ࡱ> sur] Tbjbj۷۷ .&\&\L88888LLLL DL"ddddd???u"w"w"w"w"w"w"$#&"8?????"88dd"% % % ?8d8du"% ?u"% % % d0n% a""0"% ,' ,'% ,'8% <??% ?????""(???"????,'?????????> : The Legend of Sister Beatrice: Crossing Boundaries Mail-o demo, que prazer Pero el Demonio urdi non ouv n, fez-lle querer que ella llegase a querer tal ben a un cavaleiro a un galn caballero que lle non dava lezer, que no cej hasta hacerla tra en que a foi fazer salirse del monasterio; que say do mesteiro; mas la monja, antes de huir, mais ant ela foi leixar fue a poner las llaves, chaves que traga que ella traa en el cinto, na cinta, ant o altar en el altar de la Virgen da en que cria. en quien ella crea. Cantiga XCIV de Alfonso X el Sabio (1252-1284) The first version of the story of a nun called Beatrice who escapes from a convent to live in sin, appears in the work of Caesar of Heisterbach, (died circa 1240, although his Dialogus miraculorum appeared in 1473), and later in the work of Johannes Herolt (Sermones discipuli or Promptuanum exemplorum, 1474). As Donald McGrady (McGrady 2011:2) points out, in both the works by Heisterbach and Herolt, which are very similar, the devotion of the nun to the Virgin (emphasized by her prayers and the leaving of keys upon the altar) was repaid when, after living in sin as a prostitute for fifteen years, Beatrice returns to the convent and is forgiven: por fin la cuitada vuelve a su monasterio, y alli descubre que ha sido reemplazada durante todo este tiempo por la Virgen, y que tiene fama de muy honorable y santa. finally the guilty nun returns to her monastery, only to find that she had been replaced all this time by the Virgin, and that she is treated as a highly honorable and saintly figure. The quotation at the head of the essay comes from the Cantiga XCIV of Alfonso X el Sabio (1221-1284). In the thirteenth century, there was religious tolerance - in Toledo for example Christians, Jews and Muslims lived in harmony. The split between the religious and the secular worlds was not as marked as it would be later, with the coming of the Inquisition. In various Cantigas by Alfonso X el Sabio not only does the nun have sexual relations with a man but she becomes pregnant (recounted in Cantigas 7, 55, and 94, in which the lovers are said to have several sons). The transgression of the nun in abandoning the convent, leaving the sacred place behind her and entering the secular world, is treated in a way that would seem more appropriate to the twenty-first century than the thirteenth. In Cantiga 94, when the nun returns to the convent and recounts what has happened to the community, she calls on her lover to confirm the truth of what she says. With the passage of time we see the gap between the religious and secular worlds widening, and in the work of Flix de Vega Carpio (1562-1635), (better known as Lope de Vega) in the play 'La Buena Guarda', the secular and religious worlds are clearly separate. In the dilemma of the nun, in this play called Clara, torn between her vocation and her human passion the split is very clear, but the divine world is never completely absent. Flix, the convent's mayordomo, (steward), abandons Clara because he has problems of conscience, and when Clara returns to the convent to make penance for her sins, she clearly expects to be punished. In Lope de Vega there is a strong sense of shame, and a preoccupation with the division between divine and human love. Flix, in his confused state, refers to Clara as being both his 'esposa' and 'eterno dueo', a term more often associated with God, and by the end of the play fear of accusations of blasphemy must have obliged Lope de Vega to re-establish that term as referring to God rather than to a sinful woman. As Elaine Canning says (Canning 2007:861) Ultimately, fear of divine vengeance forces Flix to act again and to re-establish God as the omnipresent dueo. Consequently, as a result of preoccupations with human and divine love, the very title of eterno dueo is displaced until it returns to its rightful owner within this religious comedia. Lope de Vega explored human fallibility in this play and put a lot of his own anxiety about human frailty into his character Flix, as he himself struggled with his own frailties in preparing for ordination into the priesthood in 1614. The legend of Sister Beatrice undergoes a number of transformations in its reincarnation at various points in time, and across Europe, from the Middle Ages to the nineteenth century. The lines from Cantiga 94 above refer to the fact that before her departure, Beatrice leaves her keys on the Virgins altar, symbolising her continued attachment to sacred love. After a period of transgression she later repents and returns to the convent. In the mediaeval story we