Literary works recreated in a religious sense from a profane work are known as «contrafactae». They were developed between the 13th and 16th and even during the 17th century. A contrafactae- writer chooses a profane theme and develops it extensively in order to show an idea related to the Christian tradition. In its most concentrated way of expression, the divinization of profane themes carries out the literary resource of allegory. During the 16th century, many moralized versions of the myth of Narcissus were widely spread. Most of them recreated the one included in Ovid’s (43 a.C.-16 d.C.) Metamorphoses. Such is the case with the auto sacramental El Divino Narciso by the Mexican nun sor Juana Inés de la Cruz, as well as with Eco y Narciso by the Spanish playwright Pedro Calderón de la Barca. The present work analyzes similarities and differences between dramatic moments in both plays. Though sor Juana recreates some aspects from Eco y Narciso’s plot and semantics in her play, it is my opinion that the literary resource of allegory allows her to explore many significance levels related to religious matters, particularly to the Sacrament of Eucharist, a subject of utmost relevance to the auto sacramental as a literary genre. Therefore, I consider that El Divino Narciso cannot be taken as a contrafacta, in a strict sense, of Calderon de la Barca’s drama play Eco y Narciso.
Abstract
Literary works recreated in a religious sense from a profane work are known as «contrafactae». They were developed between the 13th and 16th and even during the 17th century. A contrafactae- writer chooses a profane theme and develops it extensively in order to show [...]
El presente trabajo estudia tres aspectos esenciales sobre la vida y la obra de Fernán González de Eslava. El primer aspecto es una revisión crítica que descarta la posible vinculación del dramaturgo con la Compañía de Jesús. El segundo aspecto resalta que la denominación del título con el que se conoce su obra dramática, Coloquios espirituales y sacramentales, corresponde al recopilador y editor Fernando Vello de Bustamante, ya que Eslava no se preocupó nunca por clasificar sus obras teatrales. El tercer aspecto propone un análisis combinado de los textos dramáticos y de los hechos históricos que los motivaron, a fin de establecer una tabla cronológica de sus dieciséis coloquios.
Abstract
El presente trabajo estudia tres aspectos esenciales sobre la vida y la obra de Fernán González de Eslava. El primer aspecto es una revisión crítica que descarta la posible vinculación del dramaturgo con la Compañía de Jesús. El segundo aspecto resalta que la denominación [...]
El Divino Narciso: A Contrafacta of Eco y Narciso? 