. 5he )o)ent & did, he

dre( a da!!er and pl'n!ed it into )y heart so violently that the pain )ade )e cry o't, and all )y

)aids ca)e r'nnin! in. *s soon as & a(oke fro) this dark drea), & lost si!ht of the fact that he haddone )e s'ch in%'ry, and & felt )ore deeply affected than yo' can i)a!ine. +is i)a!e re)ained etched

in )y )e)ory. &t did not fade a(ay or disappear for ever so lon!. 3ole 6aio, & yearned to find a )an

(ith e=actly his appearance and earin! to e )y h'sand. 5hese tho'!hts so osessed )e that & kepti)a!inin! and rei)a!inin! that scene, and & (o'ld have conversations (ith hi). Before yo' kne( it, &

(as )adly in love (ith a )ystery )an (ho) & didn2t kno(, 't yo' )'st elieve that if the !od

3arciss's (as dark, then s'rely he (as 3arciss's.

FBeca'se of this osession & co'ld neither eat nor sleep. My face lost its color and & e=perienced the)ost profo'nd )elancholy of )y life. veryone noticed the chan!es in )e. ho, 6aio, ever heard of

anyone lovin! a )ere shado(J 5hey )ay tell tales ao't people (ho2ve loved )onsters and other

incredile thin!s, 't at least (hat they loved had for)Q & sy)pathi7ed (ith Py!)alion (ho loved thestat'e that 'lti)ately 'piter ro'!ht to life for hi), and (ith the yo'th fro) *thens, and (ith the


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lovers (ho loved a tree or a dolphin. B't (hat & loved (as a )ere fantasy, a shado(. hat (o'ld

people think of thatJ 3oody (o'ld elieve )e and, if they did, they2d think &2d lost )y )ind. B't &

!ive yo' )y (ord of honor as a nole(o)an, that not in this or in anythin! else &2ll tell yo', do & add a

sin!le (ord that isn2t the tr'th. Ko' can i)a!ine that & talked to )yself. & reproved )yself, and, to free)yself fro) )y osessive passion, & looked very caref'lly at all the ele!ant yo'n! )en (ho lived in

)y city and tried to !ro( fond of one of the). verythin! & did si)ply )ade )e love

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)y phanto) )ore, and no(here co'ld & find his e?'al. My love !re( and !re( so !reat that & even

co)posed poetry to )y eloved !host.

F&f it (on2t ore yo', &2ll recite a poe) for yo', for even tho'!h it2s (ritten y a (o)an, it2s all the

etterit isn2t ri!ht to e=c'se the errors )en )ake in their poetry eca'se they are ta'!ht in all theirst'dies ho( to refine and adorn their verses (ith artD 't a (o)an, (ho has only her o(n instinct,

deserves praise for everythin! that2s !ood and pardon for any defects.F

F6air acinta, recite yo'r poe) for )e,F 6aio said, Fit (o'ld !ive )e !reat pleas're. & kno( ho( to

co)pose fairly (ell 't &2ve never taken it too serio'sly for, & s(ear to yo', & al(ays think otherpeople2s poetry is etter than )y o(n.F

Fell,F acinta replied, Fif that2s ho( yo' really feel, then for the rest of )y story & (on2t interr'pt to

ask per)ission to recite the poe)s that are fittin!. 5his is the one & co)posed for )y phanto):

& adore (hat & cannot see,

& cannot see (hat & adore,& do not kno( the ca'se of )y love,

't & (ant to find that ca'se.

My conf'sion(ho can e!in to 'nderstand itJ

& have co)e to love (itho't seein!,y i)a!ination alone,t'rnin! )y affection

to a shade (ho has no ein!.

&t (o'ld not e a (ondro's )iracle

for a paintin! to inspire loveand, altho'!h & don2t approve of s'ch a love,

even so, in fact it is ased on ea'ty.

B't to love a face

that2s an invention of the so'lno one can i)a!ine s'ch )adnessQ

5o think that & (ill ever findthe ca'se, still 'ncreated,ho( can & pray for s'ch a )iracleJ

5he (o'nd in )y heart

!'shes lood 't & do not die.

