Click to increase image sizeClick to decrease image sizeBSS Subject Index: CALDERÓN DE LA BARCA, PEDRO (1600–1681)MÁGICO PRODIGIOSO, EL [P. CALDERÓN] Notes 1. Aquinas Paper No. 32 (London: Blackfriars Publications, 1958), 12–20; reprinted in B. W. Wardropper (ed.), Critical Essays on the Theatre of Calderón (New York U.P., 1965), 3–23. 2. Litterae Hispanae et Lusitanae, ed. H. Flasche (Munich: Max Hueber Verlag, 1968), 317–30. 3. Ed. A. Morel-Fatio (Heilbronn: Henninger Frères, 1877), 27. This is the edition that I have used for the present paper. The play has recently been edited and translated into English, with useful introduction and notes, by B. W. Wardropper (Madrid: José Porrúa Turanzas, 1982). 4. Cf. Gwynne Edwards, ‘The Closed World of El alcalde de Zalamea’, in Critical Perspectives on Calderón (Lincoln, Nebraska: Society of Spanish and Spanish-American Studies, 1981), 53–67, on the dark wood as image and symbol in that play. 5. It was included by J. N. Birch as Appendix II to his edition of El mágico prodigioso (London: Methuen, 1929), 129–31. 6. Ed. cit., xxxv. 7. The Golden Legend or Lives of the Saints as Englished by William Caxton (London: Dent, 1900, 7 vols), V, 165–172. 8. Ed. cit., xxxv–xxxvi. See also p. xxx. 9. See A. E. Sloman, The Dramatic Craftsmanship of Calderón (Oxford: Dolphin, 1958, reprinted 1969). 10. Golden Legend, ed. cit., V, 169–70. 11. Several modern critical studies of different seventeenth-century plays have dealt with this subject, in particular E. M. Wilson, ‘Images et structure dans Peribáñez’, BHi, 51 (1949), 125–59. T. E. May, ‘The Symbolism of El mágico prodigioso’, RR, LIV (1963), 95–112, draws attention to the splendid lines describing the setting, or dying, sun in Cipriano's first speech (11. 73–79), and relates the image to the play's symbolism, as he sees it: ‘If Cipriano awaits the death of the sun, this means that he awaits the death of God, since the sun is a natural symbol of God; but the sun rises again, though he is not thinking of this’ (p. 101). 12. ‘The action is what the incidents of the plot are in themselves, the theme is what these incidents mean.’ A. A. Parker, The Approach to the Spanish Drama of the Golden Age (London: Hispanic and Luso-Brazilian Councils, 1957), 6. 13. There is a certain parallel here, with Pedro Crespo's action in arresting his son Juan, in El alcalde de Zalamea; also in the explanation eventually given, that it was partly for their own safety. 14. For an impressionistic reconstruction of a Madrid ‘auto’ in performance, by Richard Southern and J. E. Varey, see Plate III of the latter's article, ‘La Mise-en-scène de l'auto sacramental à Madrid au XVIe et XVIIe siècles’, in J. Jacquot (ed.), Le Lieu théâtral à la Renaissance (Paris: CNRS, 1964), 215–25. 15. Opening stage-direction, and rubrics following lines 1601,1643 and 2586. See also N, D. Shergold, A History of the Spanish Stage from Medieval Times until the End of the Seventeenth Century (Oxford: Clarendon Press, 1967), 445–46. 16. Ed. cit., xliv–xlvii. 17. In Madrid, for the ‘autos’, the audience sat on specially-erected seating, that backed on to the Ayuntamiento building. See the plan for it of 1635, used again in 1636, reproduced in N. D. Shergold and J. E. Varey, ‘Autos sacramentales en Madrid hasta 1636’, Estudios Escénicos, IV (1959), 51–98. If a similar arrangement was made at Yepes, the official members of the audience would face outwards into the public square, with the stage in front of them, and beyond it a sea of casual spectators in the ‘plaza’ itself, through whom the ‘carros’ approaching the stage would have to be drawn, or driven. 18. D. J. Hildner, Reason and the Passions in the Comedias of Calderón, Purdue University Monographs in Romance Languages, 11 (Amsterdam and Philadelphia: John Benjamins Publishing Company, 1982), 91. In effect, this statement simply echoes Morel-Fatio and Menéndez Pelayo on Lelio and Floro.