ORTENSIO SCAMMACCA (1562?-1648)

311 Pages·2013·2.3 MB·English

by  Shervin S

ORTENSIO SCAMMACCA (1562?-1648)
AND THE JESUIT THEATRE.
A CRITICAL EDITION OF
Il TOMMASO IN LONDRA

by

Ziba Ahmadian

A thesis submitted in conformity with the requirements for the doctoral degree

Graduate department of Italian Studies

University of Toronto

© Copyright by Ziba Ahmadian (2013)
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Ortensio Scammacca (1562?-1648) and the Jesuit Theatre. A
critical edition of Il Tommaso in Londra
Ziba Ahmadian
Doctor of Philosophy
Italian Studies Department
University of Toronto
2013
Abstract

This thesis is a critical edition of Il Tommaso in Londra, a tragedy by Jesuit Father Ortensio
Scammacca (Lentini 1562?-Palermo 1648). The play is contained within the twelfth edition of
Tragedie sacre e morali (Palermo: Decio Cirillo, 1648). The purpose of the study is to expose
Scammacca’s dramaturgical contribution to Jesuit and post-Tridentine theatre by thoroughly
analyzing Il Tommaso in Londra.
An excursus on the evolution of sacred drama from its origins to the theatre of the Jesuits
elucidates the historical and poetic aspects of sacred tragedy as a theatrical genre. A historical
review delves into the politico-cultural mood of sixteenth and seventeenth century Italy with
regards to the Protestant Reformation. The socio-religious circumstances of Sicily, as well as the
regulations imposed on the representations are also evaluated. Additionally, a lengthy discussion
of the Ratio Studiorum (1599) and the Spiritual Exercises explores the declamations as a
significant pedagogical method of the Jesuits, and opens the debate on Scammacca’s theatre.
Care is taken that the poet’s motivation to compose a tragedy based on Thomas Becket’s life
does not go unnoticed. The study of Il Tommaso in Londra ends with an extensive philological
note.
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Scammacca's tragedies have previously been studied and evaluated by scholars such as D’Agata
and Donzelli. Nevertheless, this assessment of Il Tommaso in Londra reveals the profoundness,
richness, and deliberate artifice of Father Scammacca's dramas in view of the Counter-
Reformation spirit. The study discloses a remarkably integrated historical play, and recognizes
the poet as the most prominent playwright of the era.
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Ortensio Scammacca (1562?-1648) and the Jesuit Theatre. A
critical edition of Il Tommaso in Londra
Ziba Ahmadian
Doctor of Philosophy
Italian Studies Department
University of Toronto
2013
Abstract

