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2010 •
Bulletin of the Comediantes, LXX, 2, 2018, pp. 33-48
Lope de Vega se reescribe: de la comedia bizantina a la novela corta (La viuda, casada y doncella, Guzmán el Bravo y La prudente venganza)I examine how Lope de Vega drew upon an early comedia, "La viuda, casada y doncella" (1597), in devising two late masterpieces, "Guzmán el Bravo" and "La prudente venganza", both printed in "La Circe" (1624). In particular, my study scrutinizes the ways that the novellas reconfigure episodes from the earlier comedia and traces the literary trail left by the process of rewriting. Three poles of attraction to "La viuda, casada y doncella" come to light: the comedia’s success on stage during two decades; its renewed popularity as a literary work upon publication in the "Parte 7" (1617); and the drama’s Byzantine plot motifs. Such elements included vertiginous separations and reunions of lovers, storms, shipwrecks, captivity, and other trials—popularized in translations and adaptations of Heliodorus’s "Aethiopica" as well as in Italian novellas and other literary genres—that had become touchstones of Lope’s literary practice, anchoring a host of comedias written in the late sixteenth or early seventeenth century, as well as his novel, "El peregrino en su patria" (1604). Ultimately, this examination of Lope’s rewriting—construed as a sustained and deliberate process of self-revision (auto-reescritura)—reveals that the Byzantine motifs adapted from his comedias were decisive in shaping his approach to the "novela corta" (novella) in the early 1620s.
Entresiglos: de la Edad Media al Siglo de Oro (II). Estudios en homenaje al profesor Joan Oleza, eds. J. Badía y L. C. Souto, Anejos de Diablotexto Digital (5), València, 2020, pp. 155-166.
Lope de Vega y el género bizantino (novela y teatro): público, autopromoción y mercado editorialEstas páginas tienen por objeto examinar varios fenómenos de autopromoción y difusión ligados a las obras de género bizantino escritas por Lope de Vega, tanto novelísticas ("El peregrino en su patria") como, sobre todo, teatrales. En primer lugar, se estudia la mención al "Peregrino" presente en la comedia titulada "Los esclavos libres"; a continuación, se analiza la alusión a esta misma comedia en el desenlace del "Peregrino", como parte de un supuesto proyecto de publicación; finalmente, se consideran las distintas etapas y facetas de este particular fenómeno de autopromoción literaria, sin perder de vista la importancia de las comedias bizantinas en el desarrollo de este mismo género en la narrativa.
2021 •
Resumen: El presente trabajo examina un pasaje de una comedia de Lope de Vega, La doncella Teodor, en el que el gracioso español Padilla le propone a la protagonista unas jocosas adivinanzas que ella va solventando en presencia del sultán. Concretamente, analizamos el episodio en relación con unos versos del libro XV de la Jerusalén conquistada (1609), también protagonizados por un español y un sultán (en esta ocasión, Saladino). Tras proporcionar un breve estado de la cuestión, estudiamos las adivinanzas de La doncella Teodor y las comparamos con las de la Jerusalén, examinando su función respectiva y reflexionando sobre la pertinencia de este eco textual para resolver cuestiones como la datación de la comedia y para destacar ciertos usos autoriales de Lope. Palabras clave: Lope de Vega; La doncella Teodor; Jerusalén conquistada; adivinanzas; fórmulas. Abstract: This article examines a passage in a play by Lope de Vega, La doncella Teodor, in which the Spanish gracioso, Padilla, challenges the protagonist to some funny riddles that she solves, all in the presence of the sultan. In particular, we analyze the episode in relation to some verses in Lope’s Jerusalén conquistada (1609), book XV, also starring a Spaniard and a sultan (this time, Saladin). After a brief state of the art, we study La doncella Teodor’s riddles and compare them to those in the Jerusalén, examining their respective function and pondering upon the pertinence of this textual echo to solve problems such as the play’s chronology, and to underline certain aspects of Lope’s usus scribendi. Keywords: Lope de Vega; La doncella Teodor; Jerusalén conquistada; riddles; formulae.
Artifara, 16 (2016), pp. 147-164.
Lope de Vega, el género bizantino y Los esclavos libresResumen: En el presente artículo se definen las características fundamentales de las comedias bizantinas a partir del análisis de "Los esclavos libres", obra de Lope escrita probablemente a finales de 1602 que, según trato de defender, cabe adscribir a dicho género. El artículo se compone fundamentalmente de un estudio comparativo entre los temas y motivos compartidos por "Los esclavos libres" y las novelas griegas y sus epígonos, en virtud del cual es posible además ahondar en la especificidad de las comedias lopescas frente a otras manifestaciones del género bizantino. Asimismo, sitúo "Los esclavos libres" en su contexto histórico, particularmente en lo que atañe a la presencia de temas como el cautiverio. Este análisis permite ilustrar cómo Lope trató de adaptar la esencia y los tópicos fundamentales del género bizantino a la fórmula de la Comedia nueva y a los intereses y preocupaciones de su público. / Abstract: In this paper I will define the main characteristics of the " comedias bizantinas " . I will focus on Los esclavos libres –probably written by Lope de Vega at the end of 1602–, a play that can be assigned to this genre, as I will try to show. With this purpose I will carry out a comparative study of this play and the Greek novels and their epigones, focusing on its shared themes and motifs. This study will also allow me to describe the specificity of the plays by Lope in relation to other examples of the same genre. I will also take the historical context into account, particularly regarding topics such as captivity. This analysis will show how Lope tried to adapt the essence and fundamental clichés from the byzantine tradition to the Comedia nueva and the interests and concerns of his public.
2019 •
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