Policing Gender and Desire PDF

The Duea Dolorida: Policing Gender, Desire, and Entertainment Author(s): Sherry Velasco Source: Hispanic Review, Vol.
77, No. 2 (Spring, 2009), pp. 221-244 Published by: University of Pennsylvania Press Stable URL: http://www.jstor.org/stable/40541357 . Accessed: 15/08/2013 16:35
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The Duea Desire, and
Dolorida-.
Policing
Gender,
Entertainment
Velasco Sherry
ofSouthern California University
ABST R ACT Theimage ofa bearded inthe DueaDolorida plot lady in thesecond reveals certain forpolicing partof Don Quijote strategies behavior that traditional notions ofdesire for thecharacters impact gender whoparticipate in and/or observe theepisode as wellas for thereaders of Cervantes's novel.This article what the of the crossquestions figure bearded Condesa Trifaldi andtheenchanted Dulcinea dressed, (played by in thepalaceas wellas for thetransvestite thespectators page)meanfor readers. To helpunderstand thesignificance of thegender-bending plot, inillustrations this examines visual of the and essay representations episode film: a children's Covarrubias's Emblemas bookversion of the morales^ DueaDolorida illustrated Arturo Marn as Trifaldi Albarrn, byAntonio in Rafael film Gil's1947 Don Quijote de la Mancha^ andJuan DiegoBotto Dulcinea inManuel film as the enchanted Gutirrez 2002 El cabalAragn's
lerodon Quijote.
The imageof a beardedladyin theDuea Doloridaplot in theDuke and Duchess's palace in part two of Don Quijote,while disconcerting for its shockvalue,wouldnothavebeen unfamiliar forearly modgender-bending ernreaders. That hirsutism was a populartopicin earlymodernvisualculthefrequent tureis documented illustrations of womenwithfacial through hairwho appearin private and texts aboutmonstrous exhibitions, paintings, readers and of and the sixteenthseventeenthSurely spectators hybrids. individuals born Spain had witnessed century imagesof hermaphrodites, hair withexcessive the mother's (explained impressionable body by imaginationduring sorceresses or other old womenassociated witches, conception),
Review 2009) Hispanic (spring ofPennsylvania Press. Allrights reserved. 2009University Copyright - ^ 221
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HISPANIC REVIEW : Spring 2009
sexual commerce, or even saintssuch as Librada,who withtransgressive avoided marriage by miraculously acquiringfacialhair during successfully causedthegroomto runforthehills. whichnot surprisingly, hernuptials, thatCervantes's beardedladyis not The readersoon learns, nonetheless, thebeardedpriest's initial whatshe seemsto be. Considering cross-dressing in theroleoftheCondesa in partone ofDon Quijoteand theDuke's steward in parttwo,we might wonderwhatthe figure of a cross-dressed, Trifaldi thatof theenchanted Dulcinea playedby the beardedlady(not to mention in mean for the the transvestite spectators palace as wellas for page [II.35]) thenovel'sreaders, once themale identities of thedamselsin disespecially How does our of tressare revealedin subsequent chapters. understanding theobviouscluesto thecontrary) we read thisepisodechangewhen(despite as a woman in distress, thus identifying with Don Quijote's and Trifaldi thatthis "she" is actually a man witha beard Sancho Panza's ignorance a dress? wearing to provide comicalentertainment fortheactors orchestrated Undoubtedly in theknow,thisepisodealso revealscertain and spectators used strategies whichin turnimpactstraditional notionsof forpolicinggenderbehavior, and spectators in the episode as well as forthe desireforthe participants readers who likewise assessdesirability and attraction. Awareoftheimplicationsforwomenwithfacialhairin heterosexual thesebeardeddamsociety, sels are horrified what as a "muerte civil" moretorturous by theyperceive than a beheading.The Condesa Trifaldi addressesher spectators directly, for their ir una duea con barbas? compassion:"adonde podr pleading o madre se doler della? la dar Pues aun Qu padre, qu Quin ayuda? cuando tienela tez lisa,y el rostro martirizado con mil suertes de menjurjes halla la cuando bien har descubra hecho mudas, quien y apenas quiera,qu un bosque su rostro?" of this (II.673). Consequences gendertransgression membersand loved ones, not to mentionan includerejection by family to attracting theoppositesex. The Condesa also alludesto the impediment labor-intensive of womenundernormalcircumexpected beautyregiment stances(usinga thousand kindsof lotionsand cosmetics), clearly cognizant of what is requiredto maintaintheirfeminine While these appearance. curseddamselsdescribethemselves as the unwitting victims of a revenge it is who the obvious to facial Sancho fact some that, plot, exposes degree, hair is a choice,since thereare optionsforremoving the unwanted fuzz. While he agreeswiththeirassessment thatfacialhair on women is worse thananyother he asksthecommonquestion, disfiguration, indirectly "Why
Velasco : the duea dolorida
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not shaveit off?" whenhe states, haciendapara "Apostar yo que no tienen was stillin herfeigned desmayo, pagara quienlas rape" (674). SinceTrifaldi one oftheother beardeddamsels mustimprovise and respond to hisinquiry: As es la verdad, . . . que no tenemos hacienda seor, para mondarnos, y de as hemostomadoalgunas de nosotras remedio ahorrativo usar de por o parches a los rostros de unospegotes pegajosos, y aplicndolos y tirando rasas de mortero de piedra. Que puesto quedamos golpe, ylisacomofondo el velloy que andande casa en casa a quitar que hayen Candaya mujeres tocantes a mujeres, nosotras las a pulirlas cejasy hacerotrosmenjurjes de miseora las ms oliscan dueas admitirlas, porjamsquisimos porque a terceras, habiendo (674) dejadode serprimas. of the economicconsideration involvedin Of course,Sancho's awareness forwomenis a function of his statusas a poor farmer; genderconformity sucha financial burdenforthedueas,whowould butone wouldnotexpect for an effective have access to upper-classprivilege beauty regime.The forthe group of beardedladies mentions other spokesperson