With the words Devoto salgo, Ventura, / pero a lo humano. iAy, que bella / imagen vi, si es imagen / quien a si se representa! (289-92), Tirso de Molina begins his scrutiny of the nature of identity and the power of imagination in celosa de si misma. In Celosa, Tirso de Molina presents the reader with a woman who is forcibly split into secondary and, later, tertiary identities, with a resulting battle for control of the created self. As we consider the play in depth, it is apparent that the female protagonist, Magdalena, is a victim of disguise and assumes a mostly passive role throughout the play, an occurrence uncommon in similar plays by Tirso. Since her disguise is inadvertently thrust upon her, she is faced with a phantom self, an idealized version that she can neither control nor surpass. Magdalena's woes are linked to the question of who really creates and controls disguise, and consequently identity, within the play. Ultimately, it becomes clear that identity is an unstable construct that is subject to changes in perception as well as to deliberate manipulation.Anthony Cascardi, one of the few critics to discuss this play in recent years, briefly addresses this work in the context of his 1984 study on Pedro Calderon de la Barca. When he does so, he dismisses it as lacking the quality of such plays as El burlador de Sevilla or dama duende. It is not until more than a decade later, in Anita K. Stoll's article Do Clothes Make the Man? Gender and Identity Fluidity in Tirso's Plays, that the question of identity in the play is addressed. As part of her larger study of gender presentation in Tirso, Stoll focuses on the confusion caused by the cloak that Magdalena wears to mass. Stoll argues that Tirso, through his characters and language suggests a confusing of visual realities and identities (833). Unfortunately, since hers is a multiwork study, she does not have the space to further develop how this multiplicity is constructed, manipulated, and controlled in this particular work. It is Dawn Smith's article, La celosa de si misma: A Comedy in Spite of Itself, which most closely approximates the focus of this study. Smith elaborates on the characteristics of Tirso's comedias de enredo and includes an explanation of the plot. She concludes that the play, in addition to being a comedia de enredo, is full of pervasive irony (831) and astute observations about the foibles of humanity. However, none of these efforts specifically concerns itself with the production and use of disguise and identity in this play. I wish to expand upon previous scholarship by illuminating how identity is unwittingly constructed in this play and the consequences of said creation.The work opens as Don Melchor, a poor young noble who has come to Madrid to marry a family friend's daughter, comes out of mass proclaiming to his servant, Ventura, his love for and devotion to a woman he glimpsed during the service (289-92). When Melchor admits that all he saw of the woman was her hand, the gracioso's response is a well-deserved deconstruction of courtly love and baroque figures (353-60). Ventura's emphasis on the partial body highlights the expansive power of Don Melchor's imagination while simultaneously deconstructing the female body. Where Melchor creates a whole body from a hand, Ventura separates the female body into component parts: a division reflective of the differing world views held by the two. Melchor sees the world as a holistic realm in which his synecdochal imaginations are always validated. He is an idealistic adherent to a standard of love that exists only in a literary world, as his statement [Y]o no tengo de casarme, / si no fuere con belleza / y virtud (104-06) indicates. Although poor, he is willing to abandon a dowry of sixty thousand ducats rather than marry a woman he does not want (97). Ventura, his practical counterpart, sees only the advantage to be gained by such a marriage (94-98). …
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