THE EntrEmEsEs (CoMiC iNTERLuDES) that open this edition of spanish female dramatists’ work are a revelation: comic masterpieces that depend as much on obscure spanish wordplay as recondite classical references and transposed Latinate terms. they underscore the learning and intelligence of Feliciana Enríquez de Guzmán, a writer from Seville whose life has been fascinatingly reconstructed in a recent biography by Piedad Bolaños donoso (Doña Feliciana Enríquez de Guzmán, U de Sevilla, 2012). The two-part work that bookends these entremeses, the Tragicomedia de los jardines y campos sabeos (circa 1619), is an erudite reworking of classical mythology and rightly omitted from this edition. it cannot hold a candle to the hilarious, scurrilous comic inversion in the light relief. erdman’s translation and notes underscore key jokes and ironies with admirable economy, making their witty, sophisticated parody of classical sources accessible and enjoyable for modern audiences. Whether or not the works were ever performed publicly at the time of their composition, these relatively unknown interludes are crying out for contemporary stagings to add to the theater-going public’s growing knowledge of the unparalleled genius of the comedia. Better known than Enríquez de Guzmán’s entremeses are the comedias of ana caro mallén, which, according to the introduction, were probably performed publicly in their day, as some of her other works were; a number made their way into print. the Conde de Partinuplés was considered notable enough to appear in a 1654 collection of plays entitled the Laurel de comedias, alongside pieces by calderón de la Barca and Vélez de Guevara. this play, nieves Romero-Díaz and lisa Vollendorf, editors. Women Playwrights of Early Modern Spain: Feliciana Enríquez de Guzmán, Ana Caro Mallén and Sor Marcela de San Félix. Translated by harley erdman.

中文翻译：

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早期现代西班牙的女性剧作家：Feliciana Enríquez de Guzmán、Ana Caro Mallén 和 Sor Marcela de San Félix 编辑。作者：Nieves Romero-Díaz 和 Lisa Vollendorf

开启这一版西班牙女剧作家作品的入口（漫画插曲）是一个启示：喜剧杰作既依赖于晦涩的西班牙语文字游戏，也依赖于晦涩的经典参考资料和换位的拉丁语术语。他们强调了 Feliciana Enríquez de Guzmán 的学识和智慧，这位来自塞维利亚的作家在 Piedad Bolaños donoso 近期的传记（Doña Feliciana Enríquez de Guzmán，U de Sevilla，2012 年）中对她的生活进行了精彩的重建。将这些 entremeses 放在书尾的两部分作品，Tragicomedia de los jardines y campos sabeos（大约 1619 年），是对古典神话的博学重制，因此在本版中被正确地省略了。它无法与浅浮雕中的热闹，粗俗的喜剧反转相提并论。erdman 的翻译和注释以令人钦佩的经济性强调了关键的笑话和讽刺，使现代观众可以访问和享受他们对古典资源的诙谐、复杂的模仿。无论这些作品在创作时是否曾公开演出，这些相对不为人知的插曲都迫切需要当代舞台表演，以增加剧院观众对无与伦比的喜剧天才的日益增长的了解。比恩里克斯·德·古兹曼 (Enríquez de Guzmán) 的歌剧更出名的是 ana caro mallén 的喜剧，据介绍，这些喜剧可能在当时公开演出，就像她的其他一些作品一样；一个数字被印刷出来。Conde de Partinuplés 被认为足以出现在 1654 年的戏剧集《Laurel de comedias》中，与 calderón de la Barca 和 Vélez de Guevara 的作品一起。这部剧的编辑是 nieves Romero-Díaz 和 Lisa Vollendorf。早期现代西班牙的女剧作家：Feliciana Enríquez de Guzmán、Ana Caro Mallén 和 Sor Marcela de San Félix。由哈雷·厄德曼翻译。