+appily & a(ait deathto p't an end to )y passion.

&f & don2t die, it (o'ld e !ood


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> -0 >

at least to sleepD

't ho( can & ask

for life or deathfro) one (ho has no ein!

fro) one (ho only (o'ndsJ

+eaven, if yo' created

the shade & love, !rant )ethe o%ect of )y love

(ho is loved efore he is orn.

B't ho( can an 'nfort'nate lover,

one (ho (as orn 'nl'cky, )ake s'ch prayerJho can co)prehend

this stran!e )iracle of love:

that & sho'ld overflo( (ith desirefor a lover !li)psed only in a drea)J

Fho (o'ld think, 6aio, that heaven co'ld e so !enero's as to !rant (hat & co'ld not even pray forJince & desired the i)possile, & didn2t dare e=press s'ch an o'tlandish (ish e=cept in these verses

(hich are )ore poetry than prayer. hen one is fated to e 'nfort'nate, heaven see)s to co'ntenance)isfort'ne.

F&n )y city, there also lived a !entle)an (ho ca)e fro) eville. +e (as of the (orthy and reno(ned

Ponce de 4eon fa)ily. 5his !entle)an had en!a!ed in so)e oyhood )ischief in his irthplace, so he

left eville and ca)e to Bae7a to )arry a lady in every (ay his e?'al. 5hey had three children. 5heoldest and the yo'n!est (ere !irls, the )iddle child a oy. 5he older da'!hter )arried in Granada, so

only the yo'n!er da'!hter (as left at ho)e to )ake 'p for the asence of don 6eli=, their handso)e

son. 5o live 'p to the valor and ravery of his ill'strio's ancestors, don 6eli= had !one to serve in the(ars, seekin! y his rave e=ploits to )ake his )any nole relatives of the ho'se of the d'kes of *rcos

and the co'nts of Bailen pro'd of their relation (ith hi). Before this nole yo'th had reached the a!eof t(entyfo'r, he had earned the co))and of a co)pany. *fter servin! three years in 6landers, heret'rned to pain to re?'est pro)otion. hile his relatives at co'rt (ere handlin! his petition, he ca)e

ho)e to Bae7a to visit his parents, for it had een a lon! ti)e since he2d seen the), and they all looked

for(ard to the day of his ret'rn.

FHon 6eli= arrived in Bae7a one afternoon (hile & (as sittin! on )y alcony daydrea)in!. ince hisho'se (as on the sa)e street, he had to pass ri!ht y )y ho'se. 5he !rand entrance he )ade (ith his

> -1 >

)any servants distracted )e fro) )y daydrea)in! ;other(ise & )i!ht never have noticed


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!oes (itho't sayin! that C'pid2s (ork had already een done. *s don 6eli= passed, he said to )e: 2&f

this %e(el e not )ine, & shall s'rely die.2 My so'l yearned to reply 2& already a),2 't )y )odesty (as

as !reat as )y love, so & only hoped and prayed that C'pid (o'ld !rant )e !ood fort'ne no( that he

had at last !ranted )e the o%ect of )y love.

FHon 6eli= did not )iss a sin!le chance that 6ort'ne placed in his hands. 5he first thin! that happened

(as that doa &sael told )e ao't her rother2s arrival. Af co'rse & had to !o visit her to con!rat'late

her. An that visit, don 6eli= let )e kno( (ith his eyes and (ith his (ords that he loved )e so clearlythat &, lovin! hi) tr'ly, (anted to celerate )y !ood fort'ne y not hidin! )y feelin!s fro) hi). &n sodoin!, & !ave hi) per)ission to co'rt )e, to pro)enade y )y ho'se y day, and y ni!ht to serenade

)e (ith his !'itar and (ith his s(eet voice sin!in! the love son!s he co)posed so (ell. & recall, 6aio,

that the very first ti)e & spoke (ith hi) alone thro'!h the !ratin! at )y (indo( (as in response to thissonnet:

5o love the day, to hate the day,

to call forth ni!ht and then dis)iss her,

to fear fire (hile dra(in! close to the fla)e,to feel sorro( and %oy at the sa)e ti)e,

for valor and co(ardice to d(ell side y side,cr'el scorn and !entle pleadin!,

for kno(led!e to tiereason in onds and free a'dacity,

> -- >

to seek a (ay to relieve sorro((hile ref'sin! to aandon sorro(,

to desire (itho't kno(in! (hat,

to feel pleas're and displeas're %'st alike,and all the pain contained in hope,if this isn2t love, & don2t kno( (hat it is.

