Infantas , Conformidad , and Marriages of State: Observations on the Loa to Calderón's La púrpura de la rosa
1993; Liverpool University Press; Volume: 70; Issue: 1 Linguagem: Inglês
10.1080/1475382932000370175
ISSN1469-3550
Autores Tópico(s)Spanish Literature and Culture Studies
ResumoClick to increase image sizeClick to decrease image size Notes1. Gonzalo Torrente Ballester, La rosa de los vientos (Barcelona: Destino, 1985), 123–24.2. Gonzalo Torrente Ballester, Teatro español contemporáneo, 2nd ed. (Madrid: Guadarrama, 1968), 395.3. Gottfried von Strassburg, Tristan and Isolde, ed. Francis G. Gentry, with foreword by C. Stephen Jaegar (New York: Continuum, 1988), xxii.4. Joseph Campbell, with Bill Moyers, The Power of Myth, ed. Betty Sue Flowers (New York: Doubleday, 1988), 98–99.5. Pedro Calderón de la Barca, Tercera Parte de Comedias (Madrid, 1664), 203v. Citations refer to the folio by recto or verso and, where appropriate, by column, indicated by ‘a’ or ‘b’. I take the date of performance from La púrpura de la rosa, ed. Angeles Cardona, Don Cruickshank, and Martin Cunningham, accompanied by la partitura of Tomás de Torrejón y Velasco (Kassel: Reichenberger, 1990), 40. After the completion of my study of the loa, I received the fine critical edition prepared by Cruickshank, who also suggested the revised date for the opera's estreno. 6. For the importance of these terms in Calderonian theatre, see my study ‘La gramática y retórica del honor calderoniano: las finezas como principio substancial’, in Homenaje a Hans Flasche, ed. Karl-Hermann Körner and Günthe Zimmermann (Stuttgart: Franz Steiner Verlag, 1991), 155–61.7. See Stanley G. Payne, A History of Spain and Portugal (Madison: Univ. of Wisconsin Press, 1973), I, 317, for pertinent remarks on this situation.8. Enrique Lafuente Ferrari, Velásquez: Infantes and Infantas (New York: Tudor, 1961), 7. For additional information on the portraits of Maria Teresa, see Antonio Domínguez Ortiz, Alfonso E. Pérez Sánchez, and Julián Gallego, Velázquez (New York: The Metropolitan Museum of Art, 1989), in particular Gallego's comments (240–43).9. Pedro Calderón de la Barca, Obras completas: Dramas, ed. A. Valbuena Briones (Madrid: Aguilar, 1969). References to Calderonian plays are to this edition, cited by page and column.10. La estrella de Sevilla, in Diez comedias del Siglo del Oro, eds. José Martel, Hymen Alpern and Leonard Mades, 2nd ed. (New York: Harper & Row, 1968).11. Thomas A. O'Connor, Myth and Mythology in the Theater of Pedro Calderón de la Barca (San Antonio: Trinity U.P., 1988), 211. For a distinctly political perspective on some mythological plays of Calderón, see Margaret R. Greer, ‘The Play of Power: Calderón's Fieras afemina Amor and La estatua de Prometeo’, HR, LVI (1988), 319–41, and her edition of La estatua de Prometeo, with a study of the music by Louise K. Stein (Kassel: Reichenberger, 1986), particularly 133–87.12. Calderonian plays tend to view the stability and harmony of the royal family as the basic means and model for personal happiness and social stability.13. Juan Pérez de Moya, Philosophia secreta, ed. Eduardo Gómez Baquero (Madrid: Los Clásicos Olvidados, Nueva Biblioteca de Autores Españoles, 1928), II, 203; original edition 1585.14. There is eloquent testimony to the social reality and human function of conformidad in Spanish marriages in Teresa de Jesús’ Las moradas, ed. Tomás Navarro Tomás (Madrid: Espasa Calpe, 1968), 111 (Moradas quintas, Capítulo cuatro). Santa Teresa, in explaining the difference between oración de unión (the fifth Morada) and desposorio espiritual (the sixth Morada), calls upon one of her famous comparaciones which states: ‘Paréceme a mí que la unión an no llega a desposorio espiritual, sino como por acá cuando se han de desposar dos, se trata si son conformes, y que el uno y el otro quieran, y an que se vean, para que más se satisfagan el uno del otro’ (emphasis added). In his introduction to Lope de Vega's El perro del hortelano (London: Tamesis, 1981), Victor Dixon observes: ‘The mirror it holds up to that milieu is a distorting one, for one of the paradoxes of the comedia is that it offers a highly stylised, highly oversimplified picture of contemporary manners, laced with apparently realistic details but fundamentally artificial’. The picture of marriage we develop from the comedia's negatives is indeed ‘highly stylised’ and ‘fundamentally artificial’. I would posit that the social reality implicit in Santa Teresa's remarks and the evolving Calderonian critique of marriages of State explicit in plays dealing with infantas serve as a corrective to a comedia convention that we, perhaps too uncritically, accept as reflective of costumbres españolas de antaño. 15. Alexander A. Parker, The Mind and Art of Calderón: Essays on the ‘Comedias’, ed. Deborah Kong (Cambridge: Cambridge U.P., 1988), 65.
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