"No Word without Mystery": Allegories of Sacred Truth in the Autos Sacramentales of Caldern de la Barca Author(s): Barbara E.

Kurtz Source: PMLA, Vol. 103, No. 3 (May, 1988), pp. 262-273 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/462375 . Accessed: 15/08/2013 12:51
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BARBARA E. KURTZ

in Truth ofSacred Allegories Mystery": without "No Word de la Barca ofCalderon Sacramentales theAutos
a corpusof more within la Barca (1600-81), wrote autos sacramentales, than seventy someofthemostfaadaptedfrom nineplaysfreely Theseeucharismyth. moustalesofGreco-Roman thetime-consecrated which incorporate ticdramas, Christian established legacywithin mythological an reflect of allegorical interpretation, conventions of tradition and propaedeutic hermeneutic entire alof Christianizing usingpagan talesas a branch apologetics.' and Christian legoresis far intheautos,however, achievement Calderon's In his tradition. servile obeisanceto this transcends auto becomesthevehicle handsthemythological illumiand profoundly original, fora profoundly of the complexrelationof nating,examination problems and thehermeneutical to allegory myth theWord thematizing inboth.Byexplicitly inherent as wellas of pagan myth, as sourceand guarantor theminterpretation of languageand illuminated a powerful allegory Calderon's embody plays selves, and sacralsignificance oftheassumed divine origin butalso, and mostprovocatively, notonlyof myth For the of an essentialand radicallogocentrism. imtruth divine ordination and revealed dramatist the auto and the human plicitlysacramentalize In and creative endeavors. author'shermeneutical thebestof theseplaysand the closelyconsidering of theissuesthey raise,I attempt mostsuggestive and allegorito showthatCalderon'smetaphysics to Christian witness a timeless cal theory constitute truth and a timely challengeto some widelyacof modernliterary theory. ceptedtenets of pagan as allegorizer Athismostconventional within inherited traCalderonstandsfirmly myth, and mythography, of Christian apologetics, ditions he owesmuchto thetheoIn particular, allegoresis. by advocated of pagan myth logicalrationalization affirms theadumbrations who stoutly Augustine, inthevirtuous doctrine pagan philosof Christian ophers and theologians.2Augustine's attitude in the famous towardpagan letters is epitomized Doctrine where thebishop passageof On Christian expoundsthenotionof theSpolatioAegyptiorum "everywhere divineprovidence, (2.40). Immanent

de Pedro Calderon HE SPANISHdramatist

irradiates some infused" (75),Augustine maintains, thelight of reveofthepagans'teachings. Through and thetruths lation,theChristian mustdiscover and use themin teachprecepts contained therein ingthegospel. Both the radically typological visionof pagan myth and thefundamental principles of Christian hermeneutics that this passage intimatesenormouslyinfluenced laterapologistsand allegorizers3 and inform Calderon's entire corpus of thesanctioning mythological autos. In particular, of pagan myth as prefigurative is the linchpin of treatment, as itwas for mostprecursory Calderon's In El verdadero dios Pan (1670),forexallegorists. ample,thedramatist explicitly allegorizes theshepherdgod of thetale as a "shadow" of the Good inof scriptural this Shepherd parableand supports with terpretation complicated etymological analysis.Pan in Greekmeans"everything," we aretold, an acceptation of Christ evocative as theunionof divine and human.Christ is also theBreadof Life, intheEucharist, commemorated and hypostatized with and he is thusassociated homonymically Pan, sincepan means "bread" in Spanish(1242). Given the undeniableconventionality of such devices of allegoresis, one might be tempted to dismiss Calderon as a meremythographic hack, an of inherited unimaginative purveyor theological and secondhand platitudes allegorizing techniques. is onlypossibleifone passes But sucha dismissal inhis oversometrue, and truly curiosities revealing, The mostobvious,perhaps, repertoire. is thefreedom withwhichCalderonhandleshis mythologiIn El verdadero cal legacy. dios Pan, forexample, he fuses theeponymous reminiscences of god with Endymion,the youngshepherd loved by Moon, and centers theautoon Pan'slovefor the Luna,here personification ofthehumansoul.Luna,or Moon, is identified withDiana and Proserpina. variously The three analogates-Diana, Moon, Proserpina-are obviously interrelated through their nocturnal associations; collectively, they allegorize three ofthesoul.Finally, destinies since the possible Pan is the typeof the scriptural Good shepherd elements oftheparablearelogically and Shepherd,

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Barbara E. Kurtz
dramatically integrated into the storyline: Pan abandonsa flockof ninety-nine sheepto restore to Moon's care one lost lamb. The latitudethatCalderon increasingly allows in elaborating, himself and often completely rewriting, ancientmythbecomes one of the defining characteristics of hismythological auto.Indeed, the later,and finest, autos in particular become far morethanmere twice-told tales;whatconfronts us in theseplaysis no longerGreco-Roman myth but Calderonianmythopoeia. In hislastmythological auto,Andromeday Perseo (1680), for example,Calderon radicallyrethe inheritedtale to foregrounda interprets Christocentric reading.4 Drawingon a complex and highly artificial etymological analysisof the princess's name,he seesAndromeda as HumanNature,Perseus as Christ. Perseus's rescue of the doomed princessthus becomes the storyof the Savior's redemption of humanity. The Christian accommodation of mythological material entailssubstantial necessarily revision of thesources. WhilethePerseus-Andromeda episode does offer some vague parallels to salvation history-andhencesomebasis fora Christological reading-numerous detailsresist facile, or eveningenious, analogizing and require considerable transformation to yieldChristian undermeanings. For example,Cassiopoeia's sin of pride and arrogance, themotive force behindthemyth's chain of events,all but disappears in the auto; Andromeda, as Human Nature, musttakeon thethecrucial roleof committing ologically the"original" and originary sin.LikeCassiopoeia,shedisplays an arrogantly prideful assurance thatherbeauty is virtuallydivine;despitethe uneasywarnings of her ownpersonified FreeWill(a character abnaturally sentfrom themyth), theprincess seesin herself "el mas perfecto ejemplar/ que vio el sol . . " 'the most perfect seen by the sun.' (1696).5 exemplar But Andromeda'smoral failingsgo far beyond prideand presumption; she is guilty as wellof the farmoregrievous and theologically relevant sinof disobedience to divinemandate.The Devil, espebecausetheprincess ciallyoutraged "aspiraa ocupar el solio / que perdi" 'aspiresto occupy the / that[I] lost' (1700)-an obviousallusion throne to Lucifer's fall-calls on Medusa to assisthimin revenge. Medusa,whotakeson thedual identity of sinand death, since her own readily agrees, ugliness makesherjealous of thepreferment Andromeda enjoys.It is Medusa whosuggests theplotthatwill

