Reviewed by:

• Comedias Parte XVI by Lope de Vega
• Anthony J. Grubbs

PROLOPE HAS CONSISTENTLY OFFERED exemplary critical editions of Lope de Vega’s Partes and this one, the sixteenth volume, is no exception. In this collection, the primary editors Florence d’Artois and Luigi Giuliani include twelve comedias in two volumes. The individual dramas are prepared by the following editors: Florence d’Artois and Héctor Ruiz (El premio de la hermosura), Mercedes Blanco and Felipe Joannon (Adonis y Venus), Victoria Pineda (Los prados de León), Enrico Di Pastena (Mirad a quién alabáis), Guillermo Gómez Sánchez-Ferrer and Óscar García Fernández (Las mujeres sin hombres), Roland Béhar (La fábula de Perseo), Sònia Boadas (El laberinto de Creta), Eugenio Maggi (La serrana de Tormes), Anne-Marie Lievens (Las grandezas de Alejandro), Florence d’Artois (La Felisarda), Alejandro García-Reidy (La inocente Laura), and Luigi Giuliani (Lo fingido verdadero). The introduction to the collection offers information about the unique publication history of Parte XVI and examines the idiosyncrasies of this compilation of plays.

The editors distinguish Parte XVI from its predecessors as the most cohesive and coherent collection. D’Artois and Giuliani mention several formal and thematic connections between the works, suggesting a deliberate process on the part of Lope for selecting the dramas. They argue that the inclusion of different genres—tragedia, tragicomedia, and comedia—added a degree of refinement that would have appealed to the courtly public. Furthermore, the inclusion of mythological, chivalric, hagiographic, or historiographic themes held great appeal. As Lope struggled with personal and professional attacks as well as the changes in the royal court, the editors suggest that he felt compelled to further establish himself as the predominant poet in Spain. But d’Artois and Giuliani propose that Lope’s aspiration to fill the vacancy as court chronicler in 1620 served as the greatest motivator for the organization [End Page 183] and contents of the collection, which was first published on 9 September 1621, albeit with a publication license dating from 24 September 1620. His strategies included addressing carefully composed dedications to all the power brokers in the Court at a time of transition from the reign of Philip II to that of Philip IV and including mythological and chivalric topics in the plays that were meant to both entertain and celebrate the Crown.

The comedia editions have been carefully researched and prepared. Each is preceded by a critical introduction, a summary of the piece, details of the versification, and Lope’s dedicatoria. All of the plays are followed by a nota onomástica and in two cases, Mirad a quién alabáis and La fábula de Perseo, an additional appendix of variantes lingüísticas. The works benefit from ample footnotes that provide explanations of the cultural allusions and the rhetorical strategies present in the play. In addition to noting variants in the texts, the editors make definitive corrections to clarify ambiguities. For example, Luigi Giuliani’s edition of Lo fingido verdadero is a much-needed addition to early modern Spanish theater studies. Indeed, Lope’s dramatic version of the conversion and martyrdom of St. Genesius has a long history of highquality scholarly analysis, and the recent edition by Maria Teresa Cattaneo and translation into English by Michael McGaha provide general information and analysis in their introductions, but Giuliani’s version demonstrates a philological rigor that will prove even more useful to experts in the field. His corrections to the text result from a careful comparison of previous versions. As expected, the abundant footnotes guide the reader by offering context and information about references in the play. The supplementary information is comprehensive and addresses such topics as the omission of certain characters in the preliminary listing, allusions to obscure coplas, and erudite explications of intercalated sonnets, to name a few. Similarly, Mercedes Blanco’s and Felipe Joannon’s preparation of the first critical edition of Adonis y Venus is meticulous...