impromptu of suchas a variation on thecommonyetpainful remedies practice waxing, in danger forhairremoval ofbeing whileprofessional services puttheclients of questionablereputesuch as the iconic affiliated with "cosmetologists" hirin theLozana andalusa.LikeTrifaldi's or herliterary Celestina protge thecharacterization of sutepunishment forheractivity as illicit go-between, as an equallynegative of her role as tercera as barbudaserves Celestina sign to be another indication ofhow "gender in sexualcommerce and thusproves sexualtrangressions" breaches accompany (Dangler73). Duea Dolorida traditional At first the episodeappearsto reaffirm glance, and forwomen,who are well aware of the rejection conformist practices to perform the timeforanyoneunable or unwilling lack of opportunities In fact, eventreatises and expensive beautyprocedures. painful, consuming, such as FrayAntonioMarqus'sAfeite (1617) whosepury mundomujeril their attention on hair,makeup, is to dissuade women from pose focusing - appear conciliatory on the topic of unwantedfacial hair and fashion thatevenconservative moralists viewedsomebeauty removal, demonstrating en la as desirable: "carecer de ellos cara,manos y en [cabellos] procedures con con pinzaslos arrancan de las nariceslo alaban,y si tienen, las puertas de las narices . . . haca bien en arrancar los parecer pelos para presteza que mejor"(62).
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of hair removalforwomen, Despite the consensusover the desirability we might consider whether thebeardeddamsel'sresponse to Sancho could reveala normalization of facialhairon women,as the (perhaps unwittingly) in theCervantine are reminded that spectators improvisational performance it is commonforwomento resort to variousmethods to remove unwanted of an evilcurse.In otherwords, whilethe hair,and notjust forthevictims of the reinforces for "freakery" spectacle strategies policinggender through thestigmatizing of facialhairon women, we can'tignore thepossibility that thebeardedladyportion ofthisepisodeendswithcomments thatimply how normal and natural thisphenomenon can be, regardless ofitsundesirability.1 In hisanalysis ofJos de Ribera's1631 of the bearded portrait ladyMagdalena Ventura(who is posed breast-feeding a babyand standing in front of her husbandFelici de Amici),Will Fisherarrives at a similarconclusion the of facial hair on women. to the regarding potential normality Referring on theplinth on the right (whichexplainshow at age portrait's inscription thirty-seven Magdalenabecame "hairyand grewa beard so long and thick thatit seemsmorelikethatof anybeardedgentleman thanofa womanwho had bornethree children by herhusband"),Fisher proposesthattheverbal and visualcomponents of Ribera'spainting thatanywoman could suggest havefacial hairor evena beard,but thatthis beardis morelikethatof a man.Envisioned in these particular it is notthepresence or absenceof facial hairthatdistinguishes a terms, manfrom a woman, buttherelative amount itis striking that Magdalena'shusband a "bearded is notnearly as hirsute as (himself gentleman") his wife.If Magdalena's beardis like thatof "any beardedgentleman," we might ask ifFelici's beardis likethebeardof "anybearded woman"?
(171-72)
EvenJuan Huartede San Juan's medicalexplanation forthephysiological differences thatresultin varying of facial hair on womensuggests degrees thatall womenhavefacialand bodyhairbutjustin different quantities:
1. I borrow theterm from Rosemarie GarlandThomson'santhology Cultural freakery Freakery: in whichshe describes "freak discourse" as a "cultural ritual Spectacles oftheExtraordinary Body, thatseizedupon any deviation from the typical, and intensifying it to producea embellishing human whoseevery somatic feature wasladenwith thegaping before spectacle significance spectator"(5).
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Tener mucho vello y un poco de barba es evidenteseal para conocer el se colige primergrado de frialdad y humidad. ... La contrariatemperatura
siendo la mujer muy lampia, sin bozo ni vello. La que est en el segundo grado de frialdady humidad tiene un poco de vello, pero rubio y dorado. (II.617)
Of course, Huarte reminds his reader that among women with low levels of coldness and moisture (and who thereforedisplay more facial hair) "por
maravilla sale la mujer hermosa" (617). Despite the normalityof some facial hair on women, it was and continues As the Duea Dolorida laments ("Qu to be viewed as a negative feature.2 o madre se doler to della?"), she complains of the interference padre, qu
(as we have confirmedlater in chapter 44) is actually a man: the theatrically inclined stewardof the Duke plays the role of the bearded Condesa Trifaldi. This cross-sex casting must undoubtedly impact any interpretationof the bearded damsel plot in Cervantes's novel. As ArthurEfron reminds us in his study of this episode, the actor's deep voice and narrativeslips (such as "a este su criado, digo a esta su criada" [11.666]) indicate an "unconvincing disguise" that blurs sexual boundaries (158). This is only confirmedlater in "outs" chapter44, first by the narratorand then by Sancho when he in effect
romance createdby excessive facial hair. Of course the issue of what is found under the skirtsof this bearded lady is fundamental for understandingthe of this hirsuteimage in Cervantes's work,as the Duea Dolorida significance
the Condesa Trifaldiafterthe amateur actor has resumed his male identity as the Duke's steward:"el rostrodeste mayordomo del duque, que aqu est, es el mesmo de la Dolorida ... le o hablar, y no pareci sino que la voz de la Trifaldime sonaba en los odos" (II.697). Mara Lourdes Sim Goberna argues thatonly the priestin part one and Trifaldiin part two of Don Quijote provide a grotesque and mannish image when dressed as women, unlike the other beardless, prettyfaced, cross-dressed young men in Cervantes (114). Undoubtedly, the young, handsome, and beardless page in chapter 35, who
