Moreto's Historical Tragedy, El hijo obediente : Its Date, Performance History and Dramatic Quality
2008; Routledge; Volume: 85; Issue: 7-8 Linguagem: Inglês
10.1080/14753820802642604
ISSN1478-3428
Autores Tópico(s)Theater, Performance, and Music History
ResumoClick to increase image sizeClick to decrease image size Notes 1Restori takes the play's inclusion in Medel's Índice as evidence that it had been printed suelta (Antonio Restori, ‘La Collezione CC*IV. 28033 della Biblioteca Palatina-Parmense’, Studi di Filologia Romanza, VI [1891], 1–156: ‘col nome del Moreto deve essere stata edita suelta, perché con esso nome è citata nel catalogo Medèl’ [25]); but I can find no evidence to support this assumption. I have searched the holdings of Golden-Age plays in many libraries in Spain and elsewhere for a printed copy of the play, but so far without success. None of the numerous catalogues and Golden-Age drama collections held in libraries in Spain, Germany, the United States, Canada etc. lists Moreto's drama. 2The manuscript copy of Agustín Moreto y Cabaña, El hijo obediente, done by three copyists in Madrid and Valencia, dated 1678, is in the Biblioteca Municipal, Madrid, MS. 1-35-5 (legajo 22). The other manuscript copy of this play, which is in the Biblioteca Palatina-Parmense, Parma, Vol. 66, CC*IV 28033, is the work of one copyist; it is undated but its handwriting indicates it was written towards the end of the seventeenth century. The manuscript in Parma (2,337 lines) is significantly shorter than that of the Biblioteca Municipal (2,774 lines), although a folio at some point has been torn from the manuscript in the Biblioteca Municipal, so that it lacks some forty lines of a conversation, in Act III, between King Juan II of Aragón and Prince Fernando. Fortunately, the manuscript in Parma supplies the missing passage. Both manuscripts attribute the play to Moreto, and were probably copied from the playwright's original text. 3Francisco Medel de Castillo, Índice general alfabético de todos los títulos de comedias que se han escrito por varios autores (Madrid: Imp. Alfonso de Mora, 1735); ed. John M. Hill, Revue Hispanique, LXXV (1929), 144–369 (p. 194). 4 Comedias escogidas de Don Agustín Moreto y Cabaña, ed. Luis Fernández-Guerra y Orbe, BAE XXXIX (Madrid: M. Rivadeneyra/RAE, 1856; reprinted Madrid: Ediciones Atlas, 1950 etc.); see his introduction, pp. v–lv, especially pp. xxxv–vi. 5Fernández-Guerra asks: ‘¿será tal vez la misma que unas veces se halla impresa a nombre de Beneito, y otras con el de Guillén de Castro?’ (Comedias escogidas de Don Agustín Moreto y Cabaña, xxxv–xxxvi); and in his list of Moreto's plays he includes it among those he considers ‘dudosas’ (ibid., xlvii). Written in the late sixteenth century, Beneyto's play was published, for instance, in Doze comedias famosas de quatro poetas … de Valencia (Valencia: Aurelio Mey, 1608). For information about Beneyto, and for a modern edition of his play, see Eduardo Juliá Martínez, Poetas dramáticos valencianos, 2 vols (Madrid: Tip. de la Revista de Archivos, 1929); see Vol. II, 375–419. 6Restori, ‘La collezione CC*IV. 28033 della Biblioteca Palatina-Parmense’, 25. 7Carlos Cambronero, Catálogo de la Biblioteca Municipal (Madrid: Imprenta Municipal, 1902), 375. Fortunately, Mercedes Agulló y Cobo correctly describes this manuscript as a copy of Moreto's drama, and without mention of Beneyto. See her ‘La colección de teatro de la Biblioteca Municipal de Madrid’, Revista de la Biblioteca, Archivo y Museo, VII (1980), 223–302 (p. 281). 