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bring Andromeda's downfall: theGorgonwillpoison a "forbidden tree"in theroyal and the garden, princess's FreeWill,tempted bythetree's fateful apples,will fallvictim to theDevil. In addition to modifying crucially thenature and causesofAndromeda's plight, obviously fused here with theChristian gnosisof Genesis,Calderonintroduces theGorgonintothatpredicament, giving greatprominence to a figure thatdoes notappear in theAndromeda episodeof Perseus's adventures. In thePerseus story, in fact, theheroslays themonster before he meets theprincess, and thetwoevents are narratively and thematically unconnected. Yet Calderoncouldscarcely pass up theopportunity to conflate inhisChristian them allegorization ofthe In theiconographic myth. tradition thatdeveloped around Perseus theMiddleAgesand Renaisduring sance(Seznec),theMedusa adventure wasthemost of thehero'scareerand, furthermore, significant themostsuggestive of Christological the parallels: Gorgon'shorrific appearanceand destructive animus,as well as the famoussnakyhair,made the monster readily assimilable to Christian demonolso thatPerseus's ogy, conquest becomesan obvious analogue of Christ's oversin and death. victory Her diabolic associations notwithstanding, Calderon'sGorgonis nottheDevilbut,rather, the Devil's accomplice.In the auto the Devil himself does allegorizean analogous figure of the myth: Phineus,Andromeda'sdisappointedsuitor, who loses herto theheroicPerseus. But,despite a complexetymological fortheanalogy, justification the demonicPhineusis not reallycomparableto his mythological eponym.In themyth the frustrated loveris a whollysubordinate, undeveloped, and shadowy personagewhose veryinsubstantiality to throw serves thefigure ofthegodlike Perseus into relief. In theauto Phineusis a central greater figureand, as theDevil,a principal in thefallof humanity. The theological registerof the auto subsumes themythological inthisporcompletely tionoftheplay, as Phineus alludestothetraditional of Lucifer's fall("Al mismoDios le presente story batalla" 'On God himself I wagedwar' [1699])and to hisjealousyofthefavored Human Nature, who himin divinefavor. supplanted Whatis mostintriguing in Calderon'sversion of thePerseusmyth is hisconsiderable editorial revision of thetale.The dramatist is notsimply glossingthestory, not merely analogizingitsnarrative and itscharacters to their sacredpropresumably he is rewriting totypes. themyth Rather, so exten-

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de la Barca in Calderodn of SacredTruth Allegories

Age ofThird andrescue protection heisvirtually Love'sloving that andso Christocentrically, sively, ofthe establishment interpretativebecome toChrist's giving typology, Calderonian equivalent writing ininhisChurch; thefaithful for heallegorically NewJerusalem that truth to thesacred testimony forhisbride deed,thepalacethegod constructs expounds. Age 21.Psyche-Third ofRevelation that rolethat resembles or apostolic evangelical The veritably soulor the thehuman personify doesnotmerely assumes for himselfin Calderon implicitly symshealsosynecdochically Christian, individual on more prominently iseven Perseo Andromeday embracentity as the corporate Church the bolizes in Psiquisy Cupido(1665).Thisauto is display By developing allego- ingthesoulsof all thefaithful.8 here ofApuleius, onthe fable basedloosely familial and Psyche's problems dynastic agesaccord- World's oftheological as thesuccession rized of thecircumstances for as a metaphor conflicts Whentheauto conception. ingto theChristian of synopsis integrates Calderon Christianity, early in isreading Devil, ofthe Hate,a figuration opens, ofApuleius. hisallegorization into history monarch Church abouta supreme of Psyche" "thefable figures Age thussimultaneously Psyche-Third the ofwhom the youngest daughters, andhisthree era, or the age of the first the earlyChristian de las dos" into thesea "porenvidia throws king andthehuman ofthelawofgrace, promulgation two'(368).This oftheother oftheenvy 'because the conceived: generically the oldest soul, or humanity allegorically: storyHate interprets Chrisindividual ofthe psychomachia microcosmic to corresponds to Paganism, married daughter, is thusdepicted history salvation to to Judaism, tian'songoing married Law;thesecond, Natural hisof Church context themacrocosmic within is unmarried, yet Law.Theyoungest, theWritten is moreover, periodization, The Christian in tory.9 wholives Third Age(Psyche), theLawofGrace, tothecomandallegorically theologically related "cuyohonor/ a la hope of a royalhusband, thehuman for SatanandChrist between petition majestad exceda / de una y otra . . . " 'whose asisthus ofthe individual Thepsychomachia two' soul. of theother themajesty honormayexceed thatit history of sacred to theschema power similated totemporal theaccession (369).Hatefears conflict, ofcosmic andtothedrama nattothe recapitulates age,"successor a "third Law," ofa "new of loveand principles Itis to theclashoftheimmanent lawsoragesoftheworld.6 uralandwritten in. Butthe and participates thatit reflects hisbound- hate, Hatedevotes that marriage this prevent far morethan a conceptistic dramatic analogyinvolves the orimagines, He ideates, lessmalignity. theplayof analoof correspondence":'0 fic- "poetic and,confounding ofanallegory representation andpsymoral theindividual's that giessuggests into toseeThird Agethrown hopes andreality, tion in Christian are implicated struggles chological / ("esla tribulacion sea oftribulations a symbolic history ofsacred thepatterns that [3691) Heilsgeschichte, significacion" dela vida/delmar yzozobra in the fulfilled or typologically mar- are reproduced significant theologically her shefinds before thatbothinexperiences, quotidian Christian's monarch.7 to a divine riage arethehistory andsacred Age psychomachia dividual of Psyche-Third fortunes The subsequent The bellum order. of cosmic reflections In ophanic fable. the from Apuleian andmore more deviate andthe sacred history, individual, ofthe abandonment intestinum ofthegirl's theaccount particular, is the referent whose areanalogates itself the origi- cosmos from substantively father diverges byher conaction of allegorical All strands Psyche's Revelation. oracle commands Apollo's fable nal.Inthe salvathe guarantees which Eucharist, onthe verge to bride hill, on a high hisdaughter toleave father the confirms believer, In theautoWorld tion of the individual serpent. and powerful a fierce and inthe Church, lawofgrace ofthe he establishment reasons: and pragmatic more rational actsfor itself. intentionality ofdivine thegrace onedaugh- conveys tosacrifice itpolitically expedient finds inthis remains fable oftheApuleian little Very ofher the jealoussisenmity toavoid incurring ter is alitself that ofrelations a pattern to likens auto,mostly Calderon consideration Thisdynastic ters. theological thestory's closely more toreflect oftheearly tered andpolitical struggles thetheological The Psiquis y Cupido auto is a symbolic and referent. Age'smisfortunes era.Psyche-Third Christian on theanalfounded theology, of standing logicofChristian the without estate," "without status her andgodhead, cosmos, inhistory, andsocial mirror the ogyofsoul,sacred political woman, a married and disclosed, hasdiscovered, Calderon that a logic the rise ofthe before Christians ofthe early security proclaimed. anda temporal power. kerygmatically a religious as both Church

