This study examines some characteristics of the Italian adaptation of La vida es sueño (La vita è un sogno, 1662-1663) attributed to Giacinto Andrea Cicognini, placing particular emphasis on four aspects: Segismundo's transgressive and rebellious attitude and his passionate disposition are notably toned down; at the same time, Basilio's negative traits are softened or eliminated; moments and situations of moral edification are intensified or created ex novo; and finally, the stage presence of Astolfo and Estrella, and their relationship with Rosaura, is strikingly expanded, to the detriment of the relationship between Rosaura and Segismundo.

This paper examines all the known xvII(th) century suelta editions of El alcaide de s & iacute; mismo, with some novelties that have been discovered thanks to tools such as the Comedias Sueltas USA database. After an examination of the common errors, we trace the probable filiation of these testimonies, which belong to a different textual branch with respect to the edition of Vera Tassis (1684). Some conjecture is also advanced about their chronological relationship and their possible dating, and an attempt is made to unravel the complicated issue of their textual relationship, particularly problematic especially with regard to the group of the five later sueltas, probably printed between the eighties of the seventeenth century and the beginning of the eighteenth century.

Se discuten en este artículo los numerosos problemas textuales que plantea Los palacios de Galiana, comedia de Lope de Vega de la que solo se ha conservado el texto incluido en la Parte XXIII del dramaturgo, publicada póstuma en 1638. La edición de Menéndez Pelayo (1902), la primera moderna de la comedia, soluciona algunos de estos problemas pero deja muchos otros sin resolver y, al contrario, introduce enmiendas innecesarias. La edición de Jesús Gómez y Paloma Cuenca (1994) es más conservadora pero sin un criterio uniforme, pues también acepta muchas de las enmiendas innecesarias propuestas por Menéndez Pelayo. Tras discutir algunas elecciones de estos editores, se presentan y explican otros lugares problemáticos del texto de la comedia que han quedado sin resolver y se proponen enmiendas conjeturales que subsanan el error.

This paper studies some characteristics of Melani's verse translation (1942) of Lope de Vega’s El mejor alcalde, el rey , published in a context of prose translations of this playwright's plays. After pointing out the distortions to which the respect of rhyme and metre obliged him, a possible alternative solution is presented and the advisability of maintaining rhyme in translations of golden age theatre texts is discussed.

Reseña de Michela Graziani e Salomé Vuelta García, eds., «Stampa e autorialità tra Italia e Penisola Iberica»

Much good research has been devoted to Calderon's comedy, focusing on the mechanisms of dialogue, action or staging aimed at eliciting laughter or amusement in the audience. On the contrary, we know very little about the emotions that the characters, and the actors who embody them, express on stage or claim to have experienced. When the situation or the verbal exchange is frankly comic, and the audience is expected to laugh, do the characters laugh too? An investigation focusing on the explicit and implicit stage directions and allusions contained in the dialogue shows that this is not the case, and that sadness is a much more frequent emotion than joy in the protagonists. In an attempt to go beyond a lexical account, we will investigate the range of emotions expressed by the characters in some comedies, both palatine and cloak-and-dagger, in search of the dramatic and cultural reasons that preside over the division between the comedy of the plot and the feelings expressed by the protagonists