in FridaKahlo'siconography, when moustache and unibrow 2. Despitetheslight yetinfamous thefilm's did not allow to playthecultural icon on celluloid, Salma Hayekprepared producers feature as the masculine theactress to wearthefamousupper-lip moustache, jeopardize might In an interview, doesn'twantme to thesuccess oftheir investment. Hayeknotedthat"Miramax thoughI want to wear the changethe nose and theydon't want me to wear the mustache, and Cocks. FridaKahlo"). See also Lindauer mustache" ("Look-alike makeups:
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Dulcineaprovides a different visualspectacle playstheroleoftheenchanted than the steward while apparently dressedas Trifaldi, neither are able to masculine voice their their feminine Even as performances. disguise during the new Dulcinea revealsa "hermossimo rostrode doncella" (II.653), she also has "un desenfado varonil"and "una voz no muyadamada" (655). Of coursewe learnonlyafter theperformance thatagain the role of Dulcinea was cross-sex a in the castwith malepage role. in both theseperformances Thereis no doubt thatcasting is crucialfor thevisualreading of the episodes.As JacoboSanz Hermidawondersin his of thisepisode,whydidn'ttheDuke and Duchessask a female attenstudy dant to play the role of the Duea Dolorida,forexample(as was the end resultin partone when Dorotea volunteered to perform as the damselin Unlikethe earlymodernwomenwithbeardspaintedby Josde distress)?3 Riberaand JuanSnchezCotn (both MagdalenaVentura and Brgidadel Ro couldeasily in maleattire), a hypothetical beautipass formenifdressed witha falsebeard forthe performance fulfemale couldhave removedthe masculine in orderto givetheparticitheClavileoextravaganza propafter whatwe really have here,especially However, pantstheirdesiredcatharsis. forthe spectators who can easilyrecognize the Duke's steward, is a man as a bearded in a dress how he is unconvincingly disguised lady lamenting and can no longerfinda man to love him.This configurejected by society rationis whatChrisStraayer as the inevitable describes result of an inadein films withactorrecognition) quate disguise(usuallyconfirmed featuring a cross-dressed On the the other characters level, (57). protagonist diegetic are frequently fooledby the disguise, yet the audience is undeceivedand therefore to thescene,as a man in a dressfeigns assignsa "queer" meaning desireforanother man or a character of the same sex mistakes the crossdresser for someoneoftheopposite sexand expresses whathe or shebelieves to be orthodox"heterosexual"attraction. Of course this crowd-pleasing device is common in Golden Age theater as well as in twentieth-century in Cervantes, Whatwe can'tforget is thatthespectators Hollywood. though, and participants of Don Quijote and Sancho) (withthe possibleexception
of thesupermodel 3. No doubtthevisualimpactwouldhavelookedmorelikethephotograph KateMoss wearing a false beardon thecoverof thefashion V (summer 2005). In fact, magazine theeditor ofthemagazine describes Moss as "really chic,and shehad a beard.In an odd wayher shines and she still looksas gorgeous and as feminine as ever"(qtd. in Van beauty really through Meter E4).
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are neverfooledinto believing thatthe deep-voiced, masculinedamselsin distress are really women. So whatkindofalternative could one assignto theDuea Dolormeaning ida episodekeeping in mindthecross-sex in theperformance? casting Many not surprisingly, have looked to popularritual(such as processions critics, and carnivalfestivities) to betterunderstandCervantes'stext. Agustn readstheTrifaldi of carnival inverRedondo,forexample, episodein terms the popular cross-dressing in the mundo al sions,and especially practiced revs tradition don see also Caro Who can the ("De Clavijo"; Baroja). deny Bahktinian ambivalence of men in skirts and thescatological focuson Sanin the transvestite cho's buttocks featured Dulcinea's pleadingsfordisenin chapter chantment as well as the recurrence of anal imagery in the 35 If we followManuel Durn's lead, we can't help noticea Clavileofinale? in theTrifaldi element (withthecross-dressed possiblequeer trilogy page as de la duea preludeand Clavileoas conclusionor "el finde la aventura In thedescription Dolorida" [11.686]). ofcarnival in hisstudy cross-dressing "/Quijotea travsdel prismade MikhailBakhtin," Duran explainsthat - el reinode la libertad "con el disfraz, todo es posible Gray del desorden. el homosexual se convierte en mujerseductora ciasal disfraz vive momenty neamente lo que antessolamente se atreva a soar" (79). Louis Combetalso citesSancho'sexhibitionism and other thatthey features, feminizing arguing a subtext in Cervantes demonstrate of latenthomosexuality (284). Accordus thatthecombination Redondoreminds of davo and leoin Claviingly, al viril" ("De don leo "sirvenmetafricamente miembro para designar this of the dueas barbudas," as Clavijo" 198). Surely "campy episode described would not be lost on early by BarbaraFuchs (28, myemphasis), modernreaders familiar with humorlinking excrements, already hyperbolic anal imagery, and sodomy.Just as the batanes in episodein I.20 referenced the Clavileoepisode highlights Sancho's ample buttocks and scatological the jail scene in Quevedo's Buscn,forexample,links similar functions, in muchmoreexplicit themes terms. The protagonist suffers thesound and smellof defecating inmatesbeforelearning of the analsexual sins of one whichinspired theother cellmatesto protect their own "traseras": prisoner, Estabael servicio a mi cabecera; no hacansinovenir y,a la medianoche, . . . Olantanto, detenan las narices presos y soltar presos. que por fuerza en la cama.. . . Haba en el calabozoun mozo tuerto, ... alto,abigotado Deca que estabapresopor cosas del aire. . . que erancosas de atrs. Yo
