Abstract:I examine how lope de vega drew upon an early comedia, La viuda, casada y doncella (1597), in devising two late masterpieces, Guzmán el Bravo and La prudente venganza, both printed in La Circe (1624). In particular, my study scrutinizes the ways that the novellas reconfigure episodes from the earlier comedia and traces the literary trail left by the process of rewriting. Three poles of attraction to La viuda, casada y doncella come to light: the comedia's success on stage during two decades; its renewed popularity as a literary work upon publication in the Parte 7 (1617); and the drama's Byzantine plot motifs. Such elements included vertiginous separations and reunions of lovers, storms, shipwrecks, captivity, and other trials—popularized in translations and adaptations of heliodorus's Aethiopica as well as in italian novellas and other literary genres—that had become touchstones of lope's literary practice, anchoring a host of comedias written in the late sixteenth or early seventeenth century, as well as his novel, El peregrino en su patria (1604). Ultimately, this examination of lope's rewriting—construed as a sustained and deliberate process of self-revision (auto-reescritura)—reveals that the Byzantine motifs adapted from his comedias were decisive in shaping his approach to the novela corta (novella) in the early 1620s.

中文翻译：

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Lope de Vega 被改写：从拜占庭喜剧到短篇小说（寡妇，已婚和未婚，Guzmán el Bravo 和 La prudente venganza）

摘要：我研究 lope de vega 如何借鉴早期喜剧 La viuda, casada y maiden (1597)，设计两部晚期杰作 Guzmán el Bravo 和 La prudente venganza，两部作品均在 La Circe (1624) 印刷。特别是，我的研究仔细审查了中篇小说重新配置早期喜剧情节的方式，并追溯了改写过程留下的文学痕迹。La viuda, casada y maiden 的三个吸引力大放异彩：这部喜剧在二十年来在舞台上的成功；它在第 7 部分（1617 年）出版后重新流行为文学作品；以及该剧的拜占庭式情节主题。这些元素包括令人眩晕的分离和恋人重聚、风暴、沉船、囚禁和其他审判——在赫利奥多鲁斯的翻译和改编中广为流传。s Aethiopica 以及意大利中篇小说和其他文学体裁——这已经成为洛普文学实践的试金石，支撑了 16 世纪末或 17 世纪初写的一系列喜剧，以及他的小说《El peregrino en su patria》（1604 年） ）。最终，对洛普改写的考察——被解释为一个持续的、深思熟虑的自我修正（自动改写）过程——揭示了改编自他的喜剧的拜占庭主题在塑造他在 1620 年代早期的中篇小说方法方面具有决定性作用。