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Barbara E. Kurtz
of mythin the autos Calderon's treatment withits recourseto etymological sacramentales, and, of course,the readings, typological analysis, is thatshapestheplays, allegorization overarching of bycenturies sanctioned conventional, frequently Christianizinghermeneuticalpractice. Yet the handlesthetimelicensewithwhichthedramatist and allegorecanonsof mythography consecrated he editswitha free hand,consisis extraordinary: omits or mythological figures, myths flates different to sacred assimilable numerous detailsnotreadily of hisowninand material adds characters history, alters thetaleswithimagiand in general vention, and convention. from sources native independence in view surprising is somewhat This revisionism value thatCalderon,likemanyearlier of thetruth He constantly accordsto pagan myth. allegorizers, beliefthatpagan thetraditional Christian asserts Christian mythadumbratesor even prefigures ofmyth would conception truth. Sucha typological at odds with extensive editorial seemto be radically of saWhat happensto theintimations freedom. in myth iftheallegorizer the embellishes credtruth of hisowninventaleswith incidents and characters witha fine originals tion,altersthemythological if not theirunderlying fortheirletter, disregard Or we can pose thequestionfrom a slightly spirit? If thepagan myths embody different perspective: to do they radicalrevision sacredtruth, require why significance? yieldtheirChristian herbothfor Christian answer, The conventional and forCalderonas allegoriztradition meneutical are embodied is thatsacredtruths inginterpreter, exin pagan myth in a veiledform thatnecessitates egesisforits properelucidationand communication.In El divinoJasodn 1630),forexample, (before (thedisJason(Christ)explainsto theArgonauts oftheir thequestfor enterprise: ciples)themeaning Christ's ofthe theGoldenFleecesymbolizes pursuit oftheChurch; theinstitution humansoul through to thelegendis but a veilthatone mustpenetrate attainitstrueChristian significance. say.Butwhat, Thisis all welland good,wemight ifanything, prothattheinterpretation guarantees posed willbe a valid,or thevalid,one,doctrinally and not,as we soundand theologically efficacious, or evenfraudufear, capricious,factitious, might of anyallegoresis is,of course, lent?The warranty and mostpara central issue in anyhermeneutics ina Christian thatclaimsto reallegoresis ticularly veal divinelyordained truthas well as to have conceived.Contheoretical cogencymundanely

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and veniently enough for this problematic and thecentrality of allegory, theory Calderon's in Christian basisofinterpretation corroborative for usinEl sacroParareillustrated hermeneutics explicitly indeed thedramatist naso (1659)."Here of theologically an entire philosophy allegorizes interpretation. grounded toattend with a calltoallmortals Theautoopens welater that itis learn anunspecified competition; Church fathers. various a writing contest among hear andPaganism Thepersonifications Judaism understand it.Judafully the butcannot summons it "ajeno a misciencias"'aliento my ismfinds ina lanfinds itcouched learning' (777);Paganism capEach,however, ofwhich heisignorant. guage Judaism grasps tures of themessage: something has beenissuedbythe onlythatthe summons insome that itpertains Paul;Paganism, "apostate" tohispantoa deity unknown way half-understood thatthemusical summons theon. Bothperceive from a distant theParnassus emanates mountain, of thetitle of boththemythological (figuration and of Scripture), placeand theNewJerusalem Judaism eachattempts tointerpret hisperception. oratleast animage, that the mount ispart, guesses itisthesite that ofparadise; conjectures Paganism fields. oftheelysian thetwo Faith appears andtells Atthis juncture, in their althatbothhaveerred interpretations, She sugbothhavemadeworthy efforts. though an eachhasfounded tothepuzzled pairthat gests ofreligious truth. edifice offalsehoods ona portion read Faith hasJudaism the errors, Todemonstrate inGenesis ofcreation andPaganthedescription in Ovid's description ism read a comparable ofthe two Thesimilarity passages Metamorphoses. ofthepartial foreshadowFaith adduces as proof inthe ofboth truth andtexts beliefs ofrevealed ing she invites Ultimately, religions. pre-Christian mount togo tothesacred andJudaism Paganism in theCastalian fountain havebathed after they ofthebaptismal font). welater learn, (figuration, Thisopening scene ofEl sacroParnaso notonly and Judaism therelation ofpaganism allegorizes to Christian butalso figures theroleof revelation inreligious faith andunderstanding interpretation ininterpretation). The role offaith the indeed, (and, or itis suggested, captured religions, pre-Christian bothperforeshadowed truth; partof Christian tointerpret failed ultimately sonifications, however, thehalf-glimpsed because each, message properly in the madehissuppositions likeall interpreters,