8Antonio Paz y Mélia, Catálogo de las piezas de teatro que se conservan en el Departamento de Manuscritos de la Biblioteca Nacional, 2 tomos (Madrid: Blass, 1934–35 [2nd ed. de Julián Paz]), I, 251. Since she derived most of her information on Moreto's plays from the holdings in the Biblioteca Nacional and the Biblioteca del Instituto del Teatro de Barcelona, María Soledad de Ciria Matilla omits altogether to list El hijo obediente in her ‘Manuscritos y ediciones de las obras de Agustín Moreto’, Cuadernos Bibliográficos, 30 (Madrid: CSIC, 1973), 75–128. Most recently, Héctor Urzáiz Tortajada has correctly distinguished Moreto's play from that of Beneyto, but he refers only to the manuscript of El hijo obediente in the Biblioteca Municipal and does not appear to be aware of the one preserved in the Biblioteca Palatina-Parmense, Parma (Catálogo de autores teatrales del siglo XVII, 2 vols [Madrid: Fundación Universitaria Española, 2002], II, 469). 9Emilio Cotarelo y Mori, ‘La bibliografía de Moreto’, BRAE, XIV:69 (1927), 449–94 (p. 478). 10Ruth Lee Kennedy, ‘Concerning Seven Manuscripts Linked with Moreto's Name’, Hispanic Review, 3 (1935), 295–316 (p. 301). For her discussion of El hijo obediente, see pp. 300–03. 11Kennedy, ‘Concerning Seven Manuscripts’, 300, n. 17, 302, 303. 12Other factors, of course, were at work too, not least the fact that Kennedy's article appeared just the year before the outbreak of the Civil War in Spain, which was immediately followed by the Second World War. After both wars ended, access to the holdings of the Biblioteca Municipal, and, therefore, to the manuscript of El hijo obediente, continued to be difficult, for that library remained ‘en obras’ for several decades. 13See Kennedy, ‘Concerning Seven Manuscripts’, 303, n. 30. 14Kennedy, ‘Concerning Seven Manuscripts’, 302–03. 15See Ann L. Mackenzie, La escuela de Calderón: estudio e investigación, Hispanic Studies TRAC (Textual Research and Criticism) 3 (Liverpool: Liverpool U. P., 1993), 107. For a detailed discussion of the relationship of Moreto's El hijo obediente to Lope's El piadoso aragonés, and also of Moreto's use of these three historical sources, see the chapter on El hijo obediente in my book Estudios sobre Calderón y sus discípulos dramáticos, forthcoming in BSS (Abingdon: Routledge, Taylor & Francis Group, 2009–10). 16Kennedy, ‘Concerning Seven Manuscripts’, 303. Kennedy includes a useful, though not in every detail accurate, summary of the plot (p. 301). 17Don Agustin Moreto y Cavana, El hijo obediente, ed. Mariapaola Miazzi Chiari y Blanca Luca de Tena, Biblioteca de Teatro Raro del Barroco Español 2 (Milan: Franco Maria Ricci, 1979). For the introductory pages on the play, see pp. 11–29; and for their opinion that both surviving manuscripts ‘a su vez eran copias de uno precedente, muy probablemente el original’, see p. 18. All quotations from El hijo obediente are taken from this edition, unless otherwise indicated. Miazzi Chiari and Luca de Tena complain, with some justification, about the poor state of the Madrid manuscript and found its third act almost impossible to transcribe: ‘El actual estado de conservación, de este manuscrito es lamentable. A los múltiples errores de los copistas, a la falta de un folio arrancado y perdido, se suma la humedad que ha prácticamente borrado el tercer acto haciendo su lectura casi imposible’ (14). Perhaps because I first transcribed this manuscript as early as 1968, at least ten years before they did, I had more success in deciphering Act III of the manuscript than they evidently had. I was not aware until many years later of the existence of the Parma manuscript. 