Abstract King Juan II of Castille’s court is a common topic in nineteenth-century literature, featured in novels, short stories, plays, and poems alike. When Eduardo Marquina’s Doña María la Brava (1909) was previewed in the early years of the twentieth century, critics objected to the blending of the legendary and the historical represented respectively by the characters of María de Monroy and Álvaro de Luna since they evaluated Marquina’s play according to nineteenth-century interpretations of the role of the constable Luna. Yet, as this article argues, Doña María la Brava appropriates the characters of King Juan’s court (Luna, the poets, and the noblemen) with the new objective of showing the decadence of Castille. Thus, Marquina’s play stages Castille’s crisis shortly after the political disaster of 98 and the significant historical events of the African war and “The Tragic Week.” I claim that this play inaugurates a new form of reading the fifteenth century which strongly differs from previous readings and necessarily means the end of the nineteenth-century literary cycle of King Juan II.

中文翻译：

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De don Álvaro de Luna a doña María la Brava: el fin de un ciclo

摘要 卡斯蒂利亚宫廷的胡安二世国王是 19 世纪文学中的一个常见话题，在小说、短篇小说、戏剧和诗歌中都有出现。二十世纪初，爱德华多·马奎纳 (Eduardo Marquina) 的《多娜·玛丽亚·拉布拉瓦 (Doña María la Brava)》(1909) 上映时，批评家反对将玛丽亚·德·蒙罗 (María de Monroy) 和阿尔瓦罗·德·卢娜 (Álvaro de Luna) 分别代表的传奇与历史相结合，因为他们评价了马奎纳的戏剧根据 19 世纪对 Luna 警员角色的解释。然而，正如本文所论证的那样，多纳·玛丽亚·拉·布拉瓦 (Doña María la Brava) 挪用了胡安国王宫廷的人物（卢娜、诗人和贵族），其新目标是展示卡斯蒂利亚的颓废。因此，在 98 年的政治灾难以及非洲战争和“悲剧周”的重大历史事件之后不久，马奎纳的戏剧就上演了卡斯蒂利亚的危机。我声称这部戏剧开创了 15 世纪的一种新的阅读方式，它与以前的阅读方式截然不同，并且必然意味着胡安二世国王 19 世纪文学周期的结束。