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Allegories of SacredTruth in Calderon de la Barca

truths.This vision of the playwright's limited "authorial" rolewouldseemto imply, bylogicalextension, thatthesacramental playsthemselves are interpretative rather thanfundamentally creative. The dramatist's ownmythological inventions or interpolations can thusbe seenas explicative or illustrative glosses. It is likewise suggestive thatCalderoninthispasa function simiclaimsforhimself sage implicitly larto thatofthewriters oftheGospels.His humble or transmits the "news" of ingenio'wit' conveys hiddenphilosophy; thatis,he bearsthetidmyth's ingsofdivine mystery, serves as a veritable apostolic inthis witness to sacredtruth. It shouldbe recalled regard thatScripture, although thewordof a "human witness to divinerevelation" (Bloesch 118),is to himself," or "reveultimately "God's witness lation itself mediated throughhuman words" (Bloesch 117, 118). This mediativefunctionof is similar to the"humanmode" of alleScripture thatCalderonconstantly asserts goricaldiscourse oftheautos' allegorized as themedium explication 12 In bothGospel and alleof eucharistic doctrine. autoitis divine thatsanctifies gorical authority personaltestimony to sacred and sacred mystery truth, thehuman author God himself whospeaksthrough who writes of thattruth. Explicative gloss,illuminatedbythetruefaith thatlegitimizes interpretainthenuminous that tion,participates significance in kerygma, in theproclamation of salvainheres of Christian tionin Christand therecapitulation Heilsgeschichte. The allegorizer as authoris thus in thedivineordination of typology, as implicated of apostolicwitness, subfulfillment typic ministry, and proselytism. and The notion of allegoryas interpretative to Calderon's mediativekerygma, fundamental of allegory, of theinterrelation conception myth, and developed and truth, is profoundly examined in whatis perhapsthemostbrilliant ofthemythological autos, El divino Orfeo (1663).'3The Orpheus auto concerns divine creation, Christ's ofthehumansoul,and,ultimately, thedisalvation of allegory, vineorigin and numinous significance and language themselves. allegorical interpretation, In thisworkOrpheusis the "Voz que atractiva a iren su busca" 'Voicewhich force mueve through initspursuit' of attraction stirs movement (1840)refrain. thewords of theauto'spersistent Most obof Orpheus a pun viously, thisdefinition (involving on the Spanish voz, meaningboth "voice" and to the "word") analogizesthemythological figure

light, and within theconstraints, of hisowntheologyand religious understanding. The pre-Christian religions thusfailedbecause they werenot illuminatedbythetruefaith, thefaith confirmed that, by thedivinegraceconferred is the through baptism, warranty ofperfected understanding and thefoundationof valid interpretation. Correct interpretation becomes the virtualequivalentof salvation, and Christian theequivalent witness, of correct interpretation. left us (in allegorized Calderonhas,furthermore, a statement theontoform, naturally) concerning logicalstatusof editorial licensein Christocentric In theprologueto El laberinto del interpretation. of the myth mundo (1654?), an allegorization of Theseus,Faithstates:
Digalo el texto de Pablo: Entrelos Gentiles asienta,que convirtieron en fabulaslas Verdades; porque como ellos tuvieron solo lejanas noticias de la Luz del Evangelio, viciaronsin ella nuestra Escritura, atribuyendo a falsosdioses sus raras maravillas, y queriendo que el Pueblo sepa, que no hay fabula sin misterio, si aleg6ricaa la Luz desto se mira,un ingenio, bien que humilde, ha pretendido dar esta noticiaal Pueblo. Paul's text Rom. 1.14-15; [probably see Voght 46n40]asserts thattheGentiles converted truth intofables;since they possessedonlyvaguenoticeofthelight oftheGosourScripture, pel,they corrupted itsrare marattributing velsto falsegods. Desiring thepeopleto knowthatthere is no fablewithout ifthefableis examined mystery, alleinthelight ofthatmystery, gorically a wit,though humto conveythis news to the people. ble, has attempted (1558)

This declaration (typical of many scattered theautosand their throughout loas, or prologues) does not merely definetherelation between myth and revealed itconceptualizes truth, as welltheway Calderon viewedhis own roleas writer of allegorized myth.Especiallynoteworthy is his express denial,through Faith'swords, thathe was theactual authorof the mythological he autos; rather, himself as theeditor presents ortransmitter oftheir

