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Comediantes Will Convene

Comediantes Will Convene Era El Remedio Olvidar by the following letra in the middle of the second act: Corazón, buscad un medio que alivie tanto pesar j era el remedio olvidar, y olvidóseme el remedio. Frank Thomas Platt, Ohio State University In the Bulletin for Spring, 1952, Warren H. McCready ("A Note On Matos' El Ingrato Agradecido") suggests that the verses The last two verses are again sung later on, the act to close when which H. C. Heaton was unable to identify and then bringthe first line aand Matilda the Prince recites in his edition of Matos' play ("Era el reme- second. The same two verses are divided the bedio casarte,/ y olbidósete el remedio") prob- tween Matilda and César in the third act, ably derive from El alcázar del secreto by Antonio de Solís, where they occur several and are later employed to bring the play to times and are sung as follows: its conclusion.2 ETa el remedio olvidar y olvidóseme el remedio. It is this redondilla by Cubillo de Aragón which seems to have attracted the most at- Carlos (1621-1627?). Fadrique, the jealous lines toward the end of the third act: Que antee, aunque me remedio olvidando, no http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Bulletin of the Comediantes Bulletin of the Comediantes

Comediantes Will Convene

Bulletin of the Comediantes , Volume 9 (1) – Jan 8, 1957

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Publisher
Bulletin of the Comediantes
Copyright
Copyright © Bulletin of the Comediantes
ISSN
1944-0928
Publisher site
See Article on Publisher Site

Abstract

Era El Remedio Olvidar by the following letra in the middle of the second act: Corazón, buscad un medio que alivie tanto pesar j era el remedio olvidar, y olvidóseme el remedio. Frank Thomas Platt, Ohio State University In the Bulletin for Spring, 1952, Warren H. McCready ("A Note On Matos' El Ingrato Agradecido") suggests that the verses The last two verses are again sung later on, the act to close when which H. C. Heaton was unable to identify and then bringthe first line aand Matilda the Prince recites in his edition of Matos' play ("Era el reme- second. The same two verses are divided the bedio casarte,/ y olbidósete el remedio") prob- tween Matilda and César in the third act, ably derive from El alcázar del secreto by Antonio de Solís, where they occur several and are later employed to bring the play to times and are sung as follows: its conclusion.2 ETa el remedio olvidar y olvidóseme el remedio. It is this redondilla by Cubillo de Aragón which seems to have attracted the most at- Carlos (1621-1627?). Fadrique, the jealous lines toward the end of the third act: Que antee, aunque me remedio olvidando, no

Journal

Bulletin of the ComediantesBulletin of the Comediantes

Published: Jan 8, 1957

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