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Revista anadiense de Estudios Hispnicos
Fortune, Love and Power in Lope de Vega's Lo fingido verdaderoAuthor(s): J.V. BRYANSSource: Revista Canadiense de Estudios Hispnicos, Vol. 9, No. 2 (Invierno 1985), pp. 133-148Published by: Revista Canadiense de Estudios HispnicosStable URL: http://www.jstor.org/stable/27762363.
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8/10/2019 Amor en Lope
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J.V.
RYANS
Fortune,
Love
and
Power
in
Lope
de
Vega's
Lo
fingido
erdadero
Muchas
comedias
del
siglo
de
oro
pertenecen
a
un
sub-g?nero
o
tipo
de
comedia;
algunas pertenecen
a
m?s
de
uno a
la
vez.
Tal
es
el
caso
de
Lo
fi
ngido
verdadero.
Por
una
parte
pertenece
al
tipo
de
la
comedia
de
tiranos,
en
el
que
un
tirano
que
se
deja
arrastrar
por
sus
pasiones
y
atropella
la
gente
termina
muriendo.
En
el
primer
acto
de
Lo
fingido
hay
tres
tiranos
que
muestran
que
si
uno
sigue
sus
pasiones
caer? v?ctima
de la
Fortuna.
Un
cuarto
personaje,
Diocleciano,
muestra
que
la
virtud
ofrece
alguna
pro
tecci?n
ante
el
poder
de la
Fortuna.
Por
otra
parte
Lo
fingido
es
tambi?n
ejemplo
del
tipo
de
comedia
que
puede
llamarse la
comedia de
m?rtires
en
el
que
un
buen
pagano
es
convertido al
cristianismo
y
luego
martirizado.
En
el
tercer acto
la
conversi?n
de
Gin?s
muestra
que
el
poder
de Dios
hace
posible rechazar los valores de este mundo, tan apetecidos por losperso
najes
del
primero
acto,
sustituir
el
deseo de la honra mundana
por
el
deseo de la
gloria
divina,
y
adquirir
una nueva
virtud,
la
cual,
por
la
infusi?n
de
las
tres
virtudes
teologales,
es
superior
a
la virtud
puramente
mundana tal
como
la
de Diocleciano.
La
combinaci?n de
estos
dos
sub
g?neros
hace
que
se
comparen
las actitudes
y
el mundo de los
paganos
con
las
actitudes
y
el
mundo
de los
cristianos.
As?
los
dos
sub-g?neros
hacen
de
la comedia
una
rica
experiencia
teatral.
In
my
article,
"El
alcalde
de Zalamea
y
el
sub-g?nero/'1
I
pointed
out
that
the
comedia
possesses
types
or
sub-genres
which
can
be
recognized
by
a
basic
structure
belonging
to
more
than
one
comedia.
Such
sub-genres
do
not,
however,
embrace all
the
production
of
the
comedia.
Certainly
more
comedias
belong
to
a
sub-genre
than
do
not,
but
some
comedias
are
to
use an
apposite
term
sui
generis,
that
is,
they
constitute
a
sub-genre
in
themselves of which
they
are
the
only
member.
Following
Umberto
Eco's
terminology
the
ordinary sub-genres
can
be
called
ratio
facilis and
the
types
in
themselves
ratio
difficilis.2
Now in interpretingplays which are ratio facilis it isalways advisable to
take
into
account
the
content
and
meaning
of the
sub-generic
structure.
Such aid
in
interpretation
is
not
possible
with
plays
which
are
ratio
difficilis,
revista
canadiense de
estudios
hisp?nicos
Vol.
IX,
No.
2 lnvierno1985
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134
but these plays nearly always bear some resemblance to a play which
belongs
to
an
ordinary
sub-genre.
Hence,
the resemblance
can
be of
use
in
the
interpretation
of the difficult
play,
although
it
must
not
be assumed
that
the
meaning
of
the
play
is
limited
by
the
resemblance.
An
example
will
illustrate this
point.
El
villano
en su
rinc?n
is
a
play
which
is
ratio
difficilis.
Its
tructure
bears
no
basic
resemblance
to
thatof
any
other
play,
though
there
are some
resemblances
to
the
peasant
honour
play,
which
is
dealt with
in
my
article
cited
above.
In
plays
of this
type
and
in
Villano,
the
theme of the
happy
country
life
is
treated,
as
is
the theme of the
peasant
rising.
These
resemblances
are
enough
to
suggest
that,
as
in
the
peasant
honour play, one of the points made byVillano isthe need fornew blood
at court.
A
further
type
of
play
which
is
ratio
difficilis
concerns me
here.
This
is
the
type
of
play
which bears resemblance
to two
ratio
facilis
sub-genres.
One
play
of
this
kind,
Calder?ni
La
exaltaci?n
de
la
cruz,
has
already
been
studied
by
me
(to
be
published
shortly).
The
object
of
study
of the
present
article
is
nother of these
plays,
Lope
de
Vega's
Lo
fingido
verdadero.