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Barbara E. Kurtz
incarnated Word, or Verbum, of Scripture, an echo of the "In principium eratVerbum" of thefourth Gospel. Orpheus-Christ further describes himself in thisrefrain as "[q]uien de la nada hacerel todo out of gusta" 'he who pleases to makeeverything theexnothing.' He is,besides theincarnated Word, "Fiat ecutant wordoftheFather, who,byordaining lux" 'Let there be light,' thatis, bypronouncing a wordor words,effected theworkof creation.'4 This executant voz, of course,recallsas wellthe primummobile of Greek philosophy, the prime mover thatharmonizes thecosmos and mobilizes all creationthroughits motiveattraction. The of Christ mophilosophical conception as primum inmotion, lovethatsetstheuniverse bile,as motive to theallegorical is naturally assimilated presentationof Orpheustheloverand husband,in a comofphilosophy, and theology. plexintegration myth, meanOrpheus-Christ is thusvozinall itstripartite the ing:the"voice" of themythological musician, incarnatedWord,and the Father'swords "Fiat lux," whichmade theuniverse an exemplar of divinepowerand a theophany of divinegrace. The punningon the conception of Orpheusas wordand voice,a synonymy of meanings thatimplicitly analogizessacral Verbum and humanlanguage,suggests thatlanguageis likewise innately and sacral.The punning thatinforms performative a synectheauto is also, and moreprovocatively, richer condoche fora broaderand theologically or consonancecentral to the ceptionof harmony in mutheconsonanceinherent play'sconception: theentire of theharmonious sic informs structure and harmonic universe as well as the auto thatharmonizes sacramental or conflatesChrisand philosophical tian,mythological, conceptions in El divinoOrof thegodhead. Music is defined

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feo as

. . .una consonancia,y que esta esta tan ejecutada en la Fabrica perfecta del Instrumento del Mundo, que en seguraconsecuencia, es Dios su Muisico. (1847-48) a consonance . . . so wellexecuted in theperfect Construction oftheInstrument of theWorld that,as certain consequence,God is its Musician.

intheuniverse teleology ofnon-conscious agents universal Orofan intelligent theexistence entails derer," (Flew, "Aquinas" 18; see also "Argument").'5 The allegorizationof a seminal the within ortheological philosophical argument andincorporates ofpagan context myth signalizes ofhuman anddivine letters harmonization the very as both thepurtheauto explicitly that proclaims ofitsallegory. poseandthemethod Theconsonance inherent inmusic andtheuniverse issaidtocharacterize as well theharmonizationof "Divine andHuman in Letters" perceived the sacral oftypological (papatterns prefiguration Of ganOrpheus) andfulfillment (Christian Savior). both musical harmonics onthe onehandandharmonized Scripture and pagan literature on the Godisthe inCalderon's other, composer. Implicit of allegory oftheOrphic vozis notonly a vision language as numinous because itderives ultimately, radically from the originary Wordbut also a linguistic-theological conception ofGodas originative for theallegorical conflation ofpaauthority Divineauthority gan myth and Christian truth. ininitself isthe immanent guarantee of"validity inilluminated terpretation" grounded understanding, understanding grounded inthetrue faith. A brilliant of epitome of thisharmonization theological, mythographic, andlinguistic speculaintheprologue tion isitself given allegorical form toEl divinoOrfeo.Thistour ofallegoride force andlinguistic-metaphysical cal discourse speculation ofa competition "Divinas y consists between Humanas Letras" (1835) todetermine which posFiveladiesand five sessesthegreater excellence. inturn, courtiers comeonstage eachdisplaying a ofthealphabet letter andproclaiming thepreemiofthat ofan attribute nence letter as antonomasia of Christ. Theletters andassociated areE words A (Amor 'Love'), I(Jui(Eucharisti'a 'Eucharist'), cio de Dios 'God'sJudgment'), C (Caridad 'Charity'),T (Temor 'Fear'),H (Honra 'Honor'),S A (Aumentode la Gracia (Sabiduri'a'Wisdom'), inGrace'), I (InefableGrandeza'Ineffa'Increase bleGrandeur'), andR (Redencion'Redemption'). Allparticipants the victory ultimately acknowledge of R, because the universal redemption all the preceding attributes: "La comprehends / Dios todaslas dichas Redencion, en quiencifra
in whichGod vuestras. . . " 'The Redemption,

This passage allegorizesthe so-called argument from thatis,theargument that"theorderly design,

allyour virtues' As Music intones enciphers (1837). twodance a celebratory execute song,theletters ofwhich the first outEucharist 'a and figures, spells

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as a miniaofthis Thelogomachy loa canstand inthe tomyth overall approach ture ofCalderon's everywhere The dramatist autos sacramentales. ofthe the individual components anagrammatizes tocreate them andaltering tales, shifting original possiYet the transpositional new stories. virtually imas inetymology, beenthere, must have bilities or theallegorist ordained, and divinely manent "this anagram," them: couldnothavediscovered of theLetters "contains explains, one character proOrfeo andits InEl divino (1838). both Senses" ofan original transformation isthe logue allegory that disa transformation andoriginative reality, a heretofore proclaims closesand kerygmatically This significance. latent butalways unsuspected ofthe isthe work orinterpretation transformation expositor. ofthehuman imagination illuminated andit composer, Butitis Godwhoisthesupreme ofGod'swill, ortherevelation is Heilsgeschichte, treatments that configures allallegorical ultimately of sacred truth. of language and truth, Calderon's conception and essentially is powerfully like Augustine's, that grounds logocentrism Theimplicit logocentric. isitself andallegory andvalidates myth, language, del inEl laberinto formulated byTruth explicitly the of"truth," onthenature Discoursing mundo. theuse toFalsehood first explains personification / tool:"Si llegas ofetymology as an interpretative /paraquedosluces a interpretar nombres, nuestros / Divinas y Hu/ dentro de unaAlegoria tengan
manas Letras . . . " 'Our namesare to be inter-

