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Estudios sobre el Siglo de Oro en homenaje a Raymond R. MacCurdy

1987; Auburn University; Volume: 39; Issue: 1 Linguagem: Inglês

10.1353/boc.1987.0012

1944-0928

Ruth Lundelius,

Early Modern Spanish Literature

Reviews141 xote (1975) is certainly relative to the discussion, but so are later (and earlier) works by John J. Allen, George Haley, Howard Mancing, and Cesáreo Bandera, among others. Mark Van Doren's Don Quixote's Profession (1958) is present in the text; Gonzalo Torrente Ballester's more probing El Quijote como juego (1975) is not. As a result of the bibliographical oversights, Syverson-Stork tends to undervalue the research that has preceded her own. Her monograph would have been richer and her insights more meaningful had she taken into account these untapped resources. Edward H. Friedman Arizona State University González, Angel; Holzapfel, Tamara; and Rodríguez, Alfred, editors. Estudios sobre el Siglo de Oro en homenaje a Raymond R. MacCurdy . Albuquerque: University of New Mexico and Madrid: Ediciones Cátedra, 1983. Paper. 344 pages. Estudios sobre el Siglo de Oro is a festschrift for Raymond R. MacCurdy celebrating over three decades of distinguished teaching at the University of New Mexico. Professor MacCurdy is universally recognized as the ultimate authority on Rojas Zorrilla and the Spanish tragic theater, but, as reflected in this volume, his interests encompass the entirety of Golden Age literature. Two opening testimonials, from close colleagues, delineate the man and teacher. His gift as moulder of future Hispanists is attested by the presence of several of his former students among the contributors. The volume includes thirty-one articles, divided into the following sections: the Comedia, Lope de Vega, Calderón de la Barca, Otros ingenios, and Literatura general del Siglo de Oro. Space is so limited, the quality of contribution so high, and the articles so numerous that those selected for mention must necessarily reflect only the predilections of the reviewer. In «Conflicto y jerarquía de valores en el teatro del Siglo de Oro,» Frank Casa argues for a sharper awareness of precedence among conflicting values than has been commonly recognized. Exactly what the dramatists did think about the hierarchy of values implicit in the comedia , particularly what Calderón in the honor tragedies intended his audience to conclude, has been the subject of an ongoing controversy. 142BCom, Vol. 39, No. 1 (Summer 1987) Barbara Mujica arrives at a provocative conclusion in «El Amor cobarde : Celos en El galán fantasma de Calderón»: «Es tal vez en las comedias de capa y espada donde Calderón se permite la crítica social más explícita de toda su obra teatral. Al igualar las locas obsesiones del duque con la rebeldía condena todo un sistema de valores corriente en el siglo XVII.» Among studies of mythological plays, those of Lope as well as of Calderón, a gap is filled by Michael McGaha's insightful study of «Las comedias mitológicas de Lope de Vega.» The author examines these in the context of Lope's life and work and discusses the political and psychological implications in Lope's adaptations of the great classical myths. The religious theater is the subject of several studies, as in «La reina Ester en el teatro en el Siglo de Oro español: dos puntos de vista» by Jack Weiner. After examining Lope's La hermosa Ester and Godinez' Aman y Mardocheo the author concludes: «Es irónico que el punto de vista de Godinez—converso—sea totalmente cristiano, mientras que el de Lope sea judío.» To the present reader, however, it does not seem ironical but entirely logical that Lope, cristiano viejo, was secure to present the Jewish tradition, whereas the converso Godinez could scarcely afford to arouse suspicion. The topos ur pictura poesis is interestingly discussed by James A. Parr in «Correspondencias formales entre La Celestina y la pintura contemporánea» and also by William Whitby in «Pinturas, retratos y espejos en la obra dramática de Luis Vêlez de Guevara.» The boundary separating tragedy from comedy is further explored in Charlotte Stern's thoughtful «El celoso extremeño. Entre farsa y tragedia.» Several articles are historical in approach. Ruth L. Kennedy, in«Las tocas en las comedias de Tirso. La prudencia en la mujer y La mujer que manda en casa: su valor simbólico,» continues her penetrating use of internal references...