Abstract

Ambrogio Spinola’s victory at the Siege of Breda (1624–1625) marked a high point in the imperial policies of Philip IV and his royal favorite, the Count-Duke of Olivares. Contemporary newsletters celebrated the achievement, and Pedro Calderón de la Barca followed these reports in commemorating the victory in his play El sitio de Bredá (1625). I find that in addition to the obvious praise of the triumphant Habsburg forces and monarchy, El sitio de Bredá cultivates a new vision of imperial siege warfare, one that is nurtured by a preoccupation with the burgeoning news industry. Cueing off contemporary reports, Calderón proposes a recently proven model in juxtaposition with those found in earlier siege plays, specifically El asalto de Mastrique por el Príncipe de Parma by Lope de Vega and Tragedia de Numancia by Miguel de Cervantes. When read alongside these works, Calderón’s play suggests an evolution in the depiction of Spanish warfare, redefining its technical and tactical aspects in light of the growing news industry and its rapid dissemination of knowledge.

摘要

安布罗吉·斯皮诺拉（Ambrogio Spinola）在布雷达（Sida of Breda）的胜利（1624–1625）中取得了胜利，这标志着腓力四世（Philip IV）及其王室最爱的奥利瓦雷斯伯爵（Count-Duke of Olivares）的帝国主义政策取得了高潮。当代时事通讯庆祝了这一成就，佩德罗·卡尔德隆·德拉·巴尔卡（PedroCalderónde la Barca）跟随这些报道，以纪念他的戏剧《西西里·德·布雷达（El sitio deBredá）》的胜利（1625）。我发现，除了对胜利的哈布斯堡王朝的军队和君主专制政体的明显赞扬之外，西提·德·布雷达（El sitio deBredá）还培养了新的帝国主义攻城战视野，这种新观念是由于人们对新兴新闻业的关注而培育的。引用当代报道，Calderón提出了一种与最近的攻城游戏并列的最新证明模型，特别是El asalto de Mastrique por elPríncipede Parma影片由Lope de Vega和Miguel de Cervantes创作的Tragedia de Numancia拍摄。当与这些作品一起阅读时，卡尔德隆的戏剧暗示了西班牙战争的描述的演变，鉴于新闻业的发展和知识的迅速传播，重新定义了其技术和战术方面。