Reviewed by: Celos, amor y venganza, o no hay mal que por bien no venga by Luis Vélez de Guevara Xabier Granja Ibarreche Vélez de Guevara, Luis. Celos, amor y venganza, o no hay mal que por bien no venga. Edited by William R. Manson & C. George Peale, Juan de la Cuesta, 2018. 197 pp. ISBN: 987-1-58871-321-6. In this critical edition, Manson and Peale bring Vélez's lesser-studied Celos, amor y venganza, o no hay mal que por bien no venga to the limelight. The analytical approaches to this work are still in early stages throughout the critical field, as more attention has been given to other plays among the more than four hundred that Vélez authored. Manson and Peale aim to fill the void of this play's research with a fresh perspective on its implications for the literary canon. The volume is divided into three main sections. The first one is an introductory study by Paul Michael Johnson, who provides a detailed analysis about several aspects of the play. An earlier brief analysis of Celos conducted by Emilio Cotarelo y Mori considered it "más bien obra de Lope de Vega" (11). Johnson does not deem Mori's qualification a questioning of Vélez's authorship, but rather an atypical appreciation of the utmost quality of the play, as a justification of why it deserves further study. What Ignacio Arellano considers "comedias serias, de ambiente palaciego" (11) and Miguel Zugasti calls a "comedia palatina" (11) are brought together [End Page 180] in Peale's proposition of a "Comedia Siciliana" (12) subgenre: works that deal with the complications of the Salic law—at least collaterally. While Celos presents a different tone in its lyrical style, Vélez's typical dramatism in offenses, treachery, strategical marriages, and other narrative resources are all present. Johnson's preliminary study offers an outstanding contextualization of the book's subsequent sections. He begins by exploring the use of emotions in early modern Spanish works, from Aristotle's description of catharsis to A. A. Parker's conceptual pyramid that subordinates characters to dramatic action, action to plot, and plot to the 'moraleja' of the story. Johnson presents the emotionality of passions in theatrical spectacle as the "verdaderos motores de la acción dramática de Celos" (20), which he emphasizes in his approach to the play. Besides emotions, Johnson's preliminary study contextualizes the play's use of accidental actions as they are related to good or bad fortune, astutely relating 'accident' and 'emotion' to provide a perspective on the gendered discourse present in Celos. Queen Rosaura, following traditional patterns of feminine instability in the face of the sentimental realm—and unlike masculine dominion of it—is shown to let her passions get the best of her. However, in direct opposition to this statement, women in Celos also stand out for their bravery and rationality. Johnson uses this apparently contradictory representation of gender to pique readers' interest, which undeniably endows the play with a complexity that should interest critical researchers. Johnson's final commentary on the physical setup of the play offers further insight into how different actions and requirements of the plot were manifested visually in subtle ways. The second section consists of a bibliometric study by C. George Peale, in which he contextualizes the rationales employed in the editors' transcription of the play. The final product is an effort in linguistic regularization that forms what Peale calls a "transcripción… moderadamente ecléctica" (44) which nonetheless maintains a respectful treatment of the "deslices y peculiaridades" (46) inherent to the text. This segment also includes an exhaustive summary of metric resources present throughout the play. Analytic minds will find this a useful exploration of the structure and form of Vélez's language in Celos, thanks to Peale's quantification of the frequency with which redondillas, romances, tercetos, sonetos, octavas, quintillas, and other forms occur. The third section gives way to the play itself, one that would certainly not be out of place next to other well-known political works like Lope de Vega's Fuenteovejuna, Calderón de la Barca's La vida es...
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