A Current Bibliography of Foreign Publications Dealing with the Comedia

tina in Calderón's Mágico Prodigioso. In addition to being intensely dramatic and dealing with the popular legend of the man who sold his soul to the devil, it contains an offstage chorus which adds the attraction of an opera. Program notes on St. Cyprian, Marlowe 's Dr. Faustus and Goethe's Faust, not to mention others, would give significance to the occasion. It is certain that Goethe was acquainted with Calderón. Shelley studied Spanish in order to read him in the original and translated scenes from this play and from Goethe's Faust. The Justina episode also illustrates the contemporary Spanish emphasis upon the dominant will, an all-prevading idea in the CoTnedia which served Corneille well. When it comes to the pinch the Comedia puts no faith in fate or predestination. That is for those who weaken. Events may take on the appearance of fate but the will can always be present. For separate dramatic presentation this episode begins logically in the scene in which the devil conjures up his imps to rise and assist him in the temptation of Justina.1 Here the devil is as melodramatic in word and manner as he is going to be in subsequent romantic literature. The music of the off-stage solo and chorus may be chosen from many octosyllabic sentimental songs of the period.2 A tenor would do the solo parts. There would be no female voices. The dominant rôle of Justina requires a good actress, able to portray the changes of mood induced by the temptations. Appropriate pauses marked by some slow pensive steps would mark the changes. It is a question in my mind whether the song of the nightingale should be rendered off-stage.3 No matter how subdued and realistic, it might lead to some laughter in the audience. But this could be excused on the score of comic relief. During all this the devil is partly visible, peering from off-stage at the results of the temptations. For our purposes the logical ending of this dramatic episode is found in the devil's lines which illustrate the above-mentioned prevailing thought of the day: Venciste, mujer, venciste (Suéltala.) Con no dejarte vencer.4 Although this discussion may not be in harmony with the prevailing tone of research of our Bulletin, it has been suggested by our title of Comediantes. To translate the buried word of the past into the live action of today would seem to be a contribution in our field. 1 Edition of James Geddes, El Mágico Prodigioso, H. Holt & Co., New York, III, iv, p. 89. 2 For example, the song of Ginés de Morata in the Cancionero Musical de la Casa de Medìnaceli, Vol. I, p. 117, no. 47. (Voi. Vili of Monumentos de la Música Española, Barcelona, 1949.) 3 Geddes, op. cit., Ili, v, line 184. 4 Op. cit., Ili, vi, lines 305-6. A Current Bibliography of Foreign Publications Dealing with the Comedia Compiled by Jack H. Parker University of Toronto Karl L. Selig The Johns Hopkins University 1957—1 Miscellaneous Aston, S. C. (ed.). The Year's Work in Modern Language Studies. XVI (1954). Cambridge University Press, 1955. Review by F. Mackenzie, Modern Language Review , LlI, No. 2 (Apr., 1957), 270-73; Briefer Notice by A. E. Sloman, Bulletin of Hispanic Studies, XXXlV, No. 1 (Jan., 1957), 59-60. Bahner, Werner. Beitrag zum Sprachbewustein in der spanischen Literatur des 16. und ? Jahrhundert. Berlin, 1956. Blanch, Juan M. Lope. "Construcciones de infinitivo." Nueva Revista de Filologia Hispánica, X, Nos. 3-4 (July-Dec, 1956), 313-36. [Includes references to the Golden Age.] 21 Bravo-Villasante, Carmen. La mujer vestida de hombre en el teatro español (siglos xvi-xvii). Madrid, 1955. Review by Alfredo Carballo Picazo, Revista de Filología, XXXlX, Nos. 1-4 (1955), 403-08; and by Emma Susana Speratti Pinero, Nueva Revista de Filología Hispánica, X, Nos. 3-4 (July-Dec, 1956), 441-42. Bruerton, Courtney. "La versificación dramática española en el período 15871610 ." Nueva Revista de Filología Hispánica, X, Nos. 3-4 (July-Dec, 1956), 337...