228 <o~ Hispanic review : spring 2009 Y averig que porputo.. . . Haba pensque pecadosviejosqueradecir. como todoscon carlancas, confesado ste, que traamos y eratanmaldito, de miedode las traseras, mastines, y no haba quien se osase ventosear, acordarle dndetenalas asentaderas. (224-26) masculine as menacingly And whileQuevedo's sodomiteis characterized deAlfarthe novel Guzman and potentially picaresque predatory, best-selling as an effeminate man whoseexcessive achesatirizes theprotagonist's father his sexual "Son actosde afemraised about suspicions preferences: primping dan ocasin para que dellosmurmuren inados maricas, y se sospechetoda con las cosas tan solamentea vileza,vindolosembarrados y compuestos (Alemn140). mujeres permitidas" betweenmen and feminine attire Associations duringthe late sixteenth a near and earlyseventeenth centuries produced panic over the perceived male gender feminization of Spanishmen and the decay of conventional had becometheurbangentleman moreconwarrior roles,as themedieval activiwithhair,clothing, and grooming thanwithtraditional cerned manly and "l es tan rara ties(see Cartagena-Caldern, "Cervantes y las ficciones" Not the on Donnell). persona"; surprisingly, emphasis men's fashionwas linked to the sin and crime ofsodomy. As thepriest Pedrode Len inevitably "Some of you do not partakeof the vice [of warnsthe male aristocracy, . . . nonetheless some ofyou dressas ifyou do youtoo couldbe sodomy] mistaken forone ofthem"(Garza 62-63). Alongsimilar lines,FrayAntonio it for in fashhow much more indecent is men to indulge Marqusexplains a linkbetween ion and grooming thanforwomen,implying gendertrans"viendohumose conoceque hayfuego"(73). Even and illicit desire: gression Antoniode Len Pinelo,in his 1641Velosantiguos y modernos, exposesthe as womenand usingveilsto covertheir faceto avoid scandalofmendressed "Se proponeel inconveniente de que se siguede la permisin recognition: i a vestirse de mugeres, fines ilcitos los velos,en atreverse los hombres para findose en que cubiertos los rostros no puedenserconocidos" escandalosos, (no). Men and fashion, itwouldseem,are at theheartoftheTrifaldi episode in thedetailed withitsinspiration ofhowtheinnkeeper's description starting in one of the novel: wife dressed the bearded up priest part de terciopelo de un palmode psoleuna sayade pao,llenade fajas negro todasacuchilladas, unos de verde ancho, corpinos terciopelo y guarnecidos
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de raso blanco ... y cisepor la frente con unos ribetes una liga de tafetn con que se cubrimuybien negro, y con otraligahizo un antifaz el . . . mula a las barbas rostro subi en su (I.206).4 y mujeriegas. thistransvestite scenewas of particular to Apparently dress-up significance of thosein parttwowho organized thedueabarbuda since the details plot, in malecross-dressing theperformance reveal a greater interest thanin Dorofthedamselin distress. the Duke and Duchess(or otea'sportrayal Perhaps remembered theDuke's steward) Dorotea's that, despite performwitnessing thebeardedpriest as Princess Micomiconaat ance, Don Quijote identified the end of thewineskins episode (I.35): "Tena el cura de las manos a don Quijote,el cual,creyendo que ya haba acabado la aventura y que se hallaba delantede la princesaMicomicona,se hinc de rodillasdelantedel cura" (II.292). It is no wonderthatthebeardedladyshouldbe playedby a man, thatevenDorotea'simprovisation was overshadowed especially considering and over the beard the barber and removable priest fumbling bumbling by in of or the"fetishized sign masculinity" I.29 (Fuchs27). In lightof the suggestive comments made by the innkeeper's wife(I.32) the red oxtail used to hold her husband's comb (butnow normally regarding taleshould thatthecaptive used as a theatrical beard),it is striking captain's in character named Barba a context feature the historically inspired Roja as rife with"torpesmedios"and thethreat of sodomy("le quiso described tanto,que fue uno de los ms regaladosgarzonessuyos" [II.325];see also that thisfearof sodomyin Islamicculture Fuchs,Garcs).It was precisely in II.63 to dressas a woman to avoid sodomitic led Don GasparGregorio in Algiers: el peligro encounters with Turks "considerando que don Gregorio turcos en ms se tiene entre brbaros corra, aquellos y estimaun porque mochacho o mancebo hermoso que una mujer,por bellsimaque sea" Garcs;Martn).The (II.817;see also Redondo,"Nuevas consideraciones"; linkbetween mendressed as womenand homosexual desireis likewise proofthecross-dressed whythebrother posed byLouis Combet(278) to justify dress(a decisionthatremains also choseto wearhis sister's girlin Barataria in Cervantes's text). unexplained
such as scenein partone, Ziomekagreeswithothercritics to thepriest's 4. Referring dress-up men of thepriest not as a wayof ridiculing effeminate Paul Hie who see the "desexualizacin" de la de parte del escritor el elemento del sexomasculino butrather "es un esfuerzo por eliminar la cual quierepresentar de una manera sociedad, (244). See also Hie526. poco naturai"
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Giventhehomoerotic subtext of men in dresses, whatbetter name fora transvestite thanTrifaldi? damselin distress While"her"nameis really Condesa Lobuna,a fashion a namechange("por favorecer la preference inspired novedadde su falda, tom el el Trifaldi" Therefore, [11.666]). dej Lobuna,y theCondesacouldbe calledThreeSkirts or ThreeTails("faldasy colas,colas y faldas,todo es uno" [II.37]); and since, as Helena Percas de Ponseti "we know thatcola is a vernacular forthe male sex explains, designation duea has been nicelyintroduced withoutname organ ... the travestied In other the Condesa Trifaldi is the words, perfect calling"(55). campydrag namereferencing thecola beneath thefalda. The provocative ofcolas, andfaldasalso surbarbas, posaderas, suggestions facewhenreviewing modern emblems in as cultural referents early possible Cervantes. The mostobviouslinkto theDuea Doloridaepisodewould be Covarrubias's Emblem64 (CenturiaII), whichdepictsandrogyny and features thebeardedladyBrgida del Rio (la Barbudade Pearranda; see fig. 1). This monstrous "third"category un varn, tercero") ("soy soy muger, soy serves as a warning to anyreader who failsto adhereto binary gender proif, as the text concludes,he "vive afeminado" (Covarrubias, scriptions Emblemas fol.i64r). theemblem's seemsto be hermaphroditism, somecritics subject Although have