Reviewed by:

• Bad Blood: Staging Race Between Early Modern England and Spain by Emily Weissbourd
• Dian Fox (bio)

Following the Reconquest's end in 1492, Spain expelled the Jews and Muslims, forcing those remaining to convert to Christianity. At first, subjects suspected of religious recidivism were barred from honors and access to power, some becoming victims of the Inquisition. As the sixteenth century progressed, statutes targeted their descendants (known, respectively, as conversos and Moriscos): any hint of unclean heritage, or "bad blood," could imperil the greater good. Conversos, being white and relatively assimilated, were perceived as especially threatening to the religious establishment for their potential to pass as "Old" Christians. Although many Moriscos were also white, they were less integrated into the larger population and attracted less institutional and cultural animus, at least during much of the sixteenth century—before fear of rebellion eventually led to their 1609-14 expulsion from Spain.

The pure-blood statutes, which "inscribe religion as a racial characteristic" (18), have been seen as the source of emerging Western anti-Semitism and of racism more broadly. Emily Weissbourd, sensitized to these matters by reflection on her own Jewish heritage, helps complicate the originary narrative of modern racism in several respects. First, she is skeptical of received academic conventions: for example, her historically-inflected close readings of Spanish fiction and drama illustrate that the preoccupation in early modern Iberia with a "clean" Christian heritage was by no means uncontroversial. Her approach is also intersectional, factoring into the polemics around inherited alterity the contemporaneous rise of the Peninsula's sub-Saharan slave trade. The author's comparative work builds on these foundations to illuminate English consumption and processing of Iberian tropes of essential difference. Ultimately, the author demonstrates that those important Peninsular engines of white Christian claims on power—pure blood orthodoxy and the traffic in Black Africans—also affected and implicated then-contemporary England in incipient racist habits of mind.

Weissbourd explains that certain Spanish prose and theatrical texts actually skewered pure blood's purchase on entitlement. She shows that their ironies often failed to penetrate their English translations and adaptations, not to mention modern scholarship. "Far from a totalizing protoracist discourse that enshrines inconvertible difference, discourses of purity of blood in early modern Spanish culture were a site of contestation, negotiation, and even parody" (52).

The book considers the English fortunes of three Spanish prose fictions. There is James Mabbe's The Rogue (1622), a highly popular translation of Mateo Alemán's picaresque novel Guzmán de Alfarache (1599, 1604). Mabbe's vocabulary is unequipped to comprehend and reflect many of the ethnic and [End Page 285] religious complexities and the satire in Alemán's Spanish. Fuchs has addressed the European impulse to orientalize Spain, and Weissbourd elaborates on Mabbe's Maurophilia as well as Alemán's. Then there is The Spanish Gypsy (1623), a dramatic adaptation by Middleton and Rowley, et al. of Cervantes' 1613 novellas La gitanilla (The Little Gypsy Girl) and La fuerza de la sangre (The Power of Blood). The noble white male rapist, unflatteringly unrepentant in Cervantes, is excused, reformed, and celebrated in the English play. Weissbourd summarizes, "The Spanish Gypsy is far more preoccupied with impure blood and ruined honor than either of the Spanish novellas it draws on, and Mabbe's English translation, with its persistent emphasis on the exotic Moorishness of Spaniards, offers a more essentializing portrayal of racialized difference" (75).

Attention turns to Black characters on the national stages (presumably performed by white actors in blackface). Both theatres frequently associated Black Africans with service and slavery. In Spain, unlike conversos and Moriscos, Blacks were regarded as less potentially troublesome for being visibly identifiable and hence unable to usurp white prerogatives. Sometimes exemplary protagonists (including of saint's plays), Black characters could signify untainted descent. Weissbourd examines several comedias in which highborn white women marry admirable Black slaves—although in her assessment fundamentally their roles promote "a fantasy of normative whiteness" (81). Claramonte's El valiente negro en Flandes (The Valiant Black...