F4ove had already plotted )y do(nfallD no( it e!an to affi= the onds that (o'ld enchain )e and di!

the pit that (o'ld entrap )e, and & so'!ht a (ay to satisfy )y desire. hen & heard that sonnet, & (ent

do(n to the roo) of one of )y father2s servants na)ed araia, (ho (as !reedier than he (as loyal.Beca'se his (indo( opened onto the street, it (as easy for )e to talk (ith don 6eli=, and (e co'ld

even hold hands. hen & sa( don 6eli= 'p close, & said:

F2&f tr'ly yo' love as yo' say, then fort'nate is the lady (ho )erits yo'r affection.2

F2Ko' kno( very (ell, )y lady,2 don 6eli= replied, 2fro) )y eyes, fro) )y !reat desire, that )y love

for yo' reveals )y s(eet perdition. & kno( etter ho( to love than ho( to e=press )y love. & don2t sin!to e a fa)o's poet or )'sician 't to tell yo' that yo' are to e )y )istress for so lon! as & shall live.

5hat is )y only desire.2

F2*nd do yo' think,2 & asked, 2that & sho'ld elieve (hat yo' say to )eJ2

F2Most certainly,2 )y lover responded, 2eca'se a (o)an has the privile!e of allo(in! herself to love

and e loved y the )an (ho is to e her h'sand.2

F2*nd (hat ass'res )e that yo' (ill e )y h'sandJ2 & asked.


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F2My love,2 said don 6eli=, 2and this hand (hich, if yo' (ill accept it as the pled!e of )y (ord, (ill

never fail yo', even if it costs its o(ner his life.2

F+o( (onderf'l to find )yself desired %'st as &2d i)a!ined and (anted, friend 6aioQ hat (o)an

ever ref'sed the opport'nity to )arry the very )an she loved, (ho didn2t accept his offer ri!ht a(ayJell, there2s no etter ait for a (o)an than this, (hich (ill s'rely lead her to her do(nfall. & didn2t

(ant to %eopardi7e )y !ood fort'ne, (hich is (hat & considered it then and shall al(ays consider it

(hen & recall that day. & p't )y hand thro'!h the !ratin! and took the one )y lord (as offerin! to )e,and said to hi):

F25his isn2t the ti)e, don 6eli=, for )e disdainf'lly to play !a)es or to hide )y love (ith fei!ned

resistance, si!hs, and tears. & love

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yo'. &2ve loved yo' not %'st since that day (hen & first sa( yo', 't even efore. o that )y (ords(on2t conf'se yo'. . . .2 and then & told hi) everythin! &2ve told yo' ao't )y drea).

F*ll the (hile & (as tellin! don 6eli= of )y ha'ntin! drea), he kept kissin! )y hand, (hich he (as

holdin! in oth of his, as consolation for all )y sorro(s. 5hat day and this one (o'ld have ca'!ht 's inthat !lory had o'r love not pro!ressed to )ore. e took leave of each other (ith a tho'sand tender(ords, s(earin! o'r love and pro)isin! to see each other every ni!ht in that sa)e place. &t (as easy to

'y the servant (ith !old coins and, thro'!h )y oldness, & )ana!ed to overco)e the diffic'lty of

!ettin! there even tho'!h & had to (alk ri!ht y the ed (here )y father and )y rother (ere sleepin!in order to leave )y roo).

FHoa &sael visited )e often eca'se of her friendship for )e and also to please her rother, and she

served as the tr'sted inter)ediary to o'r love. 6or so)e ti)e o'r co'rtship re)ained in this deli!htf'l

state and d'rin! that ti)e don 6eli= )ade no effort to ret'rn to d'ty in &taly.

