Tirso de Molina. Amar por arte mayor. Ed. Enrique Garcia Santo-Tomas. New York-Madrid: Instituto de Estudios Auriseculares (IGAS/IDEA); Madrid-Pamplona: Instituto de Estudios Tirsianos (IET), 2015- 176 pp.In the introduction to his edition of Tirso de Molina's Amar por arte mayor, Enrique Garcia Santo-Tomas sets out to explain why the play has seldom been published, performed, or even noticed by many scholars. He gives their due to the small set of academics who have paid attention to Amar, among them Juan Eugenio Hartzenbusch, Blanca de los Rios, and Premraj Halkhoree. Hartzenbusch, as the first "modern" editor in 1841, was influential in his distaste for Amur's anachronisms and inverisimilitude, his negative judgment essentially consigning it to obscurity for generations of academics and other aficionados of the Comedia. Garcia Aango-Tomas suspects that Tirso's subordination of nationalistic concerns to language and poetry may also have offended Hartzenbusch's nineteenth-century sensibilities (33). The current editor's compensatory focus on the ingenuity of the expression, along with his respect for cultural and political contexts, are a much-needed corrective to our neglect of the play.Classic in Amar are a protagonist's romantic rivalry with a king, an astute and funny gracioso, and an errant portrait. What is exceptional, even for this genre so attuned to the nuances and play of language, is its wittily self-conscious focus on versification. Amar por arte mayor is a Golden Age poetry-lover's delight. Just as it has been said that the subject of Don Quijote in all its metafiction and self-referentiality is how to write a novel, one could say that a subject of this play is how to versify brilliantly in Spanish. Justifiably, Tirso's characters boast about the virtuoso poetry. Moreover, Tirso employs historical context ingeniously in the sendee of the plot's twists, turns, and linguistic acrobatics. Given the complex language and courtly environment, Halkorhee's suggestion (cited by Garcia 14) makes sense that the piece was probably written for a palace audience.Amar por arte mayor, which takes place in tenth-century Leon, features two jealous kings, one jealous infanta, and one highborn couple secretly in love. We watch as Don Lope and Dona Elvira cleverly pick their way through the minefield that is the passions of royalty. Before the beginning of the play, Don Lope, erstwhile favorite of King Sancho, fled Navarra because of fallout over both men's love for Isabela. She escaped to France and was married to the French king. Now in Leon, Lope and Dona Elvira have fallen in