El juez de los divorcios (1615) by Miguel de Cervantes provides one of the few glimpses of ecclesiastical divorce proceedings within early modern literature. The humorous interlude draws attention to the breakdown of marriage and the role of the ecclesiastical courts in the mediation of such conflicts (Carrión 2011; Behrend-Martinez 2003). Rather than a fantastical story of violence, honor, betrayal, and the like, Cervantes brings to life the stories of four couples and their disappointment with their spouses and unending marital fate. Exaggeration abounds, but the frustrations vented by each character resonate with those of the litigants found in trials from early modern Spain and Spanish America. The script opens in the courtroom as the judge, attorney, and notary enter followed shortly by the first couple seeking divorce. Despite the couple reaching consensus on the need for a separation and appealing to the court for a divorce, the judge finds no reason to grant the request. The second couple is likewise rebuffed, as is the third. Last, a husband comes to the court without his wife, who happens to be a prostitute, and he too was denied a separation. Accusations of bad breath, old age, and just being downright annoying were not persuasive to the judge. Even one litigant’s attempt to list her husband’s 400 faults could not convince the court to grant a divorce. The brief production included four divorce cases, featuring seven litigants and the court officials. While these were common parties within early modern divorcio cases, the cast of characters in the colonial courts of Lima, the capital of the Viceroyalty of Peru and the seat of the archbishop, was much larger. Divorce proceedings in the Spanish Empire frequently included witness testimony, multiplying and (perhaps) clarifying stories of these troubled marriages and amplifying the voice of public opinion on appropriate marital conduct. Witnesses knew about many of the troubles plaguing these marriages. From infidelity to domestic violence and drunkenness to gambling habits, flaws that caused friction in the home were often well-known to at least a portion of the community due to close quarters and the coming and going of life and work in the urban center. The adjudication of these trials, then, was communal. But who counted as community? Legal jurists in colonial Peru, and legal practice throughout the empire, often placed limits on who could or should testify. In the early modern ideal, testimony from elites was prized while that frommarginalized populations was barred. But in divorcio cases in Lima, witnesses came from all sectors of the colonial population, and this representation can be attributed to the demography and the ecclesiastical court’s pursuit of all marital matters. In short, ecclesiastical

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利马 17 世纪离婚法庭的亲密知识和证人

米格尔·德·塞万提斯 (Miguel de Cervantes) 的《El juez de los divorcios》（1615 年）提供了早期现代文学中为数不多的对教会离婚程序的一瞥之一。幽默的插曲提请注意婚姻的破裂以及教会法庭在调解此类冲突中的作用（Carrión 2011；Behrend-Martinez 2003）。塞万提斯不是一个关于暴力、荣誉、背叛等的幻想故事，而是将四对夫妇的故事以及他们对配偶的失望和无休止的婚姻命运的故事栩栩如生地呈现出来。夸张比比皆是，但每个角色所发泄的挫败感与在现代早期西班牙和西班牙美洲的审判中发现的诉讼当事人产生共鸣。剧本在法庭上开始，法官、律师和公证人进入，紧接着是第一对寻求离婚的夫妇。尽管这对夫妇就分居的必要性达成共识并向法院提出离婚上诉，但法官认为没有理由批准该请求。第二对夫妇同样遭到拒绝，第三对也是如此。最后，丈夫在没有妻子的情况下来到法庭，妻子恰好是妓女，他也被拒绝分居。口臭、衰老和令人讨厌的指控对法官来说没有说服力。即使是一名诉讼人试图列出她丈夫的 400 条错误，也无法说服法院批准离婚。简短的制作包括四起离婚案件，涉及七名诉讼当事人和法院官员。虽然这些是早期现代离婚案件中的共同当事人，但利马殖民地法院、秘鲁总督的首府和大主教所在地的人物阵容，大得多。西班牙帝国的离婚诉讼程序经常包括证人证词、繁殖和（也许）澄清这些陷入困境的婚姻的故事，并放大公众对适当婚姻行为的意见。目击者知道困扰这些婚姻的许多麻烦。从不忠到家庭暴力，从酗酒到赌博习惯，导致家庭摩擦的缺陷往往至少为一部分社区所熟知，因为近距离以及在市中心的生活和工作的来来往往。因此，对这些审判的裁决是共同的。但谁算作社区？殖民地秘鲁的法律学家以及整个帝国的法律实践，经常对可以或应该作证的人设置限制。在早期的现代理想中，精英的证词受到重视，而边缘化人群的证词则被禁止。但在利马的离婚案件中，证人来自殖民地人口的各个阶层，这种代表性可以归因于人口统计学和教会法庭对所有婚姻事务的追求。简而言之，教会的