Abstract:

As shaped by Ovid’s beautifully sensual poetic conception in the Metamorphoses, the conjoined fable of Echo and Narcissus has captivated the imagination of hearers, readers, and viewers across centuries and cultures. My attraction to the fable began with the study of Pedro Calderón de la Barca’s court spectacle play Eco y Narciso (1661) and the attention Calderón devoted to developing therein the figures of Echo and Narcissus’s mother Liriope. That development was prefigured by the first Spanish theatrical version of the myth, the Trajedia de Narciso written by Francisco de la Cueva y Silva (ca. 1580). The voice and vision of Echo would then be dramatically refigured by Sor Juana Inés de la Cruz in her auto sacramental, El divino Narciso (ca. 1689). In this article, I examine the three dramas comparatively, seeking to relate the divergent potentialities brought out by the three dramatic poets to the different media and cultural contexts in which they worked.

摘要：

就像奥维德在《变形记》中优美的感性诗意概念所塑造的那样，《回声》和《水仙》的寓言故事吸引了跨世纪和跨文化的听众，听众和观众的想象力。我对寓言的兴趣始于对佩德罗·卡尔德隆·德拉·巴尔卡（PedroCalderónde la Barca）的宫廷戏剧《生态与纳尔克索》（Eco y Narciso）（1661）的研究，以及对卡尔德隆致力于发展回声和水仙的母亲利里奥佩的关注。这种发展是由神话的第一个西班牙戏剧版本，即弗朗西斯科·德拉·库埃瓦·席尔瓦（Francisco de la Cueva y Silva，约1580年）撰写的《Trajedia de Narciso》预示的。然后Sor JuanaInésde la Cruz在她的自动圣餐中，将Echo的声音和视力大大地降低了，El divino Narciso（约1689年）。在本文中，我比较地考察了三部戏剧，力图将三部戏剧诗人带来的不同潜能与他们工作的不同媒体和文化背景联系起来。