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• W65691728 abstract "Carlos V en Francia (1604) appears to promote a transparent ideology of empire represented by an august cast of characters including the central figure of the Spanish Emperor, Charles V, as well as Francis I of France and Pope Paul III. Unlike other plays in the history subgenre of Golden-Age comedias, it is not about Franco-Spanish military conflict followed by victory or defeat, but rather conflict resolution through diplomacy and negotiation. In the end, the antagonists reach a peaceful accord through papal mediation. Hardly the ingredients for successful drama, the play would appeal as pageantry, which most closely describes its classification.1Intersecting with the theatricalized actions, however, is a cast of fictional private citizens whose stories of desire and ambition provide dramatic interest and humor, and sustain the otherwise episodic historical negotiations. All of these conventional comedia types and their familiar issues will show refractively the principal political activity. For example, the quest of Leonor who monomaniacally pursues a liaison with the Emperor sustains the centrality of the Spanish monarch in the play. In her erotic pursuit she is as much an appellant as Francis I, and her role is a radical and entertaining counterpoint to the formulaic operations being played out in the drama. Among the secondary characters, Leonor is the one who is most transgressive and subversive. As a native of Italy she represents disputed territory, and later as madwoman, her proximity to and defiance of the Emperor trivializes and humanizes the very serious political struggle between the monarchs. She is the accessible site of the crisis-the one who has trespassed the corporeal and moral borders without recrimination. just as the crisis will conclude with reconciliation and truce rather than victory and defeat, Leonor's sexual hunger will also be satisfied apparently if not actually in a grotesque parody of the serious political accommodation.The events in the play describe a period between 1537-1540, years of realpolitik between the great European monarchs of the early sixteenth century, Francis I and Charles V, whose rivalry dominated European politics until the former's death in 1547.2 Their rapprochement, which the play dramatizes by telescoping events, begins in separate audiences with the Pope in Nice, progresses to a tentative meeting in Aigues Mortes, and concludes with effusive expressions of friendship in Paris. Throughout, Francis I is clearly the appellant. He complains of the Spanish king's severity, and is intent on mollifying his anger and indignation. At this level of action, there is insistence on the notion that peace must be achieved through negotiation, requiring that each party show a reasonable idea of the limits and obligations of power and rank. By resisting and demurring, the Spanish monarch assumes a posture of superiority. The theater, of course, provides an opportunity for this work to make visible the signs of power and prestige that enhance the image of royalty and, in particular, that of the emperor. Arnold Reichenberger saw such a purpose as well in Lope's careful selection and occasional distortion of facts (55). The political rhetoric, the fanfare accompanying processions of grandees and the presence of Pope Paul III among other aspects of performance, show the full-blown theatricality of power and the power of theatricality as Stephen Greenblatt suggests in Invisible Bullets (56).3To this grouping of loosely connected appearances of aristocrats and kings is joined the unhistorical and closely-knit cast of commoners that accompanies the peripatetic emperor from Nice to Marseilles, Toledo, and Paris. The socially peripheral group brings thematic continuity and natural discourse to the highly rhetorical intermittent scenes, a combination which George McCalmon and Christian Moe in Creating Historical Drama point out as important functions in pageant drama (239). …" @default.
• W65691728 created "2016-06-24" @default.
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• W65691728 date "2004-01-01" @default.
• W65691728 modified "2023-09-24" @default.
• W65691728 title "Negotiating empire and desire in Lope de Vega's Carlos V en Francia" @default.
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