The first
type
of
play
to
which
Fingido
bears
a
certain
resemblance
is
the
tyrant
play,
of
which
examples
are
the
anonymous
Tirano
Rey
Corbanto,
Lope's
Roma
Abrasada,
Tirso's La
rep?blica
al
rev?s,
Calder?n's
La
gran
Cenobia,
and his La
hija
del
aire,
pt.
2. The basic structure of this
type
of
play
is
s
follows.
A
tyrant
giving
himself
over
to
his
passions,
rules
unjustly,
wronging
many
people.
For
a
time,
Fortune
favours
him,
but
finally
he
is
brought
low
by
someone
he
has
wronged.
These
plays
show the
conse
quences
of
giving
oneself
over
to
one's
passions,
the limitations
of human
power,
and the
fickleness of
Fortune with
those
who
give
themselves
over
to
their
passions.
To
stress
this last
point
there
are
sometimes
two sets
of
characters
in
these
plays.
Those who follow
their
passions
and
those
who
rely
on reason
and
virtue,
the
latter
being
rewarded and the former
coming
to
a
bad end.3
The
tyrantplay
is
essentially
a
secular
play,
even
when
as
in
La
rep?blica
al
rev?s
it is
set
in
Christian
times. It
is
oncerned
with
this
world rather than
the
next
and
with
the
worldly
consequences
of
human
actions.
The
tyrant
lay
section of
Fingido
is
onfined
mainly
to
the
first
ct.
Here
one
encounters not
one
but three
tyrants
ll of whom illustrate the
conse
quences
of
giving
oneself
over
to
one's
passions.
The first
f
these
is
Aurelio who
is
driven
by
a
passion
for
power
and
glory.
So
great
is
this
passion
that
he
openly
challenges
the
Gods,
putting
no
limit
to
his
pretensions.
T?,
cielo,
descompones
ej?rcito
romano;
?qu?
es
aquesto?
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135
Si a
deshacer
te
pones
el orden
por
sus
c?nsules
compuesto,
nunca
despu?s
te
espantes
si te
movieren
guerra
los
gigantes.
Vive,
J?piter
santo,
que
si
ponemos
monte
sobre
monte,
que
te
he de
dar
espanto;
fulm?name
despu?s
como
a
Tifonte,
con
tal
que
mi
venganza
ponga
al
poder
de
tu
furor
templanza.
A tu
suprema
esfera
osar?
levantar
mil
escuadrones
de
gente
armada
y
fiera.
(i, pp.
173b-74a)4
Immediately
after
this,
the limitations of
human
power
and
the
conse
quences
of
passion
are
made
clear. Aurelio
is
struck
by
a
bolt
of
lightning.
Carino,
the
Roman
emperor,
is
nother
tyrant
figure.
His
passion
is
lust.
Dicen
que
vive
en
Roma
deshonesto,
forzando lasmujeres
mas
honradas,
sin
que
se
escapen
senadores
desto,
ni
las
monjas
a
Vesta
reservadas...
(i,
pp.
171b-72a)
Carino
also
puts
no
limits
n
the
power
of
an
emperor
such
as
himself.
Celio
makes the
following
comparison
between
Carino
and
the
actresses
in
Gin?s's
troop.
?Luego
t?
piensas
que
reinas
con
mayor
estimaci?n?
La diferencia sabida,
es
que
les dura hora
y
media
su
comedia,
y
tu
comedia
te
dura toda
la
vida.
T?
representas
tambi?n,
mas
est?s
de
rey
vestido
hasta la
muerte
...
(i,
p. 175a)
To
this
Carino
indignantly
replies:
...
yo,
que
de veras
soy
Rey,
por
mi
dichosa
suerte,
ser?lo
en
vida
y
en
muerte;
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136
de vivir
seguro estoy
por
mis a?os
y
salud,
por
mis
fuerzas
y
valor,
y
por
ser
emperador,
que
es
otra
mayor
virtud.
?Qu?
es
muerte?
?Qu?
desatino
es
decir
que
muere un
Rey?
No
llega
la
humana
ley
al
emperador
Carino.
Es
cosa
de
risa
hacer
filosof?as
en
eso,
ni
puede
humano
suceso
contra
el divino
poder.
Somos los
emperadores,
como
sab?is,
casi
iguales
a
los
dioses celestiales:
somos
del
mundo
se?ores,
como
ellos lo
son
del cielo
...
(i, p. 175b)
But shortly the consequences of passion and the limitations of man's
power
are
again
shown,
when
a
wronged
husband
kills
Carino.
Now,
Carino
recognizes
the central
truth f the
play
that
life
is
no
more
real
than
the
theatre.
Represent?
mi
figura:
C?sar
fui,
Roma,
Rey
era;
acab?se la
tragedia,
la
muerte
me
desnud?:
sospecho
que
no
dur?
todami vida hora ymedia. ( , p. 178a)
The third
tyrant
figure,
Apro,
is
less well
developed.
His
passion
for
power
is
uch that he
murders the
popular
and
virtuous
Numeriano.
