Bernardino de Ávila Girón was a Spanish merchant and notary who lived in Japan between 1594 and 1619. He traveled from Spain to Manila around 1583, took up residence in Nagasaki and was living there when six missionaries and twenty Japanese were crucified on February 5, 1597. He witnessed the persecution of Christians after the edict of expulsion of European missionaries on February 14, 1614. Based on these experiences and his observation of Japanese customs, he wrote the Relación del reyno del Nippon al que llaman corruptamente Jappon, the only secular account written in Spanish about Japan and the failed expansion of Christendom in the sixteenth and seventeenth centuries. The ties linking seventeenth-century Spain and the Americas in literature have been widely explored. Literary critics have studied the relationship between Spain and Asia in the context of medieval travel writing and nineteenth- and twentieth-century Orientalism. The relations between the Spanish empire and the empires of Asia, however, have been studied mostly by historians. My dissertation examines Bernardino de Ávila’s work not as a historical account, but as a narrative composed by a layman who would not have been considered in the seventeenth century either a historian or a reliable chronicler of martyrdoms. However, he provides a valuable and memorable eyewitness account that defies categorization. I use published sources and archival documentation to establish a more complete biography of Bernardino de Ávila, study the textual transmission of the Relación, a work that exists in multiple copies, place the Relación and Bernardino de Ávila’s life in historical context, and focus on its relation to other historical and literary writing of the period, including writing on the Japanese martyrs by the Jesuit Pedro Morejón and the playwright Lope de Vega, who were writing for very different readerships. I define the genre of the Relación and examine ideas of authority in the writing of history and hagiography and conclude by tracing the history of this work from the seventeenth century to our own day, and offer an explanation of why it has been excluded from the literary and historical canon.

Between 1440 and 1550, a genre known as sentimental romance flourished in Spain. Although the genre's works were in many ways varied, they all follow a recognizable model - in particular, a plot pattern that can be described as follows: A young man falls in love with a damsel who, after initially rejecting him, eventually reciprocates his affection. At some point, their mutual love becomes known and outside forces step in to thwart their passion and leave the would-be lovers heartbroken. The last two works of this genre, Processo de cartas de amores and Quexa y aviso contra amor, were written by Juan de Segura and first published in 1548. I have studied and compared the four editions published in the sixteenth century and prepared the first critical edition of both works with the intention of making them accessible to a broader audience of scholars and students. The edition is accompanied by detailed linguistic, historical, and literary notes, including discussions on the use of mythological figures in both texts and references to other literary works that may have influenced the author. I have also prepared a critical apparatus in which I collect all the linguistic variants found in the four editions, and provide additional commentary and context to explain decisions made in my edition, including explanations of the difficulties inherent in the printing process at the time. In the introduction, I provide a comprehensive study of the historical and literary contexts in which the narrations were composed, and a review of what we know about Segura's biography as well as the subjects that have received attention from modern literary scholars. I discuss a remarkable act of self-censorship by the editors of one of the sixteenth century editions, a topic undocumented until now. I also identify important textual sources that Segura employed, such as the poetry of Juan de Mena and Juan del Encina, and the work of Hernán Núñez de Toledo. Finally, I situate Processo de cartas de amores and Quexa y aviso contra amor within the genre of sentimental romance, to show their innovation and to explore their relationship to the byzantine and chivalric genres.

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