rightly observedhow Covarrubias the classicalmythof manipulated in the prose narrative thataccompaniesthe emblemto make Androgyne male femininity monstrous. While the pictorialtextshows a femaleherwith the male sex characteristic of facial hair,thetext maphrodite secondary cites Cicero on the "disgustaroused by the sightof effeminate men . . . Covarrubias failsto distinguish between and effeminacy" hermaphroditism Michael Horswell likewise notes that the emblem's octaveis J. (Smith9). in if written first the beardedlady a voice. Howeverthe person,as giving moralteaching is notdirected to other butto themorecomhermaphrodites mon occurrence of men who transgress fortraditional genderexpectations "After all, just how manybiologically masculinity: hermaphroditic people wereborn intotheworld?But 'effeminate' men?Thereis the real object,I would argue, of the moralist'semblem" (Horswell 66). Covarrubias's withitsvisualimageof a beardedladyand a verbalsubtext about emblem, menwho liveeffeminately, thusprovides an appropriate correlation to Cervantes's own transvestite beardedladyin theTrifaldi episode. OtherCervantes scholars havealso commented on Covarrubias's Emblem a monkey 98 (CenturiaI; see fig.2), whichfeatures captivated by his own
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morales. with 1. Covarrubias's Emblem 64,Emblemas permission of Reprinted Figure Madrid. Biblioteca Nacional,
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Emblem98, Emblemas morales.Reprinted withpermission of Figure2. Covarrubias's Biblioteca Madrid. Nacional,
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his "abominabley fea" appearance unableto recognize imagein a mirror, fol. 98r; see Arellano,Perca de Ponseti,Ullman, Smith).The (Emblemas ofbeauty and ugliness; morefocuson perceptions emblem reflects Trifaldi's intoan ape recalls, as of thePrincess Antonomasia over,thetransformation is a symthat"themonkey, likethemirror, Helena Percasde Ponsetinotes, the symbolin borrows Cervantes bol of mimesis among neo-Aristotelians. or copy. . . and between artless imitation orderto makea cleardistinction in theper"real" women Given the lack of creation" (58). present genuine mimesis thefigure theallusionto ofthisepisode,perhaps formance through women. to gynemimesis, or men imitating of the monkey could also refer in "la de writes Cisne de as Luis Alfonso Carvallo mona, que Just Apolo, y pareceral hombre,no le immita[sic],ni parece en lo queriendoimitar de la risay en las nalgas"(182, sino en la liviandad mejorque es el sentido, reminded that behind the imitationin the my emphasis),again we are and suggestive buttocks snickers dramaappearlascivious Trifaldi-Clavileo 5 Forcione also 147). (see
as CarrollJohnson asserts readers If theDuke and Duchessare as careful in I.20 would have of the batanes (98), their episode provided contemplation hairon women, a narrative connection (or the products beauty amongfacial in Sancho's story of first and anal imagery: mudasmentioned by Trifaldi), tena unos Torralba(who "tirabaalgo a hombruna, pocos bigotes" porque "un pedazo de espejo y otrode un peine,y no carried but who nonetheless after de mudaspara la cara" [I.143]),and thenimmediately s qu botecillo and thehumorousdescription of the squire'sposaderas withtheexhibition "all the as Johnson also confirms, functions. ofhisscatological Furthermore, are the result of their for Don adventures Quixote theyorganize burlesque of partI ... theduke and duchesshave a greateyeforat attentive reading we cannotignorethe impact kindsof detail" (98). Therefore least certain reader and their thatthesearistocrats (and spectator) preferences particular oftheTrifaldi haveon anyinterpretation episode. and theirimplicaGiventhe burlesqueallusionsto genderexpectations oftheDuke I the controversial for would that tions desire, preferences argue likethebeardedlady thesteward), and Duchess(whichnecessarily implicate
5. According to medieval tradition,the ape is a symbol of the devil since, like the latter,it has a beginning but no end: "Los monos no tienen cola {cauda). El diablo se parece a estos animales, pues tiene cabeza, pero no Escritura (caudex) ... su trasero realmente feo y horrible en exceso" (Malaxecheverra 40).
234 <o~ Hispanic review : spring 2009 and the mimicking are likewise in Covarrubias's evident Emblem monkey, a courtjester, III; see fig. 77 (Centuria 3). The visualimagereveals reclining in a decadent fashion and mask unlike the (not passively monkey holding whilethe versesand narrative providea scathing lookingin the mirror), oftheperversion ofcourtcomedians and entertainers, as wellas the critique aristocrats who support them. monstruos en naturaleza Ayhombres Porsu muchalocura, o bobera, Y tienen los seores porgrandeza Celebrar su furor, o tontera: estauaa la nobleza Quantomejor al bueno,y su sabidura, Honrar una bestia maliciosa, Que criar fol.2771) Suzia,perjudicial, puerca, y viciosa.{Emblemas an attackon the perverse and decadentpreferences of the upper Clearly this emblem could the describe of the ducal palnobility, easily atmosphere ace. Perhapsthisis whatmovedJohnson to judge theinterests of theDuke and Duchess as "erotic-sadistic-coprophilic" and other readersto (99) as Luis Murilloobserves: "The mayordomo's hoax takesdelight in squirm, thediscomfiture thesight ofbeardedladiescausesto all onlookers, but partheserious malereader who likeUnamunowouldprefer to look the ticularly otherway and denounceit all as the worstpossibletaste" (192). Like the "seriousmale reader"described Covarrubias by Murillo, expandshis attack on upper-class in his proseexplanation: "Suelen algunosgrandes depravity . . . traer tandepravado el a cosas seores, que se aficionan y estragado gusto, vilesy suzias... les acaece en aficionarse a algunostontos, suzasquerosos, no saben hablar sino tocheras malicias" ios, desvergonzados, que y fol. 277V).With such specific thatwere frequently {Emblemas descriptors used to denouncemale effeminacy and the threat of sodomy("monstruos en naturaleza," "suzia," "perjudicial,""puerca," "viciosa," "asquerosos," thisemblem "depravado,""estragado,"and so forth), "desvergonzados," reinforces thefear thatfrivolous entertainment could contribute to thefeminization and corruption of men. it is apparentthatDon Quijote also sharesCovarrubias's Furthermore, vehement ofmalefemininity. CerJos rejection Cartagena-Caldern (citing