Apro
feels
that
his
popularity
with
the
soldiers
will
see
him
through,
but
he
is
mistaken.
Some
officers
are
shocked
by
the
murder,
giving
Diocletian the
opportunity
to
kill him.
All
these
events
are
seen
to
take
place
under
the
sway
of
Fortune.
In
the
second
act
Diocletian
tellsMaximiano:
Maximiano, la fortuna
levanta
o
baja
a
quien
quiere:
unos
deja,
otros
prefiere,
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137
sin
tener
firmeza
alguna.
Tiene
este
inmenso
poder
en
las
cosas
temporales,
no en
las
almas
celestiales,...
(n,
p.
182a)
But
Fortune
is
not
portrayed
as as
fickle
as
Diocletian
states,
even
though
the
death
of Numeriano shows
that
it
has
some
sway
even
over
the
good.
As is
the
case
with
some
other
characters
in
tyrant
lays,
all
three
characters
who died
were
led
astray
by
their
passions,
making
themselves
subject
to
Fortune.
By
contrast
the character who triumphs
over
Fortune, Diocletian,
is
a man
who
is
not
without
an
elementary
virtue,
demonstrating
that
virtue
gives
some
protection
against
Fortune,
another
point
made
in
some
tyrant
plays.
He is
bove all
else
a man
who
keeps
his
passions
in
heck. At
no
time
in
the
play
does
he
give
way
to
them,
even
when he has
to sentence
Gin?s.
He
is
quite
conscious of the need
to
control the
passions.
He
tellsMaxi
miano
"Hablad
sin
pasi?n
/
y
volved
a
decir bien
/
del
C?sar"
(
,
p.
172b).
Because
of
this
control
of his
passions
what he does
is
rational and
calculated.
Thus
early
in
the first
ct,
he
provokes
the soldiers
to
slander
Aureliano and then quickly changes his tune. The whole episode gives the
impression
of
careful
planning.
Dioc.
-
Ayudadme
a
decir
a
Aurelio afrentas.
Maxim.
-?Es
un
caduco?
Curio.-
Es
un
borracho.
Marc-
Es
loco.
Dioc.
-
Es
el
Emperador:
hablemos
paso,
que
no se
ha de
tener
el
cetro
en
poco,
aunque
le
tenga
un
b?rbaro
Circaso.
Curio. -
?T?
no nos
provocaste?
Dioc.
-
Si
os
provoco
ya
me
arrepiento.
(i,
p.
172a)
Similarly,
his decision
to
kill
Apro
is
based
on a
well-calculated risk.
Dioc.
-
...
si
el
campo
se
enoja
y
me
quitasen
la
vida
...
Mas
?qu?
vida
me
reporta
donde
tanto
se
aventura?
Los
soldados
se
conforman
y
le
quieren
admitir
por
Emperador
de
Roma.
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138
Tente, mano;
?d?nde
vas?
Mira
que
nadie
te
abona;
que soy
hijo
de
un
esclavo;
pero
lo
que
intente
sobra
para ganar
fama
eterna,
si
en
tierra
o
mar
peligrosa
por ganar
fama
peleo,
y
esta
vida,
siempre
corta,
pongo
a
tan
cierto
peligro
por
un
Imperio
y
corona,
y
no menos
que
del
mundo,
?qu?
muerte
con
mayor
honra?
(i,
pp.180b-81a)
Another
significant
virtue
of Diocletian
is
that he
is
a
good
actor.5
In
the
scene
just
quoted
with the
soldiers
he
is
clearly
acting
a
part.
Just
efore
he
kills
Apro
he tells
him,
presumbably
to
impress
the
listeners:
...
la
imagen
espantosa
de
Numeriano,
tu
yerno,
convertida
en
negra sombra,
anoche
me
apareci?,
y
me
dijo
con voz ronca
que
de
su
sangre
?nocente
diese
esta
venganza
a
Roma.
(i,
p.
181a)
Finally,
Diocletian
is
a man
of
his
word.
He
keeps
his
promise
10
share
the
empire
with
Maximiano,
even
showing
or
pretending
to
show
a
kind
of
love.
He tellsMaximiano:
...
el querer
iguala
el
que
ama a
lo
amado,
y
el
amado
juntamente
al
que
ama,
y
amando,
es
bien
partir contigo
tambi?n
este
laurel
e
mi
frente.
n,
p.
182b)
Similarly
he
keeps
his
promise
to
Camila.
Of
course
this last
virtue
may
be
pure
acting,
and Diocletian's
virtues
are
minimal and
severely
flawed
by
his
murder of
Apro.
Nonetheless
his
control of his
passions
is
real and
is
sufficientvirtue to explain his triumph over Fortune.
The
great
reward for
Diocletian which
comes
out
of
his
triumph
over
Fortune
is
honour.
It
was
honour that
motivated
him
to
kill
Apro,
and
as
emperor
he
receives
all the honours
which
are
his
due him.
