Includes bibliographical references (pages 257-262) and index.
CONTENTS NOTE
Text of Note
Juan Ruiz de Alarcón y Mendoza / by James A. Parr -- Francisco Antonio de Bances Candamo / by Santiago García-Castañón -- Pedro Calderón de la Barca / by Matthew D. Stroud -- Guillén de Castro / by Barbara Mujica -- Miguel de Cervantes Saavedra / by Edward H. Friedman -- Andrés de Claramonte y Corroy / by Christopher B. Weimer -- Juan de la Cueva / by David G. Burton -- Juan del Encina / by Stanislav Zimic -- Antonio Mira de Amescua / by Manuel Delgado -- Juan Pérez de Montalbán / by Patricia Kenworthy -- Agustín Moreto y Cabaña / by Frank P. Casa -- Luis Quiñones de Benavente / by Diane Iglesias -- Fernando de Rojas / by Mary Parker -- Francisco de Rojas Zorrilla / by Anita K. Stoll -- Lope de Rueda / by Sharon D. Voros -- Tirso de Molina (Gabriel Téllez) / by Bruno M. Damiani -- Bartolomé de Torres Naharro / by John Lihani -- Lope Félix de Vega Carpio / by Alix Ingber -- Luis Vélez de Guevara / by C. George Peale.
0
SUMMARY OR ABSTRACT
Text of Note
The Golden Age of Spanish drama extends from the close of the 15th century to the death of Calderón in 1681. During that time, the humanists, as dramatists, followed Italy's artistic awakening direction, and imitated Classical drama. With originality and dreams of greatness, they subverted the nature of tragedy; modified the approach of Comedy and invented the New Play, the Comedia Nueva. In it the poet-dramatists introduced important modificaitons of realism, included imagined reality, Christian symbolism and theatricality, as artistic truth. They elaborate all kinds of syntheses. For this re.