B U L L E T I N O F T H E C O M E D I A N T E S 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 p r e p u b l i c at i o n ( p r o j e c t m u s e ) 1 r e v i e w s Simon Kroll. Sonido y afecto en Calderón. Un estudio de las asonancias. Edition Reichenberger, 2022. 290 pp. Fausta Antonucci Università Roma Tre En esta densa monografía, resultado de muchos años de estudio y de un constante interés por la recurrencia de sonidos en la poesía y por el teatro de Calderón, el autor plasma una sugerente lectura de las potencialidades semánticas de las asonancias calderonianas. Es el del dramaturgo un teatro poético y polimétrico como todo el del Siglo de Oro, que sobresale por su amplio uso del romance y por la magnitud del corpus de autos sacramentales, consagrados a escenificar la fábula de la salvación de la humanidad por la gracia divina y el sacrificio de Cristo. Es, por lo tanto, el banco de pruebas ideal para la investigación de Kroll, que incide repetidas veces en la relación entre el valor semántico que pueden adquirir los sonidos recurrentes de las asonancias y la idea de la armonía cósmica, de la música de las esferas. Para decirlo con palabras del autor, “la musicalidad del teatro calderoniano crea diferentes ambientaciones y tonos para las escenas, resalta los términos clave del momento, todo lo cual adquiere en las obras religiosas, bajo el marco de la armonía universal, un grado de expresividad mimética que ofrece momentos de participación en las verdades trascendentales del cristianismo” (253). No por casualidad, el espacio que Kroll dedica a analizar los efectos de las asonancias en los autos sacramentales es, sin comparación, mayor que el que dedica a las comedias cómicas; y en general, los ejemplos extraídos de piezas de tono serio o trágico (dramas mitológicos, de honor o históricos) son numéricamente superiores a los ejemplos de obras cómicas. Puede verse en esta preferencia un influjo del ambiente académico y cultural en el que se ha formado el autor, del que da cuenta y razón en el prefacio, y de la herencia ineludible de la recepción alemana de Calderón, tan bien estudiada por Henry W. Sullivan en su monografía Calderón in the German Lands and the Low Countries: His Reception and Influence, 1654–1980 (Cambridge UP, 1983). Por otra parte, se trata también de un sesgo inevitable en un análisis dedicado a las asonancias de las series de romance, que debe tener en cuenta las características lingüísticas del español y la mayor frecuencia de las vocales /e/ y /a/ en esta lengua. Citemos del apartado 7, “Romances en -a”, el último de la sección 2 del libro que estudia “Valores y funciones de las B U L L E T I N O F T H E C O M E D I A N T E S 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 p r e p u b l i c at i o n ( p r o j e c t m u s e ) 2 asonancias calderonianas”: “Las asonancias basadas en /a/ son, junto con las en /e/, las más frecuentes en el teatro de Calderón, lo que no sorprende, pues se trata de las dos letras más comunes de la lengua española. No podrá esperarse, por tanto, que las asonancias en /a/ se vean cargadas de un valor afectivo tan específico como se ha podido ver en las otras tres vocales. /A/ y /e/ son precisamente aquella sonoridad más neutra sobre la que sobresalen las asonancias que combinan letras más raras” (207). De hecho, el apartado dedicado a los romances en -a es el más breve de toda...

This article proposes to critically edit the wide passage in silva that describes the falconry hunting match headed by Felipe IV in Aranjuez; passage that is only found in the version of Casa con dos puertas published in Part 29 of Diferentes and, with many variants, in a manuscript of the 17th century that is now preserved in the BNE (Ms. 16553). The profuse annotation of the text, in addition to explaining its most difficult passages, underlines the keen imitation of the vv. 706-979 of G & oacute;ngora's Soledad segunda, , an imitation that advocates a Calderonian authorship. Therefore, this text prompts us to turn to the question of the composition date of Casa con dos puertas, , and, more generally, of the complicated textual transmission of Calder & oacute;n's comedies.

Reseña de Leonor Fernández Guillermo, Lope de Vega. El arte de la versificación teatral, Ediciones del Lirio-UNAM, México, 2021, 266 pp. ISBN: 9786078785209.

Three late manuscripts of El mejor alcalde, el rey never collated for modern editions of Lope's drama are examined here: the one that is preserved in the Library of the Hispanic Society of America and two that are housed in the Biblioteca Historica Municipal of Madrid and that come from the ar-hives of the corrales Cruz and Principe. None of these testimonies seems to derive from a branch of the textual tradition closer than the text of the Parte XXI to the lost original of Lope. Even so, its careful study reveals interesting aspects of the transmission of texts in the world of theater, allowing, among other things, to clarify the history of the fortune of this drama by Lope in Madrid's tablados between the end of the 17(th) century and the end of the 18th century.