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139
Maxim. -El verte, invicto se?or
coronado
Emperador
fue
causa
de
este
desv?o;
ya
tu
sacra
majestad
tiene
tan
alto
el
asiento,
que
el
humano
pensamiento
le considera
deidad.
(n,
p.
182a)
Gin?s.
-
Si
tus
glorias,
si
tus
grandes
haza?as,
si
tu raro
divino entendimiento, C?sar ?nclito,
fuera
capaz
de
versos
y
de
historias,
Gin?s
representara
tu
alabanza,
y
todos
los
ingenios
que
celebra,
no
solo
Roma,
pero
Espa?a
y
Grecia,
se
ocuparan,
se?or,
en
escribillas.
(u,
p.
183b)
In
Golden
Age
plays
such
honours
are
par
excellence the
goods
which
Fortune
gives.
To
sum
up
the
tyrant
play
part
of
the
play,
it
gives
a
grim
picture
of the lot
of
humanity.
Life is as brief and unreal as a
play
and it isdominated
by
Fortune
which does
not
always
spare
the
good.
In
the
world
presented
in
the
play,
most
men
follow
their
passions
and
so
become
the victims
of
Fortune.
But,
by
following
virtue,
however
elementary
and
imperfect,
there
is
ome
hope
of
overcoming
Fortune. This
is
picture
of
what
N. M.
Valis has called "that
portion
of
humanity
which
the Christian
calls
unre
deemed
by
divine
grace,"6
and
it
ets
the
context
of Gin?s's
conversion,
and
provides
material for
later
contrasts
with the
Christian
view
of the
world.
The
second
part
of
the
play
to
be considered takes
place mainly
in
the
second
act
and
bears
no
relation
to
any
type
of
play,
as
might
be
expected
in
a
ratio
difficilis
play.
This section of the
play
concerns
Gin?s's
love for
Marcela
and
prefigures
his love forGod
in
the third
act.
Love
can
be
a
noble
sentiment
or
it
an
be,
as
Camila
points
out
in
the
third
act,
a
wild
beast
(in,
p.
194b).
Gin?s's love
for
Marcela
is
not
a
gentle
emotion,
but
it s
essentially
noble,
and has
noble
effects. Gin?s
cares more
for
the
welfare ofMarcela
than
for the
satisfaction of
his
own
desires. Thus
Gin?s
refuses
to
ask
Marcela's
father for her hand
because:
Casarse viendo querer,
ni
es
honor
ni
discreci?n;
que
los casamientos
son
uni?n
de las
voluntades,
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140
y en distintas calidades
es
imposible
la
uni?n.
(n,
p. 186a)
And after
Marcela and
Octavio
run
off,
he
forgives
them
and
has
them
married.
At
the
same
time, however,
love alienates
Gin?s
from himself. Because
of
love,
Gin?s
sees
himself
not
as
a
whole
man,
but
as
split
up
into
different
senses
and
faculties,
and
he
sees
these
as
actors in
a
play.
...
comedia
es
mi
voluntad,
poeta el entendimiento
de la f?bula
que
intento,
donde
con
versos
famosos
pinta
los
pasos
forzosos
que
ha dado
mi
pensamiento.
Todos
mis
locos
sentidos,
con
figuras
semejantes,
se
han hecho
representantes
de
mis
afectos
rendidos;
representan
mis
o?dos
un
sordo
que
a
la
raz?n
no
quiere
dar atenci?n.
Y
mis
tristes
jos
luego
van
representando
un
ciego
que
anda
a rezar su
pasi?n.
(u,
p.
185a)
Again
slightly
later
he
says
"Pues v?stanse
mis
sentidos
/
representen
por
m?"
(il,
.
186a).
Referring
to
his
acting,
Gin?s
tells Diocletian:
...
de toda el
alma
quit?
los
sentidos
y
potencias,
que
se
calza
como
guantes
seg?n
se
ajustan
en
ellas...
(n, p.
187b)
This
alienation
by
love
involving
acting by
parts
of
Gin?s is
variant
on
the
central
theatre
metaphor
of
the
play.
Another
significant
effect of love
is
that
it
makes
reality
rush
in to
shatter
dramatic
illusion. When he
is
playing
the
part
of
Rufino with
Marcela,
Gin?s
cannot
stop
himself
from
breaking
out
of
his
part
and
talking
to
her
de veras.
Marc-
Gin?s
?representas?
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141
Gin?s.
-
S?
Mi
pena
a
quien
mal
me
trata.
Marc-
?C?mo
me
llamas
Marcela,
si
soy
Fabia?
Gin?s.- Por
hablarte
de
veras,
por
obligarte
a
que
tu
desd?n
se
duela
de
aqueste
mi
loco
amor.
(ii, p.
188b)
This
rushing
in
f
reality
has
partly
as
its
urpose
to
make
further
play
on
the
theatre
metaphor,
but
it
lso
has another effect.
By
showing
a
real love
breaking through
the illusion of
a
dramatic
performance,
it
points
to
the
higher
reality
f
love.
