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Capa y Espada

Capa y Espada write--at least in its entirety or in its present form--the most famous play which bility that Rojas collaborated in its composition or that the play, as we know it, is a refundición of an earlier play by Rojas. Judging from the evidence at hand, howin the late seventeenth-century suelta marks to a prominent dramatist. 1.Cuarta parte de comedias nuevas de don Pedro Calderón de la Barca . . . Lleva un pròlogo del autor, en que distingue las comedias que son verdaderamente suyas o no. Año 1672. En Madrid. L. Duis, "Versification in the comedias of Rojas Zorrilla," (unpublished Master's thesis, Ohio State University, 1926). bears his name. I do not rule out the possi- Conducted by the Editor · Honors and Awards: At a meeting of the Board of Trustees in October, 1956, Henry Grattan Doyle, Dean of the Columbian College of the George Washington University, was elected Honorary President of ever, I suspect that its attribution to him another instance of a publisher's arbitrary ascription of a play of unknown authorship the Hispanic Society ol America. At the same meeting the Duquesa de Alba was electJohn E. Keller, our Associate Editor, won ed Honorary Vice President. Congratulations! 2.Emilio Cotarelo y Mori, Don Francisco de Rojas Zorrilla, noticias biográficas (Madrid, 1911), p. 157. a research fellowship to Spain for the spring semester. Sturgis E. Leavitt has kindly agreed to do the Associate Editor's work for this issue. 3.In his edition (Cambridge, 1935), J. W. Barker wrote (p. ix, footnote) : "Garcia del Castañar seems to have been written 1646-1647. . . . Form, finish and metre suggest a mature mind and a practised hand. Rojas died on 20 Jan. 1648. It would be pleasing to think that the play reflects the happiness of Rojas' married life (he was married in 1640), and his knighthood, Aug. 1643." Similarly, a more recent editor, Pablo Pou Fernández, wrote (in the ed. Biblioteca Clásica Ebro, Zaragoza, 1950, · Francis C. Hayes reports that the comedia library of D. Arturo Sedó (Calle Aragón 332, Barcelona) contains more than 100,000 -piezas sobre teatro. José Porter, Archs, 3, Barcelona has published a limited edition catalogue for 250 pesetas. · The Editors of the Hispanic Review send us the following bibliographical information from the Houghton Library Report p. 6): "Felipe IV prohibe las representacionei teatrales por la muerte de su hijo el Príncipe Baltasar Carlos. Esta prohibición durará hasta después de la muerte de Rojas. Es de suponer abajo, ninguno, ya que esta obra no aparece en ninguna de las dos partes de las Comedias publicadas por el mismo autor. Es, pues, obra de los últimos tiempos y en su preparación influiría, tal vez, la pretensión del hábito de Santiago y el deseo de complacer al monarca." 4.Rojas did compose an auto sacramental {El gran patio de palacio) in 1647 when permission was given to hold the Corpus Christi celebrations in Madrid, but so unexpected was this permission granted that Rojas had only three days to write the auto. que por estas fechas [1646] escribiría Del rey of Accessions for the Year 1955-1956 (Harvard College Library, Cambridge, 1956), pp. 25-26: "Among other Spanish Books acquired is ... an unrecorded first printing of Gabriel Téllez, Primera [-quarta] parte de los entremeses de los Alcaldes, Segovia 1627-29 romance by Góngora." · What can we do to encourage outstand- with appended to the third part a four-page ing research in the comedian I asked this question of Willis Knapp Jones seated across the table from me at the last Comediantes' 5.A. Valbuena Prat, Literatura dramática española (Barcelona, 1930), p. 258. 6.H. A. Rennert, The Spanish Stage in the Time remarked that Rojas was the most shameless of all Golden Age dramatists in persistently begging for applause. Luncheon in Washington and he replied, "Offer a prize or a citation for the best book or article each year." What do you think? Wisconsin: "The Persistence of Aristotelia- of Lope de Vega (New York, 1909), p. 122, · Doctoral dissertations in progress at nism in Spanish Dramatic Theory of the 7.For the data on the percentage of various verse forms in Rojas' plays I am indebted to Dorothy 16th and 17th Centuries," William C. McCrary. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Bulletin of the Comediantes Bulletin of the Comediantes

