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Estudios sobre el Siglo de Oro en homenaje a Raymond R. Patsy tr. Patsy translator.

La Inocencia Castigada

Bregoli-Russo, Mauda. Brownlee, Marina S. Cultural Authority in Golden Age Spain. Philadelphia: University of Pennsylvania Press, Brownlee, Marina Scordilis. Buck, Anna-Sophia. Berlin: Frey, Campbell, Gwyn E.

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Levisi, Margarita. Estudios literarios de hispanistas norteamericanos dedicados a Helmut Hatzfeld con motivo de su 80 aniversario. Barcelona: Hispam, McGrady, Donald. McKay, Carol L. Studies in Language and Literature. Proceedings of the 23rd. Mountain Interstate Foreign Language Conference. Medina, Alberto. Melloni, Alessandra. Turin: Quaderni IberoAmericani, Merrim, Stephanie. Mihaly, Deanna. Formas breves del relato. Parrilla, Osvaldo. Pauley, Caren Altchek.


Perry, Mary Elizabeth. Pons, Margalida. Romance Languages Annual 7 : Rakestraw, Mark Richard.

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Redondo Goicoechea, Alicia ed. Madrid: Castalia, Torre de Papel 4. It is precisely this point--the king's threatened rape--and the questions it provokes that merit a more detailed analysis of the omnipresent menace that does not ultimately occur. A number of questions that warrant consideration are:. While the potential answers to these questions call for some speculation on the part of the reader, it is precisely these questions that bring to light textual gaps and reveal much about the socio-historical and socio-political context surrounding the drama, particularly as regards gender relations.

King Filiberto carries out a series of acts designed to physically isolate the object of his lascivious desires--Armesinda--and entice her to consent to his amorous attentions. His attempts to seduce her escalate from professions of affection to an offer of marriage to the threat of physical violence.

Novelas ejemplares y amorosas and Desengaños amorosos in SearchWorks catalog

First, in an act reminiscent of the Biblical story of David and Bathsheba Samuel II: 11, , he sends her betrothed Juan away to war. Juan is not oblivious to the king's ulterior motives but must nevertheless obey as the loyal servant that he is, the king's licit need for military victory belying his illicit need for sexual release with Armesinda. Later, in the hope that Armesinda will emotionally renounce her betrothed, King Filiberto tells her that Juan has married someone else. He does consider actually murdering Juan as a means to physically remove him from her presence.

follow link The king tells her that he loves her and wants to marry her. Finally, when all else fails and he cannot have what he wants through persuasion, he threatens to obtain it by force through rape.

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Despite the fact that Armesinda's efforts to dissuade the king are successful, it is made patently clear that she has no protection. The one who is supposed to be protecting her--the king--in the absence of her betrothed Juan is her greatest threat; she is vulnerable to his amorous attentions. She is trapped between two men--king and betrothed--both of whom believe that she will be unfaithful and consent to sexual relations. The other females present, Princess Celidaura and a female servant Leonora--two extremes of the socio-economic spectrum under the authority of the king--, similarly conspire against the hapless young woman and encourage her to succumb to the king's advances.