18I therefore failed to list it in the Bibliographies of Moreto included in my books La escuela de Calderón: estudio e investigación (1993) and Francisco de Rojas Zorrilla y Agustín Moreto: análisis, Hispanic Studies TRAC (Textual Research and Criticism) 8 (Liverpool: Liverpool U. P., 1994). The edition would now appear to be out of print; certainly copies are difficult to come by. The Biblioteca del Consejo Superior de Investigaciones Científicas, Madrid is one of the few libraries outside Italy that appears to possess a copy. 19See the Primera parte de comedias de D. Agustín Moreto... (Madrid: Diego Díaz de la Carrera, 1654). Los jueces de Castilla was performed in 1648 (14, 15, 16, 17 August) in Brihuega by the company of Antonio García de Prado, and by that same company at the palace (Pardo, Cuarto de la Reina) on 19 January 1651. La fuerza de la ley was, apparently, a new play in late 1651, when it was performed in Toledo by the company of Sebastián de Prado. See Charles Davis y J. E. Varey, Actividad teatral en la región de Madrid según los protocolos de Juan García de Albertos: 1634–1660. Estudio y documentos, FHTE XXXV–VI, 2 vols (London: Tamesis, 2003), II, 717–18. 20Kennedy, ‘Concerning Seven Manuscripts’, 303, n. 29. While initially I was inclined to accept Kennedy's view (Francisco de Rojas Zorrilla y Agustín Moreto, 191), following further study of the play, I no longer believe that it was written in the 1650s. 21See María Luisa Lobato, Loas, entremeses y bailes de Agustín Moreto. Estudio y edición, Teatro del Siglo de Oro. Ediciones Críticas 136–137, 2 vols (Kassel: Reichenberger, 2003), I, ‘La trayectoria vital y dramática de Agustín Moreto’, 1–36 (p. 30). See also her article, ‘Moreto’, in Historia del teatro español, dir. Javier Huerta Calvo, 2 vols (Madrid: Gredos, 2003), I. De la Edad Media a los Siglos de Oro, coord. Abraham Madroñal Durán y Héctor Urzáiz Tortajada, 1181–205, especially p. 1184. 22Kennedy, ‘Concerning Seven Manuscripts’, 302, 303, n. 29. 23For an account of the revolt of Catalonia that began in 1640, see J. H. Elliott, The Revolt of the Catalans (Cambridge: Cambridge U. P., 1963). 24Still worth consulting is Manuel Iribarren, El Príncipe de Viana (un destino frustrado), Colección Austral (Buenos Aires: Espasa-Calpe, 1951). Also of interest, for background, is Jaume Vicens i Vives, Trajectòria mediterrània del Príncep de Viana, Episodis de la Historia (Barcelona: Rafael Dalmau, 1961). 25I reproduce here the fuller stage-directions of the 1678 manuscript (not given by Miazzi Chiari and Luca de Tena in their edition). 26There is some evidence to suggest that this secret passage existed in reality. Garibay, one of the historians utilized by Moreto, reports that Juan II escaped from Lérida ‘por la puerta del monasterio de los Predicadores, o según otros dicen, por una mina secreta que debajo de la muralla [de Lérida] estaba hecha’. See Esteban de Garibay y Zamalloa, Los XL libros d'el Compendio historial de las crónicas y universal historia de todos los reinos de España, 4 vols (Amberes: Plantino, 1571); see Vol. 3, Book XXVIII, Chapters XXIII–IX, 481–96 (p. 493). 27For comment on this play see Ann L. Mackenzie, ‘Álvaro Cubillo de Aragón, A Playwright in the School of Calderón’, in Calderón 1600–1681. Quatercentenary Studies in Memory of John E. Varey, BHS, LXXVII (2000) (Oxford: Carfax, Taylor & Francis/University of Glasgow, 2000), 265–87 (pp. 284–86). 28This comedia exists in a seventeenth-century manuscript in the Biblioteca Nacional, MS 16.934 (Paz, Catálogo de las piezas de teatro, I, 515). The manuscript carries the name of Lorenzo de Prado, but this could be the name of the copyist responsible and/or the actor who performed the play. There was an actor and autor de comedias of that name active in the 1640s (Davis y Varey, Actividad teatral en la región de Madrid, II, 857). 29See Francisco de Rojas Zorrilla, Lucrecia y Tarquino, edited with an Introduction and Notes by Raymond R. MacCurdy (Albuquerque: Univ. of New Mexico Press, 1963). In his ‘Introduction’ (1–39), MacCurdy comments: ‘It is highly probable […] that Rojas had read Titus Livy (59b.c.