For
Lope,
who
was
influenced
by
the
Neo-Platonists,
love
was
not
just
another
passion,
it
as one
of the
ultimate
realities of the
universe.
Hence,
this
irruption
of love
into
dramatic
illusion
points
to
the
higher
reality
to
which love
will
eventually
lead Gin?s.
Another
significant
effect of love
is
lso found
in
Gin?s's
breaking
out
of
his
r?le: love
makes
him
commit
an
act
of
folly.
He
himself
refers
to
his
'loco
amor" and Marcela reminds
him
that
Caesar
is
watching,
as
Gin?s
speaks to herde veras "Esto no est? en lacomedia; /mira el que C?sar nos
mira."
(il,
.
188b). By
what he
is
doing
he
is
therefore
risking
his
professional
reputation.
The
risk
is
slight
as
Gin?s
has
a
reputation
for
improvising,
but
it
is
real
enough
to
point
to
the truth
that love makes
men
ignore
ordinary
calculations
of
right
conduct and
step
outside
imposed
roles. This
folly
prefigures
Gin?s's
Christian
"folly"
in
the third
act.
But if
uman love has noble effects and
participates
in
higher
love,
it
is
also
profoundly
flawed
as
is
shown
by
Gin?s's
alienation
and
by
Marcela's
failure
to
reciprocate
Gin?s's love.
Human
love
must
give
way
to
that
more
perfect
love,
the divine
love
for which it
is
a
preparation,
and Gin?s's
alienation must be cured before he can turn toGod. Accordingly, early
in
the third
act,
he shows himself
profoundly
disillusioned with
human
love
in
palinode,
the Petrarchan
type
of
sonnet
in
which the
poet
recants
his
servitude
to
love.
Amor
me
puso
en
tanta
desventura
la verde
primavera
de
mis
a?os,
que
pens?
por
el
mar
de
sus
enga?os
en
vez
del
puerto
hallar la
sepultura.
Y
aunque
este
fuego
en
las
cenizas
dura,
ya
con menos
vigor
siento
sus
da?os;
am?
con
celos,
mas con
desenga?os
no
pienso
que
es
amor,
sino
locura.
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142
Bien pueden mientras viven enga?ados
confesarse
en
la fe
de
amor
fingido,
de
un
ofendido
amante
los cuidados.
?Y
qu?
importa
ue
quiera
el ofendido?
Que
quien
ama con
celos
declarados,
ya
llega
los
principios
del
olvido.
(m,
p.
195b)
Nonetheless,
the transition from human love
to
divine love
isnot
abrupt.
Almost
immediately
after the
palinode,
Gin?s
flirts
ith
Marcela.
The
ashes
are,
as
he
says,
still
hot,
but
his
alienation
is
t
an
end.
Confirmation
for the
preceding
interpretation
of Gin?s's love
is
found
in
another
religious
play
by
Lope,
Los
locos
por
el
cielo,
which,
as
will
be
seen,
belongs
to
the
other
sub-genre
to
which
Fingido
is
related.
The
heroine
Dona
loves
Ind?s,
but
after her
conversion,
she also
expresses
her
disillusionment with
human
love
in
palinode
which
begins:
Gran
tiempo
me
ha tenido
amor
humano,
en
tu
intricada red
preso
el
sentido,
que
como
vanas
leyes
he
seguido,
tambi?n era mi amor incierto y vano. (i, p. 117b)7
After
Ind?s's conversion
both
take
a
vow
of
chastity
but maintain their love
for
one
another.
Again,
therefore,
human
love
is
as
a
prelude
to
higher
love,
prefiguring
both
Dona's
chaste
love for Ind?s and her
love
for
God.
The
second kind of
play
to
which
Fingido
is
related
is
the
martyr
play,
examples
of
which
are
Lope's
Los
locos
por
el
cielo,
Calder?ni
Los
dos
amantes
del
cielo,
and
his
El
m?gico
prodigioso.
The
basic
structure
of the
martyr
play
is
as
follows:
a
good
pagan
is
converted
to
Christianity
and
then
martyred,
thewhole
process
illustrating
the
power
of
God.
In
Lope's
Los locos por el cielo, for instance, the
pagan
is ona. God's
power
is een
in
the
rapidity
of her
conversion
and
in
the
way
he
answers
her initial
prayer.
?
y,
mi
Cristo,
que
no
s?
a
d?nde
os
tengo
de
hallar
Pero
ven?sme
a
buscar:
sin
duda
que
os
hallar?.
(
,
p. 115a)
Shortly afterwards aChristian lady,Agapes, comes to see her and takes her
to
the
priest
Cirilo. God's
power
is
lso
seen
in
many
miraculous
interven
tions
in
Locos.
Such miraculous
interventions
are
frequent
in
martyr
plays.
The
purpose
of the
martyr
play
is
to
restore
some
of
its
pristine
simplicity
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143
to the Christian faith and thereby tomake more robust the faith of the
audience.
It
also
is
designed
to
have
a
shaming
effect
on
the audience.
