El teatro de Sebastián de Horozco: estudio y edición crítica, con una breve historia del teatro español anterior a Lope de Vega: tipos, modos y temas (review)

to the numerous allusions to sight in subsequent verses. A detail: it does not seem clear why Forbes associates the term mirón with bobo (pp. 67-68), since he has shown that this particular onlooker is hardly a simpleton. In «The Versification of Antonio Mira de Amescua's Comedias and of Some Comedias Attributed to Him,» Vern G. Williamsen, following the example of Morley and Bruerton and other critics who have based chronology on a study of verse forms, provides a chronology of the plays of Mira de Amescua (including those of doubtful attribution) and a list of sources and dates of the texts. Nellie E. Sánchez Arce, in «Un éxito dramático de Mira de Amescua: el auto al Nacimiento, Pastores de Belén, » offers a summary of one of Mira's autos, whose text is preserved in two seventeenth-century manuscripts in the Biblioteca Nacional de Madrid. She cites, among other elements, the use of polymetric verse and the profound religious sense of the work. Margaret Wilson, in «Tirso's El melancólico and Esto si que es negociar, » supports Ruth Lee Kennedy's thesis that Esto sí antedates El melancólico (contrary to the ordering by J. E. Hartzenbusch, E. Cotarelo, and Blanca de los Ríos). While Esto sí is a conventional comedy of intrigue, El melancólico is a penetrating character study which reflects Tirso's maturity, and an examination of the loosely-knit structure of the second play-including a number of inconsistencies-strengthens the argument for a pre-existing text. Professor Wilson suggests that Esto si may belong to Tirso's pre-1616 plays (rather than Professor Kennedy's dating of 1622-23) and that the play «was being prepared for the press from a defective manuscript, and that whoever put together the Segunda parte borrowed back the missing scenes from the text ofEl melancólico that was already in print» (p. 174). The volume contains additional articles by A. F. Michael Atlee, John J. Reynolds, Carolyn Richmond, Theodore A. Sackett, Nina M. Scott, Norman P. Tucker, and Catherine Vera. EdwardH. Friedman Arizona State University MAZUR, OLEH, El teatro de Sebastián de Horozco: estudio y edición crítica, con una breve historia del teatro español anterior a Lope de Vega: tipos, modos y temas. Madrid: Rocana, 1977. Paper. 222 pp. $7.10. Professor Mazur is to be congratulated for his conscientious edition and brief study of Horozco's five known theatrical works. Seeing in the Toledan dramatist «un precursor del españolismo, que surge después de haberse mezclado los nuevos elementos creados durante el Renacimiento con la nueva valoración de los tesoros tradicionales,» Mazur presents his works within the context of a compact survey of Spanish drama from the Auto de los Reyes magos through the rise ofthe comedia. The introduction offers pertinent information about the author and the 135 text in eight chapters. Mazur discusses the Biblioteca colombina MS and other editions, Horozco's life, his non-dramatic works, the dramas themselves , Horozco's characters as costumbrismo figures, the versification and language, and finally his own transcription criteria. It is unfortunate that Mazur did not know of an excellent recent edition of Horozco's Cancionero (the source of all five dramas), edited by Professor Jack Weiner: S. de H, El Cancionero: Introducción, edición crítica, notas, bibliografia y genealogía de Juan de Horozco, Utah Studies in Literature and Linguistics, No. 3 (Bern and Frankfurt: H. Lang, 1975). Weiner has published extensively on various aspects of Horozco's life and literature, and his studies would have done much to enrich Mazur's bibliography. The theatrical works were edited previously in a thesis for the University of Florence by Professor Elisabetta Franceschini Seidenari, also absent from the bibliography. It is distressing to see repeated a commonplace error about the provenance of the Seville manuscript of Horozco's Cancionero («El MS se quedó en Sevilla y se cree que Gallardo lo habría adquirido en alguna biblioteca o archivo de Toledo» [p. 7, my italics]), when Antonio Rodríguez Moñino has gone to considerable lengths to rectify the defamatory legend which grew up around...