Abstract

Manuel Altolaguirre fue el único poeta de la Generación del 27 que escribió un libro dedicado por completo a Garcilaso. Garcilaso de la Vega (1933) es una biografía que, a pesar de carecer de una metodología rigurosa, esclarece la vida del poeta al establecer paralelismos entre su vida, poesía y vida heroica. Las páginas de Garcilaso de la Vega revelan cuán importante fue para Altolaguirre la vida y obra de este poeta. Contiene, además, algunas de las opiniones que Altolaguirre mantuvo en torno a su concepción del arte, la política y la historia de España. Este artículo se enfoca en estos elementos y explora el proceso de escritura de la biografía.

Abstract

The present work updates research on Spanish Golden Age comedy bills and reproduces the so far known ones. It also offers valuable new information, in the light of current databases, meticulous library and archive catalogues, and the constant research carried out by qualified specialists in the field of Golden Age theatre manuscripts.

Abstract

Iberoamericana Editorial Vervuert reached the number 100 of its prestigious book series “Bibilioteca Áurea Hispánica” with a volume dedicated to the Sacramental Plays of Calderón and it has also recently published La Obra Completa of Mateo Alemán, first edition of the Complete Works of the sevillian author.

Abstract

Despite of the influence of the Arabic literary models and themes they were relegated into the background after the Middle Ages; nevertheless it is possible to trace those elements in the oral and written literature during the Golden Ages. An example of this influence could be the tale wrote by Juan de Robles included in his work entitled Tardes del Alcázar. This article turns on his Arabic origins and shows up his nearest antecedent in the Iberian Peninsula, which is the starting point of our comparative study within the Robles version of the tale.

Abstract

From the 15th century on, the practitioners of the mechanical arts obtain a new self-confidence and do no longer want to be regarded merely as manual workers. In this context, they frequently underline the mathematical basis of their discipline in order to increase its value from the status of a mechanical to that of a liberal art. In the Spanish golden age period, the military art, amongst others, is conceived as a mathematical discipline. A particularly curious case is the Libro de las grandezas de la espada (1600) whose author, Luis Pacheco de Narváez (1570-1640), propagates the art of swordsmanship, which he names «the true skill», as a science based on the disciplines of the quadrivium. The present article outlines the arguments applied by Pacheco in a preliminary chapter in order to prove the mathematical and scientific status of his discipline.

Abstract

This paper analyzes the inquisitorial prohibition of Lope de Vega’s The fianza satisfecha at the end of the eighteenth century. Criticism has judged very negatively this comedia, whose authorship is uncertain. The fianza satisfecha was denounced to the Inquisition (Logroño, 1781; Barcelona, 1798) and included in the Index librorum prohibitorum (1801) after a long and rough discussion among the censors. The details of this discussion are set out in an almost unknown document (Archivo Histórico Nacional, Madrid) whose transcription is also carried out in this paper.

Abstract

Tragedy was born in Greece and was subsequently claimed and defended in Europe during the Renaissance and Baroque but, this being a gender as orthodox as changeable, it will be necessary to resort to a new reading of its components in order to adapt them to the reality of the Golden Age. Humanism promotes this recovery of the classical world and generates a significant literature on drama precepts that will not develop the same way in all European countries. While Italy and France opt for the acceptance and conversion of the ideas of Aristotle and Horace into style rules, Spain and England cannot fail to point out the dramatic dissonance between stage theory and practice, and, the aim of pleasing the public, will prevail as a benchmark of success over fidelity to the classical precepts. However, despite theoretical differences, the French drama as the English and the Spanish drama will be committed to the development of tragedy. We will discuss some ideas about drama rules in France and England and their connection with what is represented on stage, as well as the nature and intensity of the government’s support to the theatre, in order to contextualize and show the differences with respect to the Spanish Baroque tragedy.