Hostname: page-component-586b7cd67f-rcrh6 Total loading time: 0 Render date: 2024-11-23T22:43:55.308Z Has data issue: false hasContentIssue false
  • English
  • Français

Art and Power in the Spectacle Plays of Calderón de la Barca

Published online by Cambridge University Press:  23 October 2020

Margaret Rich Greer
Margaret Rich Greer*
Affiliation:
Princeton University, Princeton, New Jersey
Get access Rights & Permissions [Opens in a new window]

Abstract

The court spectacle plays of Calderón de la Barca, when viewed within their historical, physical, and dramatic context, reveal a polysemous structure of meaning that both supports and criticizes the ruling monarch. The first of these, El mayor encanto amor, reproves Philip iv's pursuit of sensual pleasures in time of war and his surrender of power to his prime minister; the last, Hado y divisa de Leonido y Marfisa, attempts to forge a credibly regal image of the weak Charles ii. These plays dramatize the belief that the polyphonic richness of theatrical representation can not only serve and guide the king but also generate his authority, that the proper constitution of the central figure in the theater of power may depend on the power of theater.

Type
Research Article
Information
PMLA , Volume 104 , Issue 3 , May 1989 , pp. 329 - 339
Copyright
Copyright © Modern Language Association of America, 1989

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Barrionuevo, Jerónimo de. Avisos. Ed. A. Paz y Meliá. 2 vols. Biblioteca de autores españoles 221–22. Madrid: Real Acad. Española, 1968–69.Google Scholar
Bergman, Hannah E. “Juan Rana se retrata.” Homenaje al Prof. Rodríguez Moñino. Vol. 1. Madrid: Castalia, 1966. 65–73. 2 vols.Google Scholar
Brennan, Robert Edward. General Psychology: An Interpretation of the Science of the Mind Based on Thomas Aquinas. New York: Macmillan, 1937.Google Scholar
Brown, Jonathan, and Elliott, J. H. A Palace for a King: The Buen Retiro and the Court of Philip iv. New Haven: Yale UP, 1980.Google Scholar
Bruner, Jerome. Actual Minds, Possible Worlds. Cambridge: Harvard UP, 1986.Google Scholar
Calderón de la Barca, Pedro. Comedias de don Pedro Calderón de la Barca. Ed. Hartzenbusch, Juan Eugenio. Vols. 2, 4. Biblioteca de autores españoles 9, 14. Madrid: Rivadeneyra, 1849, 1850.Google Scholar
Calderón de la Barca, Pedro. La estatua de Prometo. Ed. Greer, Margaret Rich. Kassel, Ger.: Reichenberger, 1986.Google Scholar
Calderón de la Barca, Pedro. Fieras afemina amor. Ed. Wilson, Edward M. Kassel, Ger.: Reichenberger, 1984.Google Scholar
Calderón de la Barca, Pedro. Fortunas de Andrómeda y Perseo. N.p.: n.p., c. 1653. TS 258H. Harvard U Library, Cambridge.Google Scholar
Calderón de la Barca, Pedro. El golfo de las sirenas. Comedias 2: 617–30.Google Scholar
Calderón de la Barca, Pedro. Hado y divisa de Leonido y Marfisa. Comedias 4: 355–94.Google Scholar
Calderón de la Barca, Pedro. El hijo del sol, Faetón. Comedias 4: 175–98.Google Scholar
Calderón de la Barca, Pedro. El mayor encanto amor. Ed. Briones, Angel Valbuena. Madrid: Aguilar, 1959. 1595–633. Vol. 1 of Calderón: Obras completas. 3 vols. Ed. Valbuena Briones, Angel and Prat, Angel Valbuena. 1952–60.Google Scholar
Calderón de la Barca, Pedro. La púrpura de la rosa. Comedias 2: 673–86.Google Scholar
Carballo, Carballo Luis Alfonso. Cisne de Apolo. Ed. Mayo, Alberto Porqueras. 2 vols. Madrid: Consejo Superior de Investigaciones Científicas, 1958.Google Scholar
Cartas de Sor María de Jesús de Agreda y de Felipe iv. Ed. Serrano, Carlos Seco. 2 vols. Biblioteca de autores españoles 108–09. Madrid: Atlas, 1958.Google Scholar
Cascardi, Anthony J. The Limits of Illusion: A Critical Study of Calderón. Cambridge: Cambridge UP, 1984.10.1017/CBO9780511659416CrossRefGoogle Scholar
Cruickshank, D. W. “The Textual Criticism of Calderón's Comedias: A Survey.” The Textual Criticism of Calderón's Comedias. Ed. Cruickshank. London: Gregg, 1973. 1–35. Vol. 1 of Pedro Calderón de la Barca, Comedias: A Facsimile Edition. 19 vols.Google Scholar