–17a.d.), whose History of Rome (or Décadas) was accessible to him in several Spanish translations. […]. I think we may assume that Rojas had read the Décadas (perhaps several years before writing his tragedy)’ (10). 30Juan II's rights to the throne of Navarre, which he also ruled, were altogether more open to question. Carlos de Viana's rebellion against his father was undertaken to deprive his father of the throne of Navarre, to which Carlos, through his mother, had by far the more legitimate claim. 31Fernández-Guerra does provide still useful information about this period of Moreto's life; see his ‘Discurso preliminar’, in Comedias escogidas de Don Agustín Moreto, v–xxviii (pp. xiv–xx). But see, especially, Lobato, Loas, entremeses y bailes de Agustín Moreto, I, ‘La trayectoria vital y dramática de Agustín Moreto’, 17, 27–30. 32See Emilio Cotarelo y Mori, Ensayo sobre la vida y obras de D. Pedro Calderón de la Barca (Madrid: Tipografía de la Revista de Archivos, Bibliotecas y Museos, 1924; edición facsímil de Ignacio Arellano y Juan Manuel Escudero (Pamplona: Univ. de Navarra/Frankfurt am Main: Vervuert/Madrid: Iberoamericana, 2001), 295. 33I reproduce these lines exactly as they appear in the 1678 manuscript in the Biblioteca Municipal. In their edition Miazzi Chiari and Luca de Tena (perhaps influenced here by the Parma manuscript) transcribe lines 2457–58 as follows: ‘Plegue a Cristo que venza / hermano de un hospital.’ 34Ruth Lee Kennedy, The Dramatic Art of Moreto, Smith College Studies in Modern Languages, 13, 1–4 (Northampton, MA: Smith College, 1931–32) (reimpreso [Philadelphia: Univ. of Pennsylvania, 1932]), 124. 35By 1657, it is worth remembering, Moreto himself had taken Holy Orders. See Lobato, Loas, entremeses y bailes de Agustín Moreto, I, ‘La trayectoria vital y dramática de Agustín Moreto’, 16–17. 36I prefer my transcription of line 1456 to that given by Miazzi Chiari and Luca de Tena: ‘y al Rey Saúl y a más de treinta reyes’ (my emphasis). 37The description referred to is quoted at greater length by Kennedy in The Dramatic Craftsmanship of Moreto, 42. This play (whose other authors were Luis de Belmonte Bermúdez [Act I] and Antonio Martínez de Meneses [Act III]) was first published in El mejor de los mejores libros que han salido de comedias nuevas (Alcalá, 1651; Madrid, 1653). The autograph manuscript of this play, which carries a censura dated Madrid, 21 December 1650, is in the Biblioteca Nacional, Madrid (MS. RES 81) (Paz, Catálogo de las piezas de teatro, I, 451). A play called El perseguido performed by the company of Osorio in 1650 was almost certainly El príncipe perseguido (see Kennedy, The Dramatic Art of Moreto, 138). 38He must have had ample opportunity to observe such priests in Toledo from 1662 onwards, when, according to the documentation seen by Lobato, he was (1662–68) ‘vinculado como presbítero a la Iglesia de San Nicolás’ (see Lobato, Loas, entremeses y bailes de Agustín Moreto, I, ‘La trayectoria vital y dramática de Agustín Moreto’, 17). 39My emphasis. Moreto's will is reproduced by Fernández-Guerra in his ‘Discurso preliminar’ to his edition of Moreto, Comedias escogidas, xix. Cotarelo insists on differentiating between ‘el cementerio del Pradillo del Refugio, donde años después, por humildad, mandó enterrarse Moreto’ and ‘el Pradillo del Carmen o de los Ahorcados, que es lugar distinto’ (Ensayo sobre la vida y obras de Calderón, 295). Despite what Cotarelo says, it appears that the paupers’ cemetery in Toledo, known as ‘El Pradillo del Refugio’, was also known as ‘El Pradillo del Carmen’, although the Pradillo de los Ahorcados could have been a different burial ground. 