Staging Violence by Tania de Miguel Magro

Author:Tania de Miguel Magro [Magro, Tania de Miguel]
Language: eng
Format: epub
ISBN: 9780367180539
Google: 8PfzzQEACAAJ
Publisher: Taylor & Francis Group
Published: 2021-04-06T03:42:35+00:00

Notes

1The earliest preserved poems of germanía are those of Rodrigo Reinosa, probably from the last quarter of the 15th century, and of Álvaro de Solana, from the beginning of the 16th. Two of the main poetry collections of the second half of the 16th century, Cancionero general and Romancero de Pedro Padilla, included some germanesca pieces. In 1609, Juan Hidalgo gathered the first compilation of germanía poetry: Romances de germanía. This book, which included a glossary of jacarandia terminology, became a success and inspired a revival of the genre.

2These dates were proposed by José Manuel Blecua (262).

3Quevedo wrote a total of 15 jácaras, although he did not call them such. It was Cervantes who coined the word “jácara” to identify this particular poetic form in his 1613 novellas “El coloquio de los perros” and “La ilustre fregona.”

4I should advise the reader that occasionally it is hard to know whether a 17th century jácara with only one voice was created for the stage or not. Nonetheless, they were all composed with music in mind. Sometimes, we know we are dealing with a performative piece because it is included in a collection of plays, we have data about its representation, or the poem itself refers to dancing or the audience; but it is not always the case. All the jácaras I am including here are either unquestionably dramatical pieces or have theatrical-like qualities. They are, to the best of my knowledge, all dated after 1612—that is, after Quevedo’s first jácara.

5Laura Puerto Moro has demonstrated that the melody of the jácara can be found in poems that thematically are not jácaras after the mid-17th century (31). Equally, Di Pinto (“Jácaras de sucesos”) has located a poetic variant of de jácara, known as jácara de suceso (crimes), which was composed for printed distribution in pliegos sueltos (pamphlets), not to be accompanied by music, much like the British chapbooks. Finally, the poetic and musical structure of the jácara also gave birth to a religious poetic form, the jácara a lo divino, which told the lives of saints.

6The corchetes were equivalent of policemen in a period in which police corps did not yet exist. They were in charge of keeping the streets safe. In short theater, they are often accused of being themselves corrupt criminals. Transcriptions of trials attest that this was a not a poetic license. There are records of corchetes who pimped women.

7For an in-depth explanation of this apparent contradiction, see Perry (“Magdalens” 125).

8In Spain, this phenomenon took place around the second half of the 15th century. Generalizations about prostitution in the peninsula are not easy because public brothels did not exist in less-urbanized areas, particularly in the north. Moreno Mengíbar and Vázquez García believe that there were probably no publicly regulated brothels in Galicia and Asturias, and they are sure there were no regulations in the Basque Country and Navarre. Additionally, there were other kinds of organized prostitution, like the ones serving tuna fishers working in the territory of the Duke of Medina Sidonia (Cádiz) and the Tercios in Flanders and Italy (33–34).

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