By Jonathan Thacker
Spain's creative Golden Age produced Cervantes's nice novel, Don Quijote, the elegant poetry of Quevedo and G?ngora, and nurtured the prodigious expertise of Vel?zquez, and but it used to be the theatre that captured the mind's eye of its humans. women and men of all social periods flocked to the recent playhouses to work out and listen to the most recent choices in their favorite dramatists, and to be visible and heard. in addition to facing the lives and significant works of the main major playwrights of the interval - Lope de Vega, Tirso de Molina, Miguel de Cervantes, Calder?n de los angeles Barca - the significant other focusses on different elements of the expansion and maturing of Golden Age theatre, reflecting the pursuits and priorities of contemporary scholarship. those comprise: the sixteenth-century origins of the comedia nueva; the lesser-known dramatists, together with girls playwrights; existence within the theatre; the Corpus Christi highway theatre and minor genres; functionality experiences; and the severe reception of the drama. The spouse additionally includes a consultant to comedia versification, a whole bibliography and suggestion on extra interpreting. JONATHAN THACKER is a Fellow of Merton university, Oxford.
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Extra resources for A Companion to Golden Age Theatre (Monografías A)
After all, classical drama would have formed a part of his Jesuit education, and Humanist commentators in Italy and elsewhere had by this time all but merged Aristotle’s insights with the Horatian commonplaces well known even to Torres Naharro in the early years of the century. Lope recalls that 4 See, for example, Aubrun’s ‘Las mil y ochocientas comedias de Lope’, which raises the very unlikely possibility of Lope running an atelier like a master painter. 5 See Morley, ‘Lope de Vega’s Peregrino lists’.
One of the more extraordinary works from the years in which the comedia nueva took shape is the little-studied La pobreza estimada (1597–1603), a play which raises a number of other questions about Lope’s drama. In Act 1, Dorotea, 32 JONATHAN THACKER a poor noblewoman, is in a quandary as to whether to accept the advances of her equally poor but traditionally noble suitor, Leonido, or those of the rich converso (a man whose family has converted from Judaism), Ricardo. She seems attracted to the latter, but writes to her father, held captive in Algiers, asking to whom she should offer her hand.
Even in his day Lope was a hero for many Spaniards; a bright star in a world that was beginning to recognize writers as figures of individual brilliance. 3 On Lope’s possible presence at Alcalá, see Pedraza Jiménez, Lope de Vega, pp. 7–8. His first biographer was his friend and fellow playwright Juan Pérez de Montalbán, whose Fama póstuma, of 1636, must be treated with caution. There is a clear need for an authoritative modern biography of Lope de Vega. 26 JONATHAN THACKER In affirming that Lope de Vega had written some 1800 comedias and 400 autos in his dramatic career, Montalbán put a round figure to what Cervantes had recognized as ‘muchas e infinitas comedias que ha compuesto un felicísimo ingenio de estos reinos’ (Don Quijote, I, p.