El Amadís y el género literario de la historia fingida [thesis]

331 Pages·1977·16.572 MB·Spanish

by  James Donald Fogelquist

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8002725
Fogelquist, James Donald
EL "AMADIS" Y EL GENERO LITERARIO DE LA HISTORIA FINGIDA.
(SPANISH TEXT)
Yale University Ph.D. 1977
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Copyright 1979
by
Fogelquist, James Donald
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El Amadfs y el genero literario de la
historia fingida
A Dissertation
Presented to the Acuity of the Graduate School
of
Yale University
in Candidacy for the Degree of
Doctor of Philosophy
fcy
James Dcnald Fogelau? st
Ma/-. 1977
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ABSTRACT
El Airadis y el genero literario de
la historia fingida
James Donald Fogelquist
Yale University, 1977
The first known edition of Rodriguez de Montalvo's Amadis de Gaula
was published in Zaragoza in 1508 by Jorge Coci. Rodriguez de Montalvo's
work was based on several earlier versions of the Amadis, unknown to us
today, which he modernized in style, and restructured, significantly
altering the conclusion. The new edition, divided into four books instead
of three, as at least one of the previous versions had been, was an
immediate success. Indeed, it became one of the most widely read prose
narratives of the sixteenth century both in Spain and throughout much of
the rest of Europe. Not only was it read in Spanish, as well as in French,
Italian, German, English, Portuguese, Dutch, and Hebrew translations, but
it was also continued in numerous sequels.
Inspite of the obvious importance of the Amadis during the Renais­
sance, it has only been studied, to date, in a piece-meal fashicn. No
comprehensive analysis has yet been undertaken of its structure, themes,
style, literary antecedents, and its relations to the mayor Spanish prose
narratives of the late fifteenth century. Consequently, in the present
study we have attempted to carry out, as far as possible, a thorough
reading of Rodr-guez de Montalvo1 s masterpiece.
As a point cf departure for our- analysis we have chosen to focus upon
the author's commentary about ids own text, its sources, and its relation
to other Medieval literary and historical works. Rodrigues de Montalvo* s
comments reveal that he uid not write in a haphazard manner, gratuitously
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piling one adventure atop another, hut rather that he had a clear sense
of order as he revised the Amadis. In effect, he wrote following the
conventions of what he belived to he a well established genre called
"la historia fingida," which was closely related to both the chronicle
and the pseudo-history.
We have attempted to read the Amadis as an "historia fingida,"
relating it to other members of the same genre and showing how it resem­
bles and differs from the chronicle and the pseudo-history. This reading
has permitted us to see close parallels between the Amadis, the Arthurian
romances, the romances of antiquity, the chronicles and legal treatises
of Alfonso X, and Boccaccio s fell of Princes. It has also permitted us
to discover a structural unity in the Amadis which hitherto has not been
perceived by literary scholars.
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To Professor Gustavo Correa and to
my parents Donald and Helen Fogelquist,
whose constant encouragement and advice
made this work possible.
.u
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Indice
Introduccion - pig. 1.
Capltulo I - El Amadis y el desarrollo del genero literario de la
historia fingida - pig.
Capltulo II - Los valores caballerescos del mundo del Amadis - pig. 61.
Capltulo III - La estructura narrativa del Amadis - pig. 117.
Capltulo IV - Sodrlguez de Montalvo y la voz del narrador del Amadis -
pag. l62o
Capltulo V - El Amadis y la tradiciin del amor caballeresco - pig. 195.
Capltulo VI - La dimension moral del Amadis - 228.
Conclusion - pag. 286.
Apendice - pig. 288.
Bibliografla - pig. 293o
in
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Introduccion
Sn la escena del escrutinio de la biblioteca de Alonso Quijano (Don
Qui.iote, Ca. Vi), la prinera obra que examinan el Cura y el Barbero es
el Amadis. En efecto, deciden salvarlo del fuego que consumira la mayo-
ria de la biblioteca del hidalgo enloquecido, porque, segun el Barbero,
"es el mejor de los litros que de este genero se ban compuesto; y asi,
cono a unico en su arte, se debe perdonar."
A pesar de la enorme importancia del Araadfs, la cual queda atesii-
guada en Don Oui.iote y en la voluminosa bibliografia de las distintas
ediciones y traducciones que ha compilado E. B. Place,^ la critica de la
gran obra de Rodrigues de Montalvo es relativamente pobre. La nayoria de
los cnticos se han dedicado a detenninar la fecha y cngen nacicnal de
las versiones primitivas del Amadis, en las cuales Rodriguez de Montalvo
fundo su edicion definitiva en cuatro libros, publicada por primera vez
2 0
sn 1503. Asi, a traves de los siglos, franceses, portugueses y Caste­