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Emblem morales. with 3. Covarrubias's 77,Emblemas Reprinted permission of Figure Madrid. Biblioteca Nacional,
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: spring 2009
vantes's protagonist during multiple episodes) shows how Don Quijote is quick to contrast su propia hombra con el afeminamiento de los caballeros de la corte en respuestaa la preguntasobre cul "era la ocasin que le mova a andar de
buen paso, el regaloy el reposo,all se inventpara los blandos cortesanos; mas el trabajo,la inquietudy las armas slo se inventaron e hicieronpara Ver, adems, aquellos que el mundo llama caballerosandantes" (1.13:169).
"La profesin afirmando: aquella manerapor tierratan pacfica" (1.13:169), de mi ejercicio no consiente ni permiteque yo ande de otra manera. El
el captulotrecedel Quijotede 1615 en donde la voz de nuestroprotagonista desviriliza rechaza la masculinidad urbano-cortesana, y ya que sta coarta la expresinde atributoscastrenses fueradel que slo pueden encontrarse espacio de la urbe (II.8:8o). Otro ejemplo se encuentraen el captulo dieciocho de la Segunda Parte en donde el caballero andante habla sobre los
cortesanoscomo hombresque se caracterizan por "la pereza,la ociosidad, la gula y el regalo" (11.18:172). las ficciones"n38) ("Cervantesy Of course, Cervantes's protagonistand Covarrubias are not alone in their critique.In Cristbal Surez de Figueroa, a veil much like the one over Trifal-
di's beard covers the "apple of Sodom" of the useless male adolescents at the court and theirpreferenceforidle and femininepastimes: La vanidad de musicas y baylesentretiene los efeminados, y los haze vacar
al afeytedel rostro,al enrizo de los cabellos, al adelgazar la voz, a los melindres, y cariciasfemeniles y al hazerse iguales a las mugeresen delicadezas del cuerpo . . . mas si por dicha queremos correrel velo a cada una, vendra a ser conocida por manzana de Sodoma, toda hermosura por defueratoda ceniza por dedentro,(fols.74V-75T)
Given this climate, it is not by chance that the authoritiesconceded that, even though actressesposed a threatto morality,women on stage were still to the practiceof using boys dressed as women: "parece al Consejo preferable que es de mucho menos inconveniente, que mugeres representen, que muchachos en hbito de mugeres aunque no se afeiten" (qtd. in Cotarelo y Mori 164). In lightof the earlymodern discomfort with male transvestism, it is telling that illustrators, and scholars continue to interpretthe crossfilmmakers,
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in thisepisodein divergent ofTrifaldi and dressing ways.Whiletheidentity the enchanted Dulcinea are specified in the textas male (albeit after the thetwelve beardedattendants are unidentified and therefore their sex fact), has been left to the of different readers over the assignment interpretation tendto assumethattheyare men dressedas bearded years.Many scholars is no general on thesex of Trifaldi's attendants. ladies,but there agreement For example,Redondo specifies: "sus acompaantesque en realidadson hombres"("De don Clavijo" 186); Fuchsacknowledges thetextual ambigua of male servants" but that "thebeardscanity:"presumably, group agrees not be removed on the (28-29); whileHenrySullivan, by thetransvestites" otherhand,is surethey are women:"Trifaldi's is composedof bioretinue false) logical femalesin femaledress,revealedto have long (presumably iftheimpromptu beards"(139).However, who addresses Sanspokesperson cho's question aboutfacial hairremoval werea woman,hercomments might revealan insider's on the pressures forwomen to conform to perspective of In standards one children's version of Don specific beauty. Quijote(illustrated by AntonioAlbarrn)the Duea Dolorida (minus the beard) looks whileherattendants moremasculine makfemale, features, decidedly display look more like in them men than bearded ladies (see fig. 4). ing drag In Rafael Gil's1947film on theother version, hand,whentheactorArturo Marnplaysthesteward who performs theCondesaTrifaldi role (see fig. 5), usesa female thefilm voice-over forTrifaldi's Since surprisingly monologue. thefilm thepatently male voicethatbetrays in Cervanthedisguise ignores tes'snovel,Sancholatercan onlycomment on thesimilarity in facebut not voice between the Duea and the Duke's steward. Perhapsthe homoerotic in this necessitated the episode potential provided tempering by thefemale voice-over. in ManuelGutirrez 2002version ofparttwoof later, Fifty years Aragn's thenovel,El caballero don Quijote, thedirector the Duea Dolorida forgoes scenebutcreates a fascinating Dulcineaplot.The episodewiththeenchanted actor JuanDiego Botto,who plays the page Tosilos (who will play the enchantedDulcinea characterin the film adaptation) appears in wig, and a slight five o'clockshadow(see fig.6).6 But after "her" dress, makeup,
in chapter 6. Interestingly, 10 of parttwo,whenSanchoidentifies thehomely peasantgirlas the beautiful he highlights a moleaboveherlip as ifa moustache, thesevenor eight Dulcinea, given out from herupperlip. This detail, combined withSancho'sdescription ofthe longhairs jetting and screenwriter Manuel Gutirrez manlyAldonza in partone, was not lost on the director
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version byAntonioAlbarrn.Don Figure4. Children's ofDuea Dolorida illustrated with de la Mancha 143.Reprinted Quijote permission ofSusaeta Ediciones.
to perform the necessary monologue appealing to Sancho's willingness masculine Sancho notices the enchanted Dulcinea's azotes, hairy legsunder thefemale dress.A fewsceneslater, whenDon Quijoteis wandering around theDulcineadrag.Don Quithepalace,he comesupon theactorremoving a shockwho discovers his love-interest jote is thehiddenvoyeur revealing in a rolethatis described unfemale scholar GloriaScola as chest, ingly byfilm "la Dulcinea ms surrealista, divertida uno que pueda imaginar" grotesca y thatthedirector found"entre sublime inspired bya text y paradjico"(228). from the After thistransvestite revelation scene,Don Quijotequickly departs palace.7