have both the human impulse to passionate love for a man and the sacred love for the Virgin. However one key element that is missing from these few lines of Alfonso X is the notion of Beatrice as a gate-keeper, and thus symbolically someone on the border between two worlds - the sacred and the profane. The version of the legend re-told by Jos Zorrilla (1817-1893) is Margarita la Tornera. The 'tornera' is the guardian at the gates of the convent, and it is in this poem that the legend of Beatrice/Margarita encounters that of Don Juan, who first appears in the play by Tirso de Molina (1584-1648) El Burlador de Sevilla y Convidado de Piedra. The image of Don Juan was already established as that of the great seducer by the time of Zorrilla, as he re-appears in numerous plays, not to mention the opera by Mozart and the poem by Byron. In the Zorrilla poem Margarita conducts a lengthy conversation with Don Juan, who regales her with tales of a life of pleasure beyond the convent walls. As a gate-keeper, the nun has a foot in both worlds - the closed world of the convent, and the world outside which is full of vice - she is open to the possibility of flight from the convent, to being seduced by passing strangers. By the nineteenth century, much is made of the idea of the nun reaching the age at which her physical beauty would be of interest to passing 'gentlemen', whereas an earlier, more strictly religious interpretation of the legend would have simply opposed the sacred world devoted to the Virgin within the convent walls and the sinfulness of the world outside the convent in general. However it is in the Romantic period that there is an interest in a return to mediaeval legend, though in the re-telling a greater openness to human romantic love, with all its trials and tribulations, and a greater awareness of the world of vice and debauchery that was never too far away, should true love fail. In the short story by Charles Nodier, (1780-1844), Lgende de Soeur Batrix, he delves first into the margins of classical literature, then the mediaeval period for its tales of mystery - simple stories which are passed down from generation to generation, pagan tales that have survived alongside those selected as the basis of a proper, formal classical education. One of those centres on the monastery of Notre-Dame-des-pines-Fleuries. In the first part of the legend, a nun walking in the grounds of the convent sees a vision of the Virgin Mary in a halo of light around a flowering thorn bush, and the Virgin is then venerated at the convent ever since, and this nun becomes known as 'The Saint'. Then two centuries later, appears another nun, a descendant from the family of the Saint, who is custodian of the holy shrine, and this guardian of the flame is Batrix: 'La soeur custode s'appelait alors Batrix. Age de dix-huit ans tout au plus, elle avait peine entendu dire qu'elle ft belle, car elle tait entre quinze ans dans la maison de la sainte Vierge, aussi pure que ses fleurs.' (The sister guarding the Convent was called Beatrice. Now barely eighteen, she had hardly heard any man call her beautiful before at fifteen years of age she entered the house of the Holy Virgin, as pure as the flowers she tended.) (Nodier 1961:788) Nodier pictures Batrix at eighteen, having entered the convent at fifteen, and barely aware of accounts of her beauty. However Nodier paints her as a passionate being, full of 'rves, de mystrieuses langueurs et d'ineffables transports', (dreams, mysterious sighings, and transports of delight) even though her devotions are initially to the image of the Virgin. Then appears the figure of a young man, Raymond, wounded in the forest, who arrives at the convent needing care, and Batrix recognises him as the young man to whom she might have been betrothed, following the wishes of both their fathers. When she confesses her feelings to the Virgin, she is clearly caught between the physical and spiritual worlds, symbolised by the fresh flowers she places at the shrine and the dead ones she hides in a scapulary. She runs away with Raymond and they live out their passionate love for each other for a year, going to festivals and leading a decadent life, but still she retains something of her allegiance to her life as a nun. When Raymond tires of her, she spends years in the wilderness, and Nodier makes much of her fall from grace, and her descent into a world of debauchery. However, those dead flowers she kept come to flower again, symbolising the resurgence of her former life of devotion, and when she eventually returns to the convent, she is welcomed with open arms and forgiven, and honoured as a saint in her turn after her death, thus echoing the mediaeval tales of Heisterbach and Herolt . To return