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más airoso en esta danza que tú. D. Diego.Pues ¿por qué? Luquete.Porqué te hieren y no te casas. At the end of Primero soy yo (ca. 164042 ?), the criada Juana offers her hand to the gracioso Gonzalo, who replies: A Don Iñigo con eso; que yo no quiero . . . In Mujer, llora y vencerás (1660), the second gracioso Talón claims that his master is "el más venturoso amante" to which the first gracioso Patín replies: Y el más desdichado joven será también, si casado el premio es que ha de llevar. (BAE, XII, 587b) Not always does the Calderonian gracioso succeed in avoiding marriage, but when he accepts it, it is in a spirit of resignation or compliance with convention. An excellent example we find in the closing lines of Bien vengas, mal (1635). The gracioso Espine], without having shown any prevvious interest in the criada Inés, enters with her and says: Ahora entro yo con Inés, porque vean de esta suerte que no viene solo un mal, pues tantos juntos nos vienen el día que nos casamos. Again, in the closing lines of El postrer duelo de España (ca 1651-53?) the following dialogue takes place between the jgracioso Ginés and the criada Flora: Ginés.Y aun a más pasa mi tontería. Flora.¿A qué más? Ginés.A que, pues todos se casan, me quiero casar contigo. Flora.Tontería es; pero vaya. The same attitude to marriage is shown when Calderón's figura del donaire is not the fully developed gracioso, but the villano. In most cases the villano is already married to a villana, and their domestic experiences serve as a warning against wedlock. In the majority of cases, of course, the parallel between the adventures of the gracioso and those of the principal characters is not carried to the end of the comedia. This is true also in Lope's comedias. But when the Calderonian gracioso is given an opportunity to share in the final marriages, his attitude, unlike that of Lope's gracioso, is one of aversion or resignation. In his advice to all lovers, too, he strongly urges celibacy. This element serves to offer a more complete contrast to aristocratic attitudes, with a kind of rugged independence, than we find in the gracioso created by Lope. A CURRENT BIBLIOGRAPHY OF PUBLICATIONS DEALING WITH THE COMEDIA Compiled by Jack H. Parker University of Toronto Arnold G. Reichenberger University of Pennsylvania 1951—1 Miscellaneous Auto de la huida a Egipto, ed. Justo García Morales, Madrid, [1948J. Review by J. A. Pérez Rioja, Revista de Archivos, Bibliotecas y Museos, LVI (1950), 734-736. [Probable date between 1446 and 1512.] Benítez Claros, Rafael, "El diálogo en Ia poesía medieval," Cuadernos de Literatura, V, nos. 13-14-15 (Jan.-June, 1950), 171187 . [An influence on the Comedian Bomli, P. W., La Femme dans l'Espagne du siede d'or, La Haye Nijhoff, 1950. Review by A. A. Parker, Bulletin of Hispanic Studies, XXVIII, no 109 (Jan.-Mar., 1951), 62-64; and by G. B., Clavileño, II, no. 8 (Mar.-Apr., 195 1 ), 70-71. D' Amico, Silvio, Storia del teatro drammatico, pref. by Renato Simone, 4 v., Milano, 1950. 1700 pp. [New edition.'] Herrero, Miguel, "Sobre los antiguos teatros españoles," Clavileño, II, no. 8 (Mar.-Apr., 1951), 39-40. [Includes a contemporary illustration of the 17th century theater.] Metford, J. C. J., "The Enemies of the Theatre in the Golden Age," Bulletin of Hispanic Studies, XXVIII, no. 110 (Apr.June , 1951), 76-92.[Opposition on moral, not artistic, grounds.] Pérez y Pérez, J., "El ideal de justicia en la dramática española," Investigación, No. 264 (1950), 17-19. [Reference to Golden Age dramatists.] Petriconi, H., "El tema de Lucrecia y Virginia," Clavileño, II, no. 8 (Mar.-Apr., 1951), 1-5. [Some reference to comedias, especially El burhdor de Sevilla and El alcalde de Zalamea.] Valle Abad, Federico del, Influencia española en la literatura francesa: Ensayo critico sobre Juan Rotrou (1609-1650), Avila, 1946. Reviezv by...

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Additional Information

ISSN
1944-0928
Print ISSN
0007-5108
Pages
pp. 3-8
Launched on MUSE
2014-01-08
Open Access
No
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