40See Fernández-Guerra, ‘Discurso preliminar’ to Moreto, Comedias escogidas, xix. 41See Lobato, Loas, entremeses y bailes de Agustín Moreto, I, ‘La trayectoria vital y dramática de Agustín Moreto’, 29–30; see also Lobato, ‘Moreto’, in Historia del teatro español, ed. Huerta Calvo, I, 1184. 42For this information, see the ‘Introducción’ to their edition of Juan Vélez de Guevara, Los celos hacen estrellas, ed. J. E. Varey y N. D. Shergold (London: Tamesis Books, 1970), xiii–cxvii (pp. xliv–xlv). 43See J. E. Varey y N. D. Shergold, Teatros y comedias en Madrid: 1666–1687. Estudio y documentos, FHTE V (London: Tamesis Books, 1974), 13, 39–40 (p. 39). For the theatrical conditions of this period, see Emilio Cotarelo y Mori, Bibliografía de las controversias sobre la historia del teatro en España (Madrid: Est. Tip. de la Revista de Archivos, Bibliotecas y Museos, 1904; edición facsímil con estudio preliminar e índices de José Luis Suárez García, Archivum 64 [Granada: Publicaciones de la Univ. de Granada, 1997]). 44I can find no mention of any performance of El hijo obediente in the numerous documents published in their volumes of Fuentes para la Historia del Teatro en España by J. E. Varey, N. D. Shergold y Charles Davis. See, for instance, Varey y Shergold, Teatros y comedias en Madrid: 1666–1687; N. D. Shergold y J. E. Varey, Representaciones palaciegas: 1603–1699. Estudio y documentos, FHTE, I (London: Tamesis, 1982); J. E. Varey y N. D. Shergold, con la colaboración de Charles Davis, Comedias en Madrid: 1603–1709. Repertorio y estudio bibliográfico, FHTE IX (London: Tamesis, 1989). 45Kennedy shares my opinion: ‘I am inclined to think the play El hijo obediente, which is mentioned in the Lista sessoriana of date 1666, is this play in manuscript, not Beneyto's’ (‘Concerning Seven Manuscripts’, 301). There is (according to Restori) a version of this Lista Sessoriana (1666) in a manuscript in the Biblioteca Nacional, which Juan Eugenio Hartzenbusch reproduces in the ‘Prólogos’ to his edition of the Comedias escogidas de Fray Lope Félix de Vega Carpio, BAE, 4 vols; IV, BAE LII (Madrid: Rivadeneira/RAE, 1860; reprinted Madrid: Atlas, 1952 etc.), v–xxxii (p. xxx). This may well be the same manuscript mentioned by Maura—a satire from the period of Carlos II, made up of ‘títulos de comedias’, which lists, among its other play-titles, El hijo obediente. See Gabriel Maura y Gamazo, Carlos II y su corte, 2 vols (Madrid: Tipografía de la Revista de Archivos, Bibliotecas y Museos, 1911), 621. Restori suggests that the El hijo obediente referred to in the Lista Sessoriana is the play by Beneyto (see Antonio Restori, Piezas de títulos de comedias. Saggi e documenti inediti o rari dei teatro spagnuolo dei secoli XVII e XVIII [Messina: Vincenzo Muglia, 1903], 36). But Restori was under the mistaken impression that the Parma manuscript of El hijo obediente was a copy of Beneyto's play (see p. 12, and note 6, above). On the other hand, the reference to a play, titled El hijo obediente in the manuscript called Libro de varias curiosidades literarias apparently written in Valencia, and possibly composed around 1650, though it could have been composed later in the century, could well be an allusion to Beneyto's comedia (see J. M. Regueiro and A. G. Reichenberger, Spanish Drama of the Golden Age. A Catalogue of the Manuscript Collection of the Hispanic Society of America, 2 vols [New York: The Hispanic Society of America, 1984], II, 720). 46The Parma manuscript is undated but Miazzi Chiari and Luca de Tena believe that though it is ‘más moderno que el de Madrid podría fecharse a final del siglo XVII’ (see El hijo obediente, ed. Miazzi Chiari and Luca de Tena, ‘Descripción de los manuscritos de Madrid y de Parma’, 14). 