Abstract:

This study delves deeper into the question of intertextuality, rewriting, and revision with reference to a series of comedias by Pedro Calderón de la Barca—El hombre pobre todo es trazas (1627), El secreto a voces (1642), and Los tres mayores prodigios (1636)—that engage the literary tradition which stems from the questioni d'amore of the book 4 of Boccaccio's Filocolo. Each of these comedias uses an academia—understood as a learned gathering depicted within the drama—to debate two questions from the rich literary tradition associated with Boccaccio: What is the greatest pain love brings? Is it better to give or receive a token of love? In turn, I consider how Calderón rewrites and reconfigures these scenes, proposing yet another questione in Los tres afectos de amor, piedad, desmayo y valor (1658), which asks what kind of husband a woman should choose. Is a courageous husband more desirable than a strong one? Is wisdom preferable to gallantry?

摘要：

本研究参考 Pedro Calderón de la Barca 的一系列喜剧——El hombre pobre todo es trazas (1627)、El secreto a voces (1642) 和Los tres mayores深入探讨互文性、重写和修订问题prodigios (1636)——涉及源自薄伽丘的Filocolo的第 4 卷的questioni d'amore的文学传统。这些喜剧中的每一个都使用学术界——被理解为戏剧中所描绘的学术聚会——辩论与薄伽丘相关的丰富文学传统中的两个问题：爱情带来的最大痛苦是什么？给予或接受爱的信物更好吗？反过来，我考虑卡尔德龙如何重写和重新配置这些场景，在Los tres afectos de amor, piedad, desmayo y valor (1658) 中提出另一个问题，该问题询问女性应该选择什么样的丈夫。勇敢的丈夫比坚强的丈夫更受欢迎吗？智慧胜过英勇吗？