Social-Comic Anagnorisis in La dama duende

Revista de filología española, 34 (1950), 13750 . lsFor a discussion of "optical" illusion deriving from the Greek romance see Stanislav Zimic, "El 'engaño a los ojos' en las bodas de Camacho del Quijote," Hispania, 55 (1972), 881-86. 16Historia etiópica de los amores de Teágenes y Cariclea, Traducida en romance por Fernando de Mena, ed. Francisco López Estrada (Madrid, 1954), p. xxviii. 17Ibid., p. 15. 18Kohler, p. xxxix, notes the "evocation des mythes d'Icare, de Phaéton, de Pasiphaé, allusions à Anaxarte, Faustine, Lucrèce, Marc Aurèle, Messaline, Poppée, Semiramis, Troie et Ulysse, etc; et Ovide, qui lui avait enseigné une partie de ces fables, se trouve nommé . . ." 19Lope consistently evokes the proverb through the play: vv. 2194, 2200, 2297, 3070, 3072. F. C. Hayes deals with the proverb and the play in his article "The Use of Proverbs as Titles and Motives in the Siglo de Oro Drama: Lope de Vega," Hispanic Review, 6 (1938), 305-23. 20"pues como el cavallo en Troya / pudiera meter los Griegos." — vv. 469-70. 21"Pero es mucho que me engañen / aquellos ojos á mí, / si pudieran ser bastantes / a hazer engaños a Ulises?" — vv. 1701-04, already cited is "Que a tí se passa / de Ulises el espíritu." — w. 2544-45. 22William L. Fichter in his review of Kohler's 1934 edition of the play, Hispanic Review, 3 (1935), 261-64, indicates these burlesques of Góngora (acknowledged by Kohler in the 1951 version, p. xliii): "las congeladas lágrimas que llora el cielo . . . ," w. 726-27; "En campañas de sal pies de madera / por las remotas aguas estampara," w. 73334 ; "quando dora el blanco Toro / que pace campos de grana? / (Que assi Uamava un poeta / los primeros arreboles.)," vv. 1225-28. . 23 "Vino griego," Köhler notes, p. 193, is one of a number of famous Neapolitan wines. "Remarquer que 'hablar en griego' signifie également: 'parle de façon incompréhensible .' " 24The "locos" of v. 3244 are Federico and Ricardo who have just paid Tristan an additional sum to kill Teodoro. Tristan here varies the spelling of Serpalitonia and exuberantly adds three names not in the tale he told Ludovico: Xipatos, Atecas and Filimoclia. 25In the last verse of Diana's guarded sonnet , "Amar por ver amar, embidia ha sido," Kohler cites, p. 45, the direct influence of Petrarch. The second tercet of the sonnet reads: "Ni me dexo forcar, ni me defiendo; / darme quiero a entender, sin dezir nada; / entiéndame, quien puede; yo me entiendo" (vv. 562-64; italics mine). Köhler: "Ce vers est la trad, littérale d'un vers de Pétrarque ( CV, 17 ) : 'Intendami chi può, eh' i' m'intend 'io.' " 26Kossoff, interestingly, combines in the one volume his edition of El perro with one of El castigo sin venganza, juxtaposing in this way the lighter and more tragic aspects of the honor theme in Lope. Edward M. Wilson and Duncan Moir characterize El perro as a "dark comedy." A Literary History of Spain, The Golden Age Drama, 1492-1700 (London and New York, 1971), p. 52. 27Francisco Ynduráin, "Lope de Vega como novelador," in Relección de clásicos (Madrid: Editorial Prensa Española, 1969), p. 158. 23 Alan S. Trueblood, Experience and Artistic Expression in Lope de Vega (Cambridge: Harvard University Press, 1974), pp. 160-62. 29 For López Pinciano's commentary on reconocimiento see the Philosophîa antigua poética, ed. Alfredo Carballo Picazo, 3 vols. (Madrid, 1953), II, 25-39. 3° See ?. 11. SOCIAL-COMIC ANAGNORISIS IN LA DAMA DUENDE Matthew D. Stroud, Trinity University La dama duende has become quite a puzzle. Barbara Mujica, in her article, "Tragic Elements in Calderón's La dama duende''^ discusses several elements of Calderonian tragedy in a work which she ultimately defines as "comedy in its highest sense," (p. 328) and she finds implicit social criticism in its 96 vaguely happy ending. Robert ter Horst refutes the idea of comedy and tragedy as leading a double life by saying, in effect, that comedy is potential tragedy which is averted by "anticipating or delaying the conclusions to which tragedy leaps...