THiS ENLiGHTENiNG Book by santiago Fernández mosquera, an eminent literary scholar with the sensibilities of a philologist, synthesizes and advances his studies on matters of textual integrity and literary value in Calderón. Among the author’s many accomplishments is the 2007 edition of the Segunda parte of calderón’s comedias for the series in the Biblioteca castro of the Fundación José antonio de castro. therefore, he writes with intimate knowledge of the responsibilities of producing a trustworthy text, and this book is a cri de coeur for the primacy of the authenticated work. When established, it clears the way for genuine advances in our understanding of the œuvre. the author is refreshingly attached to careful close reading, and the riches of his commentary distinguish the volume. the tenor is at times polemical, but always backed by thoughtful study of appropriate works in the service of his positions. One of his concerns is “la ola espectacular” (35), the current popularity in spain of staged performance over respect for the word on the page. For Fernández mosquera, the original plays “pueden y aun deben ser representadas siguiendo cada uno de los versos que escribió el poeta” (35). With the recent proliferation of theater festivals, most significantly at almagro, too often professional directors indulge their own creative muses, assuming the mantle of co-author without regard for the poetry or the historical stature of the work. they slight the glories of these masterpieces in favor of an ephemeral show (36). Modern audiences, better at watching than reading, are overly susceptible to this trend (24), deprived of the pleasures of knowing their cultural heritage. in order to make available to the public a culturally truer theatrical experience, it is crucial to work from authenticated versions. Unlike shakespeare, Lope and calderón achieved widespread celebrity and acclaim during their own times. Because their names had commercial value in the theatrical marketplace, they began to take care with publication; this was not so much the case with the Elizabethan dramatist—although argumentation on Shakespeare is evolving (33). However, some Calderón plays staged or read santiago fernández mosquera. Calderón: texto, reescritura, significado y representación.

中文翻译：

---

Calderón：Santiago Fernández Mosquera 的文本、重写、意义和表现

圣地亚哥·费尔南德斯·莫斯克拉 (santiago Fernández mosquera) 是一位具有语言学家敏感性的杰出文学学者，这本启蒙书综合并推进了他对卡尔德龙文本完整性和文学价值问题的研究。在作者的众多成就中，有 2007 年版的卡尔德龙喜剧第二部分，为何塞·安东尼奥·德卡斯特罗基金会 (Fundación José antonio de castro) 的卡斯特罗图书馆系列剧。因此，他在撰写可信赖的文本的责任方面有着深入的了解，而这本书是对经过认证的作品的首要地位的一次批判。建立后，它为我们对工作的理解的真正进步扫清了道路。作者对仔细阅读的兴趣令人耳目一新，其丰富的评论使这本书与众不同。男高音有时是有争议的，但始终以对为他的职位服务的适当作品进行深思熟虑的研究作为后盾。他关注的问题之一是“la ola壮观”（35），这是目前西班牙流行的舞台表演，而不是对页面上词的尊重。对于费尔南德斯·莫斯克拉 (Fernández Mosquera) 而言，原始剧本“可以而且仍然应该按照诗人所写的每一节经文来呈现”(35)。随着最近戏剧节的激增，最显着的是在 almagro，专业导演往往沉迷于自己的创意缪斯，假设合著者的衣钵，而不考虑作品的诗歌或历史地位。他们轻视这些杰作的荣耀，转而支持一场短暂的表演（36）。现代观众更擅长观看而不是阅读，他们过于容易受到这种趋势的影响 (24)，被剥夺了了解他们的文化遗产的乐趣。为了向公众提供文化上更真实的戏剧体验，使用经过验证的版本至关重要。与莎士比亚不同，洛佩和卡尔德龙在他们自己的时代获得了广泛的名人和赞誉。因为他们的名字在戏剧市场上具有商业价值，所以他们开始小心翼翼地出版；伊丽莎白时代的剧作家并非如此——尽管对莎士比亚的争论正在演变 (33)。然而，一些卡尔德龙戏剧上演或阅读了圣地亚哥费尔南德斯莫斯克拉。Calderón：文本、重写、意义和表现。洛佩和卡尔德龙在他们自己的时代获得了广泛的名人和赞誉。因为他们的名字在戏剧市场上具有商业价值，所以他们开始小心翼翼地出版；伊丽莎白时代的剧作家并非如此——尽管对莎士比亚的争论正在演变 (33)。然而，一些卡尔德龙戏剧上演或阅读了圣地亚哥费尔南德斯莫斯克拉。Calderón：文本、重写、意义和表现。洛佩和卡尔德龙在他们自己的时代获得了广泛的名人和赞誉。因为他们的名字在戏剧市场上具有商业价值，所以他们开始小心翼翼地出版；伊丽莎白时代的剧作家并非如此——尽管对莎士比亚的争论正在演变 (33)。然而，一些卡尔德龙戏剧上演或阅读了圣地亚哥费尔南德斯莫斯克拉。Calderón：文本、重写、意义和表现。