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cruel. Aloxa exposes their stupidity and cruelty not to the audience, who are in fact better informed than he, but to a society which stands off stage, in relation to which the actions of Toruvio and Águeda take on their deepest meaning. As early as 1916 Castro observed that honor as public opinion forms a central structural axis not only of the theatre of Calderón, where it is violently exaggerated, but informs the theatre of his predecessor Lope de Vega as well.4 I would suggest that the same preoccupation with honor, presented in a much less stylized mold, held the same appeal for the audience of Lope de Rueda that it was to hold for the audiences of Lope de Vega and Calderón. Lope de Rueda is indeed a worthy predecessor of the great national dramatists. He gave his Spanish audience not only entertaining farce, but farce with a unique relevance for the particular society in which it was played. 1 Lope de Rueda, Teatro, ed. J. Moreno Villa, Clás. cast. (Madrid, 1924), p. 259. 2 "The Olives of Lope de Rueda", privately printed (North Harrow, England, 1962), p. 8. 3 Taurus (Madrid, 1961), p. 56. 4 "Algunas observaciones acerca del concepto del honor", RFE, III (1916), p. 16. ^£«7^i BIBLIOGRAPHY OF FOREIGN PUBLICATIONS ON THE COMEDIA Compiled by Warren T. McCready and Peter B. Bell University of Toronto Robert R. Bishop and Terry Taylor Michigan State University 1967 — 1 Miscellaneous Aguilar Priego, Rafael. "Autores y comediantes que pasaron por Cordoba en los siglos XVI y XVII." Bol. de la Real Acad, de Córdoba, de Ciencias Belhs, Letras y Nobles Artes, XXXIII (1962), 281-314. [Alonso, Dámaso]. Studia Philologica . Homenaje ofrecido a Dámaso Alonso por sus amigos y discípulos con ocasión de su 60° aniversario. Vol. Ill, pp. 640. Madrid, Gredos, 1963. [See BCom, XIV (1962), no. 1, for articles from Vols. I and II]. Rev. Eduard Hodousek, Philologica Pragensia, VIII (1965), 98-100. [See Miscellaneous: Richthofen; Calderón: Praag, Sloman, Wilson; Gil Vicente: Reckert, Zamora Vicente]. Ashcom, B. B. '"By the altitude of a chopine'." Homenaje a RodriguezMo ñino, I, 17-27. [References to the chapín in the theatre of the Golden Age]. Ashcom, B. B. A Descriptive Catalogue of the Spanish Comedias sueltas in the Wayne State University Library and the Private Library of Professor B. B. Ashcom. Detroit, Wayne State Univ. Library, 1965. Pp. [viii], 103. 9 Reu: Juan Manuel Rozas, Segismundo, II (1966), 203-204. Aubrun, Charles V. "Les Débuts du drame lyrique en Espagne." In Jacquot, Le Lieu théâtral .... pp. 423-44. [ViIlamediana 's La gloria de Niquea (1622); Lope de Vega's La selva sin amor (1629); Calderon's El mayor encanto amor (1635)] Bataillon, Marcel. Varia lección de clásicos españoles. Madrid, 1964. [See BCom, XVIII (1966), no. I]. Rev. Francisco Morales, Revista de literatura , XXVIII (1965), 265-68; Carlos Valderrama Andrade, Thesaurus, XXI (1966), 362-77; A. Vermeylen, Lettres romanes, XX (1966), 172-76; Rafael María de Hornedo, Razón y Fe, CLXXIII (1966), 657. Bergman, Hannah E. "Juan Rana se retrata." Homenaje a Rodríguez-Moñino , I, 65-73. [The 17th-century actor Cosme Pérez], Beysterveldt, A. A. van. Repercussions du souci de la pureté de sang sur la conception de l'honneur dans la "comedia nueva" espagnole. Leiden, E. J. Brill, 1966. Pp. 239. Brüggemann, Werner. Spanisches Theater und deutsche Romantik. Münster , 1964. [See BCom, XVIII (1966), no. 2]. Rei;, art: Hans Juretschke, Filohgía moderna, nos. 21-22 (Oct., 1965-Jan., 1966), pp. 59-73; rev. B. Llorca, Razón y Fe, CLXXIII (1966), 327; R. Ayrault, Etudes germaniques, XXI (1966), 300-301. Canavaggio, Jean. "Góngora et la comedia nueva: un témoignage inédit de Francisco del Villar." Mélanges de la Casa de Velazquez, I (1965), 24554 . Caravaggi, Giovanni. "Genesi di una 'fiesta burlesca' anonima del XVIP secolo: Las bodas de Orlando" In Samoná, Studi . . . , pp. 249 -65. Falconieri, John V. "Los antiguos corrales en España." Estudios escénicos , t??. 11 (1965), 91-118. Gérard, Albert. "Pour une phénomnologie du baroque littéraire...

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