European literature -- Renaissance, 1450-1600 -- History and criticism; Renaissance; Spanish literature -- History and criticism
To show what these types and this action were in general terms would be
easy enough, but perhaps a better, and certainly a more entertaining,
method is to take half-a-dozen typical plays, and to give such an
analysis of them as may enable the reader to appreciate for himself
that skilful construction of plot at which the Spaniards aimed, and
to judge how far it is true that however much the subject differed,
the _dramatis personæ_ did not greatly vary. For this purpose it is
not necessary to take what is best but what is most characteristic. I
have selected as an example of the comedy of lively complicated action
the _Dama Melindrosa_, which may be translated ‘My Lady’s Vapours,’
by Lope de Vega; as a romantic play, the _Tejedor de Segovia_--‘The
Weaver of Segovia’--by Juan Ruiz de Alarcon; as a religious play, the
_Condenado por Desconfiado_--‘Damned for want of Faith’--of Tirso
de Molina; for the play which has “honour” for its motive, the _A
Secreto Agravio Secreta Venganza_--‘A Secret Vengeance for a Hidden
Wrong’--of Calderon. The _Dama Melindrosa_ draws a little towards the
_comedia de figuron_, but it is none the less a perfect specimen of the
cloak-and-sword comedy, and a good example of Lope. It is chosen also
because it possesses a plot sufficiently entangled to show the Spanish
_enredo_ (_i.e._, tangle), and yet not so complicated as to be obscure
in the telling. Specimens of the romantic, and religious, play might
have been easily found in Calderon, but to show the general quality
of a literature, we must not confine ourselves to the greater men.
There remain the _auto sacramental_, and the short interludes, which
under various names surrounded, and enlivened, the _comedia_. For the
first we must go to Calderon, and none seems more fit to show what the
Renaissance had done with these survivals of the Middle Ages than the
_Verdadero Dios Pan_--‘The True God Pan.’ For an example of the smaller
pieces we can take the _Dos Habladores_--‘The Two Chatterers’--of
Cervantes, who excelled in this, and only in this, dramatic form.[35]
[SN: La Dama Melindrosa.]
Public-domain text, read in full here on John Shaqi.
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