They
are
meant to
ask themselves:
"If
a
pagan
can
acquire
such faith and
such fortitude
so
rapidly,
why
are
my
faith
and
my
willingness
to
suffer for
Christ
so
weak."
Gin?s's
conversion
shows God's
power
in
a
number of
ways.
Firstly,
s
with other
figures
in
martyr
plays,
the
extreme
rapidity
of
his conversion
shows the miraculous
power
of God's
grace.
Gin?s
is
rehearsing
his
part
in
the
play
about the Christian
with
great
professional
detachment,
when he
is
surprised
to
find
that
it
ncludes
a
reference
to
baptism
which
was
not in
the scriptand he hears applause and music. He continues to rehearse until
he
gets
to
the
point
of
mentioning
imitating
the
Christian,
whereupon
he
hears
a
voice which
says
"No le
imitar?s
en
vano,
/
Gin?s;
que
te
has
de
salvar"
(ih,
p.
197a).
The effect of the voice
is
to
bring
about
Gin?s's
conversion:
Gin?s.
-
Aunque
en
burlas,
con
mal
celo,
Gin?s,
imitar
esperas
a
los
cristianos,
recelo
que
debe de
ser
de
veras
ir
los
cristianos
al cielo.
La
voz
que
todo
mi
o?do
me ma
penetrado
el
sentido,
sospecho
que
fuera
bien
pensar que
es
Cristo,
si
es
quien
me
ha tocado
y
me
ha movido.
Cristo
dicen
que
baj?
del
cielo,
y
que
carne
humana
en
una
Virgen
tom?;
su
grandeza
soberana
a
nuestra
humildad
junt?,
y
que
esta
parte
mortal
sufri?
por
el hombre
muerte
afrentosa.
(m,
p.
197a-b)
The
speed
with which this
conversion
occurs
is
such that
it
has
something
almost
shocking
about
it.One
moment
Gin?s
is
acting
the
part
of
a
Christian,
and
the
next moment
he
is
a
Christian. The shock of
this
conversion
serves
to
amplify
God's
power.
God's power is lso shown intheway Gin?s's first rayer is nswered. In
an
aparte
he
prays
"?Cristo
m?o,
pues
sois
Dios,
/
vos me
llevar?is
a
vos,
/
que
yo
desde ahora
os
sigo "
(in,
.
198a).
And
a
little ater
an
angel
appears
to
baptize
him
during
the
performance.
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144
Dios
oy?
tu
pensamiento,
que
Dios
su
lenguaje
entiende,
Gin?s,
y
lo
ue
pretende
tu
alma,
le
da
contento.
Sube, sube,
llega
a
verme;
que
te
quiero
bautizar.
(m,
p.
199b)
Such
prayers
along
with
rapid
answers are
found
in
nearly
every
martyr
play.
Another manifestation of God's
power
is
to
make Gin?s
give
up
worldly
ways of thinking and think according toGod's way of thinking,which is
folly
to
the
world,
as
St.
Paul
points
out in
his first
etter
to
the
Corinthians,
I,
verses
18
to
27.
"The doctrine of the
cross
is
heer
folly
to
those
on
their
way
to
ruin,
but
to
us
who
are on
the
way
to
salvation
it s
the
power
of God.
Scripture
says:
will
destroy
thewisdom of the
wise,
and
bring
to
nothing
the cleverness
of the clever.'Where
is
your
wise
man
now,
your
man
of
learning,
or
your
subtle
debate-limited,
all of
them,to
this
passingage?
God has
made the
wisdom of thisworld look foolish.
As
God
in
his
wisdom
ordained,
the
world failed
to
find
him
by
its
wisdom,
and
he
chose
to
save
those who
have faith inthe folly f theGospel. Jewscall formiracles, Greeks look for
wisdom;
but
we
proclaim
Christ
-
yes,
Christ nailed
to
the
cross;
and
though
this
is
stumbling-block
to
the
Jews
and
folly
to
the
Greeks,
yet
to
those who have heard
his
call,
Jews
and Greeks
alike,
he
is
the
power
of
God
and the wisdom of God.
Divine
folly
is
wiser
than the wisdom of
man,
and divine weakness
stronger
than man's
strength
...
to
shame
the
wise,
God has chosen what
the
world
counts
folly
..."8
Because
of his
new
way
of
thinking,
Gin?s
totally rejects
the
worldly
honour
once
important
to
him
(see
I,
.
176a)
and
so
important
to
Diocle
tian. Inthe
passage
following,
Gin?s is
following
the
script,
butwe can take
it
hat
he
means
what he
says.
Contento
a
la
muerte
voy.
Y
aunque,
por
Cristo,
no
siento
por
afrenta la
prisi?n,
habl?
con
estimaci?n
humana,
y ya
me
arrepiento.
Maltratadme,
despreciadme,
mostrad
en
m?
vuestras
furias,
decidme infamias
e
injurias,
y
a
vuestro
gusto
llevadme;
que por
Cristo
todo
es
gloria.