The purpose of this thesis is to produce a critical edition of Il Tommaso in Londra, a
tragedy composed by Jesuit Father Ortensio Scammacca (Lentini 1562?-Palermo 1648), and
contained within the twelfth volume of Tragedie sacre e morali published in Palermo by Decio
Cirillo, 1648. The only surviving copy of his fourteen volume collection is preserved at the
Biblioteca Nazionale della Regione Siciliana in Palermo.
The analysis of Scammacca’s plays in general and Il Tommaso in Londra in particular
recognizes the author as the most prominent innovator of religious theatre in the post-Tridentine
era. Hence, the intention of this study is to reveal the dramaturgic contribution of Father
Scammacca to the Jesuit theatre. The tragedy fully reflects the Counter-reformation’s spirit and
can be considered --even in its own anachronism-- a play that shatters the fundamentals of the
Lutheran Reformation.
Throughout this work, the emphasis is placed on the politico-religious aspect of Il
Tommaso in Londra. An excursus on the sacred drama from the first days of its existence to the
representations of the Jesuits, highlights the theatrical elements (performance, space, staging),
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and allows for an in-depth study of the play. Care is taken to explain the poetic aspects of the
sacred drama as a theatrical genre.
A historical review illustrates the politico-religious mood of Italy with reference to the
Protestant Reformation. In addition, the socio-cultural circumstances of Sicily in view of the
performances and the regulation imposed on theatre during the sixteenth and the seventeenth
century are assessed.
An evaluation of the relation between church and state during the Middle Ages precedes
the discussion of the Protestant reformations. A brief note on Thomas Becket and his relation
with the church clarifies Scammacca’s motivations in dedicating an entire tragedy to Becket.
A lengthy discussion on the Jesuits' pedagogical methods defines the progress of Jesuit
performances during and after the Counter-Reformation with regards to the Ratio Studiorum
1599 and the Spiritual Exercises of Ignatius Loyola. Furthermore, the dramaturgic production of
Scammacca, and Il Tommaso in Londra are discussed extensively followed by a philological and
editorial note.
A meticulous examination of the publications reveals that the text of Cristo nato,
another play of Scammacca, and one that was listed by Martino La Farina – Volume II, 59 – is
missing. We have determined that the play has not been out-of-place, for the book is intact with
no disruptions. The study confirms that Scammacca composed fifty-three tragedies, nine of
which are missing including Cristo nato, the play that, at the time, was in the possession of La
Farina, but which was subsequently neglected and remained unpublished.
The poet himself categorizes his plays as follows: 18 moral tragedies, 26 sacred
tragedies, and Il Tommaso in Londra, which is not labeled as being of moral or of sacred themes.
If one considers Cristo nato to be “sacred”, then 27 plays are clearly of a liturgical nature.
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Traditionally, the sacred plays are of biblical origin or inspired by Christian legends;
nevertheless, and probably due to their strong relation with the Church Il Tommaso in Conturbia
and Il Tommaso Moro are both branded by Scammacca himself as “sacred”. The moral tragedies
are in reality reproductions of the Greek tragedies, entirely reworked with supreme creativity to
address the polemic intent against heresies and infidels.
There is no accurate biographical information on Ortensio Scammacca; his date of birth
can be established between 1562 and 1565; his death is registered at the catalogue of the Jesuits
in Palermo as 16 February 1648. The first biographical records on Scammacca have been
collected by his contemporary Carlo Antonio Conversano (?-1690). A biographical study by
D’Agata, determines that he was born in 1562. The poet was from a noble family, and in 1582,
following his older brother he entered the Society of Jesus. Scammacca became a lecturer of
literature as well as other disciplines of his time. His extraordinary talent and exceptional
knowledge of the classical languages made him one of the most important interpreters of Holy
Scripture.
In Scammacca’s poetry there is no hidden objective. The prevalent belief in his plays is
purely pedagogical, and is intended to strengthen the Catholic faith of the audience through the
audacious actions of the Christian hero. In his plays, Scammacca is concerned with critiquing his
ancient predecessors for their inattentive actions and aims to correct them, while both the plot
and the characters emphasize elements of violation, choice, and repentance.
A tragedy’s success depends on the profoundness of the effects awoken in the audience,
rather than the topic. In this perspective, Scammacca’s talent to narrate the story so expertly as to
reach his spectators was beyond that of many of his contemporaries.
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The Aristotelian concepts of fear and pity, and the verisimilitude of the plot were perfect
to the edifying end of Scammacca’s pursuit. The passage from the fortune to the misfortune of
the main character was the key element of the play, adding to the heroism of the protagonist’s
action in order to arouse both audience’s compassion and fear.
Tragedy, according to Aristotle, must not be delightful nor must it have a happy ending,
as these two qualities belong to the comedy. However, if a composition results in an appeal to
the audience’s compassion, then the play is most certainly a tragedy. At the same time, it was
widely understood that tales of martyrs and saints should not be the subject of a tragedy,
conceivably due to the fact that, according to Aristotle, the protagonist who falls into misfortune
must be neither wicked nor innocent; the protagonist's wickedness could take away from the
feelings of compassion, while seeing the virtuous disgraced or fallen into disaster could provoke
feelings of anger against God. However, the faith gives God’s men the belief that the torments of
this world will be exchanged with glory in the next life; for this reason the martyr is overjoyed to
confront the tyrant, and readily accepts any and all suffering that is inflicted upon him. In
keeping with Aristotle's prescriptions, one might think that, if it is true that reaching martyrdom
is the ultimate joy for a man of God, and then a happy ending for the martyr does not warrant the
audience’s feelings of enjoyment, but rather those of pain and compassion. Nevertheless, it is
