Abstract
Nine are the plays by Lope de Vega in which the Moorish figure can be considered as an active dramatic character. In them, the Fenix presents to the audience a character which is basically a distorted image of the real social subject: the author seems to rely on the features of a disfigured «puppet», conceived by some levels of the socio-political environment of the time, in order to adjust the character to his own theatrical logic and present it from a comical perspective. Lope carries out his dramatic purpose through the use of four parameters: the choice of arabic names, the process of conversion to Christianity, the references to drinking wine and eating pork and, finally, the use of the moorish jargon. This paper focuses therefore on the observation of the stereotyped attributes that constitute the backbone of each of those figures, and reflects also about the meaning of the comical procedure that Lope manages in all the works of the analysed corpus.
Highlights
Nine are the plays by Lope de Vega in which the Moorish figure can be considered as an active dramatic character
Según una parte de la crítica, la figura del morisco gracioso puede ser concebida como variante mora del donaire tradicional,4 ya que emerge en las comedias a través del mismo esquema utilizado para el personaje del criado cristiano: el dualismo amo / criado se convierte, en algunas obras lopescas que Carrasco Urgoiti [2006:180] define como «comedias de moros»,5 en el dualismo moro / morisco, y
En siete de las nueve comedias analizadas, Lope decide poner en escena la conversión al cristianismo del personaje morisco protagonista (HidBen., DivVen., EscLib., CorVal., PrimFaj., SDiego, EnvNob.)
Summary
Dentro del inmenso patrimonio teatral de Lope de Vega, el grupo de comedias en el que aparece la figura del morisco como personaje activo de los enredos dramáticos, utilizamos como respaldo tres estudios específicos: el de Sloman [1949], el de Case [1982] y el de Santos Domínguez [1987]. Del dramaturgo se han escogido nueve comedias que formarán el corpus en análisis: La tragedia del rey don Sebastián, El hidalgo Bencerraje, La divina vencedora, Los esclavos libres, El arenal de Sevilla, El cordobés valeroso Pedro Carbonero, El primer Fajardo, San Diego de Alcalá y La envidia de la nobleza. Teniendo en cuenta una vez más los datos de Morley y Bruerton [1968] y también las pautas de Case [1981:785-790] en su estudio sobre la figura del morisco en la obra lopesca, se define el intervalo temporal entre 1593 y 1618 como el período de vigencia del peculiar fenómeno del morisco gracioso
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