审阅者：

• 《恶血：近代早期英格兰与西班牙之间的上演竞赛》作者：Emily Weissbourd
• 黛安·福克斯（简介）

1492 年收复失地运动结束后，西班牙驱逐了犹太人和穆斯林，迫使剩下的人皈依基督教。起初，涉嫌宗教累犯的对象被禁止获得荣誉和获得权力，其中一些人成为宗教裁判所的受害者。随着十六世纪的发展，法规针对的是他们的后代（分别称为conversos和Moriscos）：任何不洁遗产或“坏血统”的暗示都可能危及更大的利益。改宗者是白人，相对同化，他们被视为对宗教机构特别有威胁，因为他们有可能被视为“老”基督徒。尽管许多摩里斯科人也是白人，但他们融入较大人口的程度较低，也较少引起制度和文化上的敌意，至少在 16 世纪的大部分时间都是如此——直到对叛乱的恐惧最终导致他们在 1609-14 年被驱逐出西班牙之前。

纯血统法规“将宗教列为种族特征”（18），被视为新兴的西方反犹太主义和更广泛的种族主义的根源。艾米丽·韦斯伯德通过反思自己的犹太传统而对这些问题变得敏感，她在几个方面使现代种族主义的原始叙述变得复杂化。首先，她对公认的学术惯例持怀疑态度：例如，她对西班牙小说和戏剧的历史影响的仔细阅读表明，现代早期伊比利亚对“干净”基督教遗产的关注绝不是没有争议的。她的方法也是交叉的，将围绕继承差异的争论和半岛撒哈拉以南奴隶贸易的同时兴起考虑在内。作者的比较工作建立在这些基础上，以阐明英语对伊比利亚修辞本质差异的消费和处理。最终，作者证明了白人基督教权力主张的重要半岛引擎——纯血统正统和非洲黑人的贩运——也影响并暗示了当时英格兰萌芽的种族主义思想习惯。

韦斯伯德解释说，某些西班牙散文和戏剧文本实际上歪曲了纯血统购买的权利。她表明，他们的讽刺往往无法渗透到他们的英文翻译和改编中，更不用说现代学术了。“在现代早期的西班牙文化中，关于血统纯洁性的话语远非一种奉行不可改变的差异的总体性原始主义话语，而是争论、谈判、甚至模仿的场所”（52）。

这本书探讨了三部西班牙散文小说在英国的命运。詹姆斯·马贝的《盗贼》 （1622 年）是马特奥·阿莱曼的流浪汉小说《古兹曼·德·阿尔法拉奇》（1599 年、1604 年）的广受欢迎的译本。马贝的词汇不足以理解和反映许多种族和[结束页285]宗教的复杂性以及阿莱曼西班牙语中的讽刺。福克斯谈到了欧洲使西班牙东方化的冲动，韦斯布尔德则详细阐述了马贝和阿莱曼的毛罗恋。然后是《西班牙吉普赛人》（1623），由米德尔顿和罗利等人改编的戏剧。塞万提斯 1613 年的中篇小说La gitanilla（吉普赛小女孩）和La fuerza de la sangre（血液的力量）。塞万提斯笔下那位高贵的白人男性强奸犯毫无悔意，但在这部英国戏剧中却得到了原谅、改造和歌颂。韦斯伯德总结道：“与它所借鉴的任何一部西班牙中篇小说相比，《西班牙吉普赛人》更加关注不纯的血统和被毁的荣誉，而马贝的英文译本始终强调西班牙人的异国情调的摩尔人特征，提供了对种族化社会更本质的描绘。差异”（75）。

人们的注意力转向国家舞台上的黑人角色（大概是由黑脸的白人演员表演）。两个剧院都经常将非洲黑人与服役和奴隶制联系起来。在西班牙，与皈依者和摩里斯科人不同，黑人被认为不太容易造成麻烦，因为他们很容易被识别出来，因此无法篡夺白人的特权。有时，黑人角色是模范主角（包括圣人戏剧中的主角），可以象征着纯洁的血统。韦斯伯德研究了几部喜剧，其中出身高贵的白人女性与令人钦佩的黑人奴隶结婚——尽管在她的评估中，她们的角色从根本上促进了“规范白人的幻想”(81)。克拉拉蒙特的《El valiente negro en Flandes》（勇敢的黑人...