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triumph of right. In true tragedy, there is no compensation. Sr. Hierro asserts that whereas in the comedia there are no characters (except in Tirso), there do exist different aspects of Man (with a capital M). At the most, the persons on stage are symbols; it follows as a consequence that we do not identify ourselves completely with their problems. They may inspire hate or pity, but not of a lasting quality. The comedia, therefore, is superficial , "de cortos efectos." Characters serve as a mold into which to pour abstract ideaj. The characters die either innocently or because of their own guilt. In the latter case, justice has been done and the spectator is satisfied. In the former case, the characters' rôle varies. In any event, it is not the innocent victim that gets audience interest but his killer; the victim is only a pretext for giving the murderer his punishment. Since right triumphs, the comedia is consoling, optimistic in its outlook. As characterization is poor, plot would seem to offer the major interest. Not so, says Sr. Hierro. Plot invention is too limited to offer the major focus of interest. Most plots come from chronicles, ballads, legends, rather than from original invention. It follows that the most important trait of the comedia h its poetry; it is through his lyric capacities that the poet tries to move his audience. "Para el español del Siglo de Oro, la comedia era un soporte de trozos líricos, de hermosas palabras que alumbran el corazón. No veía la obra como un estructura sólida. Se entraba por ella, dejándose arrebatar. Lo lírico le servía de puente para compartir—humanamente —las vidas de los seres puestos en pie sobre el escenario. No estaban expresados con precisión, pero el espectador sabía llenar los huecos, cordialmente, sobreentender lo que no había sido expresado—sino insinuado—por el autor. Escuchaba un símbolo, un lenguaje cifrado que él sólo podía descifrar. Pero— dije más arriba—los personajes no son sino apariencias del poeta que los creara. En el escenario estaba Lope. Y a través de la poesía que repetían estos personajes, el espectador se entendía directamente con Lope. Lope, el improvisador, el lírico, hablando por múltiples bocas, se bastó para llenar la escena española . . . Para él, el teatro era un friso de personajes apenas embozados, que repet ían versos de Lope. Su poesía era la gran mentira, susceptible de crear, mágicamente, un mundo arbitrario y falso que parecía verdadero . En él impera lo dramático sobre lo teatral, la palabra sobre la escenografía. El halló Ia fórmula acorde con la sensibilidad del español de entonces y de hoy." Sr. Hierro's article considers only a few of the comedid'% major aspects, but it is provocative, as the reader will surely agree. It is of course also quite controversial in some of its statements. Capa Y Espada Conducted by the Editor • Arnold G. Reichenberger's article "Two Important Spanish Comedia Collections" published in the Spring 1956 issue of the Bulletin was a reprint from The Library Chronicle . • An English version of Calderón's THE GREAT THEATER OF THE WORLD by Professor Mack H. Singleton of the University of Wisconsin was performed by the students of Edgewood College and High School, Madison, Wisconsin on October 12, 1956 as part of the Institute on Religious Drama held at the University. Sister Thomas More was the director. The incidental musical accompaniment was taken from recordings : Mozart's Coronation Mass (Decca), and Haydn The Creation. If you are interested in obtaining information on the availability of the translation we suggest you write to Mack H. Singleton. • Ada M. Coe of Wellesley calls attention to the collections of sueltas owned by the University Libraries of Toronto, Pennsylvania , Texas and Dartmouth. We might 10 also add Oberlin and Northwestern. Any more? Compiled by Jack H. Parker University of Toronto Karl L. Selig The Johns Hopkins University 1956—1 Miscellaneous Alberich, José. "Un hispanista temprano: Lord Holland." Revista de Literatura, Vili, No. 16 (Oct.-Dec, 1955), 313...


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