De "El Caballero de Illescas" a "Los Intereses Creados" (From "The Gentleman from Illescas" [Lope de Vega] to "Vested Interests" [Benavente]) [electronic resource] / Damaso Alonso.
Across the centuries the heroes in dramatic works develop and play out action along the same lines, although the dramas may have been created by different authors and may reflect various eras and cultures. A case in point is a comparison of the two Spanish plays "El Caballero de Illescas"...
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| Format: | Electronic eBook |
| Language: | English |
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Distributed by ERIC Clearinghouse,
1967.
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| 100 | 1 | |a Alonso, Damaso. | |
| 245 | 1 | 0 | |a De "El Caballero de Illescas" a "Los Intereses Creados" (From "The Gentleman from Illescas" [Lope de Vega] to "Vested Interests" [Benavente]) |h [electronic resource] / |c Damaso Alonso. |
| 260 | |a [S.l.] : |b Distributed by ERIC Clearinghouse, |c 1967. | ||
| 300 | |a 24 p. | ||
| 520 | |a Across the centuries the heroes in dramatic works develop and play out action along the same lines, although the dramas may have been created by different authors and may reflect various eras and cultures. A case in point is a comparison of the two Spanish plays "El Caballero de Illescas" by Lope de Vega (1602) and "Los Intereses Creados" by Jacinto Benavente (1907). Similarities in the fate of the two protagonists are striking. Both men arrive penniless in Naples at a bleak period of their lives anxious to improve their fortunes. Both heroes fall in love with wealthy maidens of the nobility with whom they eventually elope. The family backgrounds and origins of family fortunes have parallel details. Readers soon learn that the protagonists also had similar backgrounds. The techniques employed constitute the major difference between the two works. Lope de Vega tells all about his hero in Act 1; the action and the similarities to Benavente do not begin until Act 2. In Benavente's work, action begins immediately and the reader learns about the protagonist in the narrative. Benavente's portrayal of his hero's split personality is the best feature of his composition, while Lope da Vega's monologues are well executed. The similarities and distinctions are shown not to cite plagiarism but analyze the two dramas more extensively and to illustrate seventeenth century and twentieth century points of view. (DS) | ||
| 524 | |a Revista de Filologia Espanola, v50 n1-4 p1-24 1967. |2 ericd. | ||
| 650 | 0 | 7 | |a Baroque Literature. |2 ericd. |
| 650 | 0 | 7 | |a Characterization. |2 ericd. |
| 650 | 0 | 7 | |a Comedy. |2 ericd. |
| 650 | 0 | 7 | |a Dialogs (Literary) |2 ericd. |
| 650 | 1 | 7 | |a Drama. |2 ericd. |
| 650 | 0 | 7 | |a Formal Criticism. |2 ericd. |
| 650 | 0 | 7 | |a Literary Influences. |2 ericd. |
| 650 | 0 | 7 | |a Literary Styles. |2 ericd. |
| 650 | 0 | 7 | |a Monologs. |2 ericd. |
| 650 | 0 | 7 | |a Motifs. |2 ericd. |
| 650 | 0 | 7 | |a Playwriting. |2 ericd. |
| 650 | 1 | 7 | |a Seventeenth Century Literature. |2 ericd. |
| 650 | 1 | 7 | |a Spanish Literature. |2 ericd. |
| 650 | 0 | 7 | |a Theater Arts. |2 ericd. |
| 650 | 1 | 7 | |a Twentieth Century Literature. |2 ericd. |
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