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subdued, with an occasional half-hearted attempt at bravado. As the statue asks for don Juan's hand it will be at a distance from the tomb sufficiently great to permit don Juan to die in full view of the audience. Catalinón retreats in fear to the other end of the tomb. Don Juan falls dying after his lines: "¡Que me abraso! No me abrases/ Con tu fuego."1 At the same time Catalinón sinks unobtrusively in a faint, partly visible at the other end of the tomb. Don Juan is still alive during the following speech of the statue and expires at the line "Quien tal hizo que tal pague." 1.From a paper read at the fifty-sixth annual meeting of the PAPC at Claremont, California, November, 1958. 2.El Burlador de Sevilla, ed. Barry (Paris, 1910), p. 227, c. 2252. Also BAE1V, 585c and Cambridge Piain Text (Cambridge U. Press, 1954) F. 74. 3.Monumentos de la Música Española, Vol. Vili (Barcelona, 1949). The Barry edition should indicate that Catalinón speaks at vv. 2313-17. 4.Barry, p. 246, v. 2472. BAE, 587b. Plain Text, p. 90. 5.Barry, p. 261, v. 2690. BAE, Sc. xxi, 589a. Plain Text, p. 90. 6.Barry, pp. 262-263, vv. 2704-09. BAE, 5S9b. Plain Text, p. 90. 7.Barry, p. 267, vv. 2751-52. BAE, 589c. Plain Text, p. 92. Some Remarks on the Comedia and New Criticism by K.-L. Selig University of North Carolina At Mr. Peyton's kind invitation, I participated in the discussion on the comedia in the light of recent criticism, including the New Criticism. I should like to give here just a summary of my remarks and a few additional notes to Mr. Gilman's excellent paper. The term New Criticism, while bantered about a great deal, often with much malice, is obviously not entirely satisfactory. It has become associated with a school of criticism or rather a certain group of critics, no longer new, considering that Mr. Richard's opus was published about 1925. Some basic aspects and tenets of the New Criticism are worth repeating: literary analysis as contrasted with literary history; formalism, organicism: the study of the organic structure of the work. The concern should be with the work itself— as a work of art, which can be judged autonomously. (It must be admitted that many scholars of the comedia have gone to the other extreme , studying the texts from an extraliterary vantage point or using the texts for totally extra-literary purposes, e.g. sociological and anthropological purposes). But for such analysis, when "every word is to be accounted for", as the phrase so often goes, one must have clean, reliable, and well-established texts—and so the need for good critical editions of Golden Age comedias will not end for a long time to come. In this brief review of some aspects of the New Criticism, it may be well to bear in mind that the so-called New Critics are primarily associated with English and American literature, and that there is a school or group of critics not entirely unrelated to them who have practiced and applied their "method" in Romance literature; above all, the names of Croce, Vossler, Auerbach and Professor Spitzer come to mind—although I do not mean to classify them as New Critics. It must also be remembered that while we are discussing this topic, we are actually in a period of revolt against the New Criticism (and I am not primarily thinking of Karl Shapiro, whose objections are often on religious and political grounds) . But many have felt a certain inadequateness of their "method", their inability to deal with ceitain problems. Much could be learned from a closer study of the poetics of the sixteenth and seventeenth centuries and the 12 writings of the Chicago Aristotelians. Of course, the historical background and setting of a literary text cannot be entirely disregarded —when it is relevant, and fortunately the extreme view of some of the New Critics has been modified. Some highly educated and sophisticated critics were perhaps only "playing at being ignorant of historical and biographical facts...


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