Abstract:Previous criticism on Calderón's Tuzaní de la Alpujarra or Amar después de la muerte tends to focus on either the ethical parity created between the play's morisco and Spanish noble characters or the particular speech patterns of Alcuzcuz, the gracioso morisco . This essay argues that Alcuzcuz occupies a pivotal position in the action of drama and that his character holds structural as well as societal significance for the audience. On one hand, he behaves as a typical gracioso ; on another, he connotes morisc… Show more
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