(ni, p. 199a)
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145
Now he prefers the glory of Christ, as is lso shown by his pride inbeing a
member
of Christ's
heavenly
company
of
actors
(in,
.
203a).
Clearly
such
rejection
of
worldly
honour
would
be
an
act
of
folly
to
a
man
such
as
Diocletian.
Another
act
of
folly
f
Gin?s
is
to
break
out
of
his
r?le,
denounce
himself
as
a
Christian
to
Diocletian,
and
to
insult
him.
("De
veras
hablo,
tiranos,"
m,
p.
201a).
This
is
f
course
a
highly
rational
act.
Gin?s
desires
martyrdom
and
in
denouncing
himself,
he
is
fulfilling
God's
will.
But
to
anyone
not
a
Christian
and,
one
suspects,
to
some
members
of
Lope's
audience,
such
an
act
would be
sheer
folly
in
its
total
rejection
of
life,
worldly
goods,
and
worldly honour.
This
last
ct
of Christian
folly
was
prepared
for
by
Gin?s's
amorous
folly,
even
though
it is
far
more
rational.
Through
that
amorous
folly
Gin?s
broke
out
of
the r?le
imposed
on
him
by
his
part
in
the
play.
Now he
completely
rejects
his r?le
in
the
world,
that
of
actor,
and
freely
assumes
that
of
martyr.
This
change
is
prefigured
in
speech
in
which
he
accepts
his
new
r?le
and
its
otal
rejection
of
worldly
values:
?Pues
no
ves
que
el
cielo
me
apunta
ya,
desde
que
a un
?ngel
o?
detr?s
de
su
azul
cortina:
"Camina, Gin?s;
camina,
Gin?s,
que
?l
lo
dice as??"
Estaba el
papel
errado:
donde Dios decir
ten?a
demonio,
amigos,
dec?a,
y
donde
gracia,
pecado;
donde cielo
hermoso,
infierno,
donde
si
errara
me
fuera,
donde
vida,
muerte
fiera,
donde
gloria,
llanto
eterno;
pero
despu?s
que
apunt?
el
?ngel
del
vestuario
del
cielo,
y
lo
necesario
para
acertar
me
ense??,
yo
dije
a
Dios
mi
papel
desde el
punto
de
aquel
d?a,... (ni,
p. 200b)
A furthermanifestation of God's power isthe breaking through of his
higher
reality
into
the
complex
tangle
of
realities
in
the
play.
Just
s
love
broke
through
theatrical
illusion
in
the
second
act,
so
now
his
higher
love,
the
ultimate
reality,
breaks
through
both dramatic
illusion
and
that of
the
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theatre of theworld and orders Gin?s;s life ina new way, setting him in
touch with
heaven,
a
world whose
reality
is
far bove the
shifting
sands
of
Fortune
and
whose values have
a
solidity
that
this
world
cannot
know.
Another
important
aspect
of God's
power
is
his
mastery
over
Fortune.
Using
dramatic
irony,
Lope
has Camila
say
in
the third
act,
before
the
"play:"
Ved
lo
que
puede
la
fortuna
varia,
que
a
unos
levanta
y
a
otros
aniquila;
?en
qu?
piensa
parar
esta
voltaria,
que ya vuela en maroma, y ya en esfera
del viento?
(m, p. 198a)
But,
it
isnot
Fortune
who
raises
up
Gin?s,
but God.
Hence
Lope
suggests
that
God's
power
is
bove that
of
Fortune,
even
if
ortune holds
some
sway
over
the
world.
Finally,
God's
power
is
shown
to
infuse
into Gin?s
the
theological
virtues.
Gin?s
states
at
the end of
the
play:
...
voy
al cielo
a
que
me
paguen,
que
de mi fe
y
esperanza
y
mi
caridad
notable,
debo al
cielo,
y
?l
me
debe
estos tres
particulares.
(ni,
p.
204b)
These
infused
virtues
make
Gin?s's virtue
far
higher
than
the
flawed
and
purely
human
virtue
of Diocletian.
The
coming
together
of the
two
sub-genres
in
Fingido
and
the
second
act
produces
a
theme which
is
rich
in ontrasts.
The
tyrant-play
part
of the
play presents
the
world of
Fortune,
with
its
heatre-like
instability,
imitation
of man's
pretensions
and
hollow
regard
for
worldly
honour.
Here,
with
luck,
a man
having
a
minimum
of
imperfect
virtue
may
succeed,
though
most
men
follow their
passions
and fall
victim
to
Fortune.
The second
act
points
through
human love
to
a
higher reality
nd the
martyr-play
section,
contrasting
strongly
with
the
tyrant
play
section,
and
explores
the
nature
of
that
reality
and
its
ffects
on
those who
come
in
contact
with
it.God's
power
ultimately
controls
Fortune,
though
some
of
its
effects
remain.
