By Jacqueline Elaine Lawson
For the novelist of the 18th century, the narrative pre-occupation with family lifestyles was once expressed during the photograph of the ill-governed relatives. The issues bobbing up from courtship, marriage, sexual relationships, early life and family strife supplied the writers of that period with the precise automobile for inculcating ethical precepts governing kinfolk behavior; and is the reason, partially, the overly didactic nature of the radical during which readers are exhorted to right improprieties of their personal families.
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The historical aspect of their works is vital, for they critique their historical moment and also counter the a-historical Moorish narratives before them. Furthermore, by superimposing a layer of autobiography onto their historical narratives, these authors are using history and memory together, as a sort of double validation of their depictions of Moriscos. In sum, if, in the tradition of White and Jenkins, one sees history as another narrative discourse, one can gain access to its contribution to a changing narrative tradition in Spain.
Milán was a courtier in Valencia, Narváez a chamber musician to Philip II, and Mudarra a canon at the cathedral in Sevilla. 53 Pisador also lacked professional musical training and was for a time mayordomo of Salamanca. Fuenllana was the musician to the Marquesa de Tarifa and later to Isabel de Valois, the third wife of Philip II. And Daza was from a prominent family of Valladolid, having no need to work for a living. In short, these composers represent a diverse group from Castile, Aragon, and Andalusia, drawing from both professional musicians and amateurs, from the upper and middle classes.
Indeed, any printer suspected of heresy (especially an allegiance to Martin Luther) would be duly punished. 55 The thematic similarities of the vihuela ballads, therefore, reflect the rising popularity of the Moorish theme as a result of a general cultural anxiety. But one should not take this argument further, mistaking these similarities as a cohesive expression of some kind of Christian nationalism on the part of the vihuelists. Musicologist Jack Sage, for example, adamantly opposes the existence of any such nationalistic agenda in the vihuela books.