plained as a figuration ofthesubject matter ofthe play tofollow: thestory ofOrpheus as an allegory ofChrist's A consequence redemption ofhumanity. of this analogy is themetonymic andtypological equationof theOrphiccither and thecrossof Christ's passion.'7 The prologue to El divino Orfeo is most obvioftheauto'sallegory, butit ously an explanation alsosynoptically allegorizes Calderon's conception toreofmyth, as they language, andallegory relate vealed truth. Thevictory conceded toR,Redempofhumanity tion, establishes Christ's redemption as his preeminent so muchis evident. attribute; Moreintriguing isthe initial disorder ofthe letters summoned themonstage byMusic;they arrange at the musical selvesto spell out Eucharistfa ofPleasure. ofa prompting Theletters' formation divine dancefigure thereby materializes creation as ofuniversal outofchaos. theproduction harmony their formation of a semantiMoresignificantly, word theprimacy ofthe cally meaningful suggests Wordin creation, to confer not only its ability butalsothepower tosignify, tomanifest meaning inthecosmos. andpurpose That divine presence form is Eucharist theword further they suggests ofcreation that thenuminous isitself significance inhuman as equivalent inherent language: nomina both occamaterialize as well the sacramental they ofthe "Husion andthe matter ofthe subject auto, manandDivine Letters" andScripture) used (myth Theauto's as the basisofthe subplay's argument. inthe the isnuminously immanent ject, Eucharist, which not merely the allegory, thereby acquires authorization ofthe Eucharist butalsosomething ofthe theme's sacramental character. Theanalogy inthe ofallegory andsacrament naisimplicit very inthis ture ofthe"victory" viclogomachy. R, the described as a cipher orcode:God, is notably tor, ofthe wearetold,"enciphered" all theattributes Saviorin theredemption, which is thesynoptic inthe to humanity "encoded" "goodnews"sent concealed beneath thematerial Eucharist, species ofthesacramental bread andwine.'9 Thisencodofdivine isbreathtakingly similar tothe ing mystery ofallegory which saoperations itself, analogizes ofhuman cred truth under veil Notfor the letters.
to noumena.'8 As thedancersanagrammatize the wordEucharistfa to form thewordsCfthara Iesu,

the second, CftharaIesu.'6 The anagram is ex-

is theauto denominated sacramental-it is nothing

of andrepresentation the kerygmatic incorporation truth. sacred

andHumanLetters possess Divine so that preted within Etymotwolights oneAllegory' (1561-62). the discloses she implies, logicalinterpretation, ofboth ofboth divine andhuman letters, meaning of truth and mythological (ultimately, scriptural ofsuchinterpreandtheresult thesame), course, wemay conclude, Byextension, tation is allegory. imanddivine isthe truth, interpreter, the allegorist theinirradiates in thetext manent explicated, the whoexplicates Thatit is Truth terpretation. imthe ontruth allegorizes disquisition allegorized truth warranted inallegory ofthe divinely manence There is no incarnates.20 thatthepersonification without ormystery miracle, without mystery, word Inother inLas 6rdenes militares (1662). wearetold iftheword is intrinsically mysterious itself words, or numinous in the theological sense,innately theapparently sacramental, etymologizing-even or capricious or fictitious etymologizing illusory inofmuch characteristic exegesis-will allegorical

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Barbara E. Kurtz
truth. And just as inevitably, evitably elicit thehuwill serveas witness man expositor to thattruth. The use of etymology as thebasic tool of mythographic interpretation mustthusreflect a conception of myth itselfas similarly numinousand of in the mythographic interpretation as implicated to revelation. testimony Truth goes on to explainhowthehumanletters of myth and thedivineletters of sacredtruth can findsimultaneous expression in allegory: a la Verdad tambien es quienla engendra, el Concepto la Mente quienla concibe, la Idea quienla alimenta, y Hermana de la Mentira es quienla parela lengua. que a las dosestado dio, y a la tercera echoal mar de las dos; porenvidia hastaaqui no maslei, porque enllegando a ver yo lo erael,de alliadelante la lecci6n. mesobraba

269

In thefable ofPsyche I read that a high, supreme monmartwo hadthree that for hearranged arch daughters, andthethird into thesea because ofher riage hethrew I sawthat it for when sisters' envy. No more didI read, I hateandfear], therest ofthe wasabouthim[whom to me. reading wassuperfluous (368)

in other Hate readsjustenough, words, to warrant his own interpretation of thefableas allegorizing the inceptionof the thirdage, the age of grace. Without knowing howthepaganwriter concluded Mind that conceives the story, ItisConcept that engenders Truth, Hate attempts to constitute himself as that it it,Ideathat gives itnourishment, Language gives coauthor,composingforthe tale an endingthat birth. (1562) and purpose.22 suitshis own desires In thisintriguing passage Calderonis doubtless playing with and against thecenturies-old tradition In thisviewitis theconcept(understood hereplaof of secuChristian moralization or divinization as theabstract or universal created tonically byGod lar literature (see Wardropper). Hate's "diabolizathatis originaand explicated byrevealed theology) I hope,approve tion"ofApuleius (Calderon would, mindreceives tive;theauthorial it,"incubates"its of the an coinage) constitutes interpretative gloss full theanatomical development (following analogy that adumbrates the glossator's own perverse values usedhere), and finally itinlanguage. expresses The as pretext for andtaxonomy ofhismaligauthor'srole is thussubordinate and contingent, and serves nant moral and philosophical truisms. mediative rather thanwholly creative, alwaysand to readcarefully Hate's failure and interpret corthan originafundamentally interpretative rather rectly is an epistemological and moral failure, sacral-is tive.2' The concept-unitary, originary, reflective of his diabolic limitations, as well as a telos. thetruenuminousand generative literary and hermeneutical one: the Devil's allegorof authorship intheallegorical The contingency out of his ical experiment must go awry and slip in is itself auto sacramental ingeniously allegorized the control, yielding before higher textual authority the intriguing passage of Psiquis y Cupido that ofthedramatist's handand,of course, controlling of theApuleian fapresents Hate's allegorization thepreeminent and ontological, theological, ble. The diabolical "allegoryof poetical fiction" before In thisaloftheSupreme Author. literary authority of course, to becauseCupid-Christ intervenes fails, legoricalvisionCalderon's(presumed) successin rescuePsyche-Third Age and make her his bride inrange though ofhisfaithful. within theChurch Hate's discomfi- theautosshouldbe seenas similar of theEuthediscovery tureat thisturnof events mostobviously symbol- oppositein implications: theconclusion of every auto sacramental, charist, oftheDevil izesthesubordinate, contingent power of that grace which the supervention intheaffairs of humanbeings. Moreprovocatively, represents and cresanctionsthe dramatist's hermeneutical also reflects to Hate'sinefficacy hisfailure however, and guarantees the interpretative inthelight oftrue readproperly and interpret faith. ativeenterprise and authorial deniedhisdiabolical countersuccess In describing his perusalof Apuleius,Hate menThat discovery sacramentalizes theauto as part.23 tionsthathe did not finish thetale: reading ofdivine and makesitthealconduit intentionality of divinepresence legory bothofthesupervention de Psiquis . . .en la fabula and purposein thecosmosand of thedivinewarlei,que unalto,unsuperior of correct ranty interpretation. tres monarca tuvo hijas,

