Professional Documents
Culture Documents
Aizenberg
Aizenberg
REFERENCES
Linked references are available on JSTOR for this article:
https://www.jstor.org/stable/341001?seq=1&cid=pdf-reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms
RAQUEL Y VIDAS: MYTH, STEREOTYPE, HUMOR
EDNA AIZENBERG
Columbia University
not racial.
THUS the poetthe
introduces of two
the moneylenders
Cantar de Mio from
Cid Other critics, however, claim that the
Burgos, since immortalized as the pathetic- portrait of the usurious pair painted in the
comic victims of Ruy Diaz's astuteness in Cantar and their treatment at the hands of
the ardid de las arcas de arena. the Cid and his lieutenants are anything
Much scholarly discussion of the Raquel but expressions of philo-Semitism. It is not
and Vidas episode has revolved around insignificant
the that those who read the
following question: Is the incident anti- episode as having anti-Semitic implications
Semitic or not? The difference of opinion are often non-Spaniards who are not-or
among critics on this issue are of more less-concerned
than with the nationalistic
secondary interest because deciding ramifications of the PMC (Poema de Mio
whether the episode has anti-Jewish over- Cid) or at least do not see the Campeador
tones has bearing on the moral person trick of as a taint on his epic personality. O
the Cid and on his heroic stature as this is the contrary, in this view, the duping
perhaps one of the few points in the Poema Raquel and Vidas was almost an enhance-
when the protagonist can be said to actment in of the hero's character. As Colin
a less than exemplary way. Smith writes:
Those who want to see in Ruy Diaz the However difficult it may be for us to accept it with our
very embodiment of the Castilian national modern ideas of morality and our modern guilts about
spirit dismiss the accusations of anti- antisemitism, the Cid's ability to cheat the Jews was
(in the mind of the author and his twelfth-century
Semitism which may mar the Cid's charac- audience) just another facet of his heroic character...
ter (and by extension that of Spain?).
[His] is a rich portrayal, subtle and detailed, human
Rodrigo acts under duress, twice saying of and credible, and I do not see that it suffers if we add
his trick "amidos lo fago" (11. 84, 95). His to it the notion that, in the presentation of the legend
promise of repayment is not carried out in to a twelfth-century audience, ability to master the
the Poema but that is because forgetful-wariness of Jewish moneylenders had a significant
place.3
ness or lack of time caused the poet to omit
this detail which is nonetheless clearly Smith's comments point out the com-
suggested in Minaya's words to the Jewish munity of spirit between audience, hero,
businessmen: "Por lo que avedes fecho and poet typical of epic poetry, a commun-
buen cosiment y avrd" (1.1436). The ity of spirit that cannot be ignored in an
chronicles in their reworking of the CMC analysis of the PMC in general and of the
have the Cid repaying his debt to Raquel chests of sand episode in particular. It is to
and Vidas. In recent studies the scene has this "common ethos"' that I would like to
been described as "harmless" or "neutral" address myself. More specifically, I would
like to discuss three elements functioning
vis-.-vis the
interlude's Jews.2 De
essentially Chasca
comic cites"el
nature: the
within this collective Weltanschauung or
humorismo delicioso del poeta, limpio derivingde from it in an attempt to add my
todo prop6sito reprobatorio . . . reduce a
granito de arena to the debate. I label these
lo inocuo el t6pico de la usura hebrea" three elements myth, stereotype, and
(p. 135). Sola-Sol&, making little of the humor.
moneylenders's Jewishness, calls their P.N. Dunn in his study of the PMC has
portrait "religiosa y racialmente neutra" shown that the work carries mythical over-
(p. 9) and adds that the ease with which tones in two ways; one social, related to
Raquel and Vidas let themselves be out- the community of spirit mentioned above,
witted is presented in a pleasant, agreeable the other structural.' The chanting of the
light. Sola further says that any anti- poem with its metrical beat, oft-repeated
Semitism existing at the time of the poem's formulae, archaic idioms, and solemn tone
composition was religious, but certainly serves as a "ceremonial statement of what
478
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms
Raquel y Vidas: Myth, Stereotype, Humor 479
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms
480 Edna Aizenberg Hispania 63 (Sept. 1980)
aver trae
usurer, whose vilification monedado?");'7
derived notthe Jew comes
from
some secular economicout of the episode as abut
theory, conniving liar while
from
the Christian
church doctrine itself," blendedis vindicated.
