The Trickster of Seville and the Stone Guest
Historical Context
The Reign of Philip III, IV, and Charles II
Spain during the reigns of Philip III, Philip IV, and Charles II saw the rise and fall of royal favorites such as the Duke of Osuna (Philip III) and the Count-Duke of Olivares (Philip IV).
Crises
- Politico-Military: War in Flanders, Portugal’s independence, conflict in Catalonia, and disputes with France.
- Socio-economic: Losses, loss of life, declining population, military expenditure, crop failures, epidemics, state bankruptcy, tax increases, and increased poverty.
A New Art of Making Comedy
Lope de Vega challenged the established rules of comedy, aligning them with public taste and naturalness.
Three Acts or Days
The play’s structure mirrors the fundamental parts of action: beginning, middle, and end.
Rejection of the Three Unities
- Action: Multiple parallel actions unfold.
- Time: The timeframe can span years, exceeding the previous 24-hour limit.
- Location: The setting can change to various locations.
A Mix of Tragedy and Comedy
Reflecting the complexities of life itself.
Variety of Poetic Style and Decorum
Language and behavior are appropriate to each character’s nature.
Polymetry and Lyrical Interludes
Diverse verse forms and interspersed songs and dances.
Characters
- High Level: Galán (young gentleman) and Lady (lovely and bold).
- Lower Level: Gracioso (the witty servant) and Maid (confidante).
Themes
- Love and trickery.
- Defense of honor.
Baroque Theater
The Setting
Performances took place in courtyards adapted into theaters, with balconies serving as boxes. Seating was arranged by social status, with women first, then men, and the poorest at the bottom. An awning provided shade.
The Performance
Lasting about three hours, the show began with a loa (introductory piece), followed by the first act. Interludes included an entremés (short play), jácaras (singing and dancing), and a final masquerade.
Values and Ideals
Playwrights reinforced societal norms: social immobility, the monarchy, and Catholic dogma.
The Author: Tirso de Molina
Traditionally attributed to Friar Gabriel Téllez (Tirso de Molina), the play’s authorship has been debated. Recent research questions this attribution.
Biographical Data
Born in Madrid in 1579, Tirso de Molina joined the Mercedarian Order in 1600. He studied theology and began writing plays in 1611. His peak literary period was between 1618 and 1626. He faced opposition and was banned from writing comedies and exiled from Madrid. He died in 1648.
Tirso de Molina’s Works
- Autos sacramentales (religious plays)
- Religious comedies
- Historico-legendary comedies (e.g., The Trickster of Seville)
- Comedies of manners
Analysis of the Work
Authorship and Background
of the work
Its authorship is still subject of controversy. The plays were designed Baroque ara be represented. The writers and poets to deliver a manustrico authors or entrepreneurs. In many cases, if the author was not too well known is the famous one attributed to better sell. The first known edition of The buraldor of Seville and the Stone Guest, 1630 collection appeared in a volume entitled Twelve plays by Lope de Vega. Regarding the genesis of the play, attempts to locate records in real life historical figures of Don Miguel de Manara or the Count of Villamediana and others .. In connection with another great character and motive of the play, the Stone Guest, testimonies have been documented throughout European folklore.
dramatic unities and the characters share space and time
The three units are dramatic work-oriented and driven from the strength of the central character in the play Don Juan Tenorio. The action arises from a continuous alternation between Don Juan and fleeing from the persecutions of the characters aggrieved. The causal thread of the argument progresses from the deceptions that makes the gentleman of Seville. In fact, the speed and pace of the action precipitated printed from the outset. The work empieda in medias res, ie, the action already taking place when the public has the first news.