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270

de la Barca in Calderon of SacredTruth Allegories

of Thepipeline quaternary. precursors, im- proximate ofauthorship, hierarchy ofthe Theproblem ordiluted bysuch isnot disrupted ordination tothewhole divine is crucial oftheautos, inmany plicit such on thecontrary, nodalpoints; intermediary in value anditsauthorization truth ofthe question andunivertranscendence the confirms Calderon mediation When autosacramental. the Calderonian truth. ofsacred the source sality to, allude to,orhashischaracters alludes relation ofthe vision logocentric Thisultimately refervaguely heisalways heallegorizes, ofthe tales andauthorial truth andsacral immanent "origi- between Arethese pagans. ofthe fdbulas ring tothe of the conception shapesCalderon's nals" of the talesto be takenas the seminal, endeavor exThedramatist's autosacramental. ver- mythological oralorpopular andpresumably prototypical, realsoimplicitly logocentrism thematized plicitly doctrine and inpaganreligious sions promulgated of claims metaphysical thecomprehensive manifestations bukes literary known first Oras the ritual? notionsabout textual but writers certainpoststructuralist secular, material bypagan, ofthis source itisGod ForCalderon, role. andauthorial innarrative meaning myths the whotookupandelaborated "everywhere truth ofthe whoisthesource by himself Or as subsequent versions form? or dramatic as ofmyth letters human the informs that infused" tobe versions authors, orlesscontemporary more ThedraofScripture. literature as thedivine well "original"because theyservedas considered is the matistof the allegoricalauto sacramental inmaking hisalorsource Calderon's inspiration andtransmitexpositor illumined the Given Calderon'soft- mystagogue, legorizedadaptations? the maintains that Augustine truth ofrevealed in- ter todivine ofpaganmyths attribution expressed Calderon's must be.25 interpreter he presumably ideal(Christian) sense), (in theChristian spiration revelakerygmatic allegoresis, author playis dramatized andoriginary Godas the supreme regarded comofthe warranted proclamation a divinely action, inthis analogously vision ofthemyths, which andirradiate that bind homologies andsubtle of Christian para- plex of thestatus quiresomething as theoand interpretation allegory, truth, whorework themyths myth, The human authors ble.24 truth. andsacred to providence testimony ofthe inthe truth value original: phanic sacred participate aresecondary parofantiquity authors the secular who use pagan IllinoisState University the modernwriters ticipants; themodern Normal tertiary; as source material, authors on theworkof chronologically writers drawing

as a onedefined is commonly festivities, nual Corpus Christi and theEucharacters or allegorical act dramawithscriptural theconventional indeed, matter; subject as itsostensible charist of a hostand chalice,gives endingof theauto,the"discovery" statusand function. theplay a quasi-liturgical thecorpusof Calder6n's deal with dissertations Twodoctoral autos. Voghtconsidersonly El divino Orfeo, mythological del mundo.MartinAcosta Psiquis y Cupido, and El laberinto heranalysesto plot limits corpusbutvirtually theentire treats whosearSee also Elizalde;and ParamoPomareda, summaries. of studies data on theearliest ticleincludessomebibliographic pagan between autos. On therelation Calder6n'smythological apologetics,see Allen,ch. 1. and Christian myth on influence 2 Parker wide-ranging has studiedAugustine's Calder6n. 3 The topos is discussed, to in thefamousletter forexample, written byDante. Can Grandedella Scala thatwas presumably of thisnotion,see Quain 223-24 and, forthe On thediffusion IberianPeninsula,Glaser. 4 On thisauto,see also Flasche,"Antiker Mythos";and NeuFor the datingof theplaysI followReichenberger. meister.

Notes IThe auto sacramental, as partof theana playcelebrated

theSpanishare mine. from s All translations 6 The Pauline exposition ages of thesuccessionof thethree is foundin Rom. 2.14-15,17-29and 3.21-31.In thisvision,the law,correspondwas thatof natural eraof humanhistory first period or Judaic, The second, ofpaganism. ingto thedominance law,underwhichhumanity was thatof theMosaic or written age, The third divinedirectives. came undertheruleof explicit the or thelaw of grace,beganwith theera of thenewcovenant comingof Christ. 7 On some of theliterary of implications and philosophical the Devil's "authorial" role in Calder6n'sautos, see Parker; Cilveti;and Kurtz,ch. 5. in veiledform 8 "The mythological is shownto contain story to thecosmic in relation of theriseof Christianity thehistory outthat points 194).Voght (Voght at playintheuniverse" forces the time forthefirst madepossible oftheChurch theinstitution of thelaw of grace(201). promotion systematic 9 In thisinterpretation I agreewithVoght:"Edad III . . . body, era and itssymbolic theChristian collectively represents level whileon theindividual as a groupof believers; theChurch Age or in in theChristian a humanbeingliving shesymbolizes as microoftheindividual 202). The notion (Voght theChurch"