withThe Cantigas
that de
of the biblical Judas. And all of these, Santa Maria of Alfonso el Sabio also
Jew = deicide = Judas = usurer = Satan include this miracle (XXV) with minor
came together. '6 variations. It is but one of thirty cantigas
Where is the evidence for this demonic in which Jews appear-almost always in a
portrait of the Jew in the popular litera-
negative light."8 The wise king follows the
"standard" categories in his portrayals:
ture of the Middle Ages? Citing a multitude
of works-mystery, miracle, and morality the Jew is either the archenemy of Christi-
anity or the Devil's disciple or a traitor or
plays, chronicles and legends, poems, folk
Avarice incarnate. In these characteriza-
tales and folk songs from England, France,
tions humorous ridicule is not absent.'9
Germany, and Spain--,Trachtenberg
establishes that most "painted the JewAnd as this from a monarch who had Jewish
the fount of evil" (p. 12) possessed of a scholars and advisors in his royal house-
"vicious character" (p. 13). He adds: hold, whose reign has been considered a
"Where another note was permitted to time of gain and prestige for Spanish
intrude, it was only extremely rarely one of Jewry. But if at Alfonso's court political,
kindliness and commiseration; more intellectual, and economic expediency
usually it was one of scorn and derision-- shaped an attitude of high regard for Jews,
the Jew was a comic as well as a vile on the pages of the Cantigas other forces-
creature" (p. 13). This description is less rational, more poetic-traditional-
certainly reminiscent of the way Raquel molded the figure of the Jew. As Bagby
and Vidas are presented in the PMC. I will concludes:
return to it in later pages. Spanish legend, folklore, and even history were filled
Among the Spanish texts, Trachtenberg
with tales of Jewish treachery and unreliability. ...
mentions Gonzalo de Berceo and hisBecause the Jews composed a hated minority, it is
not strange that some seven percent of the stories in
Milagros de Nuestra Sehora for their use of
the Cdntigas [sic] are concerned with them. They
a number of widespread anti-Jewish
madebeliefs
good villains in stories for popular consump-
such as the attack by Jews on a tion.
wax image
They were excellent foils for Christian charac-
of Jesus Christ, a popular accusation
ters; theytaken
provided made-to-order antagonists to
up by the Siete Partidas which Christian
Trachten-men and women . . .; and they became the
butt of satire, caricature, and animus. (pp. 687-88)
berg also quotes. Among other anti-Semitic
themes incorporated by Berceo This view of
is that ofthe Jew also comes across in
the Jew as sorcerer in league withthe Auto
the de los Reyes Magos where the
Devil
and-of interest to us in relation to the rabbis clearly state of verdad: "No la
Raquel and Vidas episode-that of the habemos
Jewusada / ni en nuestras bocas es
as the rich, avaricious and dishonest fallada."