Fhile virt'ally all the ladies in the city had een con?'ered y his )a!nificent presence, one in

partic'lar (as his co'sin, doa *driana, one of the )ost ea'tif'l (o)en in the entire re!ion. he (asthe da'!hter of don 6eli=2s father2s sister, (ho as & said efore, (as fro) eville. Hoa *driana had

fo'r sisters and, (hen their father died, they had all co)e to Bae7a. 5he t(o yo'n!est entered theconvent. 5he second da'!hter )arried here, and that left the eldest (ho had chosen neither to )arry or

to eco)e a n'n. he lived (ith her )arried sister (ho y no( had eco)e a (ido( and had inherited

fifty tho'sand d'cats. 5he (ido( loved her sister dearly as yo' can i)a!ine since she (as alone in the(orld and also eca'se her sister, doa *driana, (as so very ea'tif'l. ell, doa *driana en%oyed

fre?'ent conversation (ith don 6eli= eca'se they (ere co'sins, and she fell )adly and passionately in

love (ith hi) and yo'2ll soon find o't (hat happened.

FHon 6eli= (as a(are of his co'sin2s love for hi) 't, eca'se he had his heart set on )e, he passed itoff and tried to avoid !ivin! her enco'ra!e)ent or any prete=t for lovin! hi) )ore. 5o every indication

doa *driana !ave of her love he, (ith careless inattention, played disinterested. 6inally, overco)e y

her fr'strated love and deeply affected y his disdain, she fell ill and the doctors feared for her life.

Besides not eatin! or sleepin!, she ref'sed to allo( the) to

> -@ >

!ive her any re)edies. 5his 'pset her )other terrily. +er )other, ho(ever, (as a shre(d (o)an, and

she e!an to s'spect that her da'!hter2s illness (as ca'sed y 'nre?'ited love. ith this idea, she


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pressed doa *driana2s )aid, in (ho) the !irl confided everythin!, to tell her the tr'th. hen she

learned (hat the sit'ation (as, she planned ho( to re)edy it.

Fhe called her nephe( and, (ith tears in her eyes, told hi) of the !reat sorro( she felt eca'se of her

darlin! da'!hter2s illness and e=plained the ca'se of her illness. 5hen she e!!ed hi) )ost fervently to)arry her da'!hter. he co'ld ans(er for her rother2s consent, and don 6eli= co'ldn2t find a etter

)atch in all Bae7a.

FHon 6eli= didn2t (ant to e the ca'se of his co'sin2s death, nor did he (ish to 'pset his a'nt (ith a

harsh reply. 5herefore, tr'stin! in the ti)e it (o'ld take to )ake all the arran!e)ents and to otain adispensation fro) 8o)e, he told her to take the )atter 'p (ith his father and he a!reed to accept their

decision. 5hen he (ent in to visit his co'sin and filled her heart (ith hope. *s his a'nt had re?'ested,

he (ent to doa *driana2s ho'se re!'larly and sho(ed satisfaction in her i)prove)ent. Hoa *driana

recovered her health entirely.

F&n order to visit his co'sin, don 6eli= started )issin! his visits to )e. & e!an to ?'estion his fidelity

and despaired and (ept )y eyes dry. Ane ni!ht, in an effort to ass'a!e )y %ealo'sy and also to avoid

the nei!hors2 !ossip, he arran!ed (ith araia to co)e inside. hen he sa( )y tears and heard in )y

co)plaints the ra(ness of )y feelin!s, like a tr'e lover aove all s'spicion, he told )e (hat had

happened (ith re!ard to his co'sin. &n tellin! )e this he (as lovin! 't 'n(ise eca'se (hat, 'ntilthen, had een )erely fear eca)e open %ealo'sy, and the an!er of a %ealo's (o)an is no s)all thin!. &

told hi) never to look at )e a!ain in all his life, let alone speak to )e, 'nless he told his co'sin that heco'ldn2t e hers eca'se he2d pro)ised to )arry )e.

