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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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 [1496], 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.

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