By Pedro Calderón de la Barca
Los mejores libros jamás escritos
Edición de Enrique Rull, profesor de Literatura Española en los angeles UNED
El gran teatro del mundo demuestra los angeles pericia del autor en géneros tan diferentes como el vehicle sacramental, los angeles comedia filosófica o el drama de honor. Traducido y representado innumerables veces, en todo tiempo y lugar, este automobile sacramental ha superado los condicionamientos estéticos de l. a. época en que fue escrito para extender con fuerza un mensaje ya conocido desde los clásicos latinos: los angeles vida no es más que una mera representación en los angeles que nuestro papel está determinado y dura tan poco como ésta, y en los angeles que lo importante es «obrar bien».
Esta edición incluye una introducción que contextualiza l. a. obra, un aparato de notas, una cronología y una bibliografía esencial, así como también varias propuestas de discusión y debate en torno a los angeles lectura. Está al cuidado de Enrique Rull, profesor de literatura española de l. a. Universidad Nacional de Educación a Distancia.
«¡Ábrase el centro de los angeles tierra, pues que dentro de ella l. a. escena ha de ser!»
Read or Download El gran teatro del mundo (Penguin Clásicos) PDF
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Additional info for El gran teatro del mundo (Penguin Clásicos)
Conjointly with these overseas ventures, a free peasantry was created and strengthened within the city and its territory舒a development fostered by the opening of markets abroad and by the spread of chattel slavery. Juridical and economic institutions consonant with the peasantry舗s interests followed舒primarily, the emergence of private alienable property in land and enforceable contracts. Upon this material foundation, a novel form of political life emerged, characterized by a new inclusivity and relying upon a rotation of political offices among full citizens.
Compared to the mighty Hector or to any of the other famous heroes arrayed at Troy, the audience of the poet舗s present, even as it understands itself to be descended from the heroes, is acutely reminded that its descent is a diminution: The ancestors were creators and adventurers; men 舠such as mortals are now舡 are but imitators, weak of force and spirit. The era of the heroes is one of origins, of first inventions, of self-creation through adventure, of an ever-regenerative vitalism; the present age is one of insubstantial imitation, of repetition unto exhaustion.
B. Lord, 舠Forward舡 to The Singer of Tales (1960) No Homer or many Homers? 舒in a version close to the written form that we now have. Parry舗s textual studies in the late 1920s began with the familiar repetition of noun-epithet phrases舒for example, 舠grey-eyed Athene舡舒and proceeded to demonstrate that those repetitions were not random, but systematic. Moreover, such systems of repetition舒of formulae, of phrases, of lines, of typical scenes, of episodes舒are characteristic of oral poetries in general; the oral poet, as he performs, works with the given and repeated building-blocks, small and large, of his tradition.