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Barbara E. Kurtz
cosmis specifically intheplay'sloa, or prologue:". evoked el Hombre tambienes mundo pequefno" 'man also is a little world' (364). 10The titlecomes fromMazzeo's essay "Metaphysical PoMazzeo has extensively studied theimportance and univeretry." notionsof analogy(see his salityof philosophicand literary Renaissanceand "UniversalAnalogy."). 11 On thisauto, see also Flasche, "Elementos";and Soons. 12 For example,"ajustarnosa hablar / a humano modo es preciso" 'itis necessary to adaptto speaking inthehumanmode' (54), saysGrace in El ano santo en Madrid. In speaking to human beings,Christian thinkers believed, God himself adopted the "human mode," communicating throughparables and metaphors builton humble, ordinary words andthings. It is God himself, Calder6n likewise maintains, who legitimates theuse of the"humanmode" of allegory to achievesomeapproximation,however limited, however imperfect, to hislove,power, and knowledge. 13 Calder6nwrote twoautossacramentales based on theOrin 1677), pheusmyth, one ofthem the 1663play(first published On thechronology and theother undatedbutprobably earlier. merits of thetwoautos, see Voght108-09n4.On thisauto, see also Buelow; Dolan; thethree essaysbyLe6n; de Osma; Pollin; On theclassical and Voght 51-151. and medieval treatRipandelli; ment of Orpheus, see Bower;Friedman; Heitman; Lee; Warden; Cabafias.Orpheusas prophet or as typeof Christis discussed and Clement;see by early apologists such as Pseudo-Justin Paramo Pomareda68-70 and Voght70-71. 14 As Voght of Christ with pointsout (68), theidentification the thegodhead,and thebeliefthatitwas theSon who created tradition. On the idea of the world,can be tracedto patristic Logos as creator of the world, see Voght's bibliography (115-16nl7). 15 According to Ferre(671-73),theearliest completearticuwas made by Plato in the lation of thistheologicalargument as a craftsTimaeus he represents theDemiurge 29E-30A,where man.The specifically Christian oftheargument was formulation of thefive given byThomasAquinasas thefifth waysor proofs of theexistence of God (Summa TheologicaQ.2.3). 16 Voght pointsout that"[t]he use of thisanagram . . . in connection with does notoriginate Orpheusas a typeforChrist with seculiSocietatis Jesu Calder6n.It is foundinImagoprimi a provinciaFlandro-Belgica eiusdemSocietatisrepraesentata (Antwerp, 1640),p. 463" (126n34). 17 On Orpheus's instrument as a symbolof the cross, see Cabrol and Leclercq,vol. 13,pt. 2, cols. 2735-54. 18 Quilliganhas brilliantly bediscussed relation theintrinsic the "suprarealist attitude tweenallegoryand what she terms towardlanguage": are alwaysfunare notonlyalwaystexts, . . they Allegories about languageand thewaysin whichlanguageitdamentally selfcan revealto man his highest the spiritual purposewithin

271

at leasta potencosmos.As such,allegory alwayspresupposes and itis possibleto write and tialsacralizing power inlanguage, inthosecultural contexts which to readallegory intelligently only grantto language a significance beyondthat belongingto a (156) merely arbitrary system of signs. 19In theloa to El Santo ReyDon Fernando, segundaparte, " . . . aquel Alto is similarly described as a cipher: theEucharist / en quien el Padre cifr6/ el Poder,la Ciencia el Sacramento, in which el Amor" 'thatHigh Sacrament, Hijo / y el Espiritu the Fatherenciphered the Son Wisdom,and the Holy Power, Ghost Love' (1290). in20 This conceptionof etymological and mythographic theMiddleAges and Renaisterpretation was standard during echoedit.On thetraditional use sance,and Calder6nfrequently of etymology as an interpretative tool, see Curtius495-500. 21 On the medieval of thepoet as interpreter of conception "God's book," see Mazzotta 267-68 and Colish 253. 22 The visionof theautos' allegory as thedramatization of theplays. imaginative activity recurs againand againthroughout represented as a The Devil or one of his doublesis repeatedly oftheplay'sactionas an indramatist whoinvents theallegory dustria'mentalrepresentation' of hisplans forbringing about imfall.Kurtz discusses someliterary and theological humanity's plicationsof thisplot device(ch. 5). 23 Such divineordination of interpretative sucor warranty as welltotheaudience's wouldextend cesspresumably interpretativeendeavors.In thislightCalder6n'sautos can be seen as whatWalter Ong has called the pipeline perfectly embodying and readerly theasof artistic creation cognition, conception which of "theprior ofan extramental referent sumption presence a kindof thewordpresumably and passeson through captures theaudience to thepsyche" pipeline (166).Diez Borquediscusses reception of theCalderonianauto. 24 Cf. Jeffrey's and Dante: discussionof Augustine as a scribe and Thisvery notion ofthehuman writer Augustinian of a great number of metranslator is thecharacteristic posture dievalwriters, not just Dante, and theuse of the book-scribe viewof readerto such a writer's alertthemedieval metaphors and his workas textwitha conas a kindof student, himself toanother text. Thatis,theBook with for reference text, meaning has as itsAuthor God himself, of Memory whichDante studies in history to whosewriting thepoet responds, as a scribe.For extending Dante,intheInferno (15.88-90),thepoetictradition from as an witness, Homerto himself bearsa kindof collective of scribal to God's continuous narrative anthology translations, presence in the reality of temporal human experience. (10)
25 In The Trinity thenecessity of the 13.1.3 affirms Augustine of faith forthecorrect See also ofScripture. light interpretation Mazzotta 294-95.

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Allegories of SacredTruth in Calderon de la Barca

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