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This study traces the life ideals of the Spanish "caballero" of the Sixteenth Century as they appear first in Montalvo's Amadís de Gaula and later in II Corteglano of Castiglione. The first chapter studies Amadís' knightly ideal and explores the question of whether Montalvo's text can be properly considered a "courtesy book." The second chapter focuses on the Courtier and Castiglione's idea of the courtly gentleman relative to Montalvo's chivalric ideal. It also appraises what new perspectives and attitudes are at the center of Castiglione's view of "cortegianla" and how these elements are reflected in other Spanish courtesy books subsequent to the Courtier's arrival and publication in Spain. Chapter III deals with the theme of courtiership in Don Quljote and with Cervantes' attitude toward the courtier's Pursuits, aspirations, and life-style. Finally, the fourth chapter analyzes, through the study of selected works of Calderon and Gracian, certain problems of self-perception, moral conscience, and outlook that distinguish the ideal man of the baroque age, as envisioned by these authors, from his renaissance counterpart. On the whole, the study points to the gradual change and process of secularization of the courtier's ideal during the sixteenth and seventeenth century and to the decline of traditional thought and myths about class limitations and human potential.
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IN F O R M A T IO N T O USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality o f the reproduction is heavily dependent upon the quality o f the material submitted. The following explanation o f techniques is provided to help clarify markings or notations which may appear on this reproduction. 1 .T h e sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication o f either blurred copy because o f movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. I f copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method o f “ sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University Microfilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8 32 48 45 R a im o n d o , F ra n c es c o THE COURTIER’S IDEAL IN SPA NISH LITER A TU R E : DECLINE ITS ASCENT AND N e w York University University Microfilms International Ph.D. 300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1983 by Raimondo, Francesco All Rights Reserved 1983 THE COURTIER'S IDEAL