whenfilming his2002version, whenhe gavetheactress theroleof (MartaEtura)playing Aragn therustic Dulcinea(i.e.,Aldonza)pimples and a slight moustache (UserCanestro 115). Herranz "Don Quijoteve desnudarse a Tosilosy descubre notes, 7. Ferran que su Dulcineaes un hombre. Se retira desconcertado: a los encantadores habituales o serconsciente de un culpar
- 239
inRafael Marinas Trifaldi Gil'sDon Quijotede la Mancha(1947). 5. Arturo Figure
in Gutirrez variaCompareDon Quijote'sunsettling discovery Aragn's tionon parttwoof Don Quijoteto FrayLuis de Granada'simplicit warning in his 1583Introduccin a cultural del smbolo de la fe when he constructs forthegendered of facial hair: physiology argument fueron dados los pelos de la barba a los hombres, cuan a propsito y a las mujeres! siendopor fealdad, Porqueen ellasfueran quitados grande de hermosura Y no menos el contrario en los hombres parte y autoridad. sirven entreel varny la hembra, para la distincin para guardade la malosrecaudos se abriera si castidad, porquea cuntos puerta, y engaos los hombres carecieran de estaseal.(469) In otherwords,FrayLuis de Granadaarguesthatfacialhair on womenis but a beardless man might createa myriad of dangerous "grandefealdad,"
la aplicacin Merecemencin del atri(nuevaaportacin). aparte engaoque no puedeaceptar? butode voyeur momentneo al caballero del director" (110). por parte 8. Not surprisingly, and gender rolesby citing Galen, FrayAntonioMarqusalso linksbiology the lack of beardon womento the "natural"factthatwomenare expected to who attributes underthe roof;whereas men are remain enclosedin thehome and thushave facialprotection their skinfrom thesun (296). outside thehomeand needa beardto protect
2009 240 t~ HISPANIC REVIEW : Spring
Aragn'sEl Figure6. JuanDiego Bottoas theEnchantedDulcinea in Manuel Gutirrez withpermission Films. caballero don Quijote (2002). Reprinted ofGona
a "conFor example, thatcould challenge sexualcontainment. possibilities illicit between a cross-dressed facilitate an meeting vincing disguise"might of same-sexattraction man and his love interest or maybethe unthinkable or eventhe an unsuspecting individual ofthesamesexfooled bythedisguise aware what is of a of inevitable spectator reallyunder the queer reading thatled man'sskirt. No doubtitwas thefear of thesepossibleconsequences in carnival festivito warnagainst FrayHernandode Talavera cross-dressing ties,giventhat"de ligeroenciendee provocaa mal deseo" (qtd. in Caro Baroja98). and pitiful criesforhelp condition as theDuea Doloridas freakish Just withexpectaserveas a cautionary tale foranywomanwho failsto comply or forgender-defined femitionsforchastity (even ifjust as a go-between) then,cross-sexcastingextendsthe genderpolicingto men. The ninity, and thebeardless steward, "grotesque" imagesof thebeardedcross-dressed
- * 241
cross-dressed enactthemonsteriyetmannish pageas Dulcineaundoubtedly so fearedand criticized life. zation of male femininity duringCervantes's thisindictment involves a Cervantine on Of course, necessarily commentary in their la de his Arte culturalconsumers and Lope preferences Vega - but unlikeLope's text(thoughsimilar to Covarnuevode hacercomedias workdoes notblamethepoor tasteof the rubias'sEmblem77), Cervantes's seores the "depravadoy estragado gusto" of thegrandes vulgobut rather suchas theDuke and Duchess. In keeping and withthe consistent critiquein parttwo of the pervasive when Cervantes's text decadencein seventeenth-century society, perverting in what the Duke and Duchess found most one of compelling part exposes forthe transvestite beardedlady performance, the the novelas inspiration fashion still resonate As of their focus on men and implications today. the Times "Men's Fashion" issue of the The New York 2006 Style Magazine spring termed concludes, "Still,our fearof whatis clinically (men 'gynemimesis' our fear of the Bearded is sufficient women) or, conversely, Lady, imitating to genderto rearour children to conform to makeus go to greatlengths - lestthey or leather-clad ofbeing to become truestyle dragqueens growup lesbians"(Merkin 131).
Works Cited
Albarrn,Antonio. Illustrations.Don Quijote de la Mancha. By Miguel de Cervantes. Madrid: Susaeta, 2001. I. Ed. Benito Brancaforte. Madrid: Ctedra, 1984. Alemn,Mateo. Guzman de Alfarache en el Arellano,Ignacio. "Emblemas en el Quijote." In Emblemataaurea: la emblemtica and Jos Javier Azanza. Madrid: artey la literatura del Siglo de Oro. Ed. Rafael Zafira Akal, 2000. 9-31. El caballerodon Quijote. Dir. Manuel GutirrezAragn. Gona Films,2002. Madrid: Taurus, 1965. Caro Baroja, Julio.El Carnaval: anlisis histrico-cultural. las ficciones de la masculinidad." In Tradition "Cervantes Jos. y Cartagena-Caldern, Ed. and Innovation:Early Modern Spanish Studies in Memoryof Carroll B. Johnson. la Velasco. DE: de 2008. Cuesta, Newark, Juan 51-88. Sherry " . 'l es tan rara persona*:sobre cortesanos,lindos, sodomitas y otras masculinidades nefandas en la Espaa de la temprana Edad Moderna." In Lesbianism and in EarlyModern Spain. Ed. Mara JosDelgado and Alain Saint-Saens. Homosexuality New Orleans: UP of the South, 2000. 139-75. Carvallo, Luis Alfonsode. Cisne de Apolo. Ed. AlbertoPorqueras Mayo. Kassel: Reichen1997. berger,
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Cervantes,Miguel de. Don Quijote. Ed. Tom Lathrop. Newark, DE: Juan de la Cuesta, 2005. withCroppedHair Cocks, Neil. "On Frida Kahlo's Moustache: A Reading of Self-Portait and Its Criticism." In The Last Taboo: Women and Body Hair. Ed. Karin LesnikOberstein.Manchester,UK: ManchesterUP, 2006. 191-208. de du dsir: une approchepsychostructurale Combet, Louis. Cervantesou les incertitudes Voeuvre de Cervantes. Lyon: PU de Lyon, 1980. de las controversias sobre la licituddel teatroen Cotarelo y Mori, Emilio. Bibliografa Espaa. Ed. JosLuis Simn Garca. Granada: U de Granada, 1997. Covarrubias,Sebastin de. Emblemasmorales.Madrid: Luis Snchez, 1610. 25.1-2 (2001): Dangler, Jean. TransgenderedSex and Healing in Celestina. Celestinesca
