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Teatro breve - carcajada grande: Un estudio del "Entremes de Melisendra" Item Type text; Dissertation-Reproduction (electronic) Authors Chuffe, Eliud Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 15:23:42 Link to Item http://hdl.handle.net/10150/280596 TEATRO BREVE - CARCAJADA GRANDE: UN ESTUDIO DEL ENTREMES DE MELISENDRA De Eliud Chuffe Copyright © Eliud Chuffe 2004 A Dissertation Submitted to the Faculty of the DEPARTMENT OF SPANISH AND PORTUGUESE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 4 UMI Number: 3145055 Copyright 2004 by Chuffe, Eliud All rights reserved. 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Box 1346 Ann Arbor, Ml 48106-1346 9 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Eliud Chuffe entitled TEATRO BREVE CARCAJADA GRANDE: UN ESTUDIO DEL ENTREMES DE MELISENDRA and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of rinrt-nr- nf /y if J ^ y "^my R. wi11 iamsen Date y Richard P. Kinkade Dat^ '' Malcolm A. Compitello Date Date Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. 6 Jii amsen Da•ate / 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from the dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 ACKNOWLEDGEMENTS Primeramente quiero agradecer todo el amor, apoyo, paciencia y comprension que he compartido con mi amada esposa Diana a traves de mis estudios universitarios. Mis hijos Cristos e Ylia tambien me han ayudado en este proyecto con su alegria y sus muestras de amor infinito hacia ml hasta en los momentos mas difidles. Le agradezco publicamente a mi madre Maria Teresa quien compartio conmigo su amor a la lectura y a mi padre Eleazar Romeo (Q.E.P.D.) por ensenarme la importancia que tiene la educacion profesional. Les doy las gracias a mis hermanos y especialmente a mis hermanas por todo el apoyo familiar que me han brindado, y a mi hermano Cesar, en particular, por sus oraciones. I would like to thank my dissertation director Dr. Amy R. Williamsen for all her moral and academic support throughout the years and especially during the last few years of my doctoral work. She helped me understand, love, appreciate and teach the Quixote and the Golden Age Comedia. A special thank you goes to my personal friends Chris G. Johnson and Ingrid Novodvorsky who wisely and persistently encouraged me on an everyday basis to complete this work. I am very thankful to Dr. Malcolm A. Compitello and Dr. Richard P. Kinkade for always appreciating my academic skills and for serving as advisors and readers during my dissertation. I would like to recognize every professor at this institution with whom I have had the pleasure to take classes during my studies. Dr. Eliana Carbon, Dr. Joan J. Gilabert, Dr. Lanin A. Gyurko, Dr. Lydia Fossa, Dr. Ana Perches and Dr. Eliana S. Rivero: thanks for sharing your knowledge with me! Les agradezco a todos mis amigos, especialmente a Eduardo Coronado y Daniel S. Rascon, por su sincera amistad de tantos anos. A Guadalupe, Dolores, Sonja, y a tantos otros amigos que no tengo espacio para senalar como es debido, les doy las gracias por todo su afecto. Gracias a mi familia, especificamente a Rene y Josefina, y a la familia de mi esposa por creer en mi. 5 Dedico esta disertacion a mi adorada esposa Diana y a mis hijos Cristos e Ylia que llenan mi vida de alegria y mis suefios de esperanzas. 6 TABLE OF CONTENTS Acknowledgements 4 ABSTRACT 8 I. INTRODUCCION AL ENTREMES 10 iQue nos ofrece el entremes que lo hace unico? ... 14 La versificacion de los entremeses 21 El entremes como pieza importante dentro del teatro del Siglo de Oro 26 II. ANALISIS DEL ENTREMES DE MELISENDRA Y EL HUMOR CARNAVALESCO ENTRE SUS PERSONAJES 29 III. INTERTEXTUALIDAD ENTRE EL ROMANCE DE DON GAIFEROS Y ENTREMES DE MELISENDRA 76 IV. DIALOGO INTERTEXTUAL: ENTREMES DE MELISENDRA Y DON QUIJOTE 100 1/. ENTREMES DE MELISENDRA 123 CRITERIOS PARA LA EDICION DEL ENTREMES DE MELISENDRA 123 VERSIFICACION DEL ENTREMES DE MELISENDRA 132 ENTREMES DE MELISENDRA 135 VI. CONCLUSIONES 188 7 APENDICE A: INTERTEXTUALIDAD ENTRE EL ROMANCE DE DON GAIFEROS Y ENTREMES DE MELISENDRA 197 APENDICE B: FACSIMILE DEL ENTREMES DE MELISENDRA .. 