Comedias en Madrid, 1603-1709. Repertorio y estudio bibliográfico (review)

Reviews229 outlets for our own critical and theoretical approaches; if we publish a volume on approaches to teaching, it should deal primarily with teaching. Alix lngber Sweet Briar College Varey, J. E., and N. D. Shergold. Comedias en Madrid, 1603-1709. Repertorio y estudio bibliográfico. London: Tamesis Books, 1989. (Serie C: Fuentes para la historia del teatro en España, IX.) Paper. 251pp. £14.80 This newest in the ongoing Fuentes series is based upon and complements the earlier volumes one, four, five, six, ten, and eleven. With the collaboration of Charles Davis, the editors have extracted from those volumes all references to comedia performances in Madrid during the period 1603 to 1709, and consolidated them here. Slightly over five hundred plays are identified in alphabetical order by title, and all title variants are thoroughly cross referenced to the appropriate base entry. Each individual discussion begins with performance data from the earlier volumes presented chronologically. Following is a concise, but clear and comprehensive attempt to identify as accurately as possible from the first printed edition as well as extant manuscript versions the probable true title and dramatist. Later printed editions are mentioned only as they cast additional light either upon authorship or performance circumstances. Further supportive information is drawn from the wide range of pertinent studies consulted by the editors. The editors' "Introducción" reveals all too clearly three major difficulties inherent in any bibliographical study of 16th- 18th century plays and their early performances: often contradictory primary sources (here, the documents used in the preceding Fuentes volumes) , often contradictory secondary sources (studies of individual plays and authors, as well as catalogs of theatre collections) and the fact that despite considerable past and present scholarly activity we are still at a state of comedia bibliographical investigation that, at best, should be considered productive of tentative rather than accurate conclusions. In fairness to the editors it should be emphasized that their catalog is limited to only those play performances cited in the preceding Fuentes volumes. Also, the extent of their bibliographical discussion is determined by the information found in the sources consulted. The first caveat is necessary lest the unwary reader assume the list to be a complete and definitive catalog of all performances during the period specified. The second is necessary to explain occasional 230BCom, Vol. 42, No. 2 (Winter 1 990) editorial hesitancies. A more precise identification of the various Jupiter plays, for example, could perhaps have been possible were the editors able to consult the actual editions available. The same is true for the Sitio de Viena discussion: the 9 April 1684 performance was probably of the second part (both parts were published that year in Madrid, with aprobaciones of 15 January and 10 April, respectively) . Along this line I would note that data furnished in this volume by Shergold, Varey, and Davis afford some support to an hypothesis that toward the end of the seventeenth century initial publication in suelta form tended to follow closely upon actual performance. The "Lista de obras citadas," p(21)-43 shows the editors' thoroughness of investigation. Given the stated parameters of their discussion I can understand the omission of Bainton's Cambridge University Library catalog as a work cited (although presumably consulted); but not, however, the omission of Profeti's 1982 "addenda et corrigenda" of her 1976 bibliography of Montalbán (which is cited). Reference to the 1982 "addenda" could have been pertinent to the discussions on pages 70, 84, 145, 195, and 218. The editors are to be commended for their consistent practice of indicating library call numbers (signatures) for editions and manuscripts actually consulted. The format of this volume is clear, highly readable, and remarkably lacking in typographical errors (although there is a valiento for valiente, p. 73). The "índice onomástico" at the end is extremely useful. In the "Introducción" Professors Shergold, Varey, and Davis state their goal, in part, as "aclarar dudas acerca de la paternidad de obras teatrales, rectificar errores en fuentes impresas y relacionar títulos alternativos con las obras a las que se refieren," and their hope that this work will be "un paso más hacia la soluci ón de los...