Abstract
Jose Zorrilla's Traidor, inconfeso y mdrtir responds to the social turmoil of the year 1848 both in Spain and throughout Europe by seeking to produce a literary image of peaceable subjectivity in keeping with moderado ideology. Traidor portrays its Christ-like protagonist, Gabriel Espinosa, as a romantic rebel who refuses to act on legitimate nationalist claims. The play thus challenges progresista ideas concerning the legitimacy of revolution. Nevertheless, contradictions among the ideological discourses comprising historiconationalist romanticism surface in the portrayal of the female protagonist, Dofia Aurora. The coincidence of national, gender, and class contradictions throughout the play supports the view that cultural romanticism forms part of the dynamic of bourgeois revolution in Spain.
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