222 APENDICE C: ROMANCE DE DON GAIFEROS QUE TRATA DE COMO SACO A SU ESPOSA, QUE ESTAVA EN TIERRA DE MOROS .242 APENDICE D. REPARTO / PERSONAJES 251 OBRAS CITADAS 255 OBRAS CONSULTADAS 262 8 ABSTRACT This dissertation presents a critical edition of the Entremes de Melisendra. This entremes has been attributed to two talented writers of the Golden Age theater: Lope de Vega Carpio and Miguel de Cervantes Saavedra. The first part of this work is an introduction to the important role that the entremes, as a sub-genre, played during the period. The work then provides a structural analysis of the Entremes in detail, including versification and vocabulary. Bakhtin's fundamental work on carnaval, complemented by that of other critics, provides the framework for the analysis of the bawdy, at times grotesque, humor of the play. Chapter III explores the influence of the Romance de don Gaiferos, whose plot derives from the Emperor Charlemagne's era. Through a detailed comparison, it becomes clear that the Romance de don Gaiferos strongly influenced the creation of the Entremes de Melisendra. Moreover, examples of parody abound. Instead of calling the play Entremes de don Gaiferos, the author parodies the 9 title and changes it to Entremes de Melisendra, indicative of the carnavalesque inversion found throughout the text. Chapter IV then analyses the complex intertextuality between the Entremes de Melisendra and Cervantes's "Ratable de maese Pedro." The theoretical background employed for the consideration of this extensive parody draws from Linda Hutcheon's work A Theory of Parody as well as that of others theorists. The edition that comprises the fifth chapter has been modernized using the rules suggested for editing comedias by Frank P. Casa and Michael D. McGaha in Editing the Comedia. It has been annotated to help readers understand some of the more complex passages. The brief conclusion then underscores the significance of this piece for understanding the artistic evolution of a Medieval romance. The transformations in plot and presentation from romance, to entremes and then to a prose recreation of a theatrical "retablo" reflect the ever-changing relationships between art and society. A series of appendices offers additional information that supports the analysis presented. 10 INTRODUCCION AL ENTREMES El proposito de esta investigacion es crear una edicion critica del Entremes de Melisendra. Para lograr este proposito he realizado una pequena introduccion al entremes y he dedicado parte de esta investigacion a analizar el entremes y la burla que hay entre sus personajes. En seguida, tomando como punto de partida lo carnavalesco expuesto por Mijail Bajtin se compara y contrasta esta obra con el Romance de Don Gaiferos. Despues se analiza la vision que tiene Cervantes en Don Quijote de la Mancha en la segunda parte, especificamente en los capitulos 25 - 27 sobre el maese Pedro y la aventura del titiritero. A la edicion critica, que aparece en el quinto capitulo, le siguen mis conclusiones. Hasta el dia de hoy, unicamente se le ha atribuido la autoria de este entremes a Lope de Vega Carpio o a Miguel de Cervantes Saavedra. Aunque en el facsimile aparece la firma de Lope de Vega, no necesariamente se trata de un manuscrito autografo. Como senala Paloma Cuenca Munoz en su Estudio paleografico de algunos autografos teatrales, tal vez haya existido un copista especializado en copiar las obras de Lope, ya que varias obras de Lope se encuentran copiadas por la misma letra y con la misma firma. Ella basa sus observaciones en un analisis minucioso que hace de la letra y autografos de las obras Entremes de Melisendra y de El prlncipe perfecto. Para analizar el entremes dentro del teatro del Siglo de Oro, primero puntualizaremos de donde proviene este termino.