As befits an entremés, the plot of El retablo de las maravillas is simple. Two swindlers, the man Chanfalla and the woman Chirinos, persuade the authorities of a. The Governor, and his city officials, Petra. Capacho, Juana Castrada, and Benita. Repollo happen upon Chirinos and. Chanfalla. Chanfalla introduces herself as. Cervantes-Entremés de El retablo de las – Download as PDF File ( .pdf) or view presentation slides online.
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La Cueva de Salamanca “While the cat’s away, the mice will play,” could be the summary of this story. If not, why were they perceived by both the writer and his contemporaries to be more suitable for reading than theatrical representation?
El retablo de las maravillas – Out of the Wings
The key distinction seems to be one of location, not some inherent problem with entemes in the genre of drama. What is curious is the fact that in the figure of the student are fused two inharmonious forms of knowledge, for the celebrated legend of the cave of Salamanca, as a place where black magic was taught and learned, emerged in the fourteenth century as a sort of antidote to the material being taught at the city’s uni- versity see Egido.
Novelization and the subsequent redefinition of drama as a purely readable literary work implies a change in both the literary and the theatrical horizon of expectations which must have been met with a retablp element of curiosity.
Such irony in Cervantes’ entremeses seems to be a characteristic quality which distinguishes his drama karavillas more mainstream plays. Click here to sign up. Info Alerts Maps Calendar Reserve. Both forms are, by definition, short. But does Cervantes actually wish to break away from the established genre or rather master it, and thereby receive public acknowledgement i.
Visor de obras.
Vayas, y no vuelvas; la ida del humo” —the audience of Viejo is clearly aware of the reasons for Lorenza’s dissatisfaction with her hus- band.
Certainly, the xe elements of novelization in the entremeses do not approach the intricacy afforded the novel itself by its length and narrative style. In light of this critical stance, and despite the eel necessary for reading Cervantes’s prologue, I suggest that we keep in mind the author’s following claim: The full-length play thus ends with the restoration of a previously-disrupted order, often employing poetic justice to punish those responsible for the initial disturbance.
The individualized characters, the overt satire of contemporary society, the double-entendre of heteroglot language, and the labyrinthian games of structure may have been excessively intricate for successful juxtaposition alongside or, more precisely, within the traditionally dominant comedia. Much in the same way he redefines the novella and creates the modern novel, Cervantes also dntremes a change in the seventeenth-century conception of drama in Spain, but in etnremes manner far different from Lope de Vega.
Don Retabpo de la Mancha. While the men win a dinner, the women get their just “deserts. The joke, of course, is on the reader: The Human Seriousness of Play.
The novelistic indeterminacy of the Cervantine interlude is thus perhaps too complex retabol allow the audience to redirect its attention to another work already in progress immediately following its conclusion. The Governor and his aldermen want to be seen as good cristianos viejosOld Christians of pure blood, untainted by any Jewish or Muslim origin.
The failure of Cervantes’ entremeses in their theatrical context leads to an obvious, but puzzling, question: In the same prologue, Cervantes writes of these dramatic pieces that he is publishing: It is plasticity itself. Rather, the implication is that characterization maravilas Golden Age drama typically serves to advance the plot.
The Play of Illusion in Cervantes’s Interludes. The novella, however, does not normally interact with the novel in any fundamental way.
Therefore, the novelization of other genres does not imply their subjection to an alien generic canon; on the contrary, novelization implies their liberation from all that serves as a brake maravvillas their unique development, from all that would change them along with the novel into some sort of stylization of forms that have outlived themselves.
Apparently Cervantes retained control over the content of his collection until its publication, presumably submitting his authoritative version to the printer as if it had been a collection of short stories. From now on, emtremes reader will seek and establish the still unfulfilled significance retrospectively, through a new reading, from the perspective of the fulfilled form, in a return from the end to the beginning, from the whole to the particular.
Three Entremeses Cervantinos
Brevity in the novella, by contrast, seems to be a stylistic concern of the genre, not a practical problem defined by its position within another form of representation.
Lane Cooper et al. Contrasts between the novelistic discourse and dramatic composition thus usually emphasize the fact that drama is a plastic, representational art, while prose narrative is a written art form. Into an imperfect world and into the confusion of life it brings a retabpo, a limited perfection” However, the black magic performed by the clever student is only the secondary deception, produced ad hoc as a way to allow Leonarda to escape from the disastrous consequences of infidelity.
Most modern drama displays all of these characteristics in some way. As Hans Robert Jauss points out, the second reading of a maraviillas allows for a more detailed analysis of meaning:.