Se examinan tres manuscritos tardíos de El mejor alcalde, el rey nunca cotejados para las ediciones modernas del drama de Lope: el que se conserva en la Biblioteca de la Hispanic Society of America y dos que atesora la Biblioteca Histórica Municipal de Madrid y que proceden de los archivos de los teatros de la Cruz y del Príncipe. Ninguno de estos testimonios parece derivar de una rama de la tradición textual más cercana que el texto de la Parte XXI al perdido original de Lope. Aun así, su estudio detenido nos revela aspectos interesantes de la transmisión de textos en el mundo del teatro, permitiendo, entre otras cosas, esclarecer la historia de la fortuna de este drama de Lope en los tablados madrileños entre finales del siglo XVII y finales del siglo XVIII.

To provide context for the republication of Stefano Arata's "Candor y tragedia: Federico Garcia Lorca y la poetica de La Barraca" as a Touchstone of comedia studies, this essay details how a generation of Italian Hispanists who came of age in the 1980s and 1990s coalesced around new methodologies and practices. Of particular importance for them were new opportunities for scholarly collaborations with research teams based in Spanish universities. In this manner, Arata's innovative scholarship and inspirational leadership-celebrated in the Touchstone section of this issue-are appreciated with reference to colleagues and students who shared his passions and remain active in the field.

After a brief review of the criticism about the genre, we propose to draw a map that will help us move more confidently through Calderon's palatine production, without forgetting -as far as possible- a diachronic vision. Two basic forms of intrigue are delimited (one focused on the loving, often illegitimate, wishes of a powerful man; the other focused on disguises and conceals of identity). The points of contact between palatine, novelesque, and chivalric comedies are examined; some examples of analysis of the serious/comic relationship are proposed.

To provide context for the republication of Stefano Arata's "Candor y tragedia: Federico García Lorca y la poética de La Barraca" as a Touchstone of comedia studies, this essay details how a generation of Italian Hispanists who came of age in the 1980s and 1990s coalesced around new methodologies and practices. Of particular importance for them were new opportunities for scholarly collaborations with research teams based in Spanish universities. In this manner, Arata's innovative scholarship and inspirational leadership—celebrated in the Touchstone section of this issue—are appreciated with reference to colleagues and students who shared his passions and remain active in the field.

espanolTras un breve repaso de la historia critica sobre el genero, nos proponemos trazar un mapa que nos ayude a movernos con mayor seguridad por la produccion palatina de Calderon, sin olvidar —en los limites de lo posible— una vision diacronica. Se deslindan dos modalidades basicas de intriga (una centrada en los deseos amorosos, a menudo ilegitimos, de un poderoso; otra centrada en disfraces y ocultaciones de identidad); se examinan los puntos de contacto entre comedias palatinas, novelescas, caballerescas; se proponen algunos ejemplos de analisis de la relacion serio/comico. EnglishAfter a brief review of the criticism about the genre, we propose to draw a map that will help us move more confidently through Calderon’s palatine production, without forgetting —as far as possible— a diachronic vision. Two basic forms of intrigue are delimited (one focused on the loving, often illegitimate, wishes of a powerful man; the other focused on disguises and conceals of identity). The points of contact between palatine, novelesque, and chivalric comedies are examined; some examples of analysis of the serious/comic relationship are proposed.

One of the most fascinating aspects of female protagonism in Calderonian theatre is the dialectical capacity exhibited by the damas, their mastery of argumentation and the expressive subtleties of language in the dialogical exchanges they have with male characters. An interesting aspect to study is the relationship between the discursive situation of these exchanges and the stanza used. This article specifically analyzes the case of the romance glosses, recited in dialogue between a dama and a gallant, in El acaso y el error; No hay burlas con el amor; Antes que todo es mi dama; Las manos blancas no ofenden; El pintor de su deshonra; Darlo todo y no dar nada; La purpura de la rosa. Their placement in the dramatic action, their characteristics and structure depend largely on the genre to which the work in which they are framed can be assigned. In all of them, however, the essential role of the female interlocutor is appreciated, and her ingenious ability to adapt the cited text to the discursive intentions and the arguments with which she substantiates her replies.