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Voyeurism and the phallic gaze are essential components of the characters' psychosexual makeup, as well as in the dramatic configuration of Juan de Flores' sentimental romance Grisel y Mirabella. Some critics have noted the importance of Mirabella's deadly glance as the matrix of both desire and death (Grieve 1987, 64. Cull, 1998). The Galeno-Platonic and Aristotelian extramission-intromission optic theories are fundamental for interpreting Mirabella's arrows of love that her "peligrosa vista" emits to hurt and kill the knights that are exposed to her choric visual field. Moreover, during Torrellas' sadistic martyrization by the queen and her entourage of ladies, the executrixes usurp the phallic gaze in order to objectify and rape the misogynist through visual economies. (1) With the mechanism of appropriating the male glance, the ladies subvert and reverse the patriarchal authority, thus undermining both the social system and the "patriarchal" gaze. (2) By coercing Torrellas to behold them while they exert their power over his mutilated body, the queen and her ladies render him a passive object of their basest passions, sexualizing him and turning him into a virginized martyr through the articulation of their subversive optical power. Meanwhile, in Mirabella's ritualistic immolation, which will be the focus of this study, the fetishization of her seminude body by the titillating gaze shows the extent to which the priapic eyes touch, dominate, and penetrate the sexualized victim.3 In Mirabella's execution scene, scopophilia (the erotic pleasure derived by looking at others as objects) constitutes a sophisticated mechanism of apotropaic punishment.
Critics have interpreted Mirabella's physical display before and during her execution in different ways. Lillian von der Walde Moheno notes the eroticism in Mirabella's exposure in her "camisa" (nightgown). The imagery of the "camisa" represents an authorial intrusion in Flores' diegetic world. By portraying Mirabella seminude, Flores becomes the first and most visible voyeur of his sentimental romance. (4) Other critics have emphasized the spectacularization of her execution, while others have noted the equivalency between marriage and death, as pointed out by the Auctor-narrator, all of which are essential to understanding the scene (Deyermond, 1993. Walde Moheno, 1996). However, critics have neglected the phenomenology of optic theories in the story and have not recognized the centrality that vision plays in the development of the dramatic plot and the effect that the gaze has in individual characters who look and/or are looked at. The Other's glance conditions the way in which characters interact with each other and reify each other by paradoxically objectivizing and being objectivized through the wielding of their own gaze. This study intends to fill the epistemological gap: it aims to show how the (phallic) gaze formulates relations of power and desire by fetishizing and sexualizing Mirabella's body as an object of masculine lust. Mirabella's execution is staged in a ritualistic and spectacular fashion in front of a wide viewership in order to punish her sexual transgression by exposing her to the public's sight, which serves as the State's mechanism to police...
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