F& (as so an!ry & tried to ret'rn to )y roo), 't )y lover (o'ldn2t let )e !o. Eery h')ly and

lovin!ly, he vo(ed he (o'ld not let a day pass (itho't oeyin! )e, that he (o'ld2ve done so already if

he hadn2t (anted to protect )y decor') y speakin! (ith )e first. ith the !oet(een servant as(itness, he a!ain !ave )e his (ord to )arry )e, and & !ave hi) possession of )y ody and )y so'l,

elievin! that in that (ay & co'ld hold hi) )ore sec'rely to his pro)ise. 5hat ni!ht passed )ore

?'ickly than ever, for it (as follo(ed y the day of )y !reat )isfort'ne.

> -I >

F5he doctor had decided that that )ornin! doa *driana sho'ld drink a stron! syr'p and then take

so)e e=ercise in the co'ntryside. Unale to see the illness of her so'l, he tho'!ht her loss of color (as

ca'sed y ane)ia. An that very day, to satisfy )y %ealo'sy, )y etrothed freed her fro) the ill'sions ofher love. * )an has only one ody and one so'l despite the fact that he )ay have )any desiresD no

)atter ho( )any desires he has, he cannot e in t(o places at the sa)e ti)e and the ni!ht efore )y

don 6eli= had een (ith )e, (hich )eant he (asn2t (ith his co'sin. 5he tr'th of the )atter is that6ort'ne !'ided thin!s in her o(n (ay, to the !reat detri)ent of )y (elfare, and arran!ed for doa

*driana to !et 'p early that )ornin!. he took her syr'p and (ent for her (alk (ith her a'nt and her

)aids. 5heir first stop (as her co'sin don 6eli=2s ho'se. hen doa *driana entered, everyone (ashappy to see her so (ell. 5hey all !reeted her as if she (ere the s'n and con!rat'lated her on her

i)proved health. he (ent off (ith doa &sael to don 6eli=2s roo). +e (as still restin!, )akin! 'p for

the sleep he2d lost in his a)oro's ni!ht (ith )e. &n the presence of his sister, doa *driana e!an totake hi) to task for not havin! visited her the ni!ht efore, %'st as if she (ere his (ife. Hon 6eli= )ade

no response. 6inally, in a fe( rief (ords, he )ana!ed to let her kno( that she (as (astin! her ti)eD

he (as in love (ith )eD (e had e=chan!ed vo(sD he (as en!a!ed to )arry )e, and, 'nless he lost his

life, he (o'ld not fail to keep his (ord to )e.

F5hese (ords ca'sed doa *driana to fall into a s(oon. 5hey had to carry her in to doa &sael2s ed.


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hen she recovered her senses, stiflin! her tears as est she co'ld, she took leave of doa &sael,

respondin! ar'ptly and drily to the co)fort doa &sael tried to !ive. he ret'rned ho)e, and, to

aven!e don 6eli=2s re%ection of her, she plotted the )ost cr'el act a!ainst herself, a!ainst her co'sin don

6eli=, and a!ainst )e, that yo' can i)a!ine. Ah %ealo'syQ hen yo' possess a (o)an2s heart, (hatterrile thin!s yo' doQ &n her fit of %ealo'sy, the first thin! doa *driana did (as (rite a letter to )y

father in (hich she infor)ed hi) of (hat (as !oin! on and ca'tioned hi) to keep (atch over his

ho'se, for his honor (as in %eopardy. he (aited 'ntil the ne=t )ornin! to !ive the letter to a servantfor delivery to )y father, (ith instr'ctions to tell hi) that it ca)e fro) Madrid. 5hen she p't on her

cloak and, ready to take her prescried e=ercise, she (ent in to see her )other. More lovin!ly than yo'

)i!ht e=pect, !iven her cr'el plan, doa *driana said to her:

F2Mother dear, &2) !oin! o't for )y (alk no(. God alone kno(s

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if &2ll co)e ack. Please e)race )e, )y lady, in case & sho'ld never see yo' a!ain.2

F2+'sh, *driana,2 her )other said, a

the enchantments of love

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