De Armas, Frederick A. The Return of Astaea: An Astral-Imperial Myth in Calderón. Lexington: UP of Kentucky, 1986.Google Scholar
Deleito y Piñuela, José. El rey se divierte. Madrid: Espasa-Calpe, SA, 1935.Google Scholar
Eco, Umberto. “Possible Worlds and Text Pragmatics: ‘Un drame bien parisien.‘” Versus 19–20 (1978): 5–72.Google Scholar
Eco, Umberto. “Semiotics of Theatrical Performance.” Drama Review 21 (1977): 107–17.10.2307/1145112CrossRefGoogle Scholar
Elam, Keir. The Semiotics of Theatre and Drama. New York: Methuen, 1980.10.4324/9780203993309CrossRefGoogle Scholar
Fischer, Susan. “Calderón's El mayor encanto amor and the Mode of Romance.” Studies in Honor of Everett W. Hesse. Ed. McCrary, William C. and Madrigal, José A. Lincoln: Soc. of Spanish and Spanish-American Studies, 1981. 99–112.Google Scholar
Foucault, Michel. The Foucault Reader. Ed. Rabinow, Paul. New York: Pantheon, 1984.Google Scholar
Foucault, Michel. Power/Knowledge. Ed. Gordon, Colin. New York: Pantheon, 1980.Google Scholar
Grass, Günther. On Writing and Politics. Trans. Manheim, Ralph. London: Secker, 1985.Google Scholar
Greer, Margaret Rich. Introduction. Calderón, La estatua 1–27, 93–234.Google Scholar
Hesse, E. W. “The Publication of Calderón's Plays in the Seventeenth Century.” Philological Quarterly 27 (1948): 37–51.Google Scholar
Hollander, Robert. Allegory in Dante's Commedia. Princeton: Princeton UP, 1969.Google Scholar
Jameson, Fredric. “Religion and Ideology: A Political Reading of Paradise Lost.” Literature, Politics and Theory. Ed. Francis Barker et al. London: Methuen, 1986. 35–56.Google Scholar
Marin, Louis. Le portrait du roi. Paris: Minuit, 1981.Google Scholar
Menéndez y Pelayo, Marcelino. Calderón y su teatro. 3rd ed. Madrid: Pérez Dubrull, 1884.Google Scholar
Neumeister, Sebastian. Mythos und Repräsentation: Die mythologischen Festspiele Calderóns. München: Fink, 1978.Google Scholar
Neumeister, Sebastian. “Los retratos de los reyes en la última comedia de Calderón (Hado y divisa de Leonido y Marfisa, loa).” Hacia Calderón: IV Coloquio Anglogermano. Wolfenbüttel, 1975. Ed. Flasche, Hans. Berlin: Gruyter, 1979. 83–91.Google Scholar
Orgel, Stephen. The Illusion of Power: Political Theater in the English Renaissance. Berkeley: U of California P, 1975.Google Scholar
Pechter, Edward. “The New Historicism and Its Discontents: Politicizing Renaissance Drama.” PMLA 102 (1987): 292–303.10.2307/462477CrossRefGoogle Scholar
Pérez de Moya, Juan Bautista. Philosophia secreta. Donde debaxo de historias fabulosas, se contiene mucha doctrina, prouechosa a todos estudios. Con el origen de los idolos, o dioses de la gentilidad. Madrid, 1585.Google Scholar
Pérez Villanueva, Joaquín. Felipe IV y Luisa Enríquez Manrique de Lara, Condesa de Paredes de Nava: Un epistolario inédito. Salamanca: Caja Ahorros y Monte de Piedad de Salamanca, 1986.Google Scholar
Profeti, Maria Grazia. “Condensación y desplazamiento: La comicidad y los géneros menores en el teatro del Siglo de Oro.” X Festival Internacional de Teatro Clásico. Almagro, Spain, 10 Sept. 1987.Google Scholar
Rouanet, L. “Un autographe inédit de Calderón.” Revue hispanique 6 (1899): 196–200.Google Scholar
Saavedra Fajardo, Diego. Empresas politicas: Idea de un príncipe político-cristiano representada en cien empresas. Ed. Vaquero, Quintin Aldea. 2 vols. Madrid: Nacional, 1976.Google Scholar
Said, Edward. The World, the Text, and the Critic. Cambridge: Harvard UP, 1983.Google Scholar
Shergold, N. D. A History of the Spanish Stage from Medieval Times until the End of the Seventeenth Century. Oxford: Clarendon, 1967.Google Scholar
Sloman, A. E. The Dramatic Craftsmanship of Calderón. Oxford: Clarendon, 1958.Google Scholar
Strong, Roy. Art and Power: Renaissance Festivals 1450–1650. Berkeley: U of California P, 1984.Google Scholar