Abstract

This article draws attention to a type of XVIIth century novella that has been neglected or simply studied as a derivation of other literary manifestations. My objective is to define the main characteristics of a short narrative that we can name «burlesque novella». I define it as a short story (the regular extension of the baroque novella) containing in the heart of its plot an elaborate trick with an exemplary purpose. From this perspective, the burlesque novella is a show organized by noblemen for noblemen, composed by educated writers, that incorporated ridiculous characters on stage. The burlesque novella —founded by Salas Barbadillo, and continued by Castillo Solórzano and Tirso de Molina— is a narrative genre still misunderstood and in need of further exploration. Tirso’s Los tres maridos burlados is a paradigmatic literary piece from this genre.

Abstract

The Portuguese reality is part of the thematic heritage of the Spanish Golden Age theatre which highlights from the Lusitanian their courage at war and their excess in passion. Literary interactions took place in two senses: the Lusitanian tradition was treated in Spanish pieces, and Portuguese playwrights wrote in Castilian following Lope de Vega in his Arte nuevo de hacer comedias en este tiempo (1609). Although history and hagiography will be the most exploited aspects due to the impact of their protagonists, on other occasions Portugal will be used as a setting to universal conflicts. Kings such as D. Afonso Henriques, D. João II and D. Sebastião star in works of Tirso de Molina, Lope de Vega or Cubillo de Aragón; and El príncipe constante by Calderón and Caer para levantar by Moreto, Matos Fragoso and Cáncer relate, respectively, the lives of two Portuguese saints, S. Fernando and S. Gil. We will analyse El príncipe constante and A secreto agravio, secreta venganza by Calderón and Las quinas de Portugal by Tirso de Molina, with the aim of discovering the degree of involvement between the dramaturgical approaches and historical context that includes or propitiates them, in order to try to reveal the elements that motivated the rise and the decline of Portuguese topics in the seventeenth century Spanish theatre.

Abstract

My purpose is to go back to the description of Lisbon, always depicted rather polemically by the critics, on El burlador de Sevilla by Tirso de Molina, who divided the academic world in regards to the relevance of don Gonzalo’s parliament to king Afonso XI, in the first act. Besides I intend to carry out a new analysis, on the one hand, on the hierarchy of elements presents, from an interpretative perspective of the fragment, taking as baseline, also to diverge, the most complete work about the description of Lisboa, of Marc Vitse, published in 1978.

Abstract

The present study examines three plays by Tirso de Molina (Amar por señas, El castigo del penséque and Quien calla otorga) in which female protagonists in positions of power (or as relatives of those in power) use their authority to confuse and deceive the male protagonists, who is a foreigner in their lands. Their position allows them to go beyond the typical deceptions of Tirso’s intrigue comedies (e. g., Don Gil de las calzas verdes). Concretely, they manage to detain the young man physically, to torment him without revealing their identity and to send ambiguous message that keep the male character in uncertainty. However, they are constrained by their sense of honor and it is implied that, after the traditional wedding that ends these plays, the women will no longer have the authority to continue their manipulation.

Abstract

This paper aims to analyze how the scenic word built the devil’s image and the diabolic, in four Spanish Baroque plays: El esclavo del demonio («The Devil’s Slave», 1612), by Antonio Mira de Amescua (1577- 1636); El condenado por desconfiado («Damned for Despair», 1635), by Tirso de Molina (1579-1648); El mágico prodigioso («The Wonder-Working Magician», 1637) y El veneno y la triaca («The Poison and the Antidote», 1677) by Pedro Calderón de la Barca (1600-1681). In these plays, the devil is a dynamic character who moves between the sacred and the profane dimension in the theatric scene as well as in the human soul.

Abstract

En este ensayo, me propongo cuestionar las temáticas de marginali­dad y de rebeldía en la comedia tirsiana El condenado por desconfiado que lleva a la escena a dos bandoleros radicalmente opuestos. Pretendo demostrar cómo Tirso construye y deconstruye a la figura del bandolero, ciñéndome en especial a los dos ejes estructurantes de la obra: el juego especular de la mirada y la constante oposición entre la ilusión teatral y las verdades cristianas.

Abstract

Este artículo está dedicado a la comparación tipológica de dos obras de teatro —El rufián dichoso de Miguel de Cervantes y El burlador de Sevilla de Tirso de Molina— y tiene como objetivo destacar las semejanzas y las diferencias entre las dos comedias, mostrando algunos aspectos generales de la evolución dramática en el Siglo de Oro.

Abstract

The present article analyses the motive of the labyrinth in two autos sacramentales of the 17th century: El laberinto de Creta by Tirso de Molina and El laberinto del mundo by Calderón de la Barca. It is conceived within the framework of a more amplified study with the aim of uncovering the use of the labyrinth as a nuclear concept of 17th century theatre. A lecture of both texts reveals profound transformations with respect to the allegory’s design, structure, metrics, and usage. The comparative study sheds light on a more skillful dramatization by Calderón, whereas in Tirso a structural decomposition is evident.

Abstract

Este artículo se interesa primero en una violencia bien conocida, que es la violencia masculina producida por mujeres, para mostrar rápidamente que, en este sentido, no se puede hablar de violencia femenina propiamente dicha; en un segundo momento intenta poner en evidencia lo que caracteriza la violencia femenina en los textos tirsianos como propiamente femenina; y en un tercer momento, simétrico del primero, trata de mostrar que existen, en este mismo teatro, personajes masculinos que producen una violencia típicamente femenina.

Abstract

En este estudio aporto algunos datos de interés sobre la biografía de Gabriel Téllez (Tirso de Molina), analizo su seudónimo literario y establezco relaciones biográficas con el conde de Villamediana, tanto similitudes como diferencias. Pongo en relación su obra El burlador de Sevilla, especialmente los personajes que aparecen en la misma, con la vida y muerte de Juan de Tarsis, buscando el origen del mito de don Juan y una lectura “en clave” de la obra que apoya la tesis mantenida por Gregorio Marañón y otros.