By Jonathan Thacker
Spain's creative Golden Age produced Cervantes's nice novel, Don Quijote, the elegant poetry of Quevedo and G?ngora, and nurtured the prodigious expertise of Vel?zquez, and but it was once the theatre that captured the mind's eye of its humans. women and men of all social sessions flocked to the recent playhouses to work out and listen to the most recent choices in their favorite dramatists, and to be visible and heard. in addition to facing the lives and significant works of the main major playwrights of the interval - Lope de Vega, Tirso de Molina, Miguel de Cervantes, Calder?n de los angeles Barca - the spouse focusses on different features of the expansion and maturing of Golden Age theatre, reflecting the pursuits and priorities of recent scholarship. those contain: the sixteenth-century origins of the comedia nueva; the lesser-known dramatists, together with ladies playwrights; lifestyles within the theatre; the Corpus Christi highway theatre and minor genres; functionality experiences; and the severe reception of the drama. The better half additionally features a advisor to comedia versification, an entire bibliography and recommendation on additional examining. JONATHAN THACKER is a Fellow of Merton university, Oxford.
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Extra info for A Companion to Golden Age Theatre (Monografías A)
In order for Leucino to be punished for his despicable attempt to slander Eliodora after she has killed his servant in self-defence, Cueva has recourse to a kind of super-plot which takes the form of a battle between Venus, outraged at Eliodora’s resistance to love (‘Venus no tiene en mí parte,/ y así quiero carecer/ de su fruto y su placer’ (Cueva, El infamador, p. 44)), and Diana. Diana eventually forces Leucino to confess his dishonourable behaviour in front of Eliodora’s father, whose attempt to murder his daughter has miraculously failed.
The horrors all take place away from the audience’s gaze. The events of what could easily be a period of a few hours include the episodic narration by Ismeria, to the captive Delbora, of Dido’s past history and present respect for the memory of her husband Siqueo. The nearest to the development of a sub-plot that Virués comes is the double-rejection of Ismeria by the Carthaginian noble Seleuco and of Delbora by Carquedonio. Both of these foolhardy courtiers meet a tragic end because of their inability to control their passion and ambition, a fault of which Iarbas is also guilty, as his moment of desengaño reveals (Virués, Elisa Dido, p.
These myriad influences help to create just one of the difficulties attached to generalizing even about the younger Lope’s plays. ). During the 1580s and 1590s Lope also wrote his first mythological play, Adonis y Venus (1597–1603), pastoral plays celebrating love between shepherds and shepherdesses (such as Los amores de Albanio y Ismenia, of 1590–95, which probably disguises real historical figures from the court at Alba), tragedies such as El marqués de Mantua (1596), honour plays (Los comendadores de Córdoba of 1596–98), dramas based on novelesque characters LOPE DE VEGA 31 (with Ariosto a favourite source), such as Los celos de Rodamonte (1588–95), plays set in the court amongst the mad machinations of the royals or aristocrats, for example, El príncipe melancólico (1588–95), and a host of comedies in a variety of settings usually charting the vicissitudes of the galán and dama as they find love in a hostile environment.
A Companion to Golden Age Theatre (Monografías A) by Jonathan Thacker