Showing papers in "Hispanic Review in 1977"

Sibilant Turmoil in Middle spanish (1450-1650)

Abstract: TWO decades have passed since the publication of the first volume of Amado Alonso's masterly study of the evolution of Spanish pronunciation from medieval to modern times. A muchneeded revision of that first volume, which required twelve years' effort on the part of the continuators, appeared in 1967 and two years later the second volume, which treats the major sibilant changes and their resultant confusion, was published. The two volumes that have already appeared were prepared by Rafael Lapesa, Alonso's friend and colleague, to whom the Harvard professor entrusted the publication of his work a few short months before his untimely death in 1952. Lapesa has been aided in this undertaking by Maria Josefa Canellada de Zamora and by the members of Men6ndez Pidal's seminar of the University of Madrid. In the following brief note inspired by our careful reading and frequent consultation of Volume I1i of Alonso's work, we intend to comment critically on its content and conclusions and, more important, to present newly discovered material, the observations of Juan de Baraona y de Padilla on the Spanish of his day, four centuries ago. Volume ii of Alonso's work contains Chapters iv, v, and vi plus two Appendices and is a slender volume when compared to the size of Volume I. The three chapters treat historically the s (pp. 12-46), the ceceo-seseo (pp. 47-144), and s, z, and x in final position (pp. 145-174). The two Appendices (pp. 175-249) treat varied aspects of the evolution of Spanish sibilants. Chapters iv, vi, and

The hawk in Melibea's Garden

Abstract: THE opening scene of the Celestina, the meeting between Calisto and Melibea, has been the object of much critical and scholarly comment. While most critics and most readers have taken it at face value, simply assuming that the encounter took place in Melibea's garden in the manner described in the argumento to Act I, in 1957 M. de Riquer, underlining some of the discrepancies between Act I and the remainder of the work, tried to show that the two parts were written by two different authors and that the meeting between Calisto and Melibea took place in church, not in Melibea's garden; and, furthermore, that it was not a chance meeting occasioned by Calisto's strayed hawk but rather one brought about consciously by a Calisto already in love with Melibea.1 In 1962 M. R. Lida de Malkiel took exception to this interpretation, but not to the authorial distinction between Act i and the rest of

"Tristana": Literaturización y estructura novelesca

Abstract: ecos del hacer literario de muchas epocas y de diversas literaturas, desde el mito de Tristan e Iseo de donde acaso proceda el nombre de la protagonista, hasta El burlador de Sevilla, de Tirso de Molina, prototipo del caracter y habitos amorosos del don Lope galdosiano. La profunda literaturizaci6n de la obra, evidente desde la primera pagina, requiere una revisi6n critica, no s6lo para afiadir nuevas fuentes a las ya indicadas por Francisco Ayala 1 y Suzanne Raphael,2 sino lo que es mas importante, para estudiar el impacto y funci6n de esas fuentes en la estructura novelesca. Prescindiendo de las averiguaciones autobiograficas que pudieran hacerse en la novela,8 a menudo aventuradas y casi siempre

El monologo interior de Pedro en Tiempo de Silencio

Abstract: Le roman de Martin-Santos combine deux techniques narratives: le monologue interieur (direct et indirect) et la narration a la troisieme personne par un narrateur omniscient.

Anhoter source for Lucena's "Repetición de amores"

Abstract: WyHAT is one to make of Luis de Lucena's Repeticio'n de amores ? Coming at the end of the fifteenth-century feminist debate, it seemed to draw together all the literary frivolities of its era. We are now too far removed from the temper of that moment to sense whether a note of parody may have been struck, or whether Lucena was making an altogether serious and sedulous statement of his anti-feminist views.

Gonzalo de Berceo's "De los signos que aparesçerán ante el juiçio"

Abstract: ANYONE who has looked into the pages of T. S. R. Boase's Death in the Middle Ages or R. Hughes' Heaven and Hell in Western Art knows with what horror and yet fascination medieval man contemplated the day of judgment.' "Quid est bonum et malum?" asks a ninth-century student, and the master answers: "Resurrectio, quando alii ad vitam alii ad poenam trahuntur." 2 It was the moment of decision, the separation of the sheep from the goats, of placement on the right or the left hand, of life with the angels or torment eternal:

Moslem and spanish Christian literary portraiture

Abstract: Traits caracteristiques des portraits (dont plusieurs sont lies aux illustrations que leurs auteurs ont pu consulter) de la litterature andalouse: individualite, immediatete, l'absence d'idealisation didactique (Bocados de Auro). Dans des portraits de la litterature chretienne, le sens de l'immediatete est filtre a travers une idealisation| on a affaire a un art de nature non visuelle, non picturale (Caballero Zifar, Conde Lucanor). C'est dans l'oeuvre de F. Perez de Guzman qu'on trouvera la synthese de ces deux traditions: individualisatrice, generalisatrice.

Structure and thematic repetitions in Diego San Pedro's "Cárcel de amor" and the "Arnalte y Lucenda"

Abstract: DIEGO de San Pedro's sentimental romances, often accused of a lack of coherence and of having a "fond de tiroir" atmosphere because of the presence of extraneous poetry or the juxtaposition of narrative, epistle, and allegory, are, on closer analysis, carefully constructed by their author for a coherent presentation of his materials. In this respect, the Cdrcel de amor represents a structural advance on the Tractado de amores de Arnalte y Lucenda.1 Although some attempts have been made to define the general structure of the Cdrcel de amor, no systematic structural analysis has yet been undertaken. Armando Duran compared the similar plot structure of San Pedro's two sentimental romances in his Estructura y tecnicas de la novela sentimental y caballeresca.2 To summarize his conclusions, both romances are organized on the structure:

Calderón y el romancillo de "El bonetero de la trapería"

Abstract: L S contactos entre la comedia clasica y el Romancero han sido explotados con provecho por los estudiosos de ambos campos. Desde la epoca de Menendez Pelayo se ha venido haciendo hincapie en el caudal de versos, alusiones, personajes y situaciones argumentales con que los temas romancisticos de la tradicion enriquecieron el repertorio del teatro en su periodo de mayor vitalidad. La comedia, por su parte, ha conservado en ocasiones testimonios preciosos de la difusion de temas del Romancero viejo no recogidos en las colecciones y pliegos sueltos del siglo xvi. Sirvan como ejemplo memorable los versos del romance noticiero sobre La muerte del principe don Juan (1497) incrustados en La Serrana de la Vera (1603 o 1613) de Velez de Guevara, identificados por M. Goyri y R. Menendez Pidal como unico resto de una tradicionalidad ininterrumpida que s6lo la recolecci6n moderna ha recuperado del estado latente en que habia vivido durante siglos. Sin ese fragmento hubiera sido mucho mas dificil establecer la conexi6n de las versiones orales recogidas desde principios de este siglo con el acontecimiento historico inspirador del poema de finales del siglo xv. Aunque la labor de exploracion de cuanto la Comedia puede aportar al estudio del Romancero podria tal vez considerarse conclusa despues de los trabajos de Menendez Pelayo y sus continuadores en Espania y de C. Michaelis en Portugal, debe sefialarse que su examen se centro, sobre todo, en la obra de los autores