47For the text of this romance see José Subirá, El gremio de representantes españoles y la Cofradía de Nuestra Señora de la Novena (Madrid: CSIC, 1960), 59. 48The signature on the manuscript of Act III consists only of Pizarro's surname and rubric; but Alonso Pizarro was the only actor with this surname who acted with Jerónimo de Sandoval in 1678. Kennedy mistakenly believes that the copyist of Act III was called ‘Pizarro de Moreto’ (‘Concerning Seven Manuscripts’, 300). In fact, the words ‘sacola Pizarro’, which appear at the end of Act III, are written above, not alongside, the words ‘de Moreto’; these words are surely just a reference to Moreto's authorship of the play. 49His signature at the end of Act II also includes his rubric, which, in both cases, corresponds to Sandoval's rubric as reproduced in facsimile in Davis y Varey, Actividad teatral en la región de Madrid, II, 869. The name ‘Sandoval’ is also to be found in the list of actors etc. scribbled on the reverse of the front-cover sheet. 50Sandoval was in the Companies of Alonso de la Paz, Antonio de Castro and José de Prado in 1655, 1656 and 1658 respectively (Kennedy, ‘Concerning Seven Manuscripts’, 300, n. 18). 51Álvaro Cubillo de Aragón, Los desagravios de Cristo, BN MS. 15.997 (see Paz, Catálogo de las piezas de teatro, I, 146–47). 52Unless otherwise indicated, my information on the career of Jerónimo de Sandoval is taken from: Genealogía, origen y noticias de los comediantes de España, ed. N. D. Shergold y J. E. Varey (London: Tamesis, 1985); for Jerónimo de Sandoval, see especially I, 137 (p. 79); II, 274, 299–300 (pp. 429–30, 434–35). I am indebted to the same source for the information I give on Alonso de Pizarro (I, 360, p. 137; II, 301, p. 435), and on other actors who were in the company of Martín de Mendoza in 1678. 53Evidence that an actor-manager's collection of plays was regarded as an important asset is provided, for instance, by the divorce petition of María de Córdoba (Amarilis), in which her collection of plays is stated to be worth eight or ten thousand ducats (see Emilio Cotarelo y Mori, Actores famosos del siglo XVII: María de Córdoba [Amarilis] y su marido Andrés de la Vega [Madrid: Artes Gráficas, 1933]). 54See Genealogía, origen y noticias de los comediantes de España, ed. Shergold y Varey, II, 274 (p. 429) 55See Genealogía, origen y noticias de los comediantes de España, ed. Shergold y Varey, I, 137 (p. 79). 56For information on the careers of Martín de Mendoza, Alonso Pizarro and Juan López, see Genealogía, origen y noticias de los comediantes de España, ed. Shergold y Varey, I, 137, 770 (pp. 79, 228), II, 299 (pp. 434–35); I, 360 (p. 137); I, 617 (pp. 197–98). 57Jerónima de Sandoval was later to form her own company (Genealogía, origen y noticias de los comediantes de España, ed. Shergold y Varey, II, 299 (pp. 434–35). 58Of the remaining roles, Francisco Alonso might have played the part of Juan de Beamonte or of Bernardo Rocabarti (Genealogía, origen y noticias de los comediantes de España, ed. Shergold y Varey, I, 546, 562 [pp. 183, 186]). Brianda's maid could have been played either by Bernarda Gertrudis (the second wife of Jerónimo de Sandoval) or by Jerónima Fernández (Genealogía, II, 274 [p. 429]; II, 301 [p. 435]). All these actors were members of Mendoza's company at that time. Two children also appear and there are some non-speaking parts for soldiers, rebel Catalans etc. Among the notes, evidently in Sandoval's handwriting, scribbled on the back of the front- and end-pages of Act I of this manuscript, besides what appears to be a note of entrance prices, or outgoings, there is a list of actors’ names etc. with numbers (02, 07, 030, 19 etc.). Not all the names listed are decipherable but one of them is ‘Alonso’ (referring to Alonso Pizarro, or, perhaps, to Francisco Alonso?). 