Abstract

This work states how the poetic jácara sung in the first decades of the seventeenth century is taken on in a natural manner in the forties of that century by the entremesada jácaras, that bring it to the stage upon converting into theatrical characters those which until then were only poetic parlamentarians, but that had within them a strong seed of theatricality. Furthermore, there is an analysis of the figure and facts of one of the most well-known checks of his epic: ‘el Ñarro’, in order to demonstrate with concrete works his passage from the poetry of Cancer to the theater of Calderón through at least three entremesas: the Jácaras, first and second part and The Robbery of the Sheets. Lastly, the thorny question is raised of the imbrication between The Robbery of the Sheets attributed to Calderón, widely related to The Jácaras, first and second part, the first of which has a sure attribution to Calderón, and the starter titled The Organs and Sacristans, attributed to Quiñones de Benavente and known only in a late print.With respect to the last question, it is not possible to conclude at the moment anything but the better operation of The Robbery of the Sheets and to state that it has thirty-six identical verses to the starter The Robbery of the Sheets. As it is still lacking that a good expert on Quiñones achieves the rooting of The Organs and Sacristans in the production of that playwright, it is worth noting that the greatest quality of the piece attributed to Calderón and his dependence on, at least, one work of certain attribution to this playwright, raises the thought that The Organs and the Sacristans adapts The Robbery of the Sheets and that maybe it would be a good idea to rethink the attribution of The Organs, that is given until now to Quiñones de Benavente.

Abstract

Se propone aquí una lectura renovada de las jácaras de Francisco de Quevedo, en particular desde la hermenéutica. En efecto, se trata de aplicarle a estos romances de germanía otras guías que las ya conocidas y pulcramente aplicadas. Concretamente, se leen aquí las jácaras desde los conceptos y teorías de la reciente antropología literaria con, aparentemente, nuevas lecturas posibles sobre estas herméticas creaciones. Tras una presentación del marco teórico, se analizan las principales características socio-culturales y lingüísticas de estos textos a la luz de la guía antropológica, para proponer por último una comprensión nueva de esta poesía de germanía.