moneylender (Miracle XXIII, "La deuda The importance of cultural tradition in
pagada"). Here, as in the Cantar, the telling the members of a society "not only
Christian borrower is a generous soul, whom to like and dislike, but [also] why
anxious to "exaltar su fama, el su precio these attitudes are appropriate"20 has been
crecer," but fallen on hard times; he is well underscored by social scientists studying
received by the usurer who, as in the PMC, intergroup relations; and the role of tradi-
"de otras sazones lo avie conocido"; the tion is nowhere greater than in the epic
borrower is reluctant to leave the collateral which is traditional poetry por antono-
-Mary and the Christ child--"fizilo sin masia. Therefore, the way medieval in
grado," but has no choice; he goes to which Christian tradition, especially popu-
"tierras estrarnas" and using the money lar tradition saw the Jew cannot be
lent him by the Jew "fizo grand ganancia"; ignored. In the hundred years surrounding
aver is placed in an estui which there is the time of the PMC's composition2' the
great difficulty in picking up; the Jew goes negative-satanic image of the Jew, an
to sleep after hiding the gold and silver his image which made him a perfect stock
debtor has sent in repayment but which the character for (comic) malignment, was
moneylender denies receiving (shades of known and transmitted in Spain so that the
the PMC's "non duerme sin sospecha qui audience and poet, influenced by the
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms
Raquel y Vidas: Myth, Stereotype, Humor 481
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms
482 Edna Aizenberg Hispania 63 (Sept. 1980)
the PMC with ganancia."3 Money and Some interpreters, Jews and Christians ali
material goods are omnipresent and are the tried in vain to gloss over the anti-Jewish bi
bases on which the Cid's glory, fame, andrepresentative poem, a bias revealed . . . in the
author's adherence to the popular conception of the
social position are built. Yet in what state Jew as the deceitful merchant, rather than the loyal
is Ruy Diaz when he comes before the political aide, the function which he undoubtedly
Jewish entrepreneurs? He is accused of exercised in the circles around the historic Cid. (p. 58)
stealing money from his lord by keeping "Literary tastes," "folklore," and "popu-
back part of the parias; he is stripped of his lar conception" are the terms historians
material possessions; he is unable even to use to describe the way Raquel and Vidas
buy provisions in Burgos and is dependentare seen in the Cantar. It is an expression of
on Martin Antolinez for bread; in short, the vox populi, the public consciousness as
the Cid is penniless and destitute. He saysit perceived the Jew. And this perception-
as much to Martin: shaped by the epic's creative power-is
Espeso e el oro e toda la plata above all an emotional configuration
bien lo veedes que yo no trayo nada, colored by myth, tinged by fantasy. What
huebos me seri6 pora toda mi campafia; has been said of the PMC as a whole holds
(11.81-83)
true of Raquel and Vidas; although rooted
The source of frustration and the over-
in "vaguely historical compost"35 their
riding concern at the moment is money and
flowering is not in the realm of accurate
it is just then that we are confronted fact
withbut in that of artistic truth.
Raquel e Vidas en uno estavan amos, Interestingly, throughout the chests-of-
en cuenta de sus averes, de los que sand scene the author does not need to tell
avien ganados.
the audience that Raquel and Vidas are
The Jewish pair are a "simon-pure incarna-
judios. By choosing two typically sounding
tion" (Allport, p. 388) of money obsession.
Jewish names the desired reaction is
It is the one dimension they have and elicited.
in line Speaking of the linguistic facto
with what is known of stereotypes lays bare
influencing perception of group differ
the mind of the poet, his audience,32 andAllport says that certain labels,
ences,
his (literary) hero-the Cid. words like "cripple," "feeble-minded,"
One may argue that not all estimates of
"Negro," "Oriental" are symbols of
ethnic or group character are fictitious; it potency. That is, they so color the
primary
is true that Jews were forced to be usurers
way we view the category thus labeled that
they blind us to any other attributes the
in the Middle Ages to a greater extent than
their Christian brethren because the person or group may have. He adds: "Even
proper
Church considered lending at interest turpenames-which ought to invite us to
lucrum and undoubtedly some of the look at the individual person-may act like
Jewish moneylenders were knaves. Yet a symbols of primary potency, especially if
"verifiable assessment of a group is not the they arouse ethnic associations. Mr. Green-
same as the selecting, sharpening, and berg is a person, but since his name is
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms
Raquel y Vidas: Myth, Stereotype, Humor 483
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms
484 Edna Aizenberg Hispania 63 (Sept. 1980)
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms
Raquel y Vidas: Myth, Stereotype, Humor 485
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms
486 Edna Aizenberg Hispania 63 (Sept. 1980)
Please send the names and addresses of your students in methods classes to
Treasurer of the Association so that a sample copy of Hispania and mem
can be sent. If you prefer, a number of bulk copies can be sent to you for
students. Let's take full advantage of this free "advertising" and increas
AATSP members with young people entering the profession.
Any such ideas should be reported promptly to the Chairman of the AATSP's Public
Relations Committee. Professor Gast6n R. Jones, 219-B Chastaine Cr., Birmingham, A
35209. Professor Jones and his able committee are anxious to disseminate any good idea
developed by AATSP members. Don't hide the light of your success under the proverbi
bushel basket! Send your ideas and proposals to Professor Jones today!
This content downloaded from 132.248.9.8 on Sat, 23 Feb 2019 01:57:36 UTC
All use subject to https://about.jstor.org/terms