By Elaine Canning
Lope de Vega's non secular performs are a particular a part of his output, yet little scholarly paintings is obtainable on them. This examine specializes in 5 performs, l. a. hermosa Ester, the Isidro performs, Lo fingido verdadero and los angeles buena guarda. in the context of the seventeenth-century degree, Canning examines Lope's manipulation of spiritual fabric, and his therapy of socio-literary subject matters - love, the function of girls - and how during which they're hired to generate viewers reception. She considers the connection among spiritual drama and metatheatre, concentrating on Lope's strategies for highlighting the illusory nature of existence and the connection among lo verdadero and lo divino, ideas which lie on the center of the theocentric international view of seventeenth-century Spain. The conflicting imperatives of human and divine love and the problem of id are positive factors of the entire performs. and he or she indicates that the interaction among phantasm and truth and the connection among playwright and viewers are the most important to Lope's dramatic output.Las comedias religiosas de Lope de Vega constituyen una parte basic de su producci??n dram??tica. Sin embargo, no han recibido el reconocimiento que merecen. Este libro ofrece un an??lisis de cinco obras: l. a. hermosa Ester, l. a. ni?±ez y los angeles juventud de San Isidro, Lo fingido verdadero y l. a. buena guarda. Canning examina las distintas formas de recepci??n por parte del p??blico teniendo en cuenta los angeles manipulaci??n de las fuentes hagiogr??ficas y b?blicas y el tratamiento que Lope da a temas socioliterarios stories como el amor y el papel de l. a. mujer. Adem??s, analiza l. a. metateatralidad de l. a. comedia religiosa y los recursos autorreferenciales empleados por Lope para poner de relieve los angeles relaci??n entre los angeles vida y l. a. ilusi??n, entre lo verdadero y lo divino, conceptos que formaron una parte intr?nseca de l. a. cosmovisi??n teoc?©ntrica de l. a. Espa?±a del siglo XVII. Los imperativos contradictorios del amor humano y el amor divino y l. a. complejidad de l. a. identidad son temas que se presentan en todas las obras. Canning demuestra que los angeles conexi??n entre l. a. ilusi??n y los angeles realidad y los angeles relaci??n entre el dramaturgo y el p??blico son cruciales para l. a. producci??n dram??tica de Lope.
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Additional info for Lope de Vega's 'Comedias de tema religioso': Re-creations and Re-presentations (Monografias A)
39 Asuero states: y por las dos hermosas mejillas blancas, entre nieve rosas. El cuerpo, no hay columna de marfil ni alabastro; (I, 108)40 37 In his Arte nuevo, Lope specifically identifies the theme of honra as exemplary subject matter for the comedia: ‘Los casos de la honra son mejores / Porque mueuen con fuerça a toda ge[n]te,’. See El arte nuevo de hacer comedias en este tiempo, ed. Juana de José Prades (Madrid: Consejo Superior de Investigaciones Científicas, 1971), 327–28. 38 The characteristic features of courtly love do not appear in the lyric poetry of Castile until the fifteenth century.
The first of these is contained in Esther 2. 55 This is a Persian custom which would have been meaningless to a seventeenth-century Spanish audience and which Lope simply chooses not to include. The omission of this detail does not impact on the plot of the play. Lope also denies Asuero the harem which his counterpart possesses in the Book of Esther. Marsanes simply orders: ‘la que entrare de noche, salga al alba, / y la que le agradare, o por dichosa / o por bella, que reine’ (I, 112). 57 Since nothing happens at the first biblical banquet, Lope understandably includes only one in his play.
64 Like Amán, the figure of Senacherib, king of Assyria in Historia de Tobías, is characterised by arrogance. 1–11). Senacherib claims: ‘con laurel entro mañana / triunfando en Jerusalén’. The edition of this play used for the purposes of this study is contained in Obras de Lope de Vega, ed. Don Marcelino Menéndez y Pelayo, Biblioteca de Autores Españoles, 157–59, VI–VIII (Madrid: Atlas, 1963), VIII, 87–136. Senacherib’s declaration is found in I, 93. All subsequent references to the play will be taken from this edition.
Lope de Vega's 'Comedias de tema religioso': Re-creations and Re-presentations (Monografias A) by Elaine Canning