Il fondo antico spagnolo della Biblioteca Estense di Modena (review)

Reviews147 since their purpose is concentration of effect. The two following chapters continue the alternation between historical and formalist approaches. In chapter 5, «La práctica de la representación,» Rodríguez and Tordera attempt to establish a chronology for eleven of the pieces, primarily through biographical data on actors known to have performed them. Some of the results are very tentative indeed. Chapter 6, «Los contenidos de la obra dramática corta de Calderón,» deals with such topics as «la cosmovisión cómica calderoniana,» «el entremés como mundo abreviado,» and «la parodia y la autoparodia.» A brief concluding chapter, «La dramaturgia como organización de ideas,» is followed by a chart, «Cronología provisional de las obras cortas de Calderón,» which draws upon some of the material presented in chapter 5. Rodriguez and Tordera's study should be used in conjunction with their edition of Entremeses, jácaras y mogigangas by Calderón. (Clásicos Castalia, 1982). While some of the same reservations about treatment of authorship and chronology can be expressed in regard to their edition, the two works nonetheless convey a strong sense of the teatro menor in approximately the third quarter of the seventeenth century , both in court entertainments, where a comedia would have been the centerpiece, and in Corpus Christi celebrations, where an auto sacramental would have received the principal dramatic focus. Shirley B. Whitaker University of North Carolina at Greensboro Soave, Valeriano. Il fondo antico spagnolo della Biblioteca Estense di Modena. Kassell: Edition Reichenberger, 1985. 296 pp. This handsomely presented catalog, one more in the Reichenberger series, is divided into three sections dealing, respectively, with incunabuli , printed books, and printed sueltas of Spanish comedias. Included at the end are four indexes: of dedicatees; of collaborators, translators, and compilers; of place and year of printing; and of printers, editors, and patrons. This review discusses only those items in the catalog dealing with the comedia. The work is prefaced by Maria Grazia Profeti, and in the brief introduction Soave acknowledges his debt to her and her bibliography of 148BCom, Vol. 39, No. 1 (Summer 1987) Montalbán (Verona, 1976) in the matter of format used for the catalog entries. Indeed, the only difference between the Soave and Profeti descriptions of a suelta of Montalbán's El mariscal de Virón is that the former identifies the number of columns of dramatis personae, gives the second line of the play, and omits the initial acotaciones. The second part, the catalogue of printed books, is alphabetical by author. Sueltas axe but minimally identified here, to be described more completely in part three. Except for three factitious Moreto partes which are correctly treated as individual sueltas in the third part, the only full entries in part two are for partes or volumes of comedias. Among the Modena holdings are two diferentes (29, Valencia, 1636; 30, Sevilla, 1638), and one escogidas (11, Madrid, 1658). Calderón materials include the Pando y Mier autos (6 vol, 1717), nine Vera Tassis/Sanz partes, the Maria de Quiñones segunda of 1637, and the Buendía cuarta of 1672. Lope de Vega is represented by two Grassa compilations (Valencia, 1605; Milan 1619—not mentioned in La Barrera, by the way), the Barcelona, Cormellas, sexta parte, 1616, and the Madrid, viuda de Martín, dozena of 1619. Curiously, Soave lists these last in reverse order. The only other collections are Matos Fragoso's primera (Madrid, 1658) Solís' Comedias diferentes (Madrid, 1716), and Tirso's Quarta parte (Madrid, 1635) . Description of each of the above is title page only; no indication, nor listing, of contents. Strangely, Soave describes only the first volume for the Pando y Mier autos, and for the Vera Tassis partes. It is not clear, therefore, which of the printings of the latter are in the library. The third part describes 136 sueltas. Most (77) have no indication of place or date of publication, but some identify bookseller. The publisher best represented is Theresa de Guzmán, with 30 sueltas followed by the Orgas with 13, and then ten others with one to four each. The most represented authors are, as might be expected, Moreto (36...