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Bulletin Of The Comediantes Vol. X Fall, 1958 No. 2 TENTH ANNIVERSARY YEAR Matrimony in The Theatre Of Guillen De Castro John G. Weiger University of Vermont John G. Weiger, University of Vermont In an earlier article (Bulletin, X, 1), it was pointed out that there are no facts to support the belief that either of Guillen de Castro's marriages was an unhappy one, despite the frequent disparaging comments about marriage and the large number of unhappy marriages in his plays. The final conclusion was in the words of Julia: "Las censuras contra el matrimonio están sembradas en las obras de todo tiempo, y, por consiguiente, tienen un origen literario mejor que causas individuales."1 This being the case, it would be worth the effort to re-examine matrimony in Castro 's plays, not as isolated instances to be cited out of context, but as an integral part of his theater. It is evident throughout Castro's plays that there are three conditions necessary for a happy marriage, the lack of any one of which inevitably spells doom for the married couple. In the first place, the man and woman to be married must belong to the same social class. This, of course, was a common standard, and one which is not limited to the Spain of Castro's time. Camden informs us that "the couple to be married should ... be of the same status in society. Those of high degree should never marry those of low degree; otherwise the peace of marriage will be disturbed at the start."2 Bomli points out that "la différence de classes est un obstacle infranchissable pour la conclusion d'un mariage. . . ."3 At times this maxim can be unusually strict, as in Pagar en propia moneda, where Elena, daughter of the King, is seen kissing a count. Although it was only a kiss in return for a favor, the King calls it an afrenta that the Princess lowered herself to kiss a count (I, 98). Social status is often more important than financial status. In El perfecto caballero, Diana falls in love with the Valencian, don Miguel. When she inquires about his condition and learns that he is of noble blood, she remarks that "ya puede ser casto amor / lo que fuera liviandad" (II, 135). When she learns that don Miguel will not inherit anything, her only worry is whether he is illegitimate, but upon learning that he is legitimate, but poor, she says that "no añade calidad / el dinero, aunque aprovecha.— / Ya salgo de una sospecha" (ibid.). The second prerequisite for a happy marriage is that the couple's ages should be reasonably equal. "This should be between seventeen and eighteen for the women, between twenty-five and thirty-six for the man."4 The third requirement for happy matrimony is perhaps the most unusual one. It is common knowledge that not only in Spain, but almost universally, marriage was, until very recently, arranged by the parents. Guil1 BULLETIN OF THE COMEDIANTES Published in the Spring and Fall by the Comediantes, an informal,international group of all those interested in the comedia. Editor Everett W. Hesse University of Wisconsin Madison 6, Wis. Assistant Editor John E. Keller University of NorthCarolina Chapel HiU, N. C. Subscription: $1 a year lén de Castro, however, was clearly opposed to arranged or forced marriages. A thorough reading of his works shows that such marriages always end unhappily. When the instances of domestic difficulty are studied from the point of view of Castro's three maxims for happy marriage, it becomes increasingly clear that it is not matrimony itself which is being condemned, but matrimony in violation of one of these maxims. At the same time, it will be seen that the remarks against matrimony uttered by so many of Castro's characters, when studied in their original context and in relation to the entire plot of the play in question, are not merely vituperative remarks against marriage, but have a common origin: a marriage which disregarded one of the maxims, particularly the right to choose one's mate. The first prerequisite for a happy marriage, equal social status, is, with one...

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