llanos han reclamado como suyo el Amadis mas antiguo, apoyando con fre-
cuencia sus pretensiones en un numero limitado de datos que extraen bas-
tante arbitrariamente del texto de Rodriguez de Montalvo, Por consiguien-
te, con pocas excepciones, los criticos no han logrado penetrar en el
^ Vease la bibliografia de E. B. Place en el Tomo I de su edicion
critica del Amadis, en Amadis de Gaula. Edicion critica de E. B. Place
(Madrid, 1959-697."
2
En una reciente tesis doctoral May Kagan Simon estudia la volumi-
nosa polemica sobre el origen del Amadis. resumiendo en forma concisa los
argumentos a favor de las teorias de la ascendencia portuguesa, francesa
y castellana de la version mas primitiva. Dicho estudio contiene una
larga bibliografia critica sobre el Amadis. Vease May Kagan Simon, A
History of the Controversy Relative to the Date and Authorship of ’The
Amadis,1 tesis doctoral tCase Western Reserve University, 19?t).
4
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I
2
significado del libro como tanpoco han podido situarlo adecuadaraente
dentro de una tradicion literaria.
En el presente estudio, nosotros proponemos hacer una lectura nueva
del Amadis. Tal lectura comienza con los comentarios del misno Rodriguez
de Montalvo sobre su propia obra, conentarics estos que han sido ignora-
dos por la mayor parte de los criticos. En efecto, como refundidor de
textos antiguos, Rodriguez de Montalvo posee una omnisciencia total so­
bre la materia narxativa de su obra, la cual le percite senalar las rela-
ciones de unos episodios a otros, o sea, poner de relieve su significa-
cion. Rodriguez de Montalvo destaca, ademas, como encaja su obra dentro
de una tradicion de escritura historica. Es decir, las indicaciones del
retur.didcr nos permiten leer la obra como nanifestacion de un genero li-
terario llanado Mla historia fingida." FinaLmente, segun los comentarios
de Rodriguez de Montalvo, podemos ver en el Amadis, en deteminadcs mo­
ment os , una imagen del ritmo de la historia castellana, tal como aquel
lo interpretaba.
^ Consideramos de valor con respecto al estudio literario del Amadis
un numero bastante limitado de textos criticos. En primer termino, cree-
mos que es de gran utilidad la edicion del Amadis de E. B. Place, de la
cual citaremos con frecuencia a traves del presente estudio, indicando
siempre en nuestro texto el libro, el capitulo y la pagina del pasaje ci-
tado.- (Vease la nota l). En cuanto al analisis de la estructura narrati-
va de la obra de Rodriguez de Montalvo, nos hemos referido con frecuencia
a dos estudios: l) Frida Weber de Kurlat, "Estructura novelesca del Amadis
de Gaula,11 en Revista de Literaturas Modernas, V (19b6). tags. 29-5^; 2)
Eloy Reinerio Gonzalez, El Amadis de Gaula : analisis e interpretacion,
Tesis doctoral (Ohio State University, 19?^). Finalmente, en lo quese
refiere a los antecedentes literarios del Amadis, nos han resultado va-
liosos los estudios de Grace Williams y de Maria Rosa Lida de Kalkiel.
Vease Grace Williams, “The Amadis Question," en Revue Histanique, XXI
(1909). pags. 1-167, y tanbien, Maria Rosa Lida de Malkiei, "El desenla-
ce del Amadis primitivo," en Romance Philology. VI (1953)» F^gs. 283-89.
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3
la naturaleza variada de las glosas del refundidor a su propio texto,
nos ha obligado a emplear mas de un metodo de analisis. En primer termi-
no, siguiendo las indicaciones de Rodriguez de Montalvo, hemos trazado la
estructura novelesca del Anadis, labor en que nemos sido influidosindirec-
A . • 5 „
tamente por las obras de Wayne 3ooth,' Claude Levi-Strauss, Gerard
^ y g
Genette, Vladamir Propp, y Angus Fletcher. En segundo termino, hemos
hecho una lectura intertextual del Amadis, relacionandolo con los libros
y personages literarios e historicos que mencicna el refundidor dentro de
su misira obra. Asi, a fin de iluminar el significado del Amadis hemos
leido en su integridad, por ejenplo, la Historia Regun 3ritanniae de
Godfredo de Monmouth, la Vulgata, todas las traducciones castellanas de
las novelas arturianas, las antiguas narraciones castellanas de tema cla-
sico, las cronicas y codigos legales de Alfonso X. Esto es, hemos acudi-
do directamente a un numero considerable de textos medievales. Finalmen-
te, hemos leido el Amadis a la luz de la critica de varios insignes es-
critores Castellanos de la Edad Media y del Renacimiento, tales como Pero
Lopez de Ayala, Feman Perez de Guzman, y el mismo Cervantes.
A traves de nuestra perspectiva critica de varias facetas, el Amadis
se nos ha revelado como una obra sintetica, cuidadosa y artisticamente
estructurada, en la cual confluyen distintas corrientes literarias; la
^ Wayne C. Booth, The Rhetoric of Fiction (Chicago, 1961).
5 *
J Claude Levi-Strauss, "La structure de3 mythes," en Antropologie
structurale (Paris, 1958), pags. 227-257.
^ Gerard Genette, Figures III (Paris, 1972).
7
Vladamir Propp, Morphology of the Folktale. Segunda edicion
(Austin, Texas, 1968).
g
Allegory, the Theory of a Symbolic Mode (Ithaca,
New y o r ^ l ^ f tCher>
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