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Don Quijote de la Mancha. Dir. RafaelGil. Buena Vista Home Entertainment, 1947. theEnemy:ImperialSpain, Transvestite Donnell, Sidney.Feminizing Drama, and theCrisis London: Associated UP, 2003. ofMasculinity. Duran, Manuel. "El Quijote a travsdel prisma de Mikhail Bakhtin:carnaval,disfraces, and theRenaissance.Ed. Michael McGaha. Newark, escatologiay locura." In Cervantes DE: Juande la Cuesta, 1980. 71-86. Efron, Arthur. "Bearded Waiting Women, Lovely Lethal Female Piratemen: Sexual in Don Quixote,Part II." Cervantes 2 (1982): 155-64. BoundaryShifts in Will. "The Renaissance Beard: Fisher, Masculinity Early Modern England." Renaissance Quarterly 54 (2001): 155-87. and the "Persiles."Princeton,NJ: PrincetonUP, Aristotle, Forcione,Alban K. Cervantes,
1970. Urbana: U of Fuchs, Barbara. Passingfor Spain: Cervantesand the Fictionsof Identity. Illinois P, 2003. A Captives Tale. Nashville: VanderbiltUP, Garcs, Mara Antonia. Cervantesin Algiers: 2002. Will Burn: Prosecuting Sodomitesin Early Modern Garza Carvajal, Federico. Butterflies Spain and Mexico. Austin:U of Texas P, 2003. del smbolo de la fe. Ed. Alvaro Huerga. Madrid: Granada, Fray Luis de. Introduccin Fundacin U Espaol, 1996. Herranz,Ferran.El "Quijote" y el cine.Madrid: Ctedra, 2005. Horswell, Michael J. Decolonizing the Sodomite: Queer Tropes of Sexualityin Colonial Andean Culture.Austin:U of Texas P, 2005. Huarte de San Juan,Juan. Examen de ingeniospara las ciencias. Ed. Guillermo Seres. Madrid: Ctedra,1989. Ilie, Paul. "Grotesque Portraitsin Torres Villarroel." Bulletin of Hispanic Studies 45 (1968): 16-37. Carroll B. Don Quixote: The QuestforModernFiction.Boston: Twayne,1990. Johnson, Madrid: Consejo de Indias, 1644. Len Pinelo, Antonio de. Velosantiguos y modernos. Lindauer, MargaretA. DevouringFrida: The Art Historyand Popular Celebrity of Frida Kahlo. Middletown,CT: WesleyanUP, 1999.
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FridaKahlo." The MakeupGallery. "Look-alike 3 Mar. 2009. <http://www makeups: .themakeupgalleiy.info/lookalike/artists/frida.htm>. ed. Bestiario medieval. Madrid: Malaxecheverra, Siriuela, 1989. Ignacio, Ed. Fernando Rubio.Barcelona: Juan Marqus, FrayAntonio. Afeite y mundo mujeril. Flors, 1964. Adrienne L. "Gngora: 'Poetade bujarrones'" 8:1(2002):141-60. Martn, Calope TimesStyle Merkin, Daphne. "GenderTrouble."New York Magazine:Men'sFashion 2006):128-39. (Spring " NewYork: L. A. A Critical to"Don Quixote. Peter Introduction Murillo, 1990. Lang, Percas de Ponseti, Helena.Cervantes theWriter and Painter Columbia: of"Don Quijote." U ofMissouri P, 1988. Francisco de. El Buscn. Ed. Domingo Yndurin. Madrid: Ctedra, Quevedo, 1987. "De don Clavijoa Clavileo: de la tradicin carnaRedondo, aspectos Agustn. algunos en el Quijote valesca (II, 38-41)."Edad de Oro3 (1984):181-99. y cazurra In Early Modern . "Nuevasconsideraciones sobreel travestismo en el Quijote." DE: Juan inMemory B. Johnson. Ed. Sherry Velasco. Studies Newark, ofCarroll Spanish de la Cuesta, 2008.273-92. de de la dueadolorida: la metamorfosis Sanz Hermida, Jacobo. Aspectos fisiolgicos In Actasdel Tercer Internacional de la Asociacin de la mujeren hombre." Coloquio Cervantistas. Barcelona: 463-72. 1993. Anthropos, de Dulcineay sus actrices: el viajedesdela letra hasta "La misteriosa Scola,Gloria. figura In El Quijote enel cine. Ed. Miguel et.al. Madrid: la imagen." Juan 2005. Payan Jaguar, " 'Un hermossimo rostro de doncella': MaraLourdes. SimGoberna, supuestos andrgicervantinas." Criticn nos en las novelas 69 (1997):111-15. and Sexuality in Spanishand Spanish Paul Julian. The BodyHispanic:Gender Smith, American Literature. UK: Clarendon P, 1989. Oxford, Bodies: in Filmand Video. Chris. Deviant Deviant SexualRe-Orientations Eyes, Straayer, NewYork: Columbia UP, 1996. a la humanacomunicacin. Cristbal. Variasnoticias Surezde Figueroa, importantes 1621. Madrid: TomsJunti, A Study s "Don Quixote," PartII. UniSullivan, ofCervantes' Henry. Grotesque Purgatory: Park: State UP,1996. versity Pennsylvania ed. Freakery: Cultural Rosemarie Thomson, Garland, Extraordinary Body. Spectacles ofthe NewYork: NewYork UP,1996. of Sansn Carrasco'sDisguises."In Ullman,Pierre."An Emblematic Interpretation a Helmut conmoEstudios literarios de hispanistas norteamericanos dedicados Hatzfeld M. Sola-Sol, Alessandro and Bruno tivode su 80 aniversario. Ed. Josep Crisafulli, Damiani.Barcelona: 1974. 223-38. Hispam, enel cine. Ed. Miguel "El caballero donQuijote, 2002."In El Quijote UserCanestro, Jess. et. al. Madrid: Juan 2005.111-19. Payan Jaguar, HaveWhiskers." TheNewYork Times VanMeter, William. "TheseKittens 2005: 30 June E4.
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de hispanistasnorZiomek, Henryk."Lo grotesco en el Quijote" In Estudiosliterarios teamericanos dedicados a Helmut Hatzfeldcon motivode su 8o aniversario.Ed. Josep M. Sola-Sol, Alessandro Crisafulli,and Bruno Damiani. Barcelona: Hispam, 1974. 239-49.

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The Duea Dolorida: Policing Gender, Desire, and Entertainment Author(s): Sherry Velasco Source: Hispanic Review, Vol.

The Duea Desire, and

HISPANIC REVIEW : Spring 2009

Velasco : the duea dolorida

224 <O~~ HISPANIC

Velasco : the duea dolorida

226 <o~ Hispanic

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Emblem98, Emblemas morales.Reprinted withpermission of Figure2. Covarrubias's Biblioteca Madrid. Nacional,

Velasco : the duea dolorida

Velasco : the duea dolorida

236 <- Hispanic

Velasco : the duea dolorida

Velasco : the duea dolorida

inRafael Marinas Trifaldi Gil'sDon Quijotede la Mancha(1947). 5. Arturo Figure

2009 240 t~ HISPANIC REVIEW : Spring

Velasco : the duea dolorida

Velasco : the duea dolorida

Hispanic review : spring 2009

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