In lieu of an abstract, here is a brief excerpt of the content:

de las mujeres, como lo llama Catalin ón en el primer acto o jornada de la obra. Para sentirse más satisfecho Don Juan elige por víctimas a las vírgenes, porque eso le da la doble oportunidad de gozarse tanto en su sufrimiento moral como en el físico. Pero los hombres también despiertan el instinto de crueldad en Don Juan, sobre todo cuando son amados. El quisiera sentirse amado y poder amar, como lo hacen sus amigos, el duque y el marqu és de Mota; por eso asume la personalidad de éstos para gozar a sus mujeres. Por un momento puede sentirse Octavio o Mota. Su interés principal es, sin embargo, el destrozar la felicidad de los demás, ya que él no puede disfrutar de esa gloria. Sin embargo está muy cerca de alcanzarla en el episodio de Tisbea. Al agotarse su interés por la linda pescadora en el espasmo sexual su personalidad se deteriora rápidamente. El acto final de su vida es el desafío a los poderes celestiales e infernales, que el teólogo Tirso no pudo, o no se atrevió a perdonarle . El autor habla por boca del padre en la comedia: En premio de mis servicios haz que le prendan y pague sus culpas, porque del cielo rayos contra mí no bajen. (III, 1023-26) NOTAS 1 Miguel de Unamuno, "El hermano Juan," El Otro y El hermano Juan, Colección Austral 647, Espasa-Calpe (Madrid, 1964). 2Bruce Wardropper, "El burlador de Sevilla : a tragedy of errors," Philological Quarterly , XXXVI (1957) pp. 56-57. 3 Tirso de Molina, "El burlador de Sevilla," Comedias, Clásicos Castellanos, (Madrid, 1963). 4 E. H. Templin, "The burla in the plays of Tirso de Molina." Hispanic Review, VII (1940) pp. 185-86. 5 Bruce Wardropper, obra ya citada, pp. 6970 . 6 Ibid, p. 63. 7 Archimede Marni, "Did Tirso employ counterpassion in his Burlador de Sevilla?" Hispanic Review, XX (1952) p. 130. 8 Ibid, p. 131. Gi^ ANOTHER SOURCE FOR TIMONEDA'S MENEMNOS Sue-Lin Chow University of Toronto Investigations into early Spanish theatre have often overlooked the works of Juan Timoneda (1520?-1583), the talented sixteenth-century bookseller, actor, and writer. He is also the man responsible for publishing the now well-known plays of Lope de Rueda. Timoneda, in his capacity as a publisher , made changes in the original manuscripts of others, as he himself claims to have done in the preface to Rueda's Eufemia and Armelina. To what degree he revised these works is not known, or that he may have attempted to rewrite them is still an unresolved question. An examination of his Comedia de los Menemnos reveals that Timoneda's talents in editing the works of others is not unlike the technical skill manifest in his ability as a writer. In this respect, many critics have questioned his sources and challenged the originality of this and other plays to which he claims authorship. The Menemnos is included in a volume along with two other comedies, Amphitrión and Carmelia, first pub52 lished in 1559; we quote from the Julia Martinez edition.1 Italian influences on the work have been suggested by J. P. W. Crawford2; and the play itself, as the author states in the "introito", is a re-working of a successful comedy of errors, the Menaechmi, by Plautus.3 Crawford, however, aptly points out Timoneda's knowledge of an anonymous Castillian translation of the Latin work printed at Antwerp in 1555 and the existence of other Italian translations then in print. Timoneda probably knew Latin but Crawford considers it highly unlikely that his knowledge of the language was such that he would have translated directly or at least have gone to the trouble of translating the Latin comedy when he had available a more convenient source.4 Although his adaptation resembles the original in all major aspects of plot, Crawford has given credit to Timoneda for his independence in adapting the original into one "jornada" of several scenes.5 The critic also briefly mentions the addition of two "new" scenes, the authorship of which he would seemingly assign to the Valencian writer.* As it...

pdf

Additional Information

ISSN
1944-0928
Print ISSN
0007-5108
Pages
pp. 52-56
Launched on MUSE
2014-01-08
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.