love. King Sancho asks the Asturian-Leonese king, Ordono, to arrest and return Lope to Navarra. Ordono instead appoints the fugitive as his own mayordomo mayor. This king craves Dona Elvira, while his sister, the Infanta Dona Blanca (promised to an Asturian duke), develops a tendre for Lope out of excessive sympathy for his former love Isabela.This work is a hothouse for deceit, rife with ambiguity; metatheater; soliloquies, double- and triple-speak, and sotto-voce plotting. Lope, Elvira, and Blanca all engage in complex deceptions of each other and of King Ordono to further their amorous pursuits. …

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蒂尔索·德·莫利纳的《艺术之城阿马尔》

蒂尔索·德·莫利纳。阿马尔艺术市长。埃德。恩里克·加西亚·圣托马斯。纽约-马德里：Instituto de Estudios Auriseculares (IGAS/IDEA)；马德里-潘普洛纳：Instituto de Estudios Tirsianos (IET)，2015-176 页。在他对 Tirso de Molina 的 Amar por arte 市长版本的介绍中，Enrique Garcia Santo-Tomas 开始解释为什么该剧很少出版、演出，甚至被许多学者注意到。他对关注 Amar 的一小部分学者表示感谢，其中包括 Juan Eugenio Hartzenbusch、Blanca de los Rios 和 Premraj Halkhoree。Hartzenbusch 作为 1841 年的第一位“现代”编辑，在他对阿穆尔的时代错误和不真实的厌恶中具有影响力，他的负面判断基本上使几代学者和喜剧的其他爱好者默默无闻。Garcia Aango-Tomas 怀疑 Tirso 将民族主义问题从属于语言和诗歌，这也可能冒犯了 Hartzenbusch 19 世纪的情感 (33)。现任编辑对表达的独创性的补偿性关注，以及他对文化和政治背景的尊重，是我们对这部剧的忽视的急需纠正。阿马尔的经典是主角与国王的浪漫对抗，一个精明的和有趣的恩典和错误的肖像。即使对于这种与语言的细微差别和游戏如此协调的流派来说，特别之处在于它机智地自觉地专注于多样化。Amar por arte 市长是黄金时代诗歌爱好者的喜悦。正如人们所说，唐吉诃德的所有元小说和自我指涉的主题都是如何写小说，可以说，这部剧的一个主题是如何出色地用西班牙语进行对话。理所当然地，蒂尔索笔下的人物吹嘘了艺术大师的诗歌。此外，蒂尔索在情节的曲折、转折和语言技巧方面巧妙地运用了历史背景。鉴于复杂的语言和宫廷环境，Halkorhee 的建议（由 Garcia 14 引用）是有道理的，这件作品可能是为宫廷观众写的。 Amar por arte mayor 发生在 10 世纪的莱昂，有两个嫉妒的国王，一个嫉妒婴儿，和一对秘密相爱的出身贵族。我们看着 Don Lope 和 Dona Elvira 巧妙地穿越了皇室激情的雷区。在该剧开始之前，桑乔国王昔日的宠儿唐洛佩因对两人的影响而逃离纳瓦拉 对伊莎贝拉的爱。她逃到法国，嫁给了法国国王。现在在莱昂，洛佩和多娜埃尔维拉坠入爱河。桑乔国王请求阿斯图里亚斯-莱昂国王奥尔多诺逮捕洛佩并将其送回纳瓦拉。相反，奥尔多诺任命逃犯为他自己的市长。这位国王渴望多娜·埃尔维拉，而他的妹妹多娜·布兰卡公主（许配给阿斯图里亚斯公爵）出于对他前任爱人伊莎贝拉的过度同情，对洛佩产生了感情。这部作品是欺骗的温室，充满了歧义；元剧院；自言自语，双重和三重说话，以及单调的情节。Lope、Elvira 和 Blanca 都相互进行了复杂的欺骗，也欺骗了 Ordono 国王，以促进他们的多情追求。… 桑乔国王要求阿斯图里亚斯-莱昂国王奥尔多诺逮捕洛佩并将其送回纳瓦拉。相反，奥尔多诺任命逃犯为他自己的市长。这位国王渴望多娜·埃尔维拉，而他的妹妹多娜·布兰卡公主（许配给阿斯图里亚斯公爵）出于对他前任爱人伊莎贝拉的过度同情，对洛佩产生了感情。这部作品是欺骗的温室，充满了歧义；元剧院；自言自语，双重和三重说话，以及单调的情节。Lope、Elvira 和 Blanca 都相互进行了复杂的欺骗，也欺骗了 Ordono 国王，以促进他们的多情追求。… 桑乔国王请求阿斯图里亚斯-莱昂国王奥尔多诺逮捕洛佩并将其送回纳瓦拉。相反，奥尔多诺任命逃犯为他自己的市长。这位国王渴望多娜·埃尔维拉，而他的妹妹多娜·布兰卡公主（许配给阿斯图里亚斯公爵）出于对他前任爱人伊莎贝拉的过度同情而对洛佩产生了感情。元剧院；自言自语，双重和三重说话，以及单调的情节。Lope、Elvira 和 Blanca 都相互进行了复杂的欺骗，也欺骗了 Ordono 国王，以促进他们的多情追求。… 出于对旧爱伊莎贝拉的过度同情，对洛普产生了一种倾向。这部作品是欺骗的温室，充满了歧义；元剧院；自言自语，双重和三重说话，以及单调的情节。Lope、Elvira 和 Blanca 都相互进行了复杂的欺骗，也欺骗了 Ordono 国王，以促进他们的多情追求。… 出于对前任伊莎贝拉的过度同情，对洛普产生了一种倾向。这部作品是欺骗的温室，充满了歧义；元剧院；自言自语，双重和三重说话，以及单调的情节。Lope、Elvira 和 Blanca 都相互进行了复杂的欺骗，也欺骗了 Ordono 国王，以促进他们的多情追求。…