Court Culture and Moreto's El lindo don Diego: Are You In, Or Are You Out?

This paper examines two views of court life, as outlined in Il Cortegiano and El oráculo manual y arte de prudencia, by Baldassar Castiglione and Baltasar Gracián, respectively. In these "etiquette manuals" these two writers clearly illustrate the Renaissance's preoccupation with ideals and appearances. Although Castiglione and Gracián differ in terms of their personal views of court life, each writer ultimately reaches the same conclusion: social success depends on one's ability to function within the ruling class. To achieve such success, it is essential that the individual, in our case, the courtier, understand the dynamics at work and his position within them. Not to act in a manner deemed proper and ideal by those in power will bring about the downfall of the impostor who dares not follow the rules. Agustín Moreto's El lindo don Diego offers a perfect example of the would-be galán, whose attempts to enter Madrid high society fail miserably as he proves himself incapable of understanding the role he is to perform. The figurón's inattention to self guarantees his demise as the foolish figure who is excluded from the desired society which crystallizes at the play's end. His exclusion is acceptable, it is argued, not only because he is a laughable character, but also because his behaviour and ignorance are an affront to the etiquette of the period. More important, however, is the degree of responsibility granted to the spectator in the rejection of the figurón. We as members of the audience are essentially challenged to accept and therefore meet the expectations of court society; it is this acceptance which will guarantee our inclusion and justify the figurón's exclusion. What is technically comedy on stage is actually irony in its reception, as the audience's desire to be seen as one of the "chosen few" mirrors the goal of the figurón. Indeed, our participation in the machinations against the odd character secures our own entry into the final society and spares us the comical wrath of those who are at its doors. (ML)