Capa y Espada

Hesse, Everett Wesley
Bulletin of the Comediantes , Volume 9 (1) – Jan 8, 1957
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Bulletin of the Comediantes
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Copyright © Bulletin of the Comediantes
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1944-0928
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Abstract

write--at least in its entirety or in its present form--the most famous play which bility that Rojas collaborated in its composition or that the play, as we know it, is a refundición of an earlier play by Rojas. Judging from the evidence at hand, howin the late seventeenth-century suelta marks to a prominent dramatist. 1.Cuarta parte de comedias nuevas de don Pedro Calderón de la Barca . . . Lleva un pròlogo del autor, en que distingue las comedias que son verdaderamente suyas o no. Año 1672. En Madrid. L. Duis, "Versification in the comedias of Rojas Zorrilla," (unpublished Master's thesis, Ohio State University, 1926). bears his name. I do not rule out the possi- Conducted by the Editor · Honors and Awards: At a meeting of the Board of Trustees in October, 1956, Henry Grattan Doyle, Dean of the Columbian College of the George Washington University, was elected Honorary President of ever, I suspect that its attribution to him another instance of a publisher's arbitrary ascription of a play of unknown authorship the Hispanic Society ol America. At the same meeting the Duquesa de Alba was electJohn E. Keller, our Associate Editor, won ed Honorary Vice President. Congratulations! 2.Emilio Cotarelo y Mori, Don Francisco de Rojas Zorrilla, noticias biográficas (Madrid, 1911), p. 157. a research fellowship to Spain for the spring semester. Sturgis E. Leavitt has kindly agreed to do the Associate Editor's work for this issue. 3.In his edition (Cambridge, 1935), J. W. Barker wrote (p. ix, footnote) : "Garcia del Castañar seems to have been written 1646-1647. . . . Form, finish and metre suggest a mature mind and a practised hand. Rojas died on 20 Jan. 1648. It would be pleasing to think that the play reflects the happiness of Rojas' married life (he was married in 1640), and his knighthood, Aug. 1643." Similarly, a more recent editor, Pablo Pou Fernández, wrote (in the ed. Biblioteca Clásica Ebro, Zaragoza, 1950, · Francis C. Hayes reports that the comedia library of D. Arturo Sedó (Calle Aragón 332, Barcelona) contains more than 100,000 -piezas sobre teatro. José Porter, Archs, 3, Barcelona has published a limited edition catalogue for 250 pesetas. · The Editors of the Hispanic Review send us the following bibliographical information from the Houghton Library Report p. 6): "Felipe IV prohibe las representacionei teatrales por la muerte de su hijo el Príncipe Baltasar Carlos. Esta prohibición durará hasta después de la muerte de Rojas. Es de suponer abajo, ninguno, ya que esta obra no aparece en ninguna de las dos partes de las Comedias publicadas por el mismo autor. Es, pues, obra de los últimos tiempos y en su preparación influiría, tal vez, la pretensión del hábito de Santiago y el deseo de complacer al monarca." 4.Rojas did compose an auto sacramental {El gran patio de palacio) in 1647 when permission was given to hold the Corpus Christi celebrations in Madrid, but so unexpected was this permission granted that Rojas had only three days to write the auto. que por estas fechas [1646] escribiría Del rey of Accessions for the Year 1955-1956 (Harvard College Library, Cambridge, 1956), pp. 25-26: "Among other Spanish Books acquired is ... an unrecorded first printing of Gabriel Téllez, Primera [-quarta] parte de los entremeses de los Alcaldes, Segovia 1627-29 romance by Góngora." · What can we do to encourage outstand- with appended to the third part a four-page ing research in the comedian I asked this question of Willis Knapp Jones seated across the table from me at the last Comediantes' 5.A. Valbuena Prat, Literatura dramática española (Barcelona, 1930), p. 258. 6.H. A. Rennert, The Spanish Stage in the Time remarked that Rojas was the most shameless of all Golden Age dramatists in persistently begging for applause. Luncheon in Washington and he replied, "Offer a prize or a citation for the best book or article each year." What do you think? Wisconsin: "The Persistence of Aristotelia- of Lope de Vega (New York, 1909), p. 122, · Doctoral dissertations in progress at nism in Spanish Dramatic Theory of the 7.For the data on the percentage of various verse forms in Rojas' plays I am indebted to Dorothy 16th and 17th Centuries," William C. McCrary.

Journal

Bulletin of the Comediantes – Bulletin of the Comediantes

Published: Jan 8, 1957

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