Early Spanish Drama Research Articles

Juan del Encina’s Nativity Eclogues: A New English Translation

Juan del Encina has long been recognized as a crucial figure in Iberian drama, yet few of his works have been translated into English. Encina wrote plays, poetry, and music in the late fifteenth and early sixteenth centuries, and scholars have traditionally regarded Encina’s writing as a turning point in early Spanish drama, both because of the secular material included in his plays and because Encina supervised the publication of his own works. He is also credited with contributing to the professionalization of Spanish theater by depicting the court of his patrons, the Duke and Duchess of Alba, as a site of theatrical performance. Encina’s innovative dramas interweave courtly, religious, and pastoral drama with metafictional elements. Atiya presents translations of two plays included in Encina’s 1496 Cancionero, a printed compilation of poetic, dramatic, and musical works.

The Coplas de Mingo Revulgo and the Early Spanish Drama

The Coplas de Mingo Revulgo and the Early Spanish Drama

The Early Spanish Drama: From Medieval Ritual to Renaissance Art

The Early Spanish Drama: From Medieval Ritual to Renaissance Art

Some New Thoughts on the Early Spanish Drama

Some New Thoughts on the Early Spanish Drama

Lucas Fernandez and the Evolution of the Shepherd's Family Pride in Early Spanish Drama

Lucas Fernandez and the Evolution of the Shepherd's Family Pride in Early Spanish Drama

The Phonology of the Speech of the Negroes in Early Spanish Drama

The Phonology of the Speech of the Negroes in Early Spanish Drama

The 'Vice' in Early Spanish Drama

The 'Vice' in Early Spanish Drama

Again the Cuestion de Amor in the Early Spanish Drama

Again the Cuestion de Amor in the Early Spanish Drama

The Ancestry of the `Vice'

Previous articleNext article No AccessThe Ancestry of the `Vice'Robert WithingtonRobert Withington Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Speculum Volume 7, Number 4Oct., 1932 The journal of the Medieval Academy of America Article DOIhttps://doi.org/10.2307/2850428 Views: 6Total views on this site Citations: 4Citations are reported from Crossref Copyright 1932 The Mediaeval Academy of AmericaPDF download Crossref reports the following articles citing this article:Amundu Bailey, Roze Hentschell Introduction: Gendered Geographies of Vice, (Jan 2010): 1–17.https://doi.org/10.1057/9780230106147_1Francis Hugh Mares The Origin of the Figure Called "The Vice" in Tudor Drama, Huntington Library Quarterly 22, no.11 (Nov 1958): 11–29.https://doi.org/10.2307/3816153 Tempe E. Allison The 'Vice' in Early Spanish Drama, Speculum 12, no.11 (Oct 2015): 104–109.https://doi.org/10.2307/2848665 Robert Withington Braggart, Devil, and `Vice', Speculum 11, no.11 (Oct 2015): 124–129.https://doi.org/10.2307/2846879

A Spanish Play on the Battle of Pavia (1525)

The invasion of Italy by Charles VIII in 1494 became, shortly after, the subject of an égloga by Francisco de Madrid, and the peace of Cambray in 1529, which, it was fondly hoped, would end the Franco-Spanish wars in Italy, was celebrated dramatically by Hernán López de Yanguas. The battle of Pavia (Feb. 24, 1525), falling between these two events and marking the culmination of the struggle, is discussed, from the Spanish point of view, naturally, in the present little play which has not thus far been noticed by the students of early Spanish drama. Like the other two it is a festival-play, combining with a political preoccupation the bucolic tone of the dramatic égloga, a type of which the origin may well be the fifth égloga of Juan del Encina “adonde se introducen cuatro pastores, . . . . y primero Beneito entró en la sala adonde el Duque y Duquesa estaban, y comenzó mucho á dolerse y acuitarse porque se sonaba que el Duque, su señor, se habia de partir á la guerra de Francia; . . . . y despues llamaron á Pedruelo, el cual les dió nuevas de paz. . . . .” The play is short, however, and although possibly intended for a performance or actually performed, it is close, both in subject-matter and external appearance, to the news-sheets in ballad-form which were fairly common at the time. The print which is here reproduced formerly belonged to D. Pascual de Gayangos, and is now in the Biblioteca Nacional, in Madrid. It seems to have been mentioned only by Gallardo. On its title-page a vignette represents a battle fought under massive city- or castle-walls by knights in full armour, on foot, some wielding swords, some daggers, several carrying shields, one of which, on the right, is painted with a large human countenance. In the left group of four warriors one has already fallen, pierced by a sword. Behind the right group of three may be distinguished a throng of helmeted figures in a thicket of tall lances.

Three AUTOS of Jorge de Montemayor

Montemayor, the illustrious author of Diana, has not until recently been accorded a place among Spanish dramatists. His name does not appear in the catalogue of La Barrera nor in the Orígenes del Teatro Espanol of Moratín. The only mention of his dramatic activity, so far as I know, is the brief description of the autos here printed in the history of the early Spanish drama by Professor J. P. W. Crawford. These quin-tillas, it is true, afford little promise of the matchless beauty of diction which distinguishes the Diana but, quite apart from the later fame of the author, the autos possess the interest inherent in all early drama.

Some Native Comic Types in the Early Spanish Drama. William Samuel Hendrix

<i>Some Native Comic Types in the Early Spanish Drama</i>. William Samuel Hendrix

"Some Native Comic Types in the Early Spanish Drama." By W. S. HENDRIX (Book Review)

"Some Native Comic Types in the Early Spanish Drama." By W. S. HENDRIX (Book Review)