Abstract

Manuscript Res. 19 of the Biblioteca Nacional de España, a copy of Calderón’s court spectacle Basta callar, partially written by the author himself, paradigmatically illustrates the logic and working of Jacques Derrida’s notion of the parergon («frame»). In the manuscript, we observe the (graphic) intrusion of the frames into the text. These frames were used by stage directors and/or the authors to mark sections to be suppressed in a particular representation. They both contain and suppress elements which are dispensable because they seem not to contribute to our understanding of the central notions of the play: The high nobility’s renunciation of passion for the sake of state and power. A detailed analysis of the barred materials shows that perversion, in its 17th-century meaning of a corruption of the «good customs» (ethical, sexual, and religious), is the necessary supplement of the logic of power.

Abstract

Tras la reciente localización del manuscrito autógrafo poético calderoniano de Muerte, juicio, infierno y gloria. Del infierno. Discurso tercero y su primera edición crítica, este trabajo ofrece, tras un estado de la cuestión sobre la relación de Calderón de la Barca con la familia Castellví, una descripción pormenorizada del autógrafo. Por último, se centrará en el estudio de los versos y las estrofas con intensas reescrituras para ahondar en los procesos de composición del autor en este poema.Recently, the autograph manuscript of the poetry Muerte, juicio, infierno y gloria. Del infierno. Discurso tercero, by Calderón de la Barca, was located and its first critical edition published. This paper aims to offer a complete panoramic view of the links between Calderón and the Castellví family, as well as a detailed description of the autograph and the study of some highly edited and redacted verses in order to understand the calderonian composition process.