Hispanic Essays in Honor of Frank P. Casa (review)

442BCom, Vol. 50, No. 2 (Winter 1998) tra en un subsuelo de diversificada naturaleza tradicional. No será preciso aclarar que El burlador de Sevilla no es ni meramente repite la leyenda sevillana, sino que no habría llegado a nacer sin ella, igual que el mito que después elaboraron todas las literaturas no existiría tampoco sin la obra seminal de Tirso. El abordaje metodológico de dicha relación no sólo es aquí productivo , sino que desbroza e invita a acceder a nuevas y prometedoras vías de encuesta. (131) The final chapter takes up some weighty theological issues, traces the trickster tradition, presents the burla as a reprehensible act, both theologically and socially, and explores various aspects of social satire. The problems ofprivanza are rehearsed, and, within this context, Don Gonzalo is presented as an anti-privado: "...Ulloa es en la obra el firme punto de amarre de un pétreo conjunto de elementales virtudes que por sí mismo constituye una protesta contra los nuevos tiempos y su Monarquía de validos" (159). The scenes of the denouement, the second invitation, in the chapel, allow Márquez an interesting perspective: "Son ahora [Don Juan, Don Gonzalo and Catalinón] alegorías respectivas de la Temeridad, la Justicia y el Miedo" (166). Don Juan is presented as impenitent due to presumption, which is blasphemy against the Holy Spirit, following both Saint Augustine and Saint Thomas. The difference between contrition and attrition, two types of repentance with quite different motivations, offers food for thought, as attrition (repentance prompted by fear) might apply not only to Catalinón, as Márquez sees it, but also to Don Juan. This is first-rate, thought-provoking scholarship, of which I have given only a schematic overview in this short space. Every serious Comedia scholar will want a personal copy. James A. Parr University ofCalifornia, Riverside Lauer, A. Robert, and Henry W. Sullivan, eds. Hispanic Essays in Honor of Frank P. Casa. New York: Peter Lang (Ibérica 20), 1997. Hardcover. 481 pp. $67.95. Following the Editors' Preface—an affectionate portrait of the honorée as a friend and as an academic—are 37 essays grouped into six well-defined Reviews443 sections. Only the 33 studies on the Golden Age theater will be detailed here. Section I, on early drama and Golden Age prose, includes three essays of interest to comediantes. In Alfredo Hermenegildo's "Provisiones de enunciaci ón y motricidad en la Nise laureada de Jerónimo Bermúdez" (10-25), the author explores the use of implicit stage directions related to (a) enunciaci ón, i.e., sound, and (b) motricidad, i.e., movement. In "La Filomena de Timoneda y sus fuentes" (26-40), Berislav Primorac argues in favor of Timoneda's authorship. Charlotte Stem makes a significant contribution to studies on the relations between literature and the other arts in her essay entitled "Peter Bruegel and Early Spanish Folk Theater" (49-61). Section II, on Lope's theater, is composed of six essays. Frederick de Armas examines "The Silences of Myth: (Con)fusing Eróstrato/Erasístrato in Lope's El castigo sin venganza" (65-75). In '"...La sangre / muere en las venas heladas': El castigo sin venganza de Lope de Vega" (84-102), Antonio Carroño concludes his analysis with this prudent characterization ofthe Duke of Ferrara: "ni 'santo fingido' ni santo verdadero; más bien una gran paradoja que enfrente ambos extremos sin posible solución." YsIa Campbell deals with "El trasfondo del descubrimiento en La niña de plata de Lope de Vega" (76-83.) Aspects ofFuenteovejuna are the subjects of Robert Fiore's "Fuenteovejuna: Philosophical Views on the State and Revolution " (103-11) and of Luciano Garcia Lorenzo's "Puesta en escena y recepci ón de teatro clásico español: Fuente Ovejuna de Lope de Vega" (1 1221 ). In "Culpabilidad, expiación y reconciliación en la versión de Fuenteovejuna filmada por Juan Guerrero Zamora" (122-31), Thomas O'Connor observes that the undated film version makes clear that the play is not "democratic (as that word is commonly understood)." Section III, on Tirso's theater, comprises six essays. Charles Ganelin contributes "Designing...