59I have consulted, naturally, but in vain, all the relevant volumes of documents on the theatres in Madrid collected by, especially, J. E. Varey, N. D. Shergold and Charles Davis and published by Tamesis in the series Fuentes para la Historia del Teatro en España; see also Rosita Subirats, ‘Contribution à l’établissement du répertoire théâtrale à la cour de Philippe IV et de Charles II’, Bulletin Hispanique, 79:3–4 (1977), 401–79. Nor have I found any record of El hijo obediente in documents about theatres and performances in other parts of Spain, published to date, for instance, by Ángel María García Gómez, Actividad teatral en Córdoba y arrendamientos de la Casa de las Comedias: 1602–1737. Estudio y documentos, FHTE XXXIV (Madrid: Tamesis, 1999); María Teresa Pascual Bonis, Teatros y vida teatral en Tudela: 1563–1750. Estudio y documentos, FHTE, XVII (London: Tamesis, 1990); Fernando Marcos Álvarez, Teatros y vida teatral en Badajoz: 1601–1700. Estudio y documentos, FHTE XXVII (London: Tamesis, 1997). 60I have found no references to El hijo obediente in, for instance, the following: N. D. Shergold y J. E. Varey, con Charles Davis, Teatros y comedias en Madrid: 1699–1719. Estudio y documentos, FHTE XI (London: Tamesis Books, 1986); J. E. Varey y Charles Davis, Los libros de cuentas de los corrales de comedias de Madrid: 1706–1719. FHTE XVI (London: Tamesis Books, 1992); Ada M. Coe, Catálogo bibliográfico y crítico de las comedias anunciadas en los periódicos de Madrid desde 1661 hasta 1819 (Baltimore: The Johns Hopkins Press, 1935); René Andioc & Mireille Coulon, Cartelera madrileña del siglo XVIII (1708–1808), Anejos de Criticón, 7, 2 vols (Toulouse: Presses Universitaires du Mirail, 1996); Francisco Aguilar Piñal, Sevilla y el teatro en el siglo XVIII (Oviedo: Univ. de Oviedo, 1974); Alfonso Par, ‘Representaciones teatrales en Barcelona durante el siglo XVIII’, BRAE, XVI (1929), 326–46, 492–513, 594–614; Germán Vega García-Luengos, ‘El teatro barroco en los escenarios y en las prensas de Valladolid durante el siglo XVIII’, in Teatro del Siglo de Oro. Homenaje a Alberto Navarro González, ed. Víctor García de la Concha, Jean Canavaggio, Theo Berchem y María Luisa Lobato (Kassel: Edition Reichenberger, 1990), 639–73; Eduardo Juliá Martínez, ‘Preferencias teatrales del público valenciano en el siglo XVIII’, Revista de Filología Española, XX (1933), 113–59; Nicholson B. Adams, ‘Siglo de Oro Plays in Madrid, 1820–1850’, Hispanic Review, 4 (1936), 342–57; Charlotte M. Lorenz, ‘Seventeenth-century Plays in Madrid from 1808–1818’, Hispanic Review, 6 (1938), 324–31. 61See Hugo A. Rennert, The Spanish Stage in the Time of Lope de Vega (New York: The Hispanic Society of America, 1909; reprinted New York: Dover Publications, 1963), 199 (Rennert's source is Cristóbal Pérez Pastor, Documentos para la biografía de D. Pedro Calderón de la Barca, 2 vols [Madrid: Fortanet, 1905], I, 275–76). 62On this aspect, see, for example, Rennert, The Spanish Stage, 198 (citing Pérez Pastor, Documentos para la biografía de D. Pedro Calderón, I, 253–54). See also below, p. 33, note 68. 63See Francisco Bances Candamo, Theatro de los theatros de los passados y presentes siglos, prólogo, ed. y notas de Duncan W. Moir (London: Tamesis, 1970), 5; see also Moir's ‘Prólogo’, xv–cii (pp. li–lii). Bances was, of course, referring to the King's second marriage to Mariana of Neuburg. But Mesonero Romanos believed, mistakenly, that Bances was referring to Carlos II's first marriage and so commented that: ‘no pudieron formarse tres compañías de comediantes para solemnizar las fiestas del matrimonio de Carlos [II] con María Luisa de Orleans en 1679’. See Dramáticos posteriores a Lope de Vega, ed. Ramón de Mesonero Romanos, BAE XLVII & XLIX, 2 vols (Madrid: Rivadeneyra/RAE, 1858–59; reprinted Madrid: Ediciones Atlas, 1951 etc.), XLIX, ‘Apuntes biográficos y críticos’, II, v–xxi (p. xvi). 