'Véote, y no te conozco': The Unrecognizable Form of Cervantes'sEl rufián dichoso

Thacker, John

doi:10.1179/174582009x433176

Hispanic Research Journal

2009

DOI: 10.1179/174582009x433176

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'Véote, y no te conozco': The Unrecognizable Form of Cervantes'sEl rufián dichoso

John Thacker¹

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2017

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Cited by 2 publications

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“…Interestingly, the justification of the geographical move of the dramatic action, from the Old World to the New -a move in breach of neo-classical unity of place-is one of the functions of the allegorical figure Comedia in Cervantes's El rufián dichoso. SeeThacker [2009] and especially[2008] for a discussion of the roles played by Comedia and her interlocutor, Curiosidad, in that comedia divina.http://revistes.uab.cat/anuariolopedevega that Jerome's relics were in fact housed in the church of Santa Maria Maggiore in the Eternal City. So, whilst this time España's audacious advocacy is not successful, she still advances a coherent claim to at least some part of St Jerome's reflected glory.…”

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«¡España viva!»: Personifications of Spain in Lope de Vega's «comedias de santos»

Norton

2017

anuariolopedevega

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This study concerns the personification España as she appears, briefly, in four saints' plays by Lope de Vega. It presents an analysis of her function, character, and likely appearance. It argues that Lope deploys España -in the majority of cases in commissioned plays forming part of public festivals of national significance-to advocate the hispanicization of the lives of non-Spanish saints and of universal Catholic dogma. The essay argues further that, influenced by the iconographic and emblematic traditions, España is characterized by Lope as courteous and genteel at home, but feisty and belligerent when faced with foreign adversaries, her appearance on stage probably reflecting aspects of that character. ResumeNEste estudio trata de la personificación de España, que interviene brevemente en cuatro comedias de santos de Lope de Vega. Ofrece un análisis de su función, carácter y probable aspecto físico. Sostiene que Lope hace uso de España -en la mayoría de los casos en comedias de encargo que formaban parte de fiestas públicas de importancia nacional-a fin de abogar por la hispanización de las vidas de santos no españoles y del dogma católico universal. El artículo sostiene, además, que, bajo la influencia de las tradiciones iconográfica y emblemática, Lope caracteriza a España como mujer, en casa, cortés y gentil, pero pendenciera y belicosa cuando se enfrenta a adversarios extranjeros, caracterización que probablemente se vería reflejada hasta cierto punto en la apariencia dada al personaje sobre el tablado. PalabRas Clave: Lope de Vega; comedias de santos; España; personificación; alegoría; hispanización. Personifi cations of Spain in Lope de Vega Comedias de santos 529 http://revistes.uab.cat/anuariolopedevega T he frequent deployment of non-human characters is a distinctive feature of Golden-Age hagiographic drama. Non-human characters intervene in every one of the twenty-five comedias by Lope de Vega that can, according to the criteria applied by Robert Morrison [2000:97], legitimately be considered saints' plays. 1 Lope's non-human characters fall into three broad categories, although there is often some overlap. The first category includes obviously supernatural figures: God the Father, the ascended Christ, a host of angels, and the saints in heaven, opposed by the devil and an army of demons, including named ones such as Lucifer, Satanás, and Astarot (all or several of these named demons sometimes appearing simultaneously). Their dramatic functions within Lope's religious theatre are usually predictable and conventional: depending on their allegiance, they either guide and protect the protagonist or they hinder and harm him. The second major group includes characters often -I think unhelpfully-described as allegorical figures. Many of these do bear the names of abstract ideas, of the virtues and vices, La Misericordia and La Avaricia, for instance. But these characters typically exist at the same diegetic level as the human characters and function in manners virtually indistinguishable from the angels ...

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«¡España viva!»: Personifications of Spain in Lope de Vega's «comedias de santos»

Norton

2017

anuariolopedevega

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El rufián dichoso, entre verdades y fabulosos intentos

Rivera

2017

An. cervant.

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no como aquellos ridículamente supersticiosos 1 ResumenEste artículo pretende mostrar cómo El rufián dichoso de Cervantes se construye con la combinación meditada de datos históricos de la vida del personaje y de elementos ficcionales y literarios (algunos recurrentes en su obra y otros procedentes de la tradición), de tal modo que estos segundos resultan más abundantes en el primer Acto, ajeno casi a las circunstancias biográficas, mientras que los primeros articulan, aunque de forma muy sintética, sobre todo los Actos II y III.Palabras Clave: Cervantes; teatro; hagiografía; verosimilitud; ficción. Title: El rufián dichoso, between verdades and fabulosos intentos AbstractThis article analyzes the structure of El rufián dichoso by Cervantes by parting from the complex combination between the historical dates of the character's life and fictional elements and literary tradition. Fictional elements are more abundant in the Jornada I, oblivious to biographical situations. However, the II and III Acts are specially articulated, bad plainly, by historical information.

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'Véote, y no te conozco': The Unrecognizable Form of Cervantes'sEl rufián dichoso

Cited by 2 publications

References 8 publications

«¡España viva!»: Personifications of Spain in Lope de Vega's «comedias de santos»

«¡España viva!»: Personifications of Spain in Lope de Vega's «comedias de santos»

<em>El rufián dichoso</em>, entre <em>verdades</em> y <em>fabulosos intentos</em>

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