Between Enlightenment and Romanticism

Abstract

Donald Shaw and Monroe Z. Hafter have argued that in writing Ramiro, conde de Lucena Rafael Húmara y Salamanca was attempting to reconcile the tension between conflicting political and worldviews that was prevalent in early nineteenth-century Spanish discourse. In this article, I argue that one way in which Húmara explores and contains the tension between the traditional Catholic and the emerging Romantic worldviews, as well as between the conservative and liberal views of the Spanish nation, is through his depiction of Muslim Spain. Throughout the novel, Húmara presents Muslim Spain as a place of unrestrained passion and anarchy that should be avoided because it presents a threat to Christian virtues. Simultaneously, however, Muslim Spain provides a respite from the repressiveness of the Christian world and provides a space where man is governed by an arbitrary destiny instead of a benevolent God, and human love, whatever its consequences, has been elevated to an absolute value. As I hope to demonstrate, although Húmara attempts to draw distinctions between Muslim and Christian Spain, and, in turn, the Romantic and Enlightenment worldview, these distinctions become less clear as the novel progresses.

Keywords:

• gender
• Rafael Húmara y Salamanca
• Muslim Spain
• Orientalism
• Romanticism

Notes

1. See, for example, Llorens 386–93; Ferreras 394–96.

2. For a more elaborate analysis of Los amantes de Teruel's Zulima's creative endeavors, see Blackshaw 1–18.