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• W2332497307 abstract "C ERVANTES' ten full-length plays fall into two distinct periods and encompass various sub-genres, including tragedy, the saint's play, and the comedia de capa y espada. Cervantes wrote no literary treatises as such, but statements within his works reveal a preoccupation with method and arrangement of dramatic material.1 The element of unity serves as a point of reference with which to consider the plays jointly. Cervantes achieves unity not by developing complications around a single action as do Lope de Vega and his followers, but through parallel events (or episodes) which form a conceptual unity. The individual episodes, analogically related, reinforce or complement an idea rather than expand an action. Cervantes' arrangement of episodes as units in a conceptual framework derives its form from statement and restatement of a theme. The correspondence between the dramatic events lies in the application of this theme -or idea or concept-as a point of contact for the component parts of the play. The unity of Cervantes' comedias is in general less easily discernible than that of Lope's model, which establishes an external connection between the onstage events. For example, the episodes involving Francisco in the Argel plays serve as facets of the theme of captivity, and are linked to the main plot in conceptual terms rather than through a direct relation between characters or incidents.2 In Lope's comedias, on the other hand, the tendency is toward a single action to which the series of events is related. All plot developments and lyrical passages of Peribdiiez, as an example, pertain to the action of the play: to preserve Casilda's honor from the Comendador de Ocafia, intent upon seducing the farmer's wife. The double perspective of Fuenteovejuna combines a social situation with an historical one through Lope's use of a single character (the Comendador) as catalyst of each, and the resulting interrelation is both structural and thematic.3 Similarly, the consistent presence of Don Juan Tenorio in the episodic plan of Tirso de Molina's El burlador de Sevilla, together with the function of the episodes as stages leading to Don Juan's death, provides unity of action. Calder6n, the ultimate exponent of Lope's formula for the comedia, unites the two distinct plots of La vida es suehio by making them mutually dependent. A. E. Sloman has shown that the stages of Rosaura's restoration of her honor determine and are determined by the progress of Segismundo's conversion.4" @default.
• W2332497307 created "2016-06-24" @default.
• W2332497307 creator A5062441276 @default.
• W2332497307 date "1977-09-01" @default.
• W2332497307 modified "2023-09-23" @default.
• W2332497307 title "Dramatic Structure in Cervantes and Lope: The Two Pedro de Urdemalas Plays" @default.
• W2332497307 doi "https://doi.org/10.2307/340010" @default.
• W2332497307 hasPublicationYear "1977" @default.
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