审核人：

• Lope de Vega的Comedias Parte XVI
• 安东尼·格鲁布斯（Anthony J. Grubbs）

洛普·德·维加的《Partes》一如既往地被提供给了PROLOPE重要的典范，而这本（第16卷）也不例外。在此系列中，主要编辑Florence d'Artois和Luigi Giuliani分为两卷，共包含十二个喜剧演员。个别戏剧由以下剪辑人员准备：佛罗伦萨·德·阿图瓦斯和埃克托·鲁伊斯（El premio de la hermosura），梅赛德斯·布兰科和费利佩·琼农（Adonis y Venus），维多利亚·派恩达（Victoria Pineda）（洛斯·普拉多斯·德·莱昂），恩里科·迪·帕斯泰纳（Miricd aquiénalabáis），GuillermoGómezSánchez-Ferrer和ÓscarGarcíaFernández（Las mujeres sin hombres），RolandBéhar（Lafábulade Perseo），SòniaBoadas（萨尔瓦多迷宫去白垩），欧金尼奥美极（香格里拉塞拉纳德托尔梅斯），安妮-玛丽Lievens（拉斯维加斯grandezas德亚历杭德罗），佛罗伦萨科特迪瓦阿图瓦（拉Felisarda），亚历杭德罗·加西亚-雷迪（拉控诉劳拉），和Luigi朱利安尼（罗fingido verdadero）。作品集的简介提供了有关Parte XVI独特出版历史的信息，并研究了该剧集的独特性。

编辑将Parte XVI与前任产品区分开来，是最具凝聚力和连贯性的作品集。D'Artois和Giuliani提到了作品之间的几种形式上和主题上的联系，这暗示了Lope精心挑选戏剧的过程。他们认为，包括不同类型的悲剧，悲剧媒体和喜剧片，增加了一定的精致度，本该吸引到了公众。此外，神话，骑士，全息或史学主题的加入也引起了极大的反响。当洛佩（Lope）遭受个人和职业攻击以及皇室法院的变动而苦苦挣扎时，编辑建议他感到自己被迫进一步确立自己为西班牙主要诗人的地位。但是d'Artois和Giuliani提出，洛佩（Lope）填补1620年法院纪事的空缺的愿望是该组织的最大动力[End Page 183]内容和收藏的内容于1621年9月9日首次发布，尽管其出版许可证的日期是1620年9月24日。他的策略包括在从位统治过渡时期向法院所有权力经纪人精心撰写献辞。腓力二世和腓力四世，其中包括神话和骑士主题，旨在娱乐和庆祝王冠。

对喜剧演员的版本进行了仔细的研究和准备。每篇文章之前都进行了批判性介绍，文章摘要，具体内容以及Lope的书信。所有剧本后面都附有Notaonomástica，在两种情况下，分别是Mirad aquiénalabáis和Lafábulade Perseo，这是lingüísticas变体的附加附录。这些作品得益于丰富的脚注，可为戏剧中的文化典故和修辞策略提供解释。除了指出文本中的变体以外，编辑者还进行了明确的更正，以澄清歧义。例如，路易吉·朱利安尼（Luigi Giuliani）的《罗芬多（Lo fingido verdadero）》是早期西班牙现代戏剧研究的急需补充。的确，洛佩（Lope）的戏剧性版本《圣·吉纳修斯（St. Genesius）的conversion依和难》具有悠久的高质量学术分析历史，最近出版的玛丽亚·特雷莎·卡塔尼奥（Maria Teresa Cattaneo）和迈克尔·麦加哈（Michael McGaha）将其翻译成英文，在介绍中提供了一般信息和分析，但朱利安尼（Giuliani）版本证明了语言学上的严谨性，将对本领域的专家更加有用。他对文本的更正来自对以前版本的仔细比较。正如预期的那样，丰富的脚注通过提供有关剧中参考文献的上下文和信息来指导读者。补充信息是全面的，涉及以下主题：在初步列表中省略某些字符，隐晦的暗示coplas和插页十四行诗的博学渊博，仅举几例。同样，梅赛德斯·布兰科和费利佩·琼农编写的《阿多尼斯·维纳斯》的第一个批判版也是一丝不苟的...