Calderon and the Baroque Tradition by Kurt Levy, Jesús Ara, Gethin Hughes
By Kurt Levy, Jesús Ara, Gethin Hughes
Papers provided at a global symposium April 10-11, 1981 less than the sponsorship of the college of Toronto.
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Interspersed among the stately, slower-paced dance dramas of Japan's Noh theater are the pleasant comedian performs or interludes often called Kyogen. those short performs advanced from the bawdy skits that have been rousingly loved via the
plebeian populaces of the towns in feudal Japan a few hundreds of thousands of years in the past whilst Noh itself was once a hobby and leisure solely reserved for the aristocracy. this day they nonetheless supply pleasant relieffrom the sustained and
concentrated motion of the Noh play that has replaced little or no in the course of the centuries. one of the quite a few kinds of classical eastern drama, the fancy motion and fantastic coloring of Kabuki has probably enabled it to be the main simply understood; and the Noh, in a few first-class translations, has
become widely recognized for its poetic attractiveness. however the Kyogen, both deserving of recognition, have remained particularly unknown. in basic terms now, with this re-creation of leave out Sakanishi's very good translations, are they ultimately comfortably available
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sometimes outrageous, occasions during which the protagonists so frequently locate themselves concerned. in the event you have an interest within the performs from a merely literary perspective, they might good turn out to be as captivating because the historic Greek comedies; whilst additionally they offer an perception into the existence and occasions offeudal Japan. In either shape and spirit those translations are exact renderings of the originals and produce to the reader the traits of earthiness, spontaneity, and strong humor which are inherent in all genuine people drama.
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Extra resources for Calderon and the Baroque Tradition
186. Sobre las diferentes versiones del mito vease Yves F. A. Giraud, La fable de Daphne (Ginebra: Droz, 1968), pp. 27-39. 45 "It was either in the patio or in one or other of these rooms that a machine-play by Calderon, La fabula de Dafne, was performed on June 1, 1635" (Jonathan Brown y J. H. Elliott, A Palace for a King [New Haven: Yale University Press, 1980], p. 204). 46 Archivo di Stato di Firenze, Mediceo, filza, 4960. Despacho del embajador florentino en Madrid, Sr. Sorano, del 2 de junio de 1635: "Giovedi sera si fece al Palazzo del Buon Ritiro una Commedia con un Balletto, et con machine di Cosimo Lotti, che riuscirono assai bene.
Vemos lajusticia ser no menos poderosa en el mayor que en el menor. " (Cancionero , 38r). 12 Del sangue d'Austria e d'Aragona io veggio nascer sul Reno alia sinistra riva un principe, al valor del qual pareggio nessun valor di cui si parli o scriva. Astrea veggio per lui riposta in seggio, anzi di morta ritornata viva, e le virtu che caccio il mondo, quando lei caccio ancora, uscir per lui di bando. 13 Esto nos aproxima a la fecha de los dramas de Calderon, y a nuestra tentativa de situarlo dentro de esta tradition multiforme.
Sin embargo, pasado el peligro, los pastores volvieron nuevamente a venerar la memoria del mago. Los dioses, airados ante este desacato, hicieron que numerosos monstruos nacieran de la humedad. Entre ellos el mas terrible fue la "escamada serpiente"65 que tuvo por guarida la cueva de Fiton, con lo que recibio el nombre de este. El dramaturge introdujo una variante tematica. 66 Dos tropas, una de hombres y otra de mujeres, han acudido a los templos de Apolo y Venus con ofrendas y sacrificios para apaciguar la ira de los dioses.