God's
love and
power
lead
to
the solid and
enduring
world of
heaven and
also
to
the
higher
reality
of the intervention
of
His
love
in
the
world
to
transformmankind. God's power makes itpossible to reject the values of
the
world,
to
substitute
a
desire for
heavenly
glory
for
a
desire
for
worldly
honour,
and
to
acquire
a new
virtue,
which,
by
the
infusion
of
the three
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theological virtues, isfar above the virtue of the world. God's power also
gives
a
rationality
which,
though
it
eems
folly
to
the
world,
is
inspired
by
divine
wisdom.
Finally
God
makes
it
possible
to
play
one's
r?le
in
life ith
a
new
validity
based
on
lasting
values.
The
richness
of
this
theme
is
fully
exploited by
Lope
by
means
of
techniques
which
approximate
to
Brechtian
Verfremdungseffekt
and make
this
play
a
brilliant
theatrical
masterpiece.
The
use
of
the
theatre
metaphor
in
the first
ct
makes the
audience
aware
that the
theatre
of
the world
is
inside
Lope's
theatre and
outside
it
ith them.
The
theatrical
alienation of
Gin?s
and the
plays-within-a-play
interrupted by
the
irruption
of
a
reality
which isstillwithin a
play
draw the audience's attention not
only
to the
theatre of the
world,
but
to
levels of
reality
within
the
play.
The total
effect
is
f
a
carefully
controlled confusion which
reminds the
audience
that
they
are
in
a
theatre and thus
prevents
them
from
identifying
too
closely
with
the characters
and from
beingtoo caught
up
in
the
dramatic illusion of the
play.
This
distancing
effect makes
it
asier
for them
to
stand
back
from the
play
and
analyze
its
heme.
The full
significance
of
the
two
sub-genres
brought together
in
Fingido
emerges
when
the
present
study
of the
play
is
onsidered
in
light
f
Lope's
age.
The Renaissance
had been
an
age
of
secularization,
and
Lope's
own
age
inherited
that
secularization,
as
the
existence
of the
tyrant-play
proves.
There
is
also inherent
in
man a
tendency
towards
secularization.
As
Cal
der?n
points
out
in
his
auto,
No
hay
m?s
fortuna
que
Dios,
it is
natural
for
man,
even
though
a
Christian,
to
seek
to
live life
in
a
purely
human
world
where,
aside
from
weekly
attendance
at
mass,
God
does
not
count
for
much.
Hence,
it
may
have
been
to
show
secularized
members
of
his
audience the
relationship
between
the
secular and
the divine
and the
inferiority
f the
former
to
the latter
that
Lope
brought
together
the
tyrant-play
and
the
martyr-play,
setting
forth that
relationship
is
such
detail.
Equal
in
significance
to
the author's intention
is
what Lo
fingido
ver
dadero
and
the other
martyr
plays
reveal
about
the
age
in
which
they
were
written.
Plays
about another
age
usually
make
a
comment
about
their
own
age,
as
well
as
about
the
age
they
represent.
In
the
case
of
Fingido
and
other
martyr-plays
this
comment
is
made
by
the
assumptions
that
underly
the
plays,
and
it
akes the form of
what
can
be
termed
the
Christianity
of
the
graveyard,
a
bleak
Counterreformation
pessimism.
It is
impossible
to
be
a
good
Christian and live
in
the
world;
society's
values
and
Christian
values
are
totally
irreconcilable,
and
hence
death
is
the
quickest
way
to
God and the ultimate aspiration of love. Nor is sexual love permitted:
following
in
the
age-old
and
widespread
Catholic
tradition
of distrust
of
sex,
it
is
assumed
that
a
good
convert
will
automatically
choose
celibacy
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and reject the propagation of the species. It is a bleak picture which
emerges
from
Lope's
assumptions,
but then he lived
in
bleak
age,
thatof
the Counterreformation
which still
has
much
to
answer
for.
The
University
of British
Columbia
NOTES
1
Hac?a
Calder?n,
Quinto
Coloquio Anglogermano,
Oxford, 1978,Wiesbaden,
1982,
42^7.
2
A
Theory
of
Semiotics
(London,
1977),
183-84.
3 See
for instance El tirano
rey
Corbanto,
La
rep?blica
al
rev?s
and
La
gran
Cenobia.
4
The edition used for
Fingido
is
found
in
Lope
de
Vega
Carpio,
Obras
escogidas,
m,
ed.
F.
C.
Sainz
de Robles
(Madrid,
1974).
5
The
idea that Diocletian
is
n
actor
was
first
pointed
to
by
D.
Moir in E.M.
Wilson
and
D.
Moir,
A
Literary
History
of
Spain:
The Golden
Age
Drama
(London, 1971),
58.
6
"Rotrou
and
Lope
de
Vega:
Two
Approaches
to
Saint-Genest,"
Canadian
Review
of
Comparative
Literature,
6
(1979),
350.
7
The
edition
used
is
found
in
bras de
Lope
de
Vega,
ix,
d.
M.
Men?ndez
Pelayo
(Mad
rid,
1964).
8
The New
English
Bible,
(Oxford,
1972),
885-86.
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