Eclipsed Autonomy: Celestial Images and the Free Will Debate in Antonio Mira de Amescua’s Álvaro de Luna Plays
Antonio Mira de Amescua’s two-part Próspera fortuna and Adversa fortuna de don Álvaro de Luna chronicles the rise and fall of Spain’s most iconic privado, Álvaro de Luna. Suspected by medieval chroniclers of controlling Juan II with magic, Luna’s appearance on stage speaks to growing concerns in seventeenth-century Spain over the king’s ability to resist manipulation by powerful courtiers. Rather than using the plays as political commentary, however, Mira frames the institution of privanza within contemporary debates regarding free will, and, in doing so, offers a dramatic rendering of the nature of human autonomy and spiritual bondage.
Pulling Strings: Puppets and Free Will on the Spanish Stage
Abstract:In the later seventeenth century, máquina real companies performed full-length religious plays in the corrales de comedia using puppets instead of human actors. Much of their repertoire consisted of comedias de santos affirming the sovereignty of free will. This essay explores the possible dissonance produced among early modern audiences who watched a puppet—seemingly a metonym for manipulation—insist on his free will. Through close reading of a diverse assortment of theatrical, theological, and political texts, I reconstruct the metaphorical meaning of puppet, which turns out to have curiously distinct resonances in the Catholic and Protestant traditions.
Shoeless Joe: Fantasy and the Humor of Fellow-Feeling
In his essay on Jean Paul Friedrich Richter, Thomas Carlyle writes of a humor that manifests itself in smile rather than laughter. "Richter is a man of mirth," says Carlyle, whose humor is "capricious . . . quaint . . . [and] heartfelt" (15). The three adjectives represent for Carlyle the essence of what he terms "true humor" because they suggest Richter's enormous respect for humanity. "True humor," he goes on to say, "springs not more from the head than from the heart; it is not contempt, its essence is love; it issues not in laughter, but in still smiles, which lie far deeper" (17). These smiles are not Hobbesian smirks of superiority1 but genuine signs of compassion for, sympathy toward, and empathy with the object of the humor. Carlyle further provides a direct link between humor and both pathos and nobility; the link is the smile of the caring man. For Carlyle, this smile is one of "fellow-feeling":