64See Melveena McKendrick, Theatre in Spain 1490–1700 (Cambridge: Cambridge U. P., 1989), 176; and Mackenzie, Francisco de Rojas Zorrilla y Agustín Moreto, 22. 65Quoted from Mackenzie, Francisco de Rojas Zorrilla y Agustín Moreto, 166. 66For information on the theatre of El Coliseo see Jonathan Brown and J. H. Elliott, A Palace for a King. The Buen Retiro and the Court of Philip IV (New Haven/London: Yale U. P., 1980), 74, 108, 206–13. See also N. D. Shergold, A History of the Spanish Stage from Medieval Times until the End of the Seventeenth Century (Oxford: Clarendon Press, 1967), especially Chapter 11, ‘The Court Theatre of Philip IV, 1640–1665’ and Chapter 12, ‘Court Plays of the Reign of Charles II, 1665–1700’; and John E. Varey, ‘Scenes, Machines and the Theatrical Experience in Seventeenth-century Spain’, in La scenografia barocca. Atti del XXIV Congresso Internazionale di Storia dell’ Arte, ed. Antoine Schnapper, Comité Internationale d'Histoire de l'Art 5 (Bologna: CLUEB, 1982), 51–63. 67 El mancebo del camino was performed, for instance, at the Palace by the company of Antonio de Escamilla in 1675 (10 November), and again in 1676 (9 February); in 1684 (13 April and 25 June) at the palace by the company of Manuel de Mosquera; and in 1696 in the Corral del Príncipe by the company of Andrea de Salazar. El valor no tiene edad y Sansón de Extremadura was staged at the palace by the company of Manuel Mosquera in 1685. A manuscript of this play (in the Biblioteca Nacional) has censuras dated 1685 (BN MS. No. 16.945; Paz, Catálogo, 557–58). The same play was performed again by the same company in 1686 (19 and 20 October), in the Coliseo (see Varey y Shergold, Comedias en Madrid: 1603–1709, 150, 212, 235); El valor no tiene edad was also performed at the palace in 1693 (24 January) by the company of Damián Polope y Valdés (Subirats, ‘Contribution à l’établissement du répertoire théâtral’, 453, 478). 69Quoted from the Gaceta de Madrid, 11 de enero de 1678; see Ada M. Coe, Carteleras madrileñas (1677–1792, 1819) (México: Imprenta Nuevo Mundo, 1952), 13. 68See J. E. Varey y N. D. Shergold, Teatros y comedias en Madrid: 1666–1687, 176. El Hércules de Ocaña had been previously staged in the Corral de la Cruz in 1673 (on 18, 19, 20 December). The play was performed again at the palace by the company of Manuel Vallejo in 1681 (see Varey y Shergold, Comedias en Madrid: 1603–1709, 129). 70For an analysis of Berenguel in El Caín de Cataluña, see Mackenzie, Francisco de Rojas Zorrilla y Agustín Moreto, especially pp. 49–52. Its exact date of composition is unknown. It was performed on 21 or 22 June 1648, the year in which Rojas Zorrilla died, by the company of Alonso de Olmedo in Jadraque (Davis y Varey, Actividad teatral en la región de Madrid, II, 715); but this play was probably written at least ten years earlier. 71There is a manuscript of El Caín de Cataluña, in the Biblioteca Nacional, Madrid with censuras dated 1678 (MS. BN 14439; Paz, Catálogo, I, 74). There were other performances, for instance, in Madrid at the palace, in 1685 and in Valladolid in 1687 (see Varey y Shergold, Comedias en Madrid: 1603–1709, 73); Narciso Alonso Cortés, ‘El teatro en Valladolid’, BRAE, IX (1922), 366–86 (p. 370). For information on eighteenth-century performances of the play, see Mackenzie, Francisco de Rojas Zorrilla y Agustín Moreto, 52, n. 13. 72Acts II and III of the autograph manuscript of El catalán Serrallonga have survived. Act II is signed by Rojas Zorrilla and dated
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