certain that staging of the suffering of Jesus or that of the Virgin Mary weeping at the foot of the
cross for her tormented child moved and continues to move the soul profoundly. Such scenes
induce feelings of deep emotion, leaving eyes wet with tears and hearts sore with pain; it
overwhelms the arena with pity and brings tragedy to its highest end.
Scammacca’s theatre benefits from the clarity and simplicity of the plots, which at the
time were meant to facilitate communication with the different social classes, especially the
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illiterates. In his plays, the debate scenes embody the entire tragedy, and yet each is presented in
a masterfully ordered manner. That is perhaps the key point in Scammacca’s style: the plays are
not overloaded, as the episodic construction is plain. The various episodes are well connected
and work closely together. Scammacca’s dramatic strategy is to bring the central part of the play
to the stage at its very beginning, such that by the time the second act starts, the viewer already
has a clear idea of the injustice that has taken place. This was essential to capture the audience’s
attention, and engage it throughout the play. As the story develops the viewer is attached,
excited, interested, and anxious until the crucial moment when he is relieved by the divine will.
Scammacca took it upon himself to take advantage of the pagan tragedies to praise the
true God. The poet’s passion for the theatre, his outstanding familiarity with the classical
tragedies of Sophocles and Euripides and their qualities and particular characteristics - the hero
with all his deeds, as well as his human and divine characteristics; the role of gods and of the
places of religious practice in the plays; etc. - earned him from his contemporaries the nicknames
“Sicilian Sophocles” and “New Euripides”. These plays were focused on a single hero, marked
by irregular and violent movements, bloodshed, and sorrow; yet every obstinate choice was part
of a tragic accident, while providence worked through the desires and ambitions that govern
human choices. The performance could capture the essence of human emotions and stage the
divine grace mixed with the splendor of acting, charming music and the exquisiteness of stage
settings.
Scammacca also created poems that were enriched with both historical facts and elements
drawn from real experiences: full of life, capable of touching the audiences’ souls. Staging a
historical episode could definitely inspire the spectator, hence, the poet began to search for
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events that mirrored the current reality. The story of Thomas Becket and Thomas More is the
best examples of tragedies of this kind.
The evolution of Jesuit performances at the colleges was due especially to the formal
recognition of the “declamations” as an important part of the award ceremony within the Ratio
Studiorum (1599). Already twelve articles of the Ratio Studiorum concerning the declamations
and performances were to guide the rectors of the colleges to discover talented students and to
create, for the glory of God, miracles on the stage. The exceptional curriculum of Jesuits was
based on a balance between the classics and theology, enhanced with courses on eloquentia
aimed at dignifying the souls of the students. Performing with such an academic preparation was
not difficult, as the recital became a part of the students’ life; the student was continuously
trained by composing, declaiming and performing. By the time the student left the college, he
was already an excellent instructor, a talented doctor, or a professor. He knew the classical
languages flawlessly, could recite the Holy Scripture by heart, and thanks to years of exercising
in the classroom and in front of the public, was perfectly able to improvise. In addition, he was
perfectly able to write in full style, take to the stage a real performance, or compile public
speeches. Moreover, the long hours of rigorous meditation and contemplation of the Spiritual
Exercises had strengthened his faith, mental abilities, and virtues. The exercises were repeated so
frequently that at times even the Jesuits themselves could not distinguish between dream and
reality, whether they were undergoing some inner experience or observing some outer event. The
transition was happening automatically, and the Jesuits were fully aware of their miraculous
ability to arouse interest, passion and move men towards God. However, the most glorious
moment in the history of Jesuit performances was when the Ratio Studiorum allowed fathers to
practice with only minor restrictions. As a matter of fact, the volume exposes and promises a
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balance between the norms already structured and the freedom to establish a definite plan with
specific rules. Therefore, under certain circumstances the adaptations were allowed to respect the
sensibility and comprehension of the viewer. The Jesuit drama, thanks to this flexibility,
continued in its motion towards modernizing the representations with new elements: ancient
history, Hebrew and Christian poems, Greek mythology, chivalric literature, Arab novels, and
legends along with the socio-cultural and economic-political rhythm of the time. Nonetheless,
the limitation of not having a female character on the scene or not allowing students to wear
female costume represented a problem. Changes were necessary in order to easily incorporate
into the Jesuit drama the principles of the Counter-Reformation, but also to make the
representations delightful and exportable to other countries.
In the process of regularizing his plays, Scammacca submitted his compositions to
Aristotelian rules, and the plays became technically similar to the classical tragedies. He
introduced the unities of time, place and action into his plays; he started the tragedy with a
prologue; limited the number of acts to five and developed them in such a flawless manner that
he would cut redundancies and inadequate segments. In one act, he has his protagonist advise his
other characters and comfort them, invoking God for their protection; when encountering a
complication, he turns to the Greek style and leaves the part to the “messi”, “capitani”, o
“consiglieri”.
The poet eliminates the intermezzos that lately had made their appearance even in
tragedies. The intermezzos often emerged as new representations with new themes, usually at the
end of acts. In comedies the intermezzos were used to entertain the audience, but in tragedies
they were totally out of place, and caused great distraction from the original plot. Instead of