to Zorrilla's poem, it was published in 1840-1841 in his Leyendas y Tradiciones, and set in Palencia, a Castillian city. In this version of the tale, Margarita is a sixteen year-old nun with a candid and foolish character, who is persuaded to run off with Don Juan, leaving with the lines: Al fin yo parto, Seora, At last I depart, Seora, Mi confianza en Ti sabes; You know I have trust in you; En prueba, toma estas llaves. In proof of this, take these keys As Margarita hablando, Talking in this way, Margarita, con lgrimas en los ojos With tears in her eyes ante la imagen de hinojos Knelt before the statue, los sacros pies la bes, Kissed her scared feet, y dejndola las llaves And after leaving her y encendida la buja, Crossed the gallery, traspuso la galera With a lighted candle, gan el jardn y parti Reached the garden and departed. (Zorilla 1965:73) After six months Don Juan tires of the young nun and talks of this to an old friend, who turns out to be the nun's brother, who Don Juan then kills in a duel. Don Juan abandons Margarita in an inn, and she returns to the convent. In echoes of Nodier's version, we find Margarita entering the convent at nightfall: Margarita, amedrentada, Frightened, Margarita, buscando asilo seguro Seeking safe sanctuary, acogise al templo oscuro In a dark temple, took refuge(Zorilla 1965:103) The Virgin tells her that she had taken her place because she was always devoted to Her. There is both the simple, frank expression of devotion to the Virgin, and a fascination with a taste for puerile loose living as symbolised by Don Juan, echoing Zorrilla's more famous work, Don Juan Tenorio. In Don Juan Tenorio, Don Juan enters a convent to seduce a nun, Doa Ins, having won a wager with his friend Don Luis that he could seduce more women in the space of a year. Don Juan tries to save himself by offering to marry the nun, but when his offer is rejected by Don Gonzalo, her father, Don Juan kills the father and his friend Don Luis. The play ends with the ghosts of Doa Ins and Don Gonzalo fighting over Don Juan whose fate hangs in the balance between heaven and hell, but in the end he escapes damnation. In an English poem 'A Ballad of a Nun' by John Davidson, published in 'Ballads and Songs' (1894) we find a lighter handling of the tale, with Beatrix by this time already described as guilty of sin while in the convent, and needing to purge herself with self-flagellation. She is quickly drawn to the world outside at carnival time: Fillet and veil in strips she tore; Her golden tresses floated wide; The ring and bracelet that she wore As Christ's betrothed, she cast aside. (Davidson 1894:55) In this version, she wanders half naked into the streets, and in a reversal of the Spanish poem where she showed devotion to the Virgin Mary by kissing the feet of the statue of the Virgin at the gate, she instead wantonly throws herself at the feet of a young man, which she kisses, and asks to be taken to bed. She is still taken back by the convent when she has had her fill of debauchery and returns as a fallen woman, but in the Davidson version she is hardly led astray, but is herself the instigator of her own descent into the world of sin. There is a progression in the evolution of the legend from a Catholic tale of redemption, investing much in the power of the Virgin Mary to forgive those who stray from their faith, to one in which there is an increasingly prurient interest in the image of the fallen woman, even the thoroughly debauched woman of Davidson's poem, contrasted against the background of an image of a pure, untouched one. In the tale by Nodier, there are two nuns, the Saint, who saw the Virgin in a bush of thorns that miraculously flowered and were filled with light, and then two centuries later the more ambiguous figure of Beatrice, who is capable of being driven by earthly passion while retaining something of her earlier life, to which she eventually returns. Davidson's figure is marked as one who dreams of sinning even while chastising herself for her wayward thoughts, but who eventually gives herself totally to earthly passion. She is also described as a force of nature, with references to the wild weather leading her away from the convent, echoing her inner lust. Based on the archetype of Don Juan, Jos de Espronceda, (1810-1842) in El Estudiante de Salamanca, conjured a parallel figure, Don Flix de Montemar: Segundo don Juan Tenorio A second Don Juan, Alma fiera y insolente, A fierce and insolent soul, Irreligioso y valiente Irreligious and brave, Altanero y reidor: Arrogant and quarrelsome: Siempre el insulto en los ojos, Insult in his eyes, En los labios la irona, Irony on his lips, Nada tiene y todo fa He fears nothing, trusting only De su espada y su valor. His sword and his valour.' (Espronceda 1979:4) He seduces Elvira: ' Elvira, amor del estudiante un da, Elvira, once cherished by the student, Tierna y feliz de su amante ufana, Was tender and happy and proud of him; Cuando al placer su corazn se abra, So her heart blossomed with her pleasure, Como al rayo del sol rosa temprana: Like the morning rose basking in the sun; Del fingido Amador que la menta, Dying with thirst, she drank La miel falaz que sus labios mana The false honey that flowed from the lips Bebe en su ardiente sed, el pecho ajeno Of her deceitful lover, her trusting breast De que oculto en la miel hierve el veneno Innocent to the sweet, wicked poison.' (Espronceda:1979:4-5) Elvira is though a more conventional figure of the innocent young woman led astray by the cavalier seducer, and as the poem evolves the image of virginal purity cast aside by a false lover again has echoes of the Beatrice story, but Espronceda's is a classically Romantic vision of the fallen woman, while Nodier's story, and Davidson's poem especially, reflect a more prurient, masculine fascination with the woman's loss of innocence, but show the woman as capable of not only bringing about her own downfall but also of revelling in sensual pleasure. However, the woman doesn't speak for herself, she is seen as a character in a melodrama, viewed from a distance, and the return to the convent ensures a bourgeois comfort in that the woman is ultimately saved by faith, whereas in the Don Juan story women are merely cast aside and replaced by other lovers. Don Flix however is a more macho incarnation of Don Juan than that conjured by Byron, who rather allows himself to be seduced by women than taking the trouble to seduce them! The evolution of the Beatrice story in the nineteenth century can be seen as one that remains within the framework of the Catholic faith while stretching the boundaries of acceptability in its exploration of female sexuality. Much is made of the virginity/Virgin dichotomy - the tension between spiritual purity and longing for sexual fulfilment, but it is not seen as being in the power of the women to experience sexual fulfilment for themselves without being either completely damned or, 'saved' through the forgiveness of the church, through a return to faith. There is a strong sense of a 'male gaze' in the framing of these tales. In the Beatrice legend, and the legend of Don Juan with which it is closely intertwined, the loss of innocence is always set within a moral frame of transgression and divine retribution. By the nineteenth century the power of the divine to evoke the kind of fear that Lope de Vega's audience would have experienced was much diminished, and literary creation could suspend the dominant conventional Christian morality by exploring themes that were rooted in distant time (such as ancient legends) or by reviving figures that were already well-known and thus familiar Baroque villains, like Don Juan. But if anything it is the modernity of the thirteenth century Alfonso X el Sabio, echoed in the later texts of Heisterbach and Herolt, in allowing the pregnant nun to be welcomed back into the convent that brings the Catholic story at least as far as the nineteenth century. Beatrice, (or Clara or Margarita) are figures in a landscape, and as fallen nuns they are variously 'pure' or sinning, sinful or sinned against perhaps, but they are not yet modern women, capable of making judgements for themselves, and assuming their own destiny. John Dixon and Salvador Ortiz-Carboneres References 1. Alfonso X el Sabio (1221-84) Cantigas de Santa Mara, (Escorial manuscript) 2. Caesar of Heisterbach (ca. 1180 ca. 1240) Dialogus Miraculorum,1473. (1966 reprint of 1851 edition in British Library) 3. Herolt, Johannes (died August 1468) - Sermones Discipuli or Promptuarum exemplorum 1474. (Cologne: Ulrich Zell) (1475 edition in British Library) 4. Carpio, Lope de Vega (1562-1635), 2002. La Buena Guarda (Mara del Carmen Artigas ed.) Madrid, Verbum 5. McGrady, Donald 2011, Alfonso X: Fuente de La Buena Guarda de Lope de Vega, Bulletin of Hispanic Studies, 88:7 6. Canning, Elaine, 2007, Identity and the refashioning of role in La Buena Guarda: The cases of Carrizo and Flix, Bulletin of Spanish Studies LXXXIV:7 7. Zorilla y Moral, Jos (1817-93), 1946.: Leyendas y Tradiciones (Buenos Aires: Espasa-Calpe) 8. Molina , Tirso de, (pseudonym of Fray Gabriel Tllez) (1583-1648), 1982.: El Burlador de Sevilla y Convidado de Piedra (Xavier A. Fernndez ed., Madrid : Alhambra) 9. Nodier, Charles (1780-1844), 1961.: Lgende de Soeur Batrix, Contes Paris : Garnier 10. John Davidson (1857-